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The Scheding Index of Australian Art & Artists

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Showing 158,397 records of 158,397 total. We are displaying one thousand.

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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
Reference: see Artist Profile magazine no. 21.
Publishing details: 2012-2013
Ball Sydneyview full entry
Reference: see Artist Profile magazine no. 21.
Publishing details: 2012-2013
Pule Johnview full entry
Reference: see Artist Profile magazine no. 21.
Publishing details: 2012-2013
Jumaadiview full entry
Reference: see Artist Profile magazine no. 21.
Publishing details: 2012-2013
Pigott Gwyn Hanssenview full entry
Reference: see Artist Profile magazine no. 21.
Publishing details: 2012-2013
Martin Mattview full entry
Reference: see Artist Profile magazine no. 21.
Publishing details: 2012-2013
Binns Fergusview full entry
Reference: see Artist Profile magazine no. 21.
Publishing details: 2012-2013
Allora & Calzadillaview full entry
Reference: see Artist Profile magazine no. 21.
Publishing details: 2012-2013
Miller Maxview full entry
Reference: see Artist Profile magazine no. 21.
Publishing details: 2012-2013
Tuymans Lucview full entry
Reference: see Artist Profile magazine no. 21.
Publishing details: 2012-2013
Smart Jeffreyview full entry
Reference: see Artist Profile magazine no. 21.
Publishing details: 2012-2013
Saville Jennyview full entry
Reference: see Artist Profile magazine no. 21.
Publishing details: 2012-2013
Daly Peter Fview full entry
Reference: see Artist Profile magazine no. 21.
Publishing details: 2012-2013
Vozzo Vinceview full entry
Reference: see Artist Profile magazine no. 21.
Publishing details: 2012-2013
Rhys Jones Alunview full entry
Reference: see Artist Profile magazine no. 21.
Publishing details: 2012-2013
Dreyfus Ellaview full entry
Reference: see Artist Profile magazine no. 21.
Publishing details: 2012-2013
Elms Gregview full entry
Reference: see Artist Profile magazine no. 21.
Publishing details: 2012-2013
Kregar Gregorview full entry
Reference: see Artist Profile magazine no. 21.
Publishing details: 2012-2013
Collien Clarriceview full entry
Reference: see Artist Profile magazine no. 21.
Publishing details: 2012-2013
Park Sarahview full entry
Reference: see Artist Profile magazine no. 21.
Publishing details: 2012-2013
Senbergs Janview full entry
Reference: see Artist Profile magazine no. 25.
Publishing details: 2013-14
Jin Liview full entry
Reference: see Artist Profile magazine no. 25.
Publishing details: 2013-14
Borremans Michaelview full entry
Reference: see Artist Profile magazine no. 25.
Publishing details: 2013-14
Garifalakis Tonyview full entry
Reference: see Artist Profile magazine no. 25.
Publishing details: 2013-14
Kelly Madeleineview full entry
Reference: see Artist Profile magazine no. 25.
Publishing details: 2013-14
Christensen Nadineview full entry
Reference: see Artist Profile magazine no. 25.
Publishing details: 2013-14
Johnson Georgeview full entry
Reference: see Artist Profile magazine no. 25.
Publishing details: 2013-14
Hearman Louiseview full entry
Reference: see Artist Profile magazine no. 25.
Publishing details: 2013-14
Peart John obituaryview full entry
Reference: see Artist Profile magazine no. 25.
Publishing details: 2013-14
Hammond Bradleyview full entry
Reference: see Artist Profile magazine no. 25.
Publishing details: 2013-14
Landy Michaelview full entry
Reference: see Artist Profile magazine no. 25.
Publishing details: 2013-14
Moss Damianview full entry
Reference: see Artist Profile magazine no. 25.
Publishing details: 2013-14
Anwar Rushdiview full entry
Reference: see Artist Profile magazine no. 25.
Publishing details: 2013-14
Langridge Emmaview full entry
Reference: see Artist Profile magazine no. 25.
Publishing details: 2013-14
McIver Kristinview full entry
Reference: see Artist Profile magazine no. 25.
Publishing details: 2013-14
Mombassa Regview full entry
Reference: see Artist Profile magazine no. 25.
Publishing details: 2013-14
Parr Mikeview full entry
Reference: see Artist Profile magazine no. 26.
Publishing details: 2014
Moore T Vview full entry
Reference: see Artist Profile magazine no. 26.
Publishing details: 2014
Lowry Fionaview full entry
Reference: see Artist Profile magazine no. 26.
Publishing details: 2014
Dee Rhondaview full entry
Reference: see Artist Profile magazine no. 26.
Publishing details: 2014
Jian Guoview full entry
Reference: see Artist Profile magazine no. 26.
Publishing details: 2014
Srivilasa Vipooview full entry
Reference: see Artist Profile magazine no. 26.
Publishing details: 2014
Allen Timview full entry
Reference: see Artist Profile magazine no. 26.
Publishing details: 2014
Berry Maxview full entry
Reference: see Artist Profile magazine no. 26.
Publishing details: 2014
Coss Pennyview full entry
Reference: see Artist Profile magazine no. 26.
Publishing details: 2014
Bovell Pennyview full entry
Reference: see Artist Profile magazine no. 26.
Publishing details: 2014
Brown Billview full entry
Reference: see Artist Profile magazine no. 26.
Publishing details: 2014
Gory Helenview full entry
Reference: see Artist Profile magazine no. 26.
Publishing details: 2014
James Alexanderview full entry
Reference: see Artist Profile magazine no. 26.
Publishing details: 2014
Zadok Ben-Davidview full entry
Reference: see Artist Profile magazine no. 26.
Publishing details: 2014
Emmerichs Bernview full entry
Reference: see Artist Profile magazine no. 26.
Publishing details: 2014
Watson Tommyview full entry
Reference: see Artist Profile magazine no. 26.
Publishing details: 2014
Starnge Ianview full entry
Reference: see Artist Profile magazine no. 26.
Publishing details: 2014
Serisier Camilleview full entry
Reference: see Artist Profile magazine no. 26.
Publishing details: 2014
Jinks Samview full entry
Reference: see Artist Profile magazine no. 20.
Publishing details: 2012
Rothwell Carolineview full entry
Reference: see Artist Profile magazine no. 20.
Publishing details: 2012
Furlonger Joeview full entry
Reference: see Artist Profile magazine no. 20.
Publishing details: 2012
Zhuoquan Liuview full entry
Reference: see Artist Profile magazine no. 20.
Publishing details: 2012
Sharpe Wendyview full entry
Reference: see Artist Profile magazine no. 20.
Publishing details: 2012
Christofides Andrewview full entry
Reference: see Artist Profile magazine no. 20.
Publishing details: 2012
Bursill Johnview full entry
Reference: see Artist Profile magazine no. 20.
Publishing details: 2012
Tennyson Kristinview full entry
Reference: see Artist Profile magazine no. 20.
Publishing details: 2012
Damichi Claudiaview full entry
Reference: see Artist Profile magazine no. 20.
Publishing details: 2012
Long Sydneyview full entry
Reference: see Artist Profile magazine no. 20.
Publishing details: 2012
Mombassa Regview full entry
Reference: see Artist Profile magazine no. 20.
Publishing details: 2012
Elyard Heatherview full entry
Reference: see Artist Profile magazine no. 20.
Publishing details: 2012
Nancarrow Rolandview full entry
Reference: see Artist Profile magazine no. 20.
Publishing details: 2012
O’Doherty Peterview full entry
Reference: see Artist Profile magazine no. 20.
Publishing details: 2012
Weekes Trevorview full entry
Reference: see Artist Profile magazine no. 20.
Publishing details: 2012
Sean and Claireview full entry
Reference: see Artist Profile magazine no. 20.
Publishing details: 2012
Sean and Claireview full entry
Reference: see Artist Profile magazine no. 20.
Publishing details: 2012
Burns Timview full entry
Reference: see Artist Profile magazine no. 19.
Publishing details: 2012
Morrison Jamesview full entry
Reference: see Artist Profile magazine no. 19.
Publishing details: 2012
Smart Sallyview full entry
Reference: see Artist Profile magazine no. 19.
Publishing details: 2012
Bird Stephenview full entry
Reference: see Artist Profile magazine no. 19.
Publishing details: 2012
Hooper Julianview full entry
Reference: see Artist Profile magazine no. 19.
Publishing details: 2012
Aerfeldt Chrisview full entry
Reference: see Artist Profile magazine no. 19.
Publishing details: 2012
Atkins Peterview full entry
Reference: see Artist Profile magazine no. 19.
Publishing details: 2012
Sierra Santiagoview full entry
Reference: see Artist Profile magazine no. 19.
Publishing details: 2012
Nain Clintonview full entry
Reference: see Artist Profile magazine no. 19.
Publishing details: 2012
Makin Jeffview full entry
Reference: see Artist Profile magazine no. 19.
Publishing details: 2012
Wirnhirst Judview full entry
Reference: see Artist Profile magazine no. 19.
Publishing details: 2012
Nimmo Grantview full entry
Reference: see Artist Profile magazine no. 19.
Publishing details: 2012
Wallis Amberview full entry
Reference: see Artist Profile magazine no. 19.
Publishing details: 2012
Kovacs Ildikoview full entry
Reference: see Artist Profile magazine no. 19.
Publishing details: 2012
Wardle Darrenview full entry
Reference: see Artist Profile magazine no. 19.
Publishing details: 2012
Jones Lauraview full entry
Reference: see Artist Profile magazine no. 19.
Publishing details: 2012
Jones Lauraview full entry
Reference: see Artist Profile magazine no. 19.
Publishing details: 2012
design in Western Australiaview full entry
Reference: See nspired by light and land : designers and makers in Western Australia 1829 - 1969 / Dorothy Erickson
Publishing details: Western Australian Museum, 2014
Australia : a collection of artworks inspired by the Australian continentview full entry
Reference: Australia : a collection of artworks inspired by the Australian continent / text by Wendy Eriksson ; painting photographs by Wendy Eriksson
Publishing details: Studio Whitsunday, 2014

Ref: 1000
Lycett Josephview full entry
Reference: True light and shade: an aboriginal perspective of Joseph Lycett's art / John Maynard. [True Light and Shade is filled with beautiful images by convict artist Joseph Lycett that powerfully capture in intimate detail Aboriginal life, a rare record of Aboriginal people within the vicinity of Newcastle and how they adapted to European settlement before cultural destruction impacted on these groups.

John Maynard writes an engaging short biography of Lycett and his life in Australia and follows this with a detailed commentary on each of the 20 images in the album. Each image is reproduced in full on a double page spread and then, on the spreads following, details have been enlarged to accompany John's text as he takes us through exactly what is happening in every picture: ceremony, hunting and fishing, carrying food (carving up whalemeat), land management and burning, interactions with Europeans, family life, dances, funeral rituals, and punishment. When you return again to examine the full image, you see it in a completely different light. John also includes written records from the time that corroborate Lycett's views.
Some dreamtime stories connected with the areas Lycett depicted are also included, with accompanying Indigenous art. One story explains the earthquakes in the area (kangaroo jumping up and down).

The title quote ‘true light and shade’ comes from Lycett’s words: ‘I consider a complete drawing to be an accurate delineation of anything with its true light and shade.’

As a Worimi man from the Newcastle/Port Stephens region, John Maynard brings his own knowledge and insight to his exploration of the drawings, and to the fascinating character of Lycett himself. John is currently a Director at the Wollotuka Institute of Aboriginal Studies at the University of Newcastle and Chair of Indigenous History. He has held several major positions, including as Deputy Chairperson of the Australian Institute of Aboriginal and Torres Strait Islander Studies and Deputy Chair Humanities, National Indigenous Research and Knowledges Network.’]


Publishing details: National Library of Australia, 2014
Australian paintingview full entry
Reference: see Strange country : why Australian painting matters / Patrick McCaughey


Publishing details: Melbourne University Publishing, 2014
McCaughey Patrick
view full entry
Reference: see Strange country : why Australian painting matters / Patrick McCaughey


Publishing details: Melbourne University Publishing, 2014
Abdulla Ianview full entry
Reference: As I grew older / Ian Abdulla
Publishing details: Working Title Press, 2014
Ref: 1000
Anzac Legendview full entry
Reference: The Anzac legend : a graphic history of Australia's involvement in the Great War, 1914 - 1918, up to the 5th of May 1915 / by Dave Dye
Publishing details: Wotsleft Books, 2014
Ref: 1000
Bertini Joview full entry
Reference: Jo Bertini fieldwork / Jo Bertini ; Robyn Davidson ; Prue Gibson ; Stephen Goddard, designer ; Niki Zubrzycki, editor
Publishing details: Zabriskie Books, 2014
Ref: 1000
collecting in Australiaview full entry
Reference: The Collectors by Gerard Vaughan


Publishing details: Carlton, Vic. : Melbourne University Publishing, 2014
Ref: 1000
Wing Jasonview full entry
Reference: Jason Wing / Jason Wing, artist, Matt Poll commissioning editor, Garry Jones, writer


Publishing details: Artspace Visual Arts Centre, 2014
Ref: 1000
40 years 40 paintings - Philip Bacon Gallery exhibitionview full entry
Reference: 40 years 40 paintings : an anniverary loan exhibition / Philip Bacon Galleries. Includes a history of the gallery, and 40 works catalogued and illustrated. [to be indexed - no biographical essays on artists but some important, key works included].
Publishing details: Philip Bacon Galleries, [2014], pb, 44pp
Ref: 133
Rennie Rekoview full entry
Reference: King and country / Reko Rennie
by Rennie, Reko, 1974-
Publishing details:
Melbourne : Karen Woodbury Gallery, 2013
BookBook [still image, text, volume]
Ref: 1000
Boston Paulview full entry
Reference: Stone clouds : 4 February - 1 March 2014 / Paul Boston (exhibition catalogue)
by Boston, Paul, 1952-

Publishing details: Niagara Galleries, [2014] ,
Ref: 1000
Nulty Jillview full entry
Reference: Tanmayo - artist archival documentation /
by Nulty, Jill, 1946-

Publishing details: [Buderim, Queensland] : Jill "Tami" Nulty, 2014 ,
Ref: 1000
Cream view full entry
Reference: Cream : four decades of Australian art
[to be indexed]
Publishing details: Rockhampton Art Gallery, 2014 ,
Ref: 1000
Parker Frances Belleview full entry
Reference: Frances Belle Parker / Frances Belle Parker, artist ; Tess Allas, commissioning editor ; Romaine Moreton, writer
by Parker, Frances Belle

Publishing details: Woollomooloo, N.S.W. : Artspace Visual Arts Centre, 2014
Ref: 1000
Brett Oswaldview full entry
Reference: Ships and the sea : the art and life of Oswald Brett by Brett, Oswald, 1921-

Publishing details: Ultimo, N.S.W. : Halstead Press, 2014
Ref: 1000
Mora Mirkaview full entry
Reference: From the home of Mirka Mora / Kendrah Morgan, Jason Smith, Phillippe Mora
by Morgan, Kendrah

Publishing details: Bulleen, Vic. : Heide Museum of Modern Art, 2014
Ref: 1000
Mellor Danieview full entry
Reference: Danie Mellor : exotic lies sacred ties / curator Maudie Palmer; coordinating curator Samantha Littley; contributors: Hetti Perkins, Fiona Nicoll, Lisa Slade
by Palmer, Maudie

Publishing details: St Lucia, Qld. : The University of Queensland Art Museum, 2014
Ref: 1000
Ussher Michelleview full entry
Reference: Yellow eyes burn and return by Ussher, Michelle

Publishing details: Healesville, Victoria : Tarrawarra Museum of Art, 2014]
Ref: 1000
Brown Billview full entry
Reference: Bill Brown - wanderlust. Introduction by Christopher Hodges; essay by Laura Fisher; photography, Mikaela Burstow, Jenni Carter, John McIver, William Newell. Exhibition catalogue. A retrospective survey spanning 50 years of art practice. Biography, cv and list of works.

Publishing details: (Newtown, N.S.W. : 10 group, 2014). S.H. Ervin Gallery 2014 21cm x 27cm. Landscape format. 93pp. Colour illustrations. Softcover.
Moore T Vview full entry
Reference: TV Moore's rum jungle / Michael Dagostino ; Susan Gibb ; Matthew Griffin ; Erik Jensen ; Elizabeth Ann Macgregor ; TV Moore
by TV Moore

Publishing details: Campbelltown, N.S.W. : Campbelltown Arts Centre, , 2014,
Solitairview full entry
Reference: Solitaire, 22 February - 27 April 2014 / Anthony fitzpatrick curator
Publishing details:
[Healesville, Victoria : Tarrawarra Museum of Art, 2014]
Ref: 1000
Johnstone Brian and Marjorieview full entry
Reference: Remembering Brian and Marjorie Johnstone's Galleries by Dr Nancy Underhill
[to be indexed]
Publishing details: St Lucia, Qld. : University of Queensland Art Museum, 2014
Ref: 1000
Revelationsview full entry
Reference: Revelations : sculpture from the RMIT collection / Jon Buckingham, Suzanne Davies, Mark Holsworth
by Buckingham, Jon [to be indexed]
Publishing details: Melbourne, Vic. : RMIT Gallery, 2014
Ref: 1000
Newstead Adrianview full entry
Reference: see Dealer is the Devil The - The dealer is the devil : an insider's history of the Aboriginal art trade / Adrian Newstead with Ruth Hessey
by Newstead, Adrian

Publishing details: Blackheath, NSW : Brandl and Schlesinger, 2014
Aboriginal paintings at Munurruview full entry
Reference: Aboriginal paintings at Munurru, Kimberley, Western Australia / David M. Welch
by Welch, David M. (Maxwell), 1955- [to be indexed]

Publishing details: Coolalinga, N.T. : David M. Welch, 2014
Ref: 1000
Mother nature is a lesbian view full entry
Reference: Mother nature is a lesbian : political printmaking in South Australia 1970s-1980s / Celia Dottore ; edited by Fiona Salmon

Publishing details: Adelaide, S. Aust. : Flinders University Art Museum, 2014
Ref: 1000
printmaking in South Australiaview full entry
Reference: see Mother nature is a lesbian : political printmaking in South Australia 1970s-1980s / Celia Dottore ; edited by Fiona Salmon

Publishing details: Adelaide, S. Aust. : Flinders University Art Museum, 2014
Zagoria Eli 1922-2013view full entry
Reference: The art of Eli Zagoria / all art by Eli Zagoria ; compiled by David Solly Sandler
by Zagoria, Eli, 1922-2013

Publishing details: Wanneroo, W.A. : David Solly Sandler, 2014
Ref: 1000
Cullen Adamview full entry
Reference: Acute misfortune : the life and death of Adam Cullen / by Erik Jensen


Publishing details: Collingwood, Vic. : Black Inc. Books, 2014, this copy signed by author
Yuendumu - Warlukurlangu Artistsview full entry
Reference: Behind the doors : an art history from Yuendumu / Philip Jones, with Warlukurlangu Artists
by Jones, Philip G., 1955-

Publishing details: Adelaide SA : South Australian Museum in association with Wakefield Press, 2014 , ©2014
Ref: 1000
Aboriginal artview full entry
Reference: see Yuendumu - Warlukurlangu Artists - Behind the doors : an art history from Yuendumu / Philip Jones, with Warlukurlangu Artists
by Jones, Philip G., 1955-

Publishing details: Adelaide SA : South Australian Museum in association with Wakefield Press, 2014 , ©2014
Norry Stephenview full entry
Reference: Some new views of Melbourne by Stephen Norry

Publishing details: Melbourne : Stephen Norry, 2014 , ©2014
Ref: 1000
Saltwater view full entry
Reference: Saltwater : paintings of sea country : the recognition of Indigenous sea rights

Publishing details: Nhulunbuy, N.T. : Buku-Larrnggay Mulka Centre in association with Jennifer Isaacs Publishing Pty Ltd, 2014
Ref: 1000
Aboriginal artview full entry
Reference: see Saltwater : paintings of sea country : the recognition of Indigenous sea rights

Publishing details: Nhulunbuy, N.T. : Buku-Larrnggay Mulka Centre in association with Jennifer Isaacs Publishing Pty Ltd, 2014
Cooper William Tview full entry
Reference: An eye for nature : the life and art of William T. Cooper by Penny Olsen ; foreword by David Attenborough. Includes ‘Portfolio of unpublished landscapes 1950s - 2012’. [’‘the best ornithological illustrator alive’ —David Attenborough.
‘In the work of artist William T.Cooper, platypuses swim in green underwater worlds, waves throw up blankets of spray, embers glow in the aftermath of a bushfire, a Thylacine emerges from the shadows, sniffing the air. But it is his paintings of birds which set Cooper apart—his raucous cockatoos, colourful parrots, animated turacos and flamboyantly displaying birds of paradise. Often placed in meticulously studied landscapes, these intricate bird portraits reveal Cooper’s close observation not only of his subjects’ appearance, but their habits, poses and behaviour. In this biography, Penny Olsen traces the path of Cooper’s life and art—from his childhood spent in the bush, to his teenage years as an apprentice taxidermist at Carey Bay Zoo and, later, to his work as a window dresser and landscape artist. She documents his fruitful partnership with wife and collaborator Wendy Cooper and his extensive travels in Australia and abroad in pursuit of his subjects. ’]

Publishing details: NLA Publishing. 2014. Folio. Or.bds. Dustjacket. 278pp. Profusely ill. in col & b/w.
Australian paintingview full entry
Reference: see Pearce Barry - 100 moments in Australian painting by Barry Pearce


Publishing details: Sydney, N.S.W. : NewSouth Publishing, 2014
Ainsworth Robview full entry
Reference: Love to draw kittens by Rob Ainsworth 1951-

Publishing details: Gosford, NSW : Scholastic Australia, 2014
Ref: 1000
Street Artview full entry
Reference: Street art, public city : law, crime and the urban imagination / Alison Young
by Young, Alison

Publishing details: Abingdon, Oxon : Routledge, 2014
Ref: 1000
Crawshaw Danielview full entry
Reference: Daniel Crawshaw : high country gothic / Daniel Crawshaw, artist ; Simon Gregg
by Crawshaw, Daniel

Publishing details: Sale, Vic. : Gippsland Art Gallery, 2014
Ref: 1000
Guo-Qiang Cai view full entry
Reference: Cai Guo-Qiang : falling back to earth / Queensland Art Gallery | Gallery of Modern Art by Cai, Guoqiang, 1957-

Publishing details: South Brisbane, Queensland : Queensland Art Gallery, [2014]
Ref: 1000
Dargin Annabelle view full entry
Reference: On the Lachlan / Annabelle Dargin ; photography by Annabelle Dargin ; collation and editing by Cecilia A Moar ; designed by Myvanwy E Moar
by Dargin, Annabelle, 1946-

Publishing details: Manuka, A.C.T. : Enterprise by Cecilia Pty Ltd, 2014
Ref: 1000
Ivimay Lindeview full entry
Reference: Brave to the Bone - exhibition catalogue and invite with price list
Publishing details: Martin Browne Contemporary 2014, 6-page folding card, 5 illustrations, plus invite card with 1 illustration
Ref: 221
Butler Damienview full entry
Reference: Chroma - exhibition invite with price list
Publishing details: Martin Browne Contemporary 2014, with 1 illustration
Ref: 221
Colonial Journals Theview full entry
Reference: The Colonial Journals: and the emergence of Australian literary culture, by Ken Gelder, Rachael Weaver [’Colonial Australia produced a vast number of journals and magazines that helped to create an exuberant literary landscape. They were filled with lively contributions by many of the key writers and provocateurs of the day – and of the future. Writers such as Marcus Clarke, Rolf Boldrewood, Ethel Turner and Katharine Susannah Prichard published for the first time in these journals.

In The Colonial Journals, Ken Gelder and Rachael Weaver present a fascinating selection of material: a miscellany of content that enabled the ‘free play of intellect’ to thrive and, matched with wry visual design, made attractive artifacts that demonstrate the role this period played in the growth of an Australian literary culture.

The Colonial Journals also includes 50 colour image plates of the journal covers, including Colonial Monthly, Australian Women’s Magazine and Domestic Journal, Sydney Quarterly Magazine, Cosmos, Bulletin, and New Idea for Australian Women.’] [to be indexed]
Publishing details: UWA, 2014, pb, 240pp
Mapping our Worldview full entry
Reference: Mapping Our World: Terra Incognita to Australia. [The cover image, World Map by Fra Mauro c. 1450, is one of the most important and famous maps of all time. This monumental map of the world was created by the monk Fra Mauro in his monastery on the island of San Michele in the Venetian lagoon. Now the centrepiece of the Biblioteca Nazionale Marciana in St Marc’s Square in Venice, the map in its nearly 600-year history has never left Venice – until now.

Renowned for its sheer size - over 2.3 metres square - and stunning colours, the map was made at a time of transition between the medieval world view and new knowledge uncovered by the great voyages of discovery. Brilliantly painted and illuminated on sheets of oxhide, the sphere of the Earth is surrounded by the sphere of the Ocean in the ancient way. Yet Fra Mauro included the latest information on exploration by Portuguese and Arab navigators. Commissioned by King Afonso V of Portugal, it is the last of the great medieval world maps to inspire navigators in the Age of Discovery to explore beyond the Indian Ocean.


Mapping Our World: Terra Incognita to Australia features over 100 maps, divided into sections on:
• Ancient conceptions of the world
• Medieval religious mapping
• Age of discovery
• Dutch golden age
• Europe and S Pacific



Publishing details: National Library of Australia, 2013, Pages: 288
Ref: 1000
maps and Australiaview full entry
Reference: see Mapping Our World: Terra Incognita to Australia. [The cover image, World Map by Fra Mauro c. 1450, is one of the most important and famous maps of all time. This monumental map of the world was created by the monk Fra Mauro in his monastery on the island of San Michele in the Venetian lagoon. Now the centrepiece of the Biblioteca Nazionale Marciana in St Marc’s Square in Venice, the map in its nearly 600-year history has never left Venice – until now.

Renowned for its sheer size - over 2.3 metres square - and stunning colours, the map was made at a time of transition between the medieval world view and new knowledge uncovered by the great voyages of discovery. Brilliantly painted and illuminated on sheets of oxhide, the sphere of the Earth is surrounded by the sphere of the Ocean in the ancient way. Yet Fra Mauro included the latest information on exploration by Portuguese and Arab navigators. Commissioned by King Afonso V of Portugal, it is the last of the great medieval world maps to inspire navigators in the Age of Discovery to explore beyond the Indian Ocean.


Mapping Our World: Terra Incognita to Australia features over 100 maps, divided into sections on:
• Ancient conceptions of the world
• Medieval religious mapping
• Age of discovery
• Dutch golden age
• Europe and S Pacific



Publishing details: National Library of Australia, 2013, Pages: 288
cartographyview full entry
Reference: see Mapping Our World: Terra Incognita to Australia. [The cover image, World Map by Fra Mauro c. 1450, is one of the most important and famous maps of all time. This monumental map of the world was created by the monk Fra Mauro in his monastery on the island of San Michele in the Venetian lagoon. Now the centrepiece of the Biblioteca Nazionale Marciana in St Marc’s Square in Venice, the map in its nearly 600-year history has never left Venice – until now.

Renowned for its sheer size - over 2.3 metres square - and stunning colours, the map was made at a time of transition between the medieval world view and new knowledge uncovered by the great voyages of discovery. Brilliantly painted and illuminated on sheets of oxhide, the sphere of the Earth is surrounded by the sphere of the Ocean in the ancient way. Yet Fra Mauro included the latest information on exploration by Portuguese and Arab navigators. Commissioned by King Afonso V of Portugal, it is the last of the great medieval world maps to inspire navigators in the Age of Discovery to explore beyond the Indian Ocean.


Mapping Our World: Terra Incognita to Australia features over 100 maps, divided into sections on:
• Ancient conceptions of the world
• Medieval religious mapping
• Age of discovery
• Dutch golden age
• Europe and S Pacific



Publishing details: National Library of Australia, 2013, Pages: 288
Bruehl Anton photographer 1900-1983view full entry
Reference: two works at auction with VILLA GRISEBACH AUKTIONEN on 28 May, 2014 - Anton Bruehl (Hawker, South Australia 1900 – 1983 San Francisco)
GAS TANK. Circa 1926
Vintage or early gelatin silver print with warm-toned gelatine upper layer. 31,5 x 24,8 cm ( 12 ⅜ x 9 ¾ in.). Laid down on cardboard, thereupon photographer's stamp on the reverse. Numbered in pencil by various persons.
[2035]



Anton Bruehl (Hawker, South Australia 1900 – 1983 San Francisco)
GAS TANK. Um 1926
Vintage oder früher Silbergelatineabzug mit warmtoniger Gelatine-Oberflächenbeschichtung. 31,5 x 24,8 cm ( 12 ⅜ x 9 ¾ in.). Auf Karton aufgezogen, darauf rückseitig Photographenstempel. Von verschiedenen Händen mit Bleistift beziffert.
[2035]

Ein identischer Abzug des „Gas Tank“ befindet sich im Anton Bruehl Archiv der National Gallery of Australia, Canberra.
Haigh Edwardview full entry
Reference: see Josef Lebovic catalogue, Collectors’ lLst no 172, 2014 - Australian and International Photography.
Publishing details: Josef Lebovic catalogue, Collectors’ lLst no 172, 2014
Sargent William c1851-1889view full entry
Reference: see Josef Lebovic catalogue, Collectors’ lLst no 172, 2014 - Australian and International Photography.
Publishing details: Josef Lebovic catalogue, Collectors’ lLst no 172, 2014
Ash E R 1854-1941view full entry
Reference: see Josef Lebovic catalogue, Collectors’ lLst no 172, 2014 - Australian and International Photography.
Publishing details: Josef Lebovic catalogue, Collectors’ lLst no 172, 2014
Barrett Greg b1943view full entry
Reference: see Josef Lebovic catalogue, Collectors’ lLst no 172, 2014 - Australian and International Photography.
Publishing details: Josef Lebovic catalogue, Collectors’ lLst no 172, 2014
Browell Anthonyview full entry
Reference: see Josef Lebovic catalogue, Collectors’ lLst no 172, 2014 - Australian and International Photography.
Publishing details: Josef Lebovic catalogue, Collectors’ lLst no 172, 2014
Gemes Junoview full entry
Reference: see Josef Lebovic catalogue, Collectors’ lLst no 172, 2014 - Australian and International Photography.
Publishing details: Josef Lebovic catalogue, Collectors’ lLst no 172, 2014
Lucraft Harry Sview full entry
Reference: see Josef Lebovic catalogue, Collectors’ lLst no 172, 2014 - Australian and International Photography.
Publishing details: Josef Lebovic catalogue, Collectors’ lLst no 172, 2014
Michaelis Margaretview full entry
Reference: see Josef Lebovic catalogue, Collectors’ lLst no 172, 2014 - Australian and International Photography.
Publishing details: Josef Lebovic catalogue, Collectors’ lLst no 172, 2014
Le Guay Melanie 1951-1975view full entry
Reference: see Josef Lebovic catalogue, Collectors’ lLst no 172, 2014 - Australian and International Photography.
Publishing details: Josef Lebovic catalogue, Collectors’ lLst no 172, 2014
Noon Annview full entry
Reference: see Josef Lebovic catalogue, Collectors’ lLst no 172, 2014 - Australian and International Photography.
Publishing details: Josef Lebovic catalogue, Collectors’ lLst no 172, 2014
Page Charlesview full entry
Reference: see Josef Lebovic catalogue, Collectors’ lLst no 172, 2014 - Australian and International Photography.
Publishing details: Josef Lebovic catalogue, Collectors’ lLst no 172, 2014
Page Timview full entry
Reference: see Josef Lebovic catalogue, Collectors’ lLst no 172, 2014 - Australian and International Photography.
Publishing details: Josef Lebovic catalogue, Collectors’ lLst no 172, 2014
Sleeth Matthewview full entry
Reference: see Josef Lebovic catalogue, Collectors’ lLst no 172, 2014 - Australian and International Photography.
Publishing details: Josef Lebovic catalogue, Collectors’ lLst no 172, 2014
Smith Heideview full entry
Reference: see Josef Lebovic catalogue, Collectors’ lLst no 172, 2014 - Australian and International Photography.
Publishing details: Josef Lebovic catalogue, Collectors’ lLst no 172, 2014
Smith Robinview full entry
Reference: see Josef Lebovic catalogue, Collectors’ lLst no 172, 2014 - Australian and International Photography.
Publishing details: Josef Lebovic catalogue, Collectors’ lLst no 172, 2014
Solness Peterview full entry
Reference: see Josef Lebovic catalogue, Collectors’ lLst no 172, 2014 - Australian and International Photography.
Publishing details: Josef Lebovic catalogue, Collectors’ lLst no 172, 2014
Tuffin Craigview full entry
Reference: see Josef Lebovic catalogue, Collectors’ lLst no 172, 2014 - Australian and International Photography.
Publishing details: Josef Lebovic catalogue, Collectors’ lLst no 172, 2014
Vissel Jozefview full entry
Reference: see Josef Lebovic catalogue, Collectors’ lLst no 172, 2014 - Australian and International Photography.
Publishing details: Josef Lebovic catalogue, Collectors’ lLst no 172, 2014
Nicholas Hilda Rixview full entry
Reference: see Look Magazine - article on exhibition of Rix Nicholas at Mosman Art Gallery - 2 illustrations
Publishing details: June 2014
Lemeunier Basileview full entry
Reference: see Look Magazine - article by Richard Beresord on purchase by AGNSW of a portait by Basile Lemeunier of Edouard Detaille while he is painting ‘Vive L’Empereur’ which is in the AGNSW.
Publishing details: June 2014
Nicholson Tomview full entry
Reference: see Look Magazine - article by Emma Glyde ‘Drawings for a departed artist - cartoons for Joseph Selleny’
Publishing details: June 2014
Dupain Maxview full entry
Reference: see Look Magazine - article by Eleanor Weber ‘New Threads at Home and Abroad’
Publishing details: June 2014
Whiteley Brettview full entry
Reference: see Look Magazine - article by Alec George on upcoming Whiteley Studio exhibition
Publishing details: June 2014
platypus rug lot 25view full entry
Reference: see Mossgreen auction catalogue ‘Australian & Colonial - Antique & Historical’ with extensive research
Publishing details: Melbourne, 3 June, 2014
Kempster papers - Dr John Kempsterview full entry
Reference: see Mossgreen auction catalogue ‘Australian & Colonial - Antique & Historical’ - numerous items with research
Publishing details: Melbourne, 3 June, 2014
Summers Charles attribview full entry
Reference: see Mossgreen auction catalogue ‘Australian & Colonial - Antique & Historical’. Portrait of John King, bronze placque
Publishing details: Melbourne, 3 June, 2014
Intercolonial Exhibition 1866-7 medal by Charles Summers and W Calvertview full entry
Reference: see Mossgreen auction catalogue ‘Australian & Colonial - Antique & Historical’
Publishing details: Melbourne, 3 June, 2014
Cook William furniture maker lot 293 view full entry
Reference: see Mossgreen auction catalogue ‘Australian & Colonial - Antique & Historical’
Publishing details: Melbourne, 3 June, 2014
Levien Johan Martin furniture maker lot 312 - a cradle (attributed to)view full entry
Reference: see Mossgreen auction catalogue ‘Australian & Colonial - Antique & Historical’. With extensive research in catalogue.
Publishing details: Melbourne, 3 June, 2014
Sainthill Loudonview full entry
Reference: original magazine article from 1954
The Golden Cockerel
A Russian fairy-tale story of Rimsky Korsakov's opera
"Le Coq D'Or"
with drawings by Loudon Sainthill
9 illustrations including:
King Dodon
Queen of Shemakhan
The Astrologer
Desert Mountain Pass
...and more

Created for ‘Covent Garden’

This lot includes the entire original article (4 pages total).


Specifications
Each page is about 10 x 14 inches
Publishing details: 1954
Ref: 1000
Passion, Purpose, Meaningview full entry
Reference: Passion, Purpose, Meaning: Arts Activism In Wes by Katherine Knight [’This book documents the diversity and range of arts, crafts and writing activities in Sydney's western suburbs to show that it isn't a 'cultural desert'.] [to be indexed fully]
Publishing details: Halstead Press, Sydney 2013, 274pp, b/w illusts, With index.
Balnaves Gift Theview full entry
Reference: The Balnaves Gift - The Mosman Art Gallery. A brochure illustrating 16 works donated to Mosman Art Gallery by Neil Balnaves AO. Includes a statement by Neil Balnaves.
Publishing details: Mosman Art Gallery, nd [2013?] 10-page folding glossy card,
Ref: 131
Nicholas Hilda Rixview full entry
Reference: Une Australienne - Hilda Rix Nicholas in Paris, Tangier & Sydney, Mosman Art Gallery Exhibition catalogue. Includes forward by John Cheeseman, director of Mosman Art Gallery and essays: ‘An Australian in Paris’ by Elena Taylor; Hilda’s Moroccan Adventures by Jeanette Hoorn; ‘The Return of the Cosmopolitan Artist’ by Julie Peterson; list of works and acknowledgements.
Publishing details: Mosman Art Gallery, 2014, pb, 80pp
community arts in Sydneyview full entry
Reference: see Passion, Purpose, Meaning: Arts Activism In Wes by Katherine Knight [’This book documents the diversity and range of arts, crafts and writing activities in Sydney's western suburbs to show that it isn't a 'cultural desert'.]
Publishing details: Halstead Press, Sydney 2013, 274pp, b/w illusts, With index.
art in Western Sydneyview full entry
Reference: see Passion, Purpose, Meaning: Arts Activism In Wes by Katherine Knight [’This book documents the diversity and range of arts, crafts and writing activities in Sydney's western suburbs to show that it isn't a 'cultural desert'.]
Publishing details: Halstead Press, Sydney 2013, 274pp, b/w illusts, With index.
Artwestview full entry
Reference: see Passion, Purpose, Meaning: Arts Activism In Wes by Katherine Knight [’This book documents the diversity and range of arts, crafts and writing activities in Sydney's western suburbs to show that it isn't a 'cultural desert'.]
Publishing details: Halstead Press, Sydney 2013, 274pp, b/w illusts, With index.
Garage Graphixview full entry
Reference: see Passion, Purpose, Meaning: Arts Activism In Wes by Katherine Knight [’This book documents the diversity and range of arts, crafts and writing activities in Sydney's western suburbs to show that it isn't a 'cultural desert'.]
Publishing details: Halstead Press, Sydney 2013, 274pp, b/w illusts, With index.
multiculturalism in art in Western Sydneyview full entry
Reference: see Passion, Purpose, Meaning: Arts Activism In Wes by Katherine Knight [’This book documents the diversity and range of arts, crafts and writing activities in Sydney's western suburbs to show that it isn't a 'cultural desert'.]
Publishing details: Halstead Press, Sydney 2013, 274pp, b/w illusts, With index.
Graffiti art in Western Sydneyview full entry
Reference: see Passion, Purpose, Meaning: Arts Activism In Wes by Katherine Knight [’This book documents the diversity and range of arts, crafts and writing activities in Sydney's western suburbs to show that it isn't a 'cultural desert'.]
Publishing details: Halstead Press, Sydney 2013, 274pp, b/w illusts, With index.
Bass Tom p16 & 85view full entry
Reference: see Passion, Purpose, Meaning: Arts Activism In Wes by Katherine Knight [’This book documents the diversity and range of arts, crafts and writing activities in Sydney's western suburbs to show that it isn't a 'cultural desert'.]
Publishing details: Halstead Press, Sydney 2013, 274pp, b/w illusts, With index.
Binns Vivienneview full entry
Reference: see Passion, Purpose, Meaning: Arts Activism In Wes by Katherine Knight [’This book documents the diversity and range of arts, crafts and writing activities in Sydney's western suburbs to show that it isn't a 'cultural desert'.]
Publishing details: Halstead Press, Sydney 2013, 274pp, b/w illusts, With index.
Braemar Galleryview full entry
Reference: see Passion, Purpose, Meaning: Arts Activism In Wes by Katherine Knight [’This book documents the diversity and range of arts, crafts and writing activities in Sydney's western suburbs to show that it isn't a 'cultural desert'.]
Publishing details: Halstead Press, Sydney 2013, 274pp, b/w illusts, With index.
Brassil Joanview full entry
Reference: see Passion, Purpose, Meaning: Arts Activism In Wes by Katherine Knight [’This book documents the diversity and range of arts, crafts and writing activities in Sydney's western suburbs to show that it isn't a 'cultural desert'.]
Publishing details: Halstead Press, Sydney 2013, 274pp, b/w illusts, With index.
Casula Powerhouseview full entry
Reference: see Passion, Purpose, Meaning: Arts Activism In Wes by Katherine Knight [’This book documents the diversity and range of arts, crafts and writing activities in Sydney's western suburbs to show that it isn't a 'cultural desert'.]
Publishing details: Halstead Press, Sydney 2013, 274pp, b/w illusts, With index.
Fay Peterview full entry
Reference: see Passion, Purpose, Meaning: Arts Activism In Wes by Katherine Knight [’This book documents the diversity and range of arts, crafts and writing activities in Sydney's western suburbs to show that it isn't a 'cultural desert'.]
Publishing details: Halstead Press, Sydney 2013, 274pp, b/w illusts, With index.
Hawkesbury Artists’ Trailview full entry
Reference: see Passion, Purpose, Meaning: Arts Activism In Wes by Katherine Knight [’This book documents the diversity and range of arts, crafts and writing activities in Sydney's western suburbs to show that it isn't a 'cultural desert'.]
Publishing details: Halstead Press, Sydney 2013, 274pp, b/w illusts, With index.
Hawkins Gayview full entry
Reference: see Passion, Purpose, Meaning: Arts Activism In Wes by Katherine Knight [’This book documents the diversity and range of arts, crafts and writing activities in Sydney's western suburbs to show that it isn't a 'cultural desert'.]
Publishing details: Halstead Press, Sydney 2013, 274pp, b/w illusts, With index.
Jackson Roy pp 29,85view full entry
Reference: see Passion, Purpose, Meaning: Arts Activism In Wes by Katherine Knight [’This book documents the diversity and range of arts, crafts and writing activities in Sydney's western suburbs to show that it isn't a 'cultural desert'.]
Publishing details: Halstead Press, Sydney 2013, 274pp, b/w illusts, With index.
Larter Pat & Richardview full entry
Reference: see Passion, Purpose, Meaning: Arts Activism In Wes by Katherine Knight [’This book documents the diversity and range of arts, crafts and writing activities in Sydney's western suburbs to show that it isn't a 'cultural desert'.]
Publishing details: Halstead Press, Sydney 2013, 274pp, b/w illusts, With index.
Lewers Bequest & Penrith Regional Galleryview full entry
Reference: see Passion, Purpose, Meaning: Arts Activism In Wes by Katherine Knight [’This book documents the diversity and range of arts, crafts and writing activities in Sydney's western suburbs to show that it isn't a 'cultural desert'.]
Publishing details: Halstead Press, Sydney 2013, 274pp, b/w illusts, With index.
Lewers Gerald & Margoview full entry
Reference: see Passion, Purpose, Meaning: Arts Activism In Wes by Katherine Knight [’This book documents the diversity and range of arts, crafts and writing activities in Sydney's western suburbs to show that it isn't a 'cultural desert'.]
Publishing details: Halstead Press, Sydney 2013, 274pp, b/w illusts, With index.
Shaw Roderick p14, 15, 182view full entry
Reference: see Passion, Purpose, Meaning: Arts Activism In Wes by Katherine Knight [’This book documents the diversity and range of arts, crafts and writing activities in Sydney's western suburbs to show that it isn't a 'cultural desert'.]
Publishing details: Halstead Press, Sydney 2013, 274pp, b/w illusts, With index.
Zusters Reinis p80-82, 109-10view full entry
Reference: see Passion, Purpose, Meaning: Arts Activism In Wes by Katherine Knight [’This book documents the diversity and range of arts, crafts and writing activities in Sydney's western suburbs to show that it isn't a 'cultural desert'.]
Publishing details: Halstead Press, Sydney 2013, 274pp, b/w illusts, With index.
Waller Christian view full entry
Reference: see Lawson-Menzies Quarterly Fine Art Auction. ‘The Great Breath’ 1932, 7 linocuts , estimate $7-1000
Publishing details: 19 June 2014
Art Deco 1910-1939view full entry
Reference: Art Deco 1910-1939. Exhibition curator Ghislaine Wood. Includes chapter ‘Deco Down Under - the influence of art deco in Australia.’
‘This publication will accompany an exhibition of the same name held at the National Gallery of Victoria from 28 June - 5 October 2008. The publication is intended to introduce the movement of Art Deco to our audiences commencing with the influences of previous periods titled Ancient to Exotic, then through to Moderne, Avant Garde, National Traditions, Travel & Transportation and then the development in other countries, namely America, Japan, China, New Zealand and Australia."--Provided by publisher.’ National Gallery of Victoria added chapters to the original V&A London exhibition catalogue. The chapters are: the style of the age: sources of art deco; the 1925 Paris Exposition; the exotic; the European moderne; travelling in style (travel posters); Manhattan - the skyscraper aesthetic: a worldwide movement: art deco in Japan, China & New Zealand, and ‘Deco Down Under - the influence of art deco in Australia.’
Publishing details: NGV, 2008, pb, 317 pp
Art Deco in Australiaview full entry
Reference: see Deco Down Under - The influence of Art Deco in Australia; Art Deco 1910-1939. Exhibition curator Ghislaine Wood. ‘"This publication will accompany an exhibition of the same name held at the National Gallery of Victoria from 28 June - 5 October 2008. The publication is intended to introduce the movement of Art Deco to our audiences commencing with the influences of previous periods titled Ancient to Exotic, then through to Moderne, Avant Garde, National Traditions, Travel & Transportation and then the development in other countries, namely America, Japan, China, New Zealand and Australia."--Provided by publisher.’ [to be indexed]
Publishing details: NGV, 2008, 263pp
Tucker Albert (1914-1999)view full entry
Reference: Albert Tucker : paintings : Imperial Instiute, 11 April to 8 May 1957

catalogue listing 27 works (annotated with prices), with 5 black and white plates, the first 2 pages with a biographical note and reviews.
Publishing details: London : Imperial Institute, 1957. Square octavo, pictorial wrappers (lightly marked), the upper wrapper signed by the artist at lower right in green pen 'Tucker', stapled, 7 pp,
Ref: 1000
Proctor Thea (1879-1966)view full entry
Reference: see Douglas Stewart Fine Books, June 2014: Calling card of the artist Thea Proctor

Plain card, 55 x 87 mm, printed 'Miss Thea Proctor', presented to prima ballerina Joan van Wart (1900-1987) in London, c.1920, inscribed in ink by the artist 'Miss Ward [sic], With many good wishes & hoping to see you dance again someday'; in fine condition.
From the estate of Joan van Wart.
The Australian artist Thea Proctor travelled to England in 1903, and did not move back permanently to Australia until 1921. Her warm and sincere message on this calling card clearly shows she was enraptured by the young Miss van Wart's dancing.
Publishing details: c1920
Boyd Arthurview full entry
Reference: Arthur Boyd : 30 paintings 1985-1994, 23 etchings 1993, by Barry Pearce, Janet McKenzie, Hendrick Kolenberg.

with essays 'Postscript thoughts on a retrospective' by Barry Pearce, 'Paintings 1993-1994' by Janet McKenzie and '"The Writer and his Muse" Etchings 1993' Hendrick Kolenberg.
Publishing details: Melbourne : Australian Galleries, 1994. Octavo, pictorial wrappers, 63pp. Illustrated in colour,
Williams Frederick Matthewsview full entry
Reference: see McKenzie Auctions, WA, June, 2014, lot 87: ‘A depiction of Mt Eliza from the Western Side of Mill Point, South Perth, Watercolour, Signed ‘F M Williams’ and dated 1910 lower right, 56 x 89cm, $10,000 – 20,000. Williams was born in Chester, England and settled in Melbourne around 1878. He attended the National Gallery School. His fellow pupils included McCubbin, E P Fox, David Davies and John Longstaff.

In a student exhibition of 1887 Longstaff’s,
‘Breaking the News’ (now in the AGWA),
won a travelling scholarship whilst Williams
won an honourable mention.

Around 1891, he tried his luck upon the
Coolgardie Goldfields before walking to Perth
where he was instrumental in helping to
establish Perth’s first art school, becoming
its first art instructor. By 1899 it was known
As the Perth Technical School.

He moved to Sydney around 1915.

His first solo exhibition in Perth was in 1910,
the same date as the subject picture. It was
held at St George’s Hall, Perth.

Interestingly he lived in Melville Terrace,
South Perth, a short walk from the view of the
subject picture. In fact he would have had to
catch the ferry across to Perth from Mill
Point, to visit the city.

The picture depicts a pink early evening sky
with pink water reflections. It must be the
end of the day as the shadows are cast to the
East.

Williams fulfils the objectives of
Impressionistic painting of the time. Mood,
atmosphere and capturing the essence of
the scene with his fresh and refined
watercolour technique.
Grovesnor Margieview full entry
Reference: see McKenzie Auctions, WA, June, 2014, lot 102 Margie Grosvenor

Three small oil paintings painted around
Fremantle, late 19th Century

i)Stagecoach



ii)Apple blossom



iii)River/lake scene

$100 - 300



Provenance:

By descent within the family
Wainton M (Third Officer for R O)view full entry
Reference: see McKenzie Auctions, WA, June, 2014, lot 9, M Wainton (Third Officer for R O)

The Ship Stag

Watercolour

Dated ‘January 10th 1848” lower left

Titled lower centre ‘?Stag 200 tons’

Signed lower right

16 x 25cm

$300 – 600



Verso:

Early label, “Brought the First English Clergy

To Melbourne”.



Front Mount:

‘Titled, 700 tons, Captain Noakes, etc plus

list of passengers
Wakelin Rolandview full entry
Reference: The Art Of Roland Wakelin (2 volumes)
Watson, Anne, MA (Hons) Thesis The chapters are: the New Zealand years; Sydney, first contacts with modern art; the colour-music phase; the Meldrum phase; England; return to Australia, the formation of the macquarie galleries; the Cezanne period; recognition & a sobering of style; the final years
Publishing details: Sydney University, Sydney 1975, 350pp + 98 colour & 22 b/w illusts , 2 volumes thesis format and binding
Ref: 1000
Andrews Frankview full entry
Reference: Frank Andrews produced advertising art. Example: Peak Frean's Vita-Weat biscuit Advert from 1947
"Summer Gold" Art by Frank Andrews
Size: 38 x 29cm
Wilson Nellview full entry
Reference: Nell Wilson produced advertising art. Prestige Nylons
Australian Advert from 1959
Art by Nell Wilson
Size:
38 x 29cm.
Daplyn Alfred Jamesview full entry
Reference: Alfred James Daplyn from InfoRapid.org
Alfred James Daplyn (1844 - 19 July 1926) was an English-born Australian artist. Born in London, Daplyn studied there at the Slade School of Fine Art, the National Academy in New York, under Jean-Léon Gérôme at École nationale supérieure des Beaux-Arts in Paris and in Rome. Daplyn migrated to Melbourne in 1881, later becoming secretary of the New South Wales Art Society when he moved to Sydney. The Society's instructor in painting 1885-92, Daplyn influenced Charles Conder, Sydney Long and Julian Ashton. Around 1892, Daplyn spent a year painting in Samoa, meeting his old friend Robert Louis Stevenson. 'Daplyn, Alfred James (1843 - 1926)', Australian Dictionary of Biography, Vol. 4, MUP, 1972, pp 16-17.
Fullwood A Hview full entry
Reference: from InfoRapid.org: Albert Henry Fullwood
Albert Henry Fullwood (15 March 1863 – 1 October 1930) was the Australian official war artist to the 5th Division in the First World War. Fullwood was born in Erdington, Birmingham, son of Frederick John Fullwood, jeweller, and his wife Emma, née Barr. From 1878, Fullwood studied art at evening classes at the Birmingham Institute. After graduation, he migrated to Sydney in 1881 and obtained work at John Sands Limited as a lithographic draughtsman and designer. He joined the Art Society of New South Wales in 1884, and shortly afterwards obtained a position on the staff of the Picturesque Atlas of Australia, for which he traveled a good deal in the north and did many drawings. He later worked on The Sydney Mail and other illustrated papers of the time. He kept up his painting, and in 1892 two of his water-colours were purchased for the national gallery at Sydney. In 1895 Fullwood took a leading part in forming the Society of Artists at Sydney and was a member of its first council. He returned to Europe in 1900 by way of America, holding on the way a very successful exhibition of his work in New York City. Making London his headquarters, Fullwood exhibited at the Royal Academy in 1901, 1904, and later years, and also at various exhibitions in Europe. Soon after World War I started, Fullwood joined the Allied Art Corps; later he was a sergeant in the Royal Army Medical Corps and later an Australian official war artist. He returned to Sydney in 1920 and worked chiefly in water-colour and etching. Fullwood was a co-founder, with John Shirlow, of the Australian Painter-Etchers' Society. Fullwood is represented in the national galleries at Sydney, Melbourne and Adelaide, at Dresden and Budapest, and in the Australian War Memorial at Canberra. He married Clyda Blanche Newman, daughter of photographer John Hubert Newman, on 13 October 1896 in Sydney, New South Wales, Australia. He had two sons, Philip L. Fullwood and Geoffrey Barr Fullwood.
Anderson Fraserview full entry
Reference: Limb Sink - exhibition invite with 2 paragraph note on the artist’s work
Publishing details: Arthouse Gallery, 2014, 4pp card, 3 illustrations
Ref: 221
Simpson Peterview full entry
Reference: Still Life - exhibition invite with brief artist statement
Publishing details: Arthouse Gallery, 2014, 4pp card, 11 illustrations
Ref: 221
Murray Kendallview full entry
Reference: The Collector - exhibition invite with brief artist statement
Publishing details: Arthouse Gallery, 2014, 4pp card, 3 illustrations
Ref: 221
Australian art and theatreview full entry
Reference: see Fantasy Modern: Loudon Sainthill's Theatre of Art and Life by Andrew Montana. [Many key names have been indexed,. But to be indexed fully]. [’Detailing the lives and times of Australian painter and theater artist Loudon Sainthill and his partner, the entrepreneur and gallery director Harry Tatlock Miller, this sumptuously illustrated biography contains much of Sainthill’s work along with never-before-published archival photographs. Infused with fantasy, color, and surrealism, Sainthill’s art embraced painting, murals, book illustration, textile design, and fashion. He is best known, however, for his costumes, design, and artwork for theater and ballet. This meticulously researched book paints a compelling picture of an internationally celebrated artist, shedding light at the same time on the realities of the Australian and British art and theater worlds in the mid 20th-century and the lives of gay men at the time’] [From Cross Art & Books website: ‘This book places Loudon Sainthill in the centre of Melbourne's, Sydney's and London''s avant-garde and literary scenes in the mid 20th century. His paintings, set designs and costumes embraced fantasy, colour and surrealism. (SET DESIGN BALLET LONDON GROSVENOR GALLERY MERIOOLA HARRY TATLOCK MILLER ROBERT HELPMAN HELENE KIRSOVA BALLETS RUSSES MICHAEL BENTHALL COSTUME SURREALISM SAINTHILL) ‘
Publishing details: UNSW Press, Australia, 2013
Ballets Russesview full entry
Reference: see Fantasy Modern: Loudon Sainthill's Theatre of Art and Life by Andrew Montana. [Many key names have been indexed,. But to be indexed fully]. [’Detailing the lives and times of Australian painter and theater artist Loudon Sainthill and his partner, the entrepreneur and gallery director Harry Tatlock Miller, this sumptuously illustrated biography contains much of Sainthill’s work along with never-before-published archival photographs. Infused with fantasy, color, and surrealism, Sainthill’s art embraced painting, murals, book illustration, textile design, and fashion. He is best known, however, for his costumes, design, and artwork for theater and ballet. This meticulously researched book paints a compelling picture of an internationally celebrated artist, shedding light at the same time on the realities of the Australian and British art and theater worlds in the mid 20th-century and the lives of gay men at the time’] [From Cross Art & Books website: ‘This book places Loudon Sainthill in the centre of Melbourne's, Sydney's and London''s avant-garde and literary scenes in the mid 20th century. His paintings, set designs and costumes embraced fantasy, colour and surrealism. (SET DESIGN BALLET LONDON GROSVENOR GALLERY MERIOOLA HARRY TATLOCK MILLER ROBERT HELPMAN HELENE KIRSOVA BALLETS RUSSES MICHAEL BENTHALL COSTUME SURREALISM SAINTHILL) ‘
Publishing details: UNSW Press, Australia, 2013
Australian art 1940s 1950sview full entry
Reference: see Fantasy Modern: Loudon Sainthill's Theatre of Art and Life by Andrew Montana. [Many key names have been indexed,. But to be indexed fully]. [’Detailing the lives and times of Australian painter and theater artist Loudon Sainthill and his partner, the entrepreneur and gallery director Harry Tatlock Miller, this sumptuously illustrated biography contains much of Sainthill’s work along with never-before-published archival photographs. Infused with fantasy, color, and surrealism, Sainthill’s art embraced painting, murals, book illustration, textile design, and fashion. He is best known, however, for his costumes, design, and artwork for theater and ballet. This meticulously researched book paints a compelling picture of an internationally celebrated artist, shedding light at the same time on the realities of the Australian and British art and theater worlds in the mid 20th-century and the lives of gay men at the time’] [From Cross Art & Books website: ‘This book places Loudon Sainthill in the centre of Melbourne's, Sydney's and London''s avant-garde and literary scenes in the mid 20th century. His paintings, set designs and costumes embraced fantasy, colour and surrealism. (SET DESIGN BALLET LONDON GROSVENOR GALLERY MERIOOLA HARRY TATLOCK MILLER ROBERT HELPMAN HELENE KIRSOVA BALLETS RUSSES MICHAEL BENTHALL COSTUME SURREALISM SAINTHILL) ‘
Publishing details: UNSW Press, Australia, 2013
Merioola pp 260-345view full entry
Reference: see Fantasy Modern: Loudon Sainthill's Theatre of Art and Life by Andrew Montana. [Many key names have been indexed,. But to be indexed fully]. [’Detailing the lives and times of Australian painter and theater artist Loudon Sainthill and his partner, the entrepreneur and gallery director Harry Tatlock Miller, this sumptuously illustrated biography contains much of Sainthill’s work along with never-before-published archival photographs. Infused with fantasy, color, and surrealism, Sainthill’s art embraced painting, murals, book illustration, textile design, and fashion. He is best known, however, for his costumes, design, and artwork for theater and ballet. This meticulously researched book paints a compelling picture of an internationally celebrated artist, shedding light at the same time on the realities of the Australian and British art and theater worlds in the mid 20th-century and the lives of gay men at the time’] [From Cross Art & Books website: ‘This book places Loudon Sainthill in the centre of Melbourne's, Sydney's and London''s avant-garde and literary scenes in the mid 20th century. His paintings, set designs and costumes embraced fantasy, colour and surrealism. (SET DESIGN BALLET LONDON GROSVENOR GALLERY MERIOOLA HARRY TATLOCK MILLER ROBERT HELPMAN HELENE KIRSOVA BALLETS RUSSES MICHAEL BENTHALL COSTUME SURREALISM SAINTHILL) ‘
Publishing details: UNSW Press, Australia, 2013
Baldwinson Arthur pp28-38view full entry
Reference: see Fantasy Modern: Loudon Sainthill's Theatre of Art and Life by Andrew Montana. [Many key names have been indexed,. But to be indexed fully]. [’Detailing the lives and times of Australian painter and theater artist Loudon Sainthill and his partner, the entrepreneur and gallery director Harry Tatlock Miller, this sumptuously illustrated biography contains much of Sainthill’s work along with never-before-published archival photographs. Infused with fantasy, color, and surrealism, Sainthill’s art embraced painting, murals, book illustration, textile design, and fashion. He is best known, however, for his costumes, design, and artwork for theater and ballet. This meticulously researched book paints a compelling picture of an internationally celebrated artist, shedding light at the same time on the realities of the Australian and British art and theater worlds in the mid 20th-century and the lives of gay men at the time’] [From Cross Art & Books website: ‘This book places Loudon Sainthill in the centre of Melbourne's, Sydney's and London''s avant-garde and literary scenes in the mid 20th century. His paintings, set designs and costumes embraced fantasy, colour and surrealism. (SET DESIGN BALLET LONDON GROSVENOR GALLERY MERIOOLA HARRY TATLOCK MILLER ROBERT HELPMAN HELENE KIRSOVA BALLETS RUSSES MICHAEL BENTHALL COSTUME SURREALISM SAINTHILL) ‘
Publishing details: UNSW Press, Australia, 2013
Wood Marjorie photographer pp 19-39view full entry
Reference: see Fantasy Modern: Loudon Sainthill's Theatre of Art and Life by Andrew Montana. [Many key names have been indexed,. But to be indexed fully]. [’Detailing the lives and times of Australian painter and theater artist Loudon Sainthill and his partner, the entrepreneur and gallery director Harry Tatlock Miller, this sumptuously illustrated biography contains much of Sainthill’s work along with never-before-published archival photographs. Infused with fantasy, color, and surrealism, Sainthill’s art embraced painting, murals, book illustration, textile design, and fashion. He is best known, however, for his costumes, design, and artwork for theater and ballet. This meticulously researched book paints a compelling picture of an internationally celebrated artist, shedding light at the same time on the realities of the Australian and British art and theater worlds in the mid 20th-century and the lives of gay men at the time’] [From Cross Art & Books website: ‘This book places Loudon Sainthill in the centre of Melbourne's, Sydney's and London''s avant-garde and literary scenes in the mid 20th century. His paintings, set designs and costumes embraced fantasy, colour and surrealism. (SET DESIGN BALLET LONDON GROSVENOR GALLERY MERIOOLA HARRY TATLOCK MILLER ROBERT HELPMAN HELENE KIRSOVA BALLETS RUSSES MICHAEL BENTHALL COSTUME SURREALISM SAINTHILL) ‘
Publishing details: UNSW Press, Australia, 2013
Alcorso Claudio pp336-44view full entry
Reference: see Fantasy Modern: Loudon Sainthill's Theatre of Art and Life by Andrew Montana. [Many key names have been indexed,. But to be indexed fully]. [’Detailing the lives and times of Australian painter and theater artist Loudon Sainthill and his partner, the entrepreneur and gallery director Harry Tatlock Miller, this sumptuously illustrated biography contains much of Sainthill’s work along with never-before-published archival photographs. Infused with fantasy, color, and surrealism, Sainthill’s art embraced painting, murals, book illustration, textile design, and fashion. He is best known, however, for his costumes, design, and artwork for theater and ballet. This meticulously researched book paints a compelling picture of an internationally celebrated artist, shedding light at the same time on the realities of the Australian and British art and theater worlds in the mid 20th-century and the lives of gay men at the time’] [From Cross Art & Books website: ‘This book places Loudon Sainthill in the centre of Melbourne's, Sydney's and London''s avant-garde and literary scenes in the mid 20th century. His paintings, set designs and costumes embraced fantasy, colour and surrealism. (SET DESIGN BALLET LONDON GROSVENOR GALLERY MERIOOLA HARRY TATLOCK MILLER ROBERT HELPMAN HELENE KIRSOVA BALLETS RUSSES MICHAEL BENTHALL COSTUME SURREALISM SAINTHILL) ‘
Publishing details: UNSW Press, Australia, 2013
Allen Mary Cecil p17 & 194view full entry
Reference: see Fantasy Modern: Loudon Sainthill's Theatre of Art and Life by Andrew Montana. [Many key names have been indexed,. But to be indexed fully]. [’Detailing the lives and times of Australian painter and theater artist Loudon Sainthill and his partner, the entrepreneur and gallery director Harry Tatlock Miller, this sumptuously illustrated biography contains much of Sainthill’s work along with never-before-published archival photographs. Infused with fantasy, color, and surrealism, Sainthill’s art embraced painting, murals, book illustration, textile design, and fashion. He is best known, however, for his costumes, design, and artwork for theater and ballet. This meticulously researched book paints a compelling picture of an internationally celebrated artist, shedding light at the same time on the realities of the Australian and British art and theater worlds in the mid 20th-century and the lives of gay men at the time’] [From Cross Art & Books website: ‘This book places Loudon Sainthill in the centre of Melbourne's, Sydney's and London''s avant-garde and literary scenes in the mid 20th century. His paintings, set designs and costumes embraced fantasy, colour and surrealism. (SET DESIGN BALLET LONDON GROSVENOR GALLERY MERIOOLA HARRY TATLOCK MILLER ROBERT HELPMAN HELENE KIRSOVA BALLETS RUSSES MICHAEL BENTHALL COSTUME SURREALISM SAINTHILL) ‘
Publishing details: UNSW Press, Australia, 2013
Ashton Willview full entry
Reference: see Fantasy Modern: Loudon Sainthill's Theatre of Art and Life by Andrew Montana. [Many key names have been indexed,. But to be indexed fully]. [’Detailing the lives and times of Australian painter and theater artist Loudon Sainthill and his partner, the entrepreneur and gallery director Harry Tatlock Miller, this sumptuously illustrated biography contains much of Sainthill’s work along with never-before-published archival photographs. Infused with fantasy, color, and surrealism, Sainthill’s art embraced painting, murals, book illustration, textile design, and fashion. He is best known, however, for his costumes, design, and artwork for theater and ballet. This meticulously researched book paints a compelling picture of an internationally celebrated artist, shedding light at the same time on the realities of the Australian and British art and theater worlds in the mid 20th-century and the lives of gay men at the time’] [From Cross Art & Books website: ‘This book places Loudon Sainthill in the centre of Melbourne's, Sydney's and London''s avant-garde and literary scenes in the mid 20th century. His paintings, set designs and costumes embraced fantasy, colour and surrealism. (SET DESIGN BALLET LONDON GROSVENOR GALLERY MERIOOLA HARRY TATLOCK MILLER ROBERT HELPMAN HELENE KIRSOVA BALLETS RUSSES MICHAEL BENTHALL COSTUME SURREALISM SAINTHILL) ‘
Publishing details: UNSW Press, Australia, 2013
Balmain Pierre in Australiaview full entry
Reference: see Fantasy Modern: Loudon Sainthill's Theatre of Art and Life by Andrew Montana. [Many key names have been indexed,. But to be indexed fully]. [’Detailing the lives and times of Australian painter and theater artist Loudon Sainthill and his partner, the entrepreneur and gallery director Harry Tatlock Miller, this sumptuously illustrated biography contains much of Sainthill’s work along with never-before-published archival photographs. Infused with fantasy, color, and surrealism, Sainthill’s art embraced painting, murals, book illustration, textile design, and fashion. He is best known, however, for his costumes, design, and artwork for theater and ballet. This meticulously researched book paints a compelling picture of an internationally celebrated artist, shedding light at the same time on the realities of the Australian and British art and theater worlds in the mid 20th-century and the lives of gay men at the time’] [From Cross Art & Books website: ‘This book places Loudon Sainthill in the centre of Melbourne's, Sydney's and London''s avant-garde and literary scenes in the mid 20th century. His paintings, set designs and costumes embraced fantasy, colour and surrealism. (SET DESIGN BALLET LONDON GROSVENOR GALLERY MERIOOLA HARRY TATLOCK MILLER ROBERT HELPMAN HELENE KIRSOVA BALLETS RUSSES MICHAEL BENTHALL COSTUME SURREALISM SAINTHILL) ‘
Publishing details: UNSW Press, Australia, 2013
Atyeo Sam p 14 & 68view full entry
Reference: see Fantasy Modern: Loudon Sainthill's Theatre of Art and Life by Andrew Montana. [Many key names have been indexed,. But to be indexed fully]. [’Detailing the lives and times of Australian painter and theater artist Loudon Sainthill and his partner, the entrepreneur and gallery director Harry Tatlock Miller, this sumptuously illustrated biography contains much of Sainthill’s work along with never-before-published archival photographs. Infused with fantasy, color, and surrealism, Sainthill’s art embraced painting, murals, book illustration, textile design, and fashion. He is best known, however, for his costumes, design, and artwork for theater and ballet. This meticulously researched book paints a compelling picture of an internationally celebrated artist, shedding light at the same time on the realities of the Australian and British art and theater worlds in the mid 20th-century and the lives of gay men at the time’] [From Cross Art & Books website: ‘This book places Loudon Sainthill in the centre of Melbourne's, Sydney's and London''s avant-garde and literary scenes in the mid 20th century. His paintings, set designs and costumes embraced fantasy, colour and surrealism. (SET DESIGN BALLET LONDON GROSVENOR GALLERY MERIOOLA HARRY TATLOCK MILLER ROBERT HELPMAN HELENE KIRSOVA BALLETS RUSSES MICHAEL BENTHALL COSTUME SURREALISM SAINTHILL) ‘
Publishing details: UNSW Press, Australia, 2013
Bell Georgeview full entry
Reference: see Fantasy Modern: Loudon Sainthill's Theatre of Art and Life by Andrew Montana. [Many key names have been indexed,. But to be indexed fully]. [’Detailing the lives and times of Australian painter and theater artist Loudon Sainthill and his partner, the entrepreneur and gallery director Harry Tatlock Miller, this sumptuously illustrated biography contains much of Sainthill’s work along with never-before-published archival photographs. Infused with fantasy, color, and surrealism, Sainthill’s art embraced painting, murals, book illustration, textile design, and fashion. He is best known, however, for his costumes, design, and artwork for theater and ballet. This meticulously researched book paints a compelling picture of an internationally celebrated artist, shedding light at the same time on the realities of the Australian and British art and theater worlds in the mid 20th-century and the lives of gay men at the time’] [From Cross Art & Books website: ‘This book places Loudon Sainthill in the centre of Melbourne's, Sydney's and London''s avant-garde and literary scenes in the mid 20th century. His paintings, set designs and costumes embraced fantasy, colour and surrealism. (SET DESIGN BALLET LONDON GROSVENOR GALLERY MERIOOLA HARRY TATLOCK MILLER ROBERT HELPMAN HELENE KIRSOVA BALLETS RUSSES MICHAEL BENTHALL COSTUME SURREALISM SAINTHILL) ‘
Publishing details: UNSW Press, Australia, 2013
Bellew Peterview full entry
Reference: see Fantasy Modern: Loudon Sainthill's Theatre of Art and Life by Andrew Montana. [Many key names have been indexed,. But to be indexed fully]. [’Detailing the lives and times of Australian painter and theater artist Loudon Sainthill and his partner, the entrepreneur and gallery director Harry Tatlock Miller, this sumptuously illustrated biography contains much of Sainthill’s work along with never-before-published archival photographs. Infused with fantasy, color, and surrealism, Sainthill’s art embraced painting, murals, book illustration, textile design, and fashion. He is best known, however, for his costumes, design, and artwork for theater and ballet. This meticulously researched book paints a compelling picture of an internationally celebrated artist, shedding light at the same time on the realities of the Australian and British art and theater worlds in the mid 20th-century and the lives of gay men at the time’] [From Cross Art & Books website: ‘This book places Loudon Sainthill in the centre of Melbourne's, Sydney's and London''s avant-garde and literary scenes in the mid 20th century. His paintings, set designs and costumes embraced fantasy, colour and surrealism. (SET DESIGN BALLET LONDON GROSVENOR GALLERY MERIOOLA HARRY TATLOCK MILLER ROBERT HELPMAN HELENE KIRSOVA BALLETS RUSSES MICHAEL BENTHALL COSTUME SURREALISM SAINTHILL) ‘
Publishing details: UNSW Press, Australia, 2013
Best Marion Hallview full entry
Reference: see Fantasy Modern: Loudon Sainthill's Theatre of Art and Life by Andrew Montana. [Many key names have been indexed,. But to be indexed fully]. [’Detailing the lives and times of Australian painter and theater artist Loudon Sainthill and his partner, the entrepreneur and gallery director Harry Tatlock Miller, this sumptuously illustrated biography contains much of Sainthill’s work along with never-before-published archival photographs. Infused with fantasy, color, and surrealism, Sainthill’s art embraced painting, murals, book illustration, textile design, and fashion. He is best known, however, for his costumes, design, and artwork for theater and ballet. This meticulously researched book paints a compelling picture of an internationally celebrated artist, shedding light at the same time on the realities of the Australian and British art and theater worlds in the mid 20th-century and the lives of gay men at the time’] [From Cross Art & Books website: ‘This book places Loudon Sainthill in the centre of Melbourne's, Sydney's and London''s avant-garde and literary scenes in the mid 20th century. His paintings, set designs and costumes embraced fantasy, colour and surrealism. (SET DESIGN BALLET LONDON GROSVENOR GALLERY MERIOOLA HARRY TATLOCK MILLER ROBERT HELPMAN HELENE KIRSOVA BALLETS RUSSES MICHAEL BENTHALL COSTUME SURREALISM SAINTHILL) ‘
Publishing details: UNSW Press, Australia, 2013
Black Dorrit p16 & 36view full entry
Reference: see Fantasy Modern: Loudon Sainthill's Theatre of Art and Life by Andrew Montana. [Many key names have been indexed,. But to be indexed fully]. [’Detailing the lives and times of Australian painter and theater artist Loudon Sainthill and his partner, the entrepreneur and gallery director Harry Tatlock Miller, this sumptuously illustrated biography contains much of Sainthill’s work along with never-before-published archival photographs. Infused with fantasy, color, and surrealism, Sainthill’s art embraced painting, murals, book illustration, textile design, and fashion. He is best known, however, for his costumes, design, and artwork for theater and ballet. This meticulously researched book paints a compelling picture of an internationally celebrated artist, shedding light at the same time on the realities of the Australian and British art and theater worlds in the mid 20th-century and the lives of gay men at the time’] [From Cross Art & Books website: ‘This book places Loudon Sainthill in the centre of Melbourne's, Sydney's and London''s avant-garde and literary scenes in the mid 20th century. His paintings, set designs and costumes embraced fantasy, colour and surrealism. (SET DESIGN BALLET LONDON GROSVENOR GALLERY MERIOOLA HARRY TATLOCK MILLER ROBERT HELPMAN HELENE KIRSOVA BALLETS RUSSES MICHAEL BENTHALL COSTUME SURREALISM SAINTHILL) ‘
Publishing details: UNSW Press, Australia, 2013
Blaxland Helenview full entry
Reference: see Fantasy Modern: Loudon Sainthill's Theatre of Art and Life by Andrew Montana. [Many key names have been indexed,. But to be indexed fully]. [’Detailing the lives and times of Australian painter and theater artist Loudon Sainthill and his partner, the entrepreneur and gallery director Harry Tatlock Miller, this sumptuously illustrated biography contains much of Sainthill’s work along with never-before-published archival photographs. Infused with fantasy, color, and surrealism, Sainthill’s art embraced painting, murals, book illustration, textile design, and fashion. He is best known, however, for his costumes, design, and artwork for theater and ballet. This meticulously researched book paints a compelling picture of an internationally celebrated artist, shedding light at the same time on the realities of the Australian and British art and theater worlds in the mid 20th-century and the lives of gay men at the time’] [From Cross Art & Books website: ‘This book places Loudon Sainthill in the centre of Melbourne's, Sydney's and London''s avant-garde and literary scenes in the mid 20th century. His paintings, set designs and costumes embraced fantasy, colour and surrealism. (SET DESIGN BALLET LONDON GROSVENOR GALLERY MERIOOLA HARRY TATLOCK MILLER ROBERT HELPMAN HELENE KIRSOVA BALLETS RUSSES MICHAEL BENTHALL COSTUME SURREALISM SAINTHILL) ‘
Publishing details: UNSW Press, Australia, 2013
Brown Mitty Lee p264view full entry
Reference: see Fantasy Modern: Loudon Sainthill's Theatre of Art and Life by Andrew Montana. [Many key names have been indexed,. But to be indexed fully]. [’Detailing the lives and times of Australian painter and theater artist Loudon Sainthill and his partner, the entrepreneur and gallery director Harry Tatlock Miller, this sumptuously illustrated biography contains much of Sainthill’s work along with never-before-published archival photographs. Infused with fantasy, color, and surrealism, Sainthill’s art embraced painting, murals, book illustration, textile design, and fashion. He is best known, however, for his costumes, design, and artwork for theater and ballet. This meticulously researched book paints a compelling picture of an internationally celebrated artist, shedding light at the same time on the realities of the Australian and British art and theater worlds in the mid 20th-century and the lives of gay men at the time’] [From Cross Art & Books website: ‘This book places Loudon Sainthill in the centre of Melbourne's, Sydney's and London''s avant-garde and literary scenes in the mid 20th century. His paintings, set designs and costumes embraced fantasy, colour and surrealism. (SET DESIGN BALLET LONDON GROSVENOR GALLERY MERIOOLA HARRY TATLOCK MILLER ROBERT HELPMAN HELENE KIRSOVA BALLETS RUSSES MICHAEL BENTHALL COSTUME SURREALISM SAINTHILL) ‘
Publishing details: UNSW Press, Australia, 2013
Burdett Basilview full entry
Reference: see Fantasy Modern: Loudon Sainthill's Theatre of Art and Life by Andrew Montana. [Many key names have been indexed,. But to be indexed fully]. [’Detailing the lives and times of Australian painter and theater artist Loudon Sainthill and his partner, the entrepreneur and gallery director Harry Tatlock Miller, this sumptuously illustrated biography contains much of Sainthill’s work along with never-before-published archival photographs. Infused with fantasy, color, and surrealism, Sainthill’s art embraced painting, murals, book illustration, textile design, and fashion. He is best known, however, for his costumes, design, and artwork for theater and ballet. This meticulously researched book paints a compelling picture of an internationally celebrated artist, shedding light at the same time on the realities of the Australian and British art and theater worlds in the mid 20th-century and the lives of gay men at the time’] [From Cross Art & Books website: ‘This book places Loudon Sainthill in the centre of Melbourne's, Sydney's and London''s avant-garde and literary scenes in the mid 20th century. His paintings, set designs and costumes embraced fantasy, colour and surrealism. (SET DESIGN BALLET LONDON GROSVENOR GALLERY MERIOOLA HARRY TATLOCK MILLER ROBERT HELPMAN HELENE KIRSOVA BALLETS RUSSES MICHAEL BENTHALL COSTUME SURREALISM SAINTHILL) ‘
Publishing details: UNSW Press, Australia, 2013
Burke Francesview full entry
Reference: see Fantasy Modern: Loudon Sainthill's Theatre of Art and Life by Andrew Montana. [Many key names have been indexed,. But to be indexed fully]. [’Detailing the lives and times of Australian painter and theater artist Loudon Sainthill and his partner, the entrepreneur and gallery director Harry Tatlock Miller, this sumptuously illustrated biography contains much of Sainthill’s work along with never-before-published archival photographs. Infused with fantasy, color, and surrealism, Sainthill’s art embraced painting, murals, book illustration, textile design, and fashion. He is best known, however, for his costumes, design, and artwork for theater and ballet. This meticulously researched book paints a compelling picture of an internationally celebrated artist, shedding light at the same time on the realities of the Australian and British art and theater worlds in the mid 20th-century and the lives of gay men at the time’] [From Cross Art & Books website: ‘This book places Loudon Sainthill in the centre of Melbourne's, Sydney's and London''s avant-garde and literary scenes in the mid 20th century. His paintings, set designs and costumes embraced fantasy, colour and surrealism. (SET DESIGN BALLET LONDON GROSVENOR GALLERY MERIOOLA HARRY TATLOCK MILLER ROBERT HELPMAN HELENE KIRSOVA BALLETS RUSSES MICHAEL BENTHALL COSTUME SURREALISM SAINTHILL) ‘
Publishing details: UNSW Press, Australia, 2013
Cardamatis Wolfgang 4 refsview full entry
Reference: see Fantasy Modern: Loudon Sainthill's Theatre of Art and Life by Andrew Montana. [Many key names have been indexed,. But to be indexed fully]. [’Detailing the lives and times of Australian painter and theater artist Loudon Sainthill and his partner, the entrepreneur and gallery director Harry Tatlock Miller, this sumptuously illustrated biography contains much of Sainthill’s work along with never-before-published archival photographs. Infused with fantasy, color, and surrealism, Sainthill’s art embraced painting, murals, book illustration, textile design, and fashion. He is best known, however, for his costumes, design, and artwork for theater and ballet. This meticulously researched book paints a compelling picture of an internationally celebrated artist, shedding light at the same time on the realities of the Australian and British art and theater worlds in the mid 20th-century and the lives of gay men at the time’] [From Cross Art & Books website: ‘This book places Loudon Sainthill in the centre of Melbourne's, Sydney's and London''s avant-garde and literary scenes in the mid 20th century. His paintings, set designs and costumes embraced fantasy, colour and surrealism. (SET DESIGN BALLET LONDON GROSVENOR GALLERY MERIOOLA HARRY TATLOCK MILLER ROBERT HELPMAN HELENE KIRSOVA BALLETS RUSSES MICHAEL BENTHALL COSTUME SURREALISM SAINTHILL) ‘
Publishing details: UNSW Press, Australia, 2013
Casey Maieview full entry
Reference: see Fantasy Modern: Loudon Sainthill's Theatre of Art and Life by Andrew Montana. [Many key names have been indexed,. But to be indexed fully]. [’Detailing the lives and times of Australian painter and theater artist Loudon Sainthill and his partner, the entrepreneur and gallery director Harry Tatlock Miller, this sumptuously illustrated biography contains much of Sainthill’s work along with never-before-published archival photographs. Infused with fantasy, color, and surrealism, Sainthill’s art embraced painting, murals, book illustration, textile design, and fashion. He is best known, however, for his costumes, design, and artwork for theater and ballet. This meticulously researched book paints a compelling picture of an internationally celebrated artist, shedding light at the same time on the realities of the Australian and British art and theater worlds in the mid 20th-century and the lives of gay men at the time’] [From Cross Art & Books website: ‘This book places Loudon Sainthill in the centre of Melbourne's, Sydney's and London''s avant-garde and literary scenes in the mid 20th century. His paintings, set designs and costumes embraced fantasy, colour and surrealism. (SET DESIGN BALLET LONDON GROSVENOR GALLERY MERIOOLA HARRY TATLOCK MILLER ROBERT HELPMAN HELENE KIRSOVA BALLETS RUSSES MICHAEL BENTHALL COSTUME SURREALISM SAINTHILL) ‘
Publishing details: UNSW Press, Australia, 2013
Cohn Olaview full entry
Reference: see Fantasy Modern: Loudon Sainthill's Theatre of Art and Life by Andrew Montana. [Many key names have been indexed,. But to be indexed fully]. [’Detailing the lives and times of Australian painter and theater artist Loudon Sainthill and his partner, the entrepreneur and gallery director Harry Tatlock Miller, this sumptuously illustrated biography contains much of Sainthill’s work along with never-before-published archival photographs. Infused with fantasy, color, and surrealism, Sainthill’s art embraced painting, murals, book illustration, textile design, and fashion. He is best known, however, for his costumes, design, and artwork for theater and ballet. This meticulously researched book paints a compelling picture of an internationally celebrated artist, shedding light at the same time on the realities of the Australian and British art and theater worlds in the mid 20th-century and the lives of gay men at the time’] [From Cross Art & Books website: ‘This book places Loudon Sainthill in the centre of Melbourne's, Sydney's and London''s avant-garde and literary scenes in the mid 20th century. His paintings, set designs and costumes embraced fantasy, colour and surrealism. (SET DESIGN BALLET LONDON GROSVENOR GALLERY MERIOOLA HARRY TATLOCK MILLER ROBERT HELPMAN HELENE KIRSOVA BALLETS RUSSES MICHAEL BENTHALL COSTUME SURREALISM SAINTHILL) ‘
Publishing details: UNSW Press, Australia, 2013
Coleman Alannah p553view full entry
Reference: see Fantasy Modern: Loudon Sainthill's Theatre of Art and Life by Andrew Montana. [Many key names have been indexed,. But to be indexed fully]. [’Detailing the lives and times of Australian painter and theater artist Loudon Sainthill and his partner, the entrepreneur and gallery director Harry Tatlock Miller, this sumptuously illustrated biography contains much of Sainthill’s work along with never-before-published archival photographs. Infused with fantasy, color, and surrealism, Sainthill’s art embraced painting, murals, book illustration, textile design, and fashion. He is best known, however, for his costumes, design, and artwork for theater and ballet. This meticulously researched book paints a compelling picture of an internationally celebrated artist, shedding light at the same time on the realities of the Australian and British art and theater worlds in the mid 20th-century and the lives of gay men at the time’] [From Cross Art & Books website: ‘This book places Loudon Sainthill in the centre of Melbourne's, Sydney's and London''s avant-garde and literary scenes in the mid 20th century. His paintings, set designs and costumes embraced fantasy, colour and surrealism. (SET DESIGN BALLET LONDON GROSVENOR GALLERY MERIOOLA HARRY TATLOCK MILLER ROBERT HELPMAN HELENE KIRSOVA BALLETS RUSSES MICHAEL BENTHALL COSTUME SURREALISM SAINTHILL) ‘
Publishing details: UNSW Press, Australia, 2013
Collings Dahl and Geoofrey p112view full entry
Reference: see Fantasy Modern: Loudon Sainthill's Theatre of Art and Life by Andrew Montana. [Many key names have been indexed,. But to be indexed fully]. [’Detailing the lives and times of Australian painter and theater artist Loudon Sainthill and his partner, the entrepreneur and gallery director Harry Tatlock Miller, this sumptuously illustrated biography contains much of Sainthill’s work along with never-before-published archival photographs. Infused with fantasy, color, and surrealism, Sainthill’s art embraced painting, murals, book illustration, textile design, and fashion. He is best known, however, for his costumes, design, and artwork for theater and ballet. This meticulously researched book paints a compelling picture of an internationally celebrated artist, shedding light at the same time on the realities of the Australian and British art and theater worlds in the mid 20th-century and the lives of gay men at the time’] [From Cross Art & Books website: ‘This book places Loudon Sainthill in the centre of Melbourne's, Sydney's and London''s avant-garde and literary scenes in the mid 20th century. His paintings, set designs and costumes embraced fantasy, colour and surrealism. (SET DESIGN BALLET LONDON GROSVENOR GALLERY MERIOOLA HARRY TATLOCK MILLER ROBERT HELPMAN HELENE KIRSOVA BALLETS RUSSES MICHAEL BENTHALL COSTUME SURREALISM SAINTHILL) ‘
Publishing details: UNSW Press, Australia, 2013
Constable William view full entry
Reference: see Fantasy Modern: Loudon Sainthill's Theatre of Art and Life by Andrew Montana. [Many key names have been indexed,. But to be indexed fully]. [’Detailing the lives and times of Australian painter and theater artist Loudon Sainthill and his partner, the entrepreneur and gallery director Harry Tatlock Miller, this sumptuously illustrated biography contains much of Sainthill’s work along with never-before-published archival photographs. Infused with fantasy, color, and surrealism, Sainthill’s art embraced painting, murals, book illustration, textile design, and fashion. He is best known, however, for his costumes, design, and artwork for theater and ballet. This meticulously researched book paints a compelling picture of an internationally celebrated artist, shedding light at the same time on the realities of the Australian and British art and theater worlds in the mid 20th-century and the lives of gay men at the time’] [From Cross Art & Books website: ‘This book places Loudon Sainthill in the centre of Melbourne's, Sydney's and London''s avant-garde and literary scenes in the mid 20th century. His paintings, set designs and costumes embraced fantasy, colour and surrealism. (SET DESIGN BALLET LONDON GROSVENOR GALLERY MERIOOLA HARRY TATLOCK MILLER ROBERT HELPMAN HELENE KIRSOVA BALLETS RUSSES MICHAEL BENTHALL COSTUME SURREALISM SAINTHILL) ‘
Publishing details: UNSW Press, Australia, 2013
Cook James p326, 357view full entry
Reference: see Fantasy Modern: Loudon Sainthill's Theatre of Art and Life by Andrew Montana. [Many key names have been indexed,. But to be indexed fully]. [’Detailing the lives and times of Australian painter and theater artist Loudon Sainthill and his partner, the entrepreneur and gallery director Harry Tatlock Miller, this sumptuously illustrated biography contains much of Sainthill’s work along with never-before-published archival photographs. Infused with fantasy, color, and surrealism, Sainthill’s art embraced painting, murals, book illustration, textile design, and fashion. He is best known, however, for his costumes, design, and artwork for theater and ballet. This meticulously researched book paints a compelling picture of an internationally celebrated artist, shedding light at the same time on the realities of the Australian and British art and theater worlds in the mid 20th-century and the lives of gay men at the time’] [From Cross Art & Books website: ‘This book places Loudon Sainthill in the centre of Melbourne's, Sydney's and London''s avant-garde and literary scenes in the mid 20th century. His paintings, set designs and costumes embraced fantasy, colour and surrealism. (SET DESIGN BALLET LONDON GROSVENOR GALLERY MERIOOLA HARRY TATLOCK MILLER ROBERT HELPMAN HELENE KIRSOVA BALLETS RUSSES MICHAEL BENTHALL COSTUME SURREALISM SAINTHILL) ‘
Publishing details: UNSW Press, Australia, 2013
Cotton Olive p428view full entry
Reference: see Fantasy Modern: Loudon Sainthill's Theatre of Art and Life by Andrew Montana. [Many key names have been indexed,. But to be indexed fully]. [’Detailing the lives and times of Australian painter and theater artist Loudon Sainthill and his partner, the entrepreneur and gallery director Harry Tatlock Miller, this sumptuously illustrated biography contains much of Sainthill’s work along with never-before-published archival photographs. Infused with fantasy, color, and surrealism, Sainthill’s art embraced painting, murals, book illustration, textile design, and fashion. He is best known, however, for his costumes, design, and artwork for theater and ballet. This meticulously researched book paints a compelling picture of an internationally celebrated artist, shedding light at the same time on the realities of the Australian and British art and theater worlds in the mid 20th-century and the lives of gay men at the time’] [From Cross Art & Books website: ‘This book places Loudon Sainthill in the centre of Melbourne's, Sydney's and London''s avant-garde and literary scenes in the mid 20th century. His paintings, set designs and costumes embraced fantasy, colour and surrealism. (SET DESIGN BALLET LONDON GROSVENOR GALLERY MERIOOLA HARRY TATLOCK MILLER ROBERT HELPMAN HELENE KIRSOVA BALLETS RUSSES MICHAEL BENTHALL COSTUME SURREALISM SAINTHILL) ‘
Publishing details: UNSW Press, Australia, 2013
Dadfswell Lyndon 3 refsview full entry
Reference: see Fantasy Modern: Loudon Sainthill's Theatre of Art and Life by Andrew Montana. [Many key names have been indexed,. But to be indexed fully]. [’Detailing the lives and times of Australian painter and theater artist Loudon Sainthill and his partner, the entrepreneur and gallery director Harry Tatlock Miller, this sumptuously illustrated biography contains much of Sainthill’s work along with never-before-published archival photographs. Infused with fantasy, color, and surrealism, Sainthill’s art embraced painting, murals, book illustration, textile design, and fashion. He is best known, however, for his costumes, design, and artwork for theater and ballet. This meticulously researched book paints a compelling picture of an internationally celebrated artist, shedding light at the same time on the realities of the Australian and British art and theater worlds in the mid 20th-century and the lives of gay men at the time’] [From Cross Art & Books website: ‘This book places Loudon Sainthill in the centre of Melbourne's, Sydney's and London''s avant-garde and literary scenes in the mid 20th century. His paintings, set designs and costumes embraced fantasy, colour and surrealism. (SET DESIGN BALLET LONDON GROSVENOR GALLERY MERIOOLA HARRY TATLOCK MILLER ROBERT HELPMAN HELENE KIRSOVA BALLETS RUSSES MICHAEL BENTHALL COSTUME SURREALISM SAINTHILL) ‘
Publishing details: UNSW Press, Australia, 2013
Counihan Noel p298view full entry
Reference: see Fantasy Modern: Loudon Sainthill's Theatre of Art and Life by Andrew Montana. [Many key names have been indexed,. But to be indexed fully]. [’Detailing the lives and times of Australian painter and theater artist Loudon Sainthill and his partner, the entrepreneur and gallery director Harry Tatlock Miller, this sumptuously illustrated biography contains much of Sainthill’s work along with never-before-published archival photographs. Infused with fantasy, color, and surrealism, Sainthill’s art embraced painting, murals, book illustration, textile design, and fashion. He is best known, however, for his costumes, design, and artwork for theater and ballet. This meticulously researched book paints a compelling picture of an internationally celebrated artist, shedding light at the same time on the realities of the Australian and British art and theater worlds in the mid 20th-century and the lives of gay men at the time’] [From Cross Art & Books website: ‘This book places Loudon Sainthill in the centre of Melbourne's, Sydney's and London''s avant-garde and literary scenes in the mid 20th century. His paintings, set designs and costumes embraced fantasy, colour and surrealism. (SET DESIGN BALLET LONDON GROSVENOR GALLERY MERIOOLA HARRY TATLOCK MILLER ROBERT HELPMAN HELENE KIRSOVA BALLETS RUSSES MICHAEL BENTHALL COSTUME SURREALISM SAINTHILL) ‘
Publishing details: UNSW Press, Australia, 2013
Danciger Alice p177view full entry
Reference: see Fantasy Modern: Loudon Sainthill's Theatre of Art and Life by Andrew Montana. [Many key names have been indexed,. But to be indexed fully]. [’Detailing the lives and times of Australian painter and theater artist Loudon Sainthill and his partner, the entrepreneur and gallery director Harry Tatlock Miller, this sumptuously illustrated biography contains much of Sainthill’s work along with never-before-published archival photographs. Infused with fantasy, color, and surrealism, Sainthill’s art embraced painting, murals, book illustration, textile design, and fashion. He is best known, however, for his costumes, design, and artwork for theater and ballet. This meticulously researched book paints a compelling picture of an internationally celebrated artist, shedding light at the same time on the realities of the Australian and British art and theater worlds in the mid 20th-century and the lives of gay men at the time’] [From Cross Art & Books website: ‘This book places Loudon Sainthill in the centre of Melbourne's, Sydney's and London''s avant-garde and literary scenes in the mid 20th century. His paintings, set designs and costumes embraced fantasy, colour and surrealism. (SET DESIGN BALLET LONDON GROSVENOR GALLERY MERIOOLA HARRY TATLOCK MILLER ROBERT HELPMAN HELENE KIRSOVA BALLETS RUSSES MICHAEL BENTHALL COSTUME SURREALISM SAINTHILL) ‘
Publishing details: UNSW Press, Australia, 2013
de Basil Colonel Wview full entry
Reference: see Fantasy Modern: Loudon Sainthill's Theatre of Art and Life by Andrew Montana. [Many key names have been indexed,. But to be indexed fully]. [’Detailing the lives and times of Australian painter and theater artist Loudon Sainthill and his partner, the entrepreneur and gallery director Harry Tatlock Miller, this sumptuously illustrated biography contains much of Sainthill’s work along with never-before-published archival photographs. Infused with fantasy, color, and surrealism, Sainthill’s art embraced painting, murals, book illustration, textile design, and fashion. He is best known, however, for his costumes, design, and artwork for theater and ballet. This meticulously researched book paints a compelling picture of an internationally celebrated artist, shedding light at the same time on the realities of the Australian and British art and theater worlds in the mid 20th-century and the lives of gay men at the time’] [From Cross Art & Books website: ‘This book places Loudon Sainthill in the centre of Melbourne's, Sydney's and London''s avant-garde and literary scenes in the mid 20th century. His paintings, set designs and costumes embraced fantasy, colour and surrealism. (SET DESIGN BALLET LONDON GROSVENOR GALLERY MERIOOLA HARRY TATLOCK MILLER ROBERT HELPMAN HELENE KIRSOVA BALLETS RUSSES MICHAEL BENTHALL COSTUME SURREALISM SAINTHILL) ‘
Publishing details: UNSW Press, Australia, 2013
de Hartog Harry p22, 40, 151-3view full entry
Reference: see Fantasy Modern: Loudon Sainthill's Theatre of Art and Life by Andrew Montana. [Many key names have been indexed,. But to be indexed fully]. [’Detailing the lives and times of Australian painter and theater artist Loudon Sainthill and his partner, the entrepreneur and gallery director Harry Tatlock Miller, this sumptuously illustrated biography contains much of Sainthill’s work along with never-before-published archival photographs. Infused with fantasy, color, and surrealism, Sainthill’s art embraced painting, murals, book illustration, textile design, and fashion. He is best known, however, for his costumes, design, and artwork for theater and ballet. This meticulously researched book paints a compelling picture of an internationally celebrated artist, shedding light at the same time on the realities of the Australian and British art and theater worlds in the mid 20th-century and the lives of gay men at the time’] [From Cross Art & Books website: ‘This book places Loudon Sainthill in the centre of Melbourne's, Sydney's and London''s avant-garde and literary scenes in the mid 20th century. His paintings, set designs and costumes embraced fantasy, colour and surrealism. (SET DESIGN BALLET LONDON GROSVENOR GALLERY MERIOOLA HARRY TATLOCK MILLER ROBERT HELPMAN HELENE KIRSOVA BALLETS RUSSES MICHAEL BENTHALL COSTUME SURREALISM SAINTHILL) ‘
Publishing details: UNSW Press, Australia, 2013
de Maistre Roy p459view full entry
Reference: see Fantasy Modern: Loudon Sainthill's Theatre of Art and Life by Andrew Montana. [Many key names have been indexed,. But to be indexed fully]. [’Detailing the lives and times of Australian painter and theater artist Loudon Sainthill and his partner, the entrepreneur and gallery director Harry Tatlock Miller, this sumptuously illustrated biography contains much of Sainthill’s work along with never-before-published archival photographs. Infused with fantasy, color, and surrealism, Sainthill’s art embraced painting, murals, book illustration, textile design, and fashion. He is best known, however, for his costumes, design, and artwork for theater and ballet. This meticulously researched book paints a compelling picture of an internationally celebrated artist, shedding light at the same time on the realities of the Australian and British art and theater worlds in the mid 20th-century and the lives of gay men at the time’] [From Cross Art & Books website: ‘This book places Loudon Sainthill in the centre of Melbourne's, Sydney's and London''s avant-garde and literary scenes in the mid 20th century. His paintings, set designs and costumes embraced fantasy, colour and surrealism. (SET DESIGN BALLET LONDON GROSVENOR GALLERY MERIOOLA HARRY TATLOCK MILLER ROBERT HELPMAN HELENE KIRSOVA BALLETS RUSSES MICHAEL BENTHALL COSTUME SURREALISM SAINTHILL) ‘
Publishing details: UNSW Press, Australia, 2013
Dobell William 3 refsview full entry
Reference: see Fantasy Modern: Loudon Sainthill's Theatre of Art and Life by Andrew Montana. [Many key names have been indexed,. But to be indexed fully]. [’Detailing the lives and times of Australian painter and theater artist Loudon Sainthill and his partner, the entrepreneur and gallery director Harry Tatlock Miller, this sumptuously illustrated biography contains much of Sainthill’s work along with never-before-published archival photographs. Infused with fantasy, color, and surrealism, Sainthill’s art embraced painting, murals, book illustration, textile design, and fashion. He is best known, however, for his costumes, design, and artwork for theater and ballet. This meticulously researched book paints a compelling picture of an internationally celebrated artist, shedding light at the same time on the realities of the Australian and British art and theater worlds in the mid 20th-century and the lives of gay men at the time’] [From Cross Art & Books website: ‘This book places Loudon Sainthill in the centre of Melbourne's, Sydney's and London''s avant-garde and literary scenes in the mid 20th century. His paintings, set designs and costumes embraced fantasy, colour and surrealism. (SET DESIGN BALLET LONDON GROSVENOR GALLERY MERIOOLA HARRY TATLOCK MILLER ROBERT HELPMAN HELENE KIRSOVA BALLETS RUSSES MICHAEL BENTHALL COSTUME SURREALISM SAINTHILL) ‘
Publishing details: UNSW Press, Australia, 2013
Drysdale Russell 7 refsview full entry
Reference: see Fantasy Modern: Loudon Sainthill's Theatre of Art and Life by Andrew Montana. [Many key names have been indexed,. But to be indexed fully]. [’Detailing the lives and times of Australian painter and theater artist Loudon Sainthill and his partner, the entrepreneur and gallery director Harry Tatlock Miller, this sumptuously illustrated biography contains much of Sainthill’s work along with never-before-published archival photographs. Infused with fantasy, color, and surrealism, Sainthill’s art embraced painting, murals, book illustration, textile design, and fashion. He is best known, however, for his costumes, design, and artwork for theater and ballet. This meticulously researched book paints a compelling picture of an internationally celebrated artist, shedding light at the same time on the realities of the Australian and British art and theater worlds in the mid 20th-century and the lives of gay men at the time’] [From Cross Art & Books website: ‘This book places Loudon Sainthill in the centre of Melbourne's, Sydney's and London''s avant-garde and literary scenes in the mid 20th century. His paintings, set designs and costumes embraced fantasy, colour and surrealism. (SET DESIGN BALLET LONDON GROSVENOR GALLERY MERIOOLA HARRY TATLOCK MILLER ROBERT HELPMAN HELENE KIRSOVA BALLETS RUSSES MICHAEL BENTHALL COSTUME SURREALISM SAINTHILL) ‘
Publishing details: UNSW Press, Australia, 2013
Dupain Max 7 refsview full entry
Reference: see Fantasy Modern: Loudon Sainthill's Theatre of Art and Life by Andrew Montana. [Many key names have been indexed,. But to be indexed fully]. [’Detailing the lives and times of Australian painter and theater artist Loudon Sainthill and his partner, the entrepreneur and gallery director Harry Tatlock Miller, this sumptuously illustrated biography contains much of Sainthill’s work along with never-before-published archival photographs. Infused with fantasy, color, and surrealism, Sainthill’s art embraced painting, murals, book illustration, textile design, and fashion. He is best known, however, for his costumes, design, and artwork for theater and ballet. This meticulously researched book paints a compelling picture of an internationally celebrated artist, shedding light at the same time on the realities of the Australian and British art and theater worlds in the mid 20th-century and the lives of gay men at the time’] [From Cross Art & Books website: ‘This book places Loudon Sainthill in the centre of Melbourne's, Sydney's and London''s avant-garde and literary scenes in the mid 20th century. His paintings, set designs and costumes embraced fantasy, colour and surrealism. (SET DESIGN BALLET LONDON GROSVENOR GALLERY MERIOOLA HARRY TATLOCK MILLER ROBERT HELPMAN HELENE KIRSOVA BALLETS RUSSES MICHAEL BENTHALL COSTUME SURREALISM SAINTHILL) ‘
Publishing details: UNSW Press, Australia, 2013
Fairweather Ian 2 refsview full entry
Reference: see Fantasy Modern: Loudon Sainthill's Theatre of Art and Life by Andrew Montana. [Many key names have been indexed,. But to be indexed fully]. [’Detailing the lives and times of Australian painter and theater artist Loudon Sainthill and his partner, the entrepreneur and gallery director Harry Tatlock Miller, this sumptuously illustrated biography contains much of Sainthill’s work along with never-before-published archival photographs. Infused with fantasy, color, and surrealism, Sainthill’s art embraced painting, murals, book illustration, textile design, and fashion. He is best known, however, for his costumes, design, and artwork for theater and ballet. This meticulously researched book paints a compelling picture of an internationally celebrated artist, shedding light at the same time on the realities of the Australian and British art and theater worlds in the mid 20th-century and the lives of gay men at the time’] [From Cross Art & Books website: ‘This book places Loudon Sainthill in the centre of Melbourne's, Sydney's and London''s avant-garde and literary scenes in the mid 20th century. His paintings, set designs and costumes embraced fantasy, colour and surrealism. (SET DESIGN BALLET LONDON GROSVENOR GALLERY MERIOOLA HARRY TATLOCK MILLER ROBERT HELPMAN HELENE KIRSOVA BALLETS RUSSES MICHAEL BENTHALL COSTUME SURREALISM SAINTHILL) ‘
Publishing details: UNSW Press, Australia, 2013
Feint Adrian 5 referencesview full entry
Reference: see Fantasy Modern: Loudon Sainthill's Theatre of Art and Life by Andrew Montana. [Many key names have been indexed,. But to be indexed fully]. [’Detailing the lives and times of Australian painter and theater artist Loudon Sainthill and his partner, the entrepreneur and gallery director Harry Tatlock Miller, this sumptuously illustrated biography contains much of Sainthill’s work along with never-before-published archival photographs. Infused with fantasy, color, and surrealism, Sainthill’s art embraced painting, murals, book illustration, textile design, and fashion. He is best known, however, for his costumes, design, and artwork for theater and ballet. This meticulously researched book paints a compelling picture of an internationally celebrated artist, shedding light at the same time on the realities of the Australian and British art and theater worlds in the mid 20th-century and the lives of gay men at the time’] [From Cross Art & Books website: ‘This book places Loudon Sainthill in the centre of Melbourne's, Sydney's and London''s avant-garde and literary scenes in the mid 20th century. His paintings, set designs and costumes embraced fantasy, colour and surrealism. (SET DESIGN BALLET LONDON GROSVENOR GALLERY MERIOOLA HARRY TATLOCK MILLER ROBERT HELPMAN HELENE KIRSOVA BALLETS RUSSES MICHAEL BENTHALL COSTUME SURREALISM SAINTHILL) ‘
Publishing details: UNSW Press, Australia, 2013
Fizelle Rah 1 referenceview full entry
Reference: see Fantasy Modern: Loudon Sainthill's Theatre of Art and Life by Andrew Montana. [Many key names have been indexed,. But to be indexed fully]. [’Detailing the lives and times of Australian painter and theater artist Loudon Sainthill and his partner, the entrepreneur and gallery director Harry Tatlock Miller, this sumptuously illustrated biography contains much of Sainthill’s work along with never-before-published archival photographs. Infused with fantasy, color, and surrealism, Sainthill’s art embraced painting, murals, book illustration, textile design, and fashion. He is best known, however, for his costumes, design, and artwork for theater and ballet. This meticulously researched book paints a compelling picture of an internationally celebrated artist, shedding light at the same time on the realities of the Australian and British art and theater worlds in the mid 20th-century and the lives of gay men at the time’] [From Cross Art & Books website: ‘This book places Loudon Sainthill in the centre of Melbourne's, Sydney's and London''s avant-garde and literary scenes in the mid 20th century. His paintings, set designs and costumes embraced fantasy, colour and surrealism. (SET DESIGN BALLET LONDON GROSVENOR GALLERY MERIOOLA HARRY TATLOCK MILLER ROBERT HELPMAN HELENE KIRSOVA BALLETS RUSSES MICHAEL BENTHALL COSTUME SURREALISM SAINTHILL) ‘
Publishing details: UNSW Press, Australia, 2013
Fleischmann Arthur 5 referencesview full entry
Reference: see Fantasy Modern: Loudon Sainthill's Theatre of Art and Life by Andrew Montana. [Many key names have been indexed,. But to be indexed fully]. [’Detailing the lives and times of Australian painter and theater artist Loudon Sainthill and his partner, the entrepreneur and gallery director Harry Tatlock Miller, this sumptuously illustrated biography contains much of Sainthill’s work along with never-before-published archival photographs. Infused with fantasy, color, and surrealism, Sainthill’s art embraced painting, murals, book illustration, textile design, and fashion. He is best known, however, for his costumes, design, and artwork for theater and ballet. This meticulously researched book paints a compelling picture of an internationally celebrated artist, shedding light at the same time on the realities of the Australian and British art and theater worlds in the mid 20th-century and the lives of gay men at the time’] [From Cross Art & Books website: ‘This book places Loudon Sainthill in the centre of Melbourne's, Sydney's and London''s avant-garde and literary scenes in the mid 20th century. His paintings, set designs and costumes embraced fantasy, colour and surrealism. (SET DESIGN BALLET LONDON GROSVENOR GALLERY MERIOOLA HARRY TATLOCK MILLER ROBERT HELPMAN HELENE KIRSOVA BALLETS RUSSES MICHAEL BENTHALL COSTUME SURREALISM SAINTHILL) ‘
Publishing details: UNSW Press, Australia, 2013
Friend Donald numerous referencesview full entry
Reference: see Fantasy Modern: Loudon Sainthill's Theatre of Art and Life by Andrew Montana. [Many key names have been indexed,. But to be indexed fully]. [’Detailing the lives and times of Australian painter and theater artist Loudon Sainthill and his partner, the entrepreneur and gallery director Harry Tatlock Miller, this sumptuously illustrated biography contains much of Sainthill’s work along with never-before-published archival photographs. Infused with fantasy, color, and surrealism, Sainthill’s art embraced painting, murals, book illustration, textile design, and fashion. He is best known, however, for his costumes, design, and artwork for theater and ballet. This meticulously researched book paints a compelling picture of an internationally celebrated artist, shedding light at the same time on the realities of the Australian and British art and theater worlds in the mid 20th-century and the lives of gay men at the time’] [From Cross Art & Books website: ‘This book places Loudon Sainthill in the centre of Melbourne's, Sydney's and London''s avant-garde and literary scenes in the mid 20th century. His paintings, set designs and costumes embraced fantasy, colour and surrealism. (SET DESIGN BALLET LONDON GROSVENOR GALLERY MERIOOLA HARRY TATLOCK MILLER ROBERT HELPMAN HELENE KIRSOVA BALLETS RUSSES MICHAEL BENTHALL COSTUME SURREALISM SAINTHILL) ‘
Publishing details: UNSW Press, Australia, 2013
Gleeson James 4 refsview full entry
Reference: see Fantasy Modern: Loudon Sainthill's Theatre of Art and Life by Andrew Montana. [Many key names have been indexed,. But to be indexed fully]. [’Detailing the lives and times of Australian painter and theater artist Loudon Sainthill and his partner, the entrepreneur and gallery director Harry Tatlock Miller, this sumptuously illustrated biography contains much of Sainthill’s work along with never-before-published archival photographs. Infused with fantasy, color, and surrealism, Sainthill’s art embraced painting, murals, book illustration, textile design, and fashion. He is best known, however, for his costumes, design, and artwork for theater and ballet. This meticulously researched book paints a compelling picture of an internationally celebrated artist, shedding light at the same time on the realities of the Australian and British art and theater worlds in the mid 20th-century and the lives of gay men at the time’] [From Cross Art & Books website: ‘This book places Loudon Sainthill in the centre of Melbourne's, Sydney's and London''s avant-garde and literary scenes in the mid 20th century. His paintings, set designs and costumes embraced fantasy, colour and surrealism. (SET DESIGN BALLET LONDON GROSVENOR GALLERY MERIOOLA HARRY TATLOCK MILLER ROBERT HELPMAN HELENE KIRSOVA BALLETS RUSSES MICHAEL BENTHALL COSTUME SURREALISM SAINTHILL) ‘
Publishing details: UNSW Press, Australia, 2013
Haefliger Paul numerous refsview full entry
Reference: see Fantasy Modern: Loudon Sainthill's Theatre of Art and Life by Andrew Montana. [Many key names have been indexed,. But to be indexed fully]. [’Detailing the lives and times of Australian painter and theater artist Loudon Sainthill and his partner, the entrepreneur and gallery director Harry Tatlock Miller, this sumptuously illustrated biography contains much of Sainthill’s work along with never-before-published archival photographs. Infused with fantasy, color, and surrealism, Sainthill’s art embraced painting, murals, book illustration, textile design, and fashion. He is best known, however, for his costumes, design, and artwork for theater and ballet. This meticulously researched book paints a compelling picture of an internationally celebrated artist, shedding light at the same time on the realities of the Australian and British art and theater worlds in the mid 20th-century and the lives of gay men at the time’] [From Cross Art & Books website: ‘This book places Loudon Sainthill in the centre of Melbourne's, Sydney's and London''s avant-garde and literary scenes in the mid 20th century. His paintings, set designs and costumes embraced fantasy, colour and surrealism. (SET DESIGN BALLET LONDON GROSVENOR GALLERY MERIOOLA HARRY TATLOCK MILLER ROBERT HELPMAN HELENE KIRSOVA BALLETS RUSSES MICHAEL BENTHALL COSTUME SURREALISM SAINTHILL) ‘
Publishing details: UNSW Press, Australia, 2013
Haines Robert 3 refsview full entry
Reference: see Fantasy Modern: Loudon Sainthill's Theatre of Art and Life by Andrew Montana. [Many key names have been indexed,. But to be indexed fully]. [’Detailing the lives and times of Australian painter and theater artist Loudon Sainthill and his partner, the entrepreneur and gallery director Harry Tatlock Miller, this sumptuously illustrated biography contains much of Sainthill’s work along with never-before-published archival photographs. Infused with fantasy, color, and surrealism, Sainthill’s art embraced painting, murals, book illustration, textile design, and fashion. He is best known, however, for his costumes, design, and artwork for theater and ballet. This meticulously researched book paints a compelling picture of an internationally celebrated artist, shedding light at the same time on the realities of the Australian and British art and theater worlds in the mid 20th-century and the lives of gay men at the time’] [From Cross Art & Books website: ‘This book places Loudon Sainthill in the centre of Melbourne's, Sydney's and London''s avant-garde and literary scenes in the mid 20th century. His paintings, set designs and costumes embraced fantasy, colour and surrealism. (SET DESIGN BALLET LONDON GROSVENOR GALLERY MERIOOLA HARRY TATLOCK MILLER ROBERT HELPMAN HELENE KIRSOVA BALLETS RUSSES MICHAEL BENTHALL COSTUME SURREALISM SAINTHILL) ‘
Publishing details: UNSW Press, Australia, 2013
Haxton Elaine 4 refsview full entry
Reference: see Fantasy Modern: Loudon Sainthill's Theatre of Art and Life by Andrew Montana. [Many key names have been indexed,. But to be indexed fully]. [’Detailing the lives and times of Australian painter and theater artist Loudon Sainthill and his partner, the entrepreneur and gallery director Harry Tatlock Miller, this sumptuously illustrated biography contains much of Sainthill’s work along with never-before-published archival photographs. Infused with fantasy, color, and surrealism, Sainthill’s art embraced painting, murals, book illustration, textile design, and fashion. He is best known, however, for his costumes, design, and artwork for theater and ballet. This meticulously researched book paints a compelling picture of an internationally celebrated artist, shedding light at the same time on the realities of the Australian and British art and theater worlds in the mid 20th-century and the lives of gay men at the time’] [From Cross Art & Books website: ‘This book places Loudon Sainthill in the centre of Melbourne's, Sydney's and London''s avant-garde and literary scenes in the mid 20th century. His paintings, set designs and costumes embraced fantasy, colour and surrealism. (SET DESIGN BALLET LONDON GROSVENOR GALLERY MERIOOLA HARRY TATLOCK MILLER ROBERT HELPMAN HELENE KIRSOVA BALLETS RUSSES MICHAEL BENTHALL COSTUME SURREALISM SAINTHILL) ‘
Publishing details: UNSW Press, Australia, 2013
Helpmann Robert numerous refsview full entry
Reference: see Fantasy Modern: Loudon Sainthill's Theatre of Art and Life by Andrew Montana. [Many key names have been indexed,. But to be indexed fully]. [’Detailing the lives and times of Australian painter and theater artist Loudon Sainthill and his partner, the entrepreneur and gallery director Harry Tatlock Miller, this sumptuously illustrated biography contains much of Sainthill’s work along with never-before-published archival photographs. Infused with fantasy, color, and surrealism, Sainthill’s art embraced painting, murals, book illustration, textile design, and fashion. He is best known, however, for his costumes, design, and artwork for theater and ballet. This meticulously researched book paints a compelling picture of an internationally celebrated artist, shedding light at the same time on the realities of the Australian and British art and theater worlds in the mid 20th-century and the lives of gay men at the time’] [From Cross Art & Books website: ‘This book places Loudon Sainthill in the centre of Melbourne's, Sydney's and London''s avant-garde and literary scenes in the mid 20th century. His paintings, set designs and costumes embraced fantasy, colour and surrealism. (SET DESIGN BALLET LONDON GROSVENOR GALLERY MERIOOLA HARRY TATLOCK MILLER ROBERT HELPMAN HELENE KIRSOVA BALLETS RUSSES MICHAEL BENTHALL COSTUME SURREALISM SAINTHILL) ‘
Publishing details: UNSW Press, Australia, 2013
Herbert Harold 1 refview full entry
Reference: see Fantasy Modern: Loudon Sainthill's Theatre of Art and Life by Andrew Montana. [Many key names have been indexed,. But to be indexed fully]. [’Detailing the lives and times of Australian painter and theater artist Loudon Sainthill and his partner, the entrepreneur and gallery director Harry Tatlock Miller, this sumptuously illustrated biography contains much of Sainthill’s work along with never-before-published archival photographs. Infused with fantasy, color, and surrealism, Sainthill’s art embraced painting, murals, book illustration, textile design, and fashion. He is best known, however, for his costumes, design, and artwork for theater and ballet. This meticulously researched book paints a compelling picture of an internationally celebrated artist, shedding light at the same time on the realities of the Australian and British art and theater worlds in the mid 20th-century and the lives of gay men at the time’] [From Cross Art & Books website: ‘This book places Loudon Sainthill in the centre of Melbourne's, Sydney's and London''s avant-garde and literary scenes in the mid 20th century. His paintings, set designs and costumes embraced fantasy, colour and surrealism. (SET DESIGN BALLET LONDON GROSVENOR GALLERY MERIOOLA HARRY TATLOCK MILLER ROBERT HELPMAN HELENE KIRSOVA BALLETS RUSSES MICHAEL BENTHALL COSTUME SURREALISM SAINTHILL) ‘
Publishing details: UNSW Press, Australia, 2013
Hirschfeld-Mack Ludwig 2 refsview full entry
Reference: see Fantasy Modern: Loudon Sainthill's Theatre of Art and Life by Andrew Montana. [Many key names have been indexed,. But to be indexed fully]. [’Detailing the lives and times of Australian painter and theater artist Loudon Sainthill and his partner, the entrepreneur and gallery director Harry Tatlock Miller, this sumptuously illustrated biography contains much of Sainthill’s work along with never-before-published archival photographs. Infused with fantasy, color, and surrealism, Sainthill’s art embraced painting, murals, book illustration, textile design, and fashion. He is best known, however, for his costumes, design, and artwork for theater and ballet. This meticulously researched book paints a compelling picture of an internationally celebrated artist, shedding light at the same time on the realities of the Australian and British art and theater worlds in the mid 20th-century and the lives of gay men at the time’] [From Cross Art & Books website: ‘This book places Loudon Sainthill in the centre of Melbourne's, Sydney's and London''s avant-garde and literary scenes in the mid 20th century. His paintings, set designs and costumes embraced fantasy, colour and surrealism. (SET DESIGN BALLET LONDON GROSVENOR GALLERY MERIOOLA HARRY TATLOCK MILLER ROBERT HELPMAN HELENE KIRSOVA BALLETS RUSSES MICHAEL BENTHALL COSTUME SURREALISM SAINTHILL) ‘
Publishing details: UNSW Press, Australia, 2013
Jones Charles Lloyd numerous refsview full entry
Reference: see Fantasy Modern: Loudon Sainthill's Theatre of Art and Life by Andrew Montana. [Many key names have been indexed,. But to be indexed fully]. [’Detailing the lives and times of Australian painter and theater artist Loudon Sainthill and his partner, the entrepreneur and gallery director Harry Tatlock Miller, this sumptuously illustrated biography contains much of Sainthill’s work along with never-before-published archival photographs. Infused with fantasy, color, and surrealism, Sainthill’s art embraced painting, murals, book illustration, textile design, and fashion. He is best known, however, for his costumes, design, and artwork for theater and ballet. This meticulously researched book paints a compelling picture of an internationally celebrated artist, shedding light at the same time on the realities of the Australian and British art and theater worlds in the mid 20th-century and the lives of gay men at the time’] [From Cross Art & Books website: ‘This book places Loudon Sainthill in the centre of Melbourne's, Sydney's and London''s avant-garde and literary scenes in the mid 20th century. His paintings, set designs and costumes embraced fantasy, colour and surrealism. (SET DESIGN BALLET LONDON GROSVENOR GALLERY MERIOOLA HARRY TATLOCK MILLER ROBERT HELPMAN HELENE KIRSOVA BALLETS RUSSES MICHAEL BENTHALL COSTUME SURREALISM SAINTHILL) ‘
Publishing details: UNSW Press, Australia, 2013
Kaiser Peter 6 refsview full entry
Reference: see Fantasy Modern: Loudon Sainthill's Theatre of Art and Life by Andrew Montana. [Many key names have been indexed,. But to be indexed fully]. [’Detailing the lives and times of Australian painter and theater artist Loudon Sainthill and his partner, the entrepreneur and gallery director Harry Tatlock Miller, this sumptuously illustrated biography contains much of Sainthill’s work along with never-before-published archival photographs. Infused with fantasy, color, and surrealism, Sainthill’s art embraced painting, murals, book illustration, textile design, and fashion. He is best known, however, for his costumes, design, and artwork for theater and ballet. This meticulously researched book paints a compelling picture of an internationally celebrated artist, shedding light at the same time on the realities of the Australian and British art and theater worlds in the mid 20th-century and the lives of gay men at the time’] [From Cross Art & Books website: ‘This book places Loudon Sainthill in the centre of Melbourne's, Sydney's and London''s avant-garde and literary scenes in the mid 20th century. His paintings, set designs and costumes embraced fantasy, colour and surrealism. (SET DESIGN BALLET LONDON GROSVENOR GALLERY MERIOOLA HARRY TATLOCK MILLER ROBERT HELPMAN HELENE KIRSOVA BALLETS RUSSES MICHAEL BENTHALL COSTUME SURREALISM SAINTHILL) ‘
Publishing details: UNSW Press, Australia, 2013
Kemp Roger and Merle p217, 554view full entry
Reference: see Fantasy Modern: Loudon Sainthill's Theatre of Art and Life by Andrew Montana. [Many key names have been indexed,. But to be indexed fully]. [’Detailing the lives and times of Australian painter and theater artist Loudon Sainthill and his partner, the entrepreneur and gallery director Harry Tatlock Miller, this sumptuously illustrated biography contains much of Sainthill’s work along with never-before-published archival photographs. Infused with fantasy, color, and surrealism, Sainthill’s art embraced painting, murals, book illustration, textile design, and fashion. He is best known, however, for his costumes, design, and artwork for theater and ballet. This meticulously researched book paints a compelling picture of an internationally celebrated artist, shedding light at the same time on the realities of the Australian and British art and theater worlds in the mid 20th-century and the lives of gay men at the time’] [From Cross Art & Books website: ‘This book places Loudon Sainthill in the centre of Melbourne's, Sydney's and London''s avant-garde and literary scenes in the mid 20th century. His paintings, set designs and costumes embraced fantasy, colour and surrealism. (SET DESIGN BALLET LONDON GROSVENOR GALLERY MERIOOLA HARRY TATLOCK MILLER ROBERT HELPMAN HELENE KIRSOVA BALLETS RUSSES MICHAEL BENTHALL COSTUME SURREALISM SAINTHILL) ‘
Publishing details: UNSW Press, Australia, 2013
Lambert Constant p95, 125view full entry
Reference: see Fantasy Modern: Loudon Sainthill's Theatre of Art and Life by Andrew Montana. [Many key names have been indexed,. But to be indexed fully]. [’Detailing the lives and times of Australian painter and theater artist Loudon Sainthill and his partner, the entrepreneur and gallery director Harry Tatlock Miller, this sumptuously illustrated biography contains much of Sainthill’s work along with never-before-published archival photographs. Infused with fantasy, color, and surrealism, Sainthill’s art embraced painting, murals, book illustration, textile design, and fashion. He is best known, however, for his costumes, design, and artwork for theater and ballet. This meticulously researched book paints a compelling picture of an internationally celebrated artist, shedding light at the same time on the realities of the Australian and British art and theater worlds in the mid 20th-century and the lives of gay men at the time’] [From Cross Art & Books website: ‘This book places Loudon Sainthill in the centre of Melbourne's, Sydney's and London''s avant-garde and literary scenes in the mid 20th century. His paintings, set designs and costumes embraced fantasy, colour and surrealism. (SET DESIGN BALLET LONDON GROSVENOR GALLERY MERIOOLA HARRY TATLOCK MILLER ROBERT HELPMAN HELENE KIRSOVA BALLETS RUSSES MICHAEL BENTHALL COSTUME SURREALISM SAINTHILL) ‘
Publishing details: UNSW Press, Australia, 2013
Lambert Constant p95, 125view full entry
Reference: see Fantasy Modern: Loudon Sainthill's Theatre of Art and Life by Andrew Montana. [Many key names have been indexed,. But to be indexed fully]. [’Detailing the lives and times of Australian painter and theater artist Loudon Sainthill and his partner, the entrepreneur and gallery director Harry Tatlock Miller, this sumptuously illustrated biography contains much of Sainthill’s work along with never-before-published archival photographs. Infused with fantasy, color, and surrealism, Sainthill’s art embraced painting, murals, book illustration, textile design, and fashion. He is best known, however, for his costumes, design, and artwork for theater and ballet. This meticulously researched book paints a compelling picture of an internationally celebrated artist, shedding light at the same time on the realities of the Australian and British art and theater worlds in the mid 20th-century and the lives of gay men at the time’] [From Cross Art & Books website: ‘This book places Loudon Sainthill in the centre of Melbourne's, Sydney's and London''s avant-garde and literary scenes in the mid 20th century. His paintings, set designs and costumes embraced fantasy, colour and surrealism. (SET DESIGN BALLET LONDON GROSVENOR GALLERY MERIOOLA HARRY TATLOCK MILLER ROBERT HELPMAN HELENE KIRSOVA BALLETS RUSSES MICHAEL BENTHALL COSTUME SURREALISM SAINTHILL) ‘
Publishing details: UNSW Press, Australia, 2013
Leist Fred p106view full entry
Reference: see Fantasy Modern: Loudon Sainthill's Theatre of Art and Life by Andrew Montana. [Many key names have been indexed,. But to be indexed fully]. [’Detailing the lives and times of Australian painter and theater artist Loudon Sainthill and his partner, the entrepreneur and gallery director Harry Tatlock Miller, this sumptuously illustrated biography contains much of Sainthill’s work along with never-before-published archival photographs. Infused with fantasy, color, and surrealism, Sainthill’s art embraced painting, murals, book illustration, textile design, and fashion. He is best known, however, for his costumes, design, and artwork for theater and ballet. This meticulously researched book paints a compelling picture of an internationally celebrated artist, shedding light at the same time on the realities of the Australian and British art and theater worlds in the mid 20th-century and the lives of gay men at the time’] [From Cross Art & Books website: ‘This book places Loudon Sainthill in the centre of Melbourne's, Sydney's and London''s avant-garde and literary scenes in the mid 20th century. His paintings, set designs and costumes embraced fantasy, colour and surrealism. (SET DESIGN BALLET LONDON GROSVENOR GALLERY MERIOOLA HARRY TATLOCK MILLER ROBERT HELPMAN HELENE KIRSOVA BALLETS RUSSES MICHAEL BENTHALL COSTUME SURREALISM SAINTHILL) ‘
Publishing details: UNSW Press, Australia, 2013
Lewers Margo p151view full entry
Reference: see Fantasy Modern: Loudon Sainthill's Theatre of Art and Life by Andrew Montana. [Many key names have been indexed,. But to be indexed fully]. [’Detailing the lives and times of Australian painter and theater artist Loudon Sainthill and his partner, the entrepreneur and gallery director Harry Tatlock Miller, this sumptuously illustrated biography contains much of Sainthill’s work along with never-before-published archival photographs. Infused with fantasy, color, and surrealism, Sainthill’s art embraced painting, murals, book illustration, textile design, and fashion. He is best known, however, for his costumes, design, and artwork for theater and ballet. This meticulously researched book paints a compelling picture of an internationally celebrated artist, shedding light at the same time on the realities of the Australian and British art and theater worlds in the mid 20th-century and the lives of gay men at the time’] [From Cross Art & Books website: ‘This book places Loudon Sainthill in the centre of Melbourne's, Sydney's and London''s avant-garde and literary scenes in the mid 20th century. His paintings, set designs and costumes embraced fantasy, colour and surrealism. (SET DESIGN BALLET LONDON GROSVENOR GALLERY MERIOOLA HARRY TATLOCK MILLER ROBERT HELPMAN HELENE KIRSOVA BALLETS RUSSES MICHAEL BENTHALL COSTUME SURREALISM SAINTHILL) ‘
Publishing details: UNSW Press, Australia, 2013
Lindsay Daryl numerous refsview full entry
Reference: see Fantasy Modern: Loudon Sainthill's Theatre of Art and Life by Andrew Montana. [Many key names have been indexed,. But to be indexed fully]. [’Detailing the lives and times of Australian painter and theater artist Loudon Sainthill and his partner, the entrepreneur and gallery director Harry Tatlock Miller, this sumptuously illustrated biography contains much of Sainthill’s work along with never-before-published archival photographs. Infused with fantasy, color, and surrealism, Sainthill’s art embraced painting, murals, book illustration, textile design, and fashion. He is best known, however, for his costumes, design, and artwork for theater and ballet. This meticulously researched book paints a compelling picture of an internationally celebrated artist, shedding light at the same time on the realities of the Australian and British art and theater worlds in the mid 20th-century and the lives of gay men at the time’] [From Cross Art & Books website: ‘This book places Loudon Sainthill in the centre of Melbourne's, Sydney's and London''s avant-garde and literary scenes in the mid 20th century. His paintings, set designs and costumes embraced fantasy, colour and surrealism. (SET DESIGN BALLET LONDON GROSVENOR GALLERY MERIOOLA HARRY TATLOCK MILLER ROBERT HELPMAN HELENE KIRSOVA BALLETS RUSSES MICHAEL BENTHALL COSTUME SURREALISM SAINTHILL) ‘
Publishing details: UNSW Press, Australia, 2013
Lindsay Daryl numerous refsview full entry
Reference: see Fantasy Modern: Loudon Sainthill's Theatre of Art and Life by Andrew Montana. [Many key names have been indexed,. But to be indexed fully]. [’Detailing the lives and times of Australian painter and theater artist Loudon Sainthill and his partner, the entrepreneur and gallery director Harry Tatlock Miller, this sumptuously illustrated biography contains much of Sainthill’s work along with never-before-published archival photographs. Infused with fantasy, color, and surrealism, Sainthill’s art embraced painting, murals, book illustration, textile design, and fashion. He is best known, however, for his costumes, design, and artwork for theater and ballet. This meticulously researched book paints a compelling picture of an internationally celebrated artist, shedding light at the same time on the realities of the Australian and British art and theater worlds in the mid 20th-century and the lives of gay men at the time’] [From Cross Art & Books website: ‘This book places Loudon Sainthill in the centre of Melbourne's, Sydney's and London''s avant-garde and literary scenes in the mid 20th century. His paintings, set designs and costumes embraced fantasy, colour and surrealism. (SET DESIGN BALLET LONDON GROSVENOR GALLERY MERIOOLA HARRY TATLOCK MILLER ROBERT HELPMAN HELENE KIRSOVA BALLETS RUSSES MICHAEL BENTHALL COSTUME SURREALISM SAINTHILL) ‘
Publishing details: UNSW Press, Australia, 2013
Lowe Chica see Edgewoth Chica numerous refsview full entry
Reference: see Fantasy Modern: Loudon Sainthill's Theatre of Art and Life by Andrew Montana. [Many key names have been indexed,. But to be indexed fully]. [’Detailing the lives and times of Australian painter and theater artist Loudon Sainthill and his partner, the entrepreneur and gallery director Harry Tatlock Miller, this sumptuously illustrated biography contains much of Sainthill’s work along with never-before-published archival photographs. Infused with fantasy, color, and surrealism, Sainthill’s art embraced painting, murals, book illustration, textile design, and fashion. He is best known, however, for his costumes, design, and artwork for theater and ballet. This meticulously researched book paints a compelling picture of an internationally celebrated artist, shedding light at the same time on the realities of the Australian and British art and theater worlds in the mid 20th-century and the lives of gay men at the time’] [From Cross Art & Books website: ‘This book places Loudon Sainthill in the centre of Melbourne's, Sydney's and London''s avant-garde and literary scenes in the mid 20th century. His paintings, set designs and costumes embraced fantasy, colour and surrealism. (SET DESIGN BALLET LONDON GROSVENOR GALLERY MERIOOLA HARRY TATLOCK MILLER ROBERT HELPMAN HELENE KIRSOVA BALLETS RUSSES MICHAEL BENTHALL COSTUME SURREALISM SAINTHILL) ‘
Publishing details: UNSW Press, Australia, 2013
Lymburner Francis p199view full entry
Reference: see Fantasy Modern: Loudon Sainthill's Theatre of Art and Life by Andrew Montana. [Many key names have been indexed,. But to be indexed fully]. [’Detailing the lives and times of Australian painter and theater artist Loudon Sainthill and his partner, the entrepreneur and gallery director Harry Tatlock Miller, this sumptuously illustrated biography contains much of Sainthill’s work along with never-before-published archival photographs. Infused with fantasy, color, and surrealism, Sainthill’s art embraced painting, murals, book illustration, textile design, and fashion. He is best known, however, for his costumes, design, and artwork for theater and ballet. This meticulously researched book paints a compelling picture of an internationally celebrated artist, shedding light at the same time on the realities of the Australian and British art and theater worlds in the mid 20th-century and the lives of gay men at the time’] [From Cross Art & Books website: ‘This book places Loudon Sainthill in the centre of Melbourne's, Sydney's and London''s avant-garde and literary scenes in the mid 20th century. His paintings, set designs and costumes embraced fantasy, colour and surrealism. (SET DESIGN BALLET LONDON GROSVENOR GALLERY MERIOOLA HARRY TATLOCK MILLER ROBERT HELPMAN HELENE KIRSOVA BALLETS RUSSES MICHAEL BENTHALL COSTUME SURREALISM SAINTHILL) ‘
Publishing details: UNSW Press, Australia, 2013
McGeorge Norman 4 refsview full entry
Reference: see Fantasy Modern: Loudon Sainthill's Theatre of Art and Life by Andrew Montana. [Many key names have been indexed,. But to be indexed fully]. [’Detailing the lives and times of Australian painter and theater artist Loudon Sainthill and his partner, the entrepreneur and gallery director Harry Tatlock Miller, this sumptuously illustrated biography contains much of Sainthill’s work along with never-before-published archival photographs. Infused with fantasy, color, and surrealism, Sainthill’s art embraced painting, murals, book illustration, textile design, and fashion. He is best known, however, for his costumes, design, and artwork for theater and ballet. This meticulously researched book paints a compelling picture of an internationally celebrated artist, shedding light at the same time on the realities of the Australian and British art and theater worlds in the mid 20th-century and the lives of gay men at the time’] [From Cross Art & Books website: ‘This book places Loudon Sainthill in the centre of Melbourne's, Sydney's and London''s avant-garde and literary scenes in the mid 20th century. His paintings, set designs and costumes embraced fantasy, colour and surrealism. (SET DESIGN BALLET LONDON GROSVENOR GALLERY MERIOOLA HARRY TATLOCK MILLER ROBERT HELPMAN HELENE KIRSOVA BALLETS RUSSES MICHAEL BENTHALL COSTUME SURREALISM SAINTHILL) ‘
Publishing details: UNSW Press, Australia, 2013
Mahood Marguerite p16-17view full entry
Reference: see Fantasy Modern: Loudon Sainthill's Theatre of Art and Life by Andrew Montana. [Many key names have been indexed,. But to be indexed fully]. [’Detailing the lives and times of Australian painter and theater artist Loudon Sainthill and his partner, the entrepreneur and gallery director Harry Tatlock Miller, this sumptuously illustrated biography contains much of Sainthill’s work along with never-before-published archival photographs. Infused with fantasy, color, and surrealism, Sainthill’s art embraced painting, murals, book illustration, textile design, and fashion. He is best known, however, for his costumes, design, and artwork for theater and ballet. This meticulously researched book paints a compelling picture of an internationally celebrated artist, shedding light at the same time on the realities of the Australian and British art and theater worlds in the mid 20th-century and the lives of gay men at the time’] [From Cross Art & Books website: ‘This book places Loudon Sainthill in the centre of Melbourne's, Sydney's and London''s avant-garde and literary scenes in the mid 20th century. His paintings, set designs and costumes embraced fantasy, colour and surrealism. (SET DESIGN BALLET LONDON GROSVENOR GALLERY MERIOOLA HARRY TATLOCK MILLER ROBERT HELPMAN HELENE KIRSOVA BALLETS RUSSES MICHAEL BENTHALL COSTUME SURREALISM SAINTHILL) ‘
Publishing details: UNSW Press, Australia, 2013
Mann G V p195view full entry
Reference: see Fantasy Modern: Loudon Sainthill's Theatre of Art and Life by Andrew Montana. [Many key names have been indexed,. But to be indexed fully]. [’Detailing the lives and times of Australian painter and theater artist Loudon Sainthill and his partner, the entrepreneur and gallery director Harry Tatlock Miller, this sumptuously illustrated biography contains much of Sainthill’s work along with never-before-published archival photographs. Infused with fantasy, color, and surrealism, Sainthill’s art embraced painting, murals, book illustration, textile design, and fashion. He is best known, however, for his costumes, design, and artwork for theater and ballet. This meticulously researched book paints a compelling picture of an internationally celebrated artist, shedding light at the same time on the realities of the Australian and British art and theater worlds in the mid 20th-century and the lives of gay men at the time’] [From Cross Art & Books website: ‘This book places Loudon Sainthill in the centre of Melbourne's, Sydney's and London''s avant-garde and literary scenes in the mid 20th century. His paintings, set designs and costumes embraced fantasy, colour and surrealism. (SET DESIGN BALLET LONDON GROSVENOR GALLERY MERIOOLA HARRY TATLOCK MILLER ROBERT HELPMAN HELENE KIRSOVA BALLETS RUSSES MICHAEL BENTHALL COSTUME SURREALISM SAINTHILL) ‘
Publishing details: UNSW Press, Australia, 2013
McCubbin Louis p124-7view full entry
Reference: see Fantasy Modern: Loudon Sainthill's Theatre of Art and Life by Andrew Montana. [Many key names have been indexed,. But to be indexed fully]. [’Detailing the lives and times of Australian painter and theater artist Loudon Sainthill and his partner, the entrepreneur and gallery director Harry Tatlock Miller, this sumptuously illustrated biography contains much of Sainthill’s work along with never-before-published archival photographs. Infused with fantasy, color, and surrealism, Sainthill’s art embraced painting, murals, book illustration, textile design, and fashion. He is best known, however, for his costumes, design, and artwork for theater and ballet. This meticulously researched book paints a compelling picture of an internationally celebrated artist, shedding light at the same time on the realities of the Australian and British art and theater worlds in the mid 20th-century and the lives of gay men at the time’] [From Cross Art & Books website: ‘This book places Loudon Sainthill in the centre of Melbourne's, Sydney's and London''s avant-garde and literary scenes in the mid 20th century. His paintings, set designs and costumes embraced fantasy, colour and surrealism. (SET DESIGN BALLET LONDON GROSVENOR GALLERY MERIOOLA HARRY TATLOCK MILLER ROBERT HELPMAN HELENE KIRSOVA BALLETS RUSSES MICHAEL BENTHALL COSTUME SURREALISM SAINTHILL) ‘
Publishing details: UNSW Press, Australia, 2013
McEarcharn Neil 4 refsview full entry
Reference: see Fantasy Modern: Loudon Sainthill's Theatre of Art and Life by Andrew Montana. [Many key names have been indexed,. But to be indexed fully]. [’Detailing the lives and times of Australian painter and theater artist Loudon Sainthill and his partner, the entrepreneur and gallery director Harry Tatlock Miller, this sumptuously illustrated biography contains much of Sainthill’s work along with never-before-published archival photographs. Infused with fantasy, color, and surrealism, Sainthill’s art embraced painting, murals, book illustration, textile design, and fashion. He is best known, however, for his costumes, design, and artwork for theater and ballet. This meticulously researched book paints a compelling picture of an internationally celebrated artist, shedding light at the same time on the realities of the Australian and British art and theater worlds in the mid 20th-century and the lives of gay men at the time’] [From Cross Art & Books website: ‘This book places Loudon Sainthill in the centre of Melbourne's, Sydney's and London''s avant-garde and literary scenes in the mid 20th century. His paintings, set designs and costumes embraced fantasy, colour and surrealism. (SET DESIGN BALLET LONDON GROSVENOR GALLERY MERIOOLA HARRY TATLOCK MILLER ROBERT HELPMAN HELENE KIRSOVA BALLETS RUSSES MICHAEL BENTHALL COSTUME SURREALISM SAINTHILL) ‘
Publishing details: UNSW Press, Australia, 2013
Medworth Frank 2 refsview full entry
Reference: see Fantasy Modern: Loudon Sainthill's Theatre of Art and Life by Andrew Montana. [Many key names have been indexed,. But to be indexed fully]. [’Detailing the lives and times of Australian painter and theater artist Loudon Sainthill and his partner, the entrepreneur and gallery director Harry Tatlock Miller, this sumptuously illustrated biography contains much of Sainthill’s work along with never-before-published archival photographs. Infused with fantasy, color, and surrealism, Sainthill’s art embraced painting, murals, book illustration, textile design, and fashion. He is best known, however, for his costumes, design, and artwork for theater and ballet. This meticulously researched book paints a compelling picture of an internationally celebrated artist, shedding light at the same time on the realities of the Australian and British art and theater worlds in the mid 20th-century and the lives of gay men at the time’] [From Cross Art & Books website: ‘This book places Loudon Sainthill in the centre of Melbourne's, Sydney's and London''s avant-garde and literary scenes in the mid 20th century. His paintings, set designs and costumes embraced fantasy, colour and surrealism. (SET DESIGN BALLET LONDON GROSVENOR GALLERY MERIOOLA HARRY TATLOCK MILLER ROBERT HELPMAN HELENE KIRSOVA BALLETS RUSSES MICHAEL BENTHALL COSTUME SURREALISM SAINTHILL) ‘
Publishing details: UNSW Press, Australia, 2013
Miller Henry Tatlock extensive referencesview full entry
Reference: see Fantasy Modern: Loudon Sainthill's Theatre of Art and Life by Andrew Montana. [Many key names have been indexed,. But to be indexed fully]. [’Detailing the lives and times of Australian painter and theater artist Loudon Sainthill and his partner, the entrepreneur and gallery director Harry Tatlock Miller, this sumptuously illustrated biography contains much of Sainthill’s work along with never-before-published archival photographs. Infused with fantasy, color, and surrealism, Sainthill’s art embraced painting, murals, book illustration, textile design, and fashion. He is best known, however, for his costumes, design, and artwork for theater and ballet. This meticulously researched book paints a compelling picture of an internationally celebrated artist, shedding light at the same time on the realities of the Australian and British art and theater worlds in the mid 20th-century and the lives of gay men at the time’] [From Cross Art & Books website: ‘This book places Loudon Sainthill in the centre of Melbourne's, Sydney's and London''s avant-garde and literary scenes in the mid 20th century. His paintings, set designs and costumes embraced fantasy, colour and surrealism. (SET DESIGN BALLET LONDON GROSVENOR GALLERY MERIOOLA HARRY TATLOCK MILLER ROBERT HELPMAN HELENE KIRSOVA BALLETS RUSSES MICHAEL BENTHALL COSTUME SURREALISM SAINTHILL) ‘
Publishing details: UNSW Press, Australia, 2013
Miller Kathleen potter numerous referencesview full entry
Reference: see Fantasy Modern: Loudon Sainthill's Theatre of Art and Life by Andrew Montana. [Many key names have been indexed,. But to be indexed fully]. [’Detailing the lives and times of Australian painter and theater artist Loudon Sainthill and his partner, the entrepreneur and gallery director Harry Tatlock Miller, this sumptuously illustrated biography contains much of Sainthill’s work along with never-before-published archival photographs. Infused with fantasy, color, and surrealism, Sainthill’s art embraced painting, murals, book illustration, textile design, and fashion. He is best known, however, for his costumes, design, and artwork for theater and ballet. This meticulously researched book paints a compelling picture of an internationally celebrated artist, shedding light at the same time on the realities of the Australian and British art and theater worlds in the mid 20th-century and the lives of gay men at the time’] [From Cross Art & Books website: ‘This book places Loudon Sainthill in the centre of Melbourne's, Sydney's and London''s avant-garde and literary scenes in the mid 20th century. His paintings, set designs and costumes embraced fantasy, colour and surrealism. (SET DESIGN BALLET LONDON GROSVENOR GALLERY MERIOOLA HARRY TATLOCK MILLER ROBERT HELPMAN HELENE KIRSOVA BALLETS RUSSES MICHAEL BENTHALL COSTUME SURREALISM SAINTHILL) ‘
Publishing details: UNSW Press, Australia, 2013
Missingham Hal 7 referencesview full entry
Reference: see Fantasy Modern: Loudon Sainthill's Theatre of Art and Life by Andrew Montana. [Many key names have been indexed,. But to be indexed fully]. [’Detailing the lives and times of Australian painter and theater artist Loudon Sainthill and his partner, the entrepreneur and gallery director Harry Tatlock Miller, this sumptuously illustrated biography contains much of Sainthill’s work along with never-before-published archival photographs. Infused with fantasy, color, and surrealism, Sainthill’s art embraced painting, murals, book illustration, textile design, and fashion. He is best known, however, for his costumes, design, and artwork for theater and ballet. This meticulously researched book paints a compelling picture of an internationally celebrated artist, shedding light at the same time on the realities of the Australian and British art and theater worlds in the mid 20th-century and the lives of gay men at the time’] [From Cross Art & Books website: ‘This book places Loudon Sainthill in the centre of Melbourne's, Sydney's and London''s avant-garde and literary scenes in the mid 20th century. His paintings, set designs and costumes embraced fantasy, colour and surrealism. (SET DESIGN BALLET LONDON GROSVENOR GALLERY MERIOOLA HARRY TATLOCK MILLER ROBERT HELPMAN HELENE KIRSOVA BALLETS RUSSES MICHAEL BENTHALL COSTUME SURREALISM SAINTHILL) ‘
Publishing details: UNSW Press, Australia, 2013
Montgomery Anne p13, 46-7view full entry
Reference: see Fantasy Modern: Loudon Sainthill's Theatre of Art and Life by Andrew Montana. [Many key names have been indexed,. But to be indexed fully]. [’Detailing the lives and times of Australian painter and theater artist Loudon Sainthill and his partner, the entrepreneur and gallery director Harry Tatlock Miller, this sumptuously illustrated biography contains much of Sainthill’s work along with never-before-published archival photographs. Infused with fantasy, color, and surrealism, Sainthill’s art embraced painting, murals, book illustration, textile design, and fashion. He is best known, however, for his costumes, design, and artwork for theater and ballet. This meticulously researched book paints a compelling picture of an internationally celebrated artist, shedding light at the same time on the realities of the Australian and British art and theater worlds in the mid 20th-century and the lives of gay men at the time’] [From Cross Art & Books website: ‘This book places Loudon Sainthill in the centre of Melbourne's, Sydney's and London''s avant-garde and literary scenes in the mid 20th century. His paintings, set designs and costumes embraced fantasy, colour and surrealism. (SET DESIGN BALLET LONDON GROSVENOR GALLERY MERIOOLA HARRY TATLOCK MILLER ROBERT HELPMAN HELENE KIRSOVA BALLETS RUSSES MICHAEL BENTHALL COSTUME SURREALISM SAINTHILL) ‘
Publishing details: UNSW Press, Australia, 2013
Murray Alec numerous referencesview full entry
Reference: see Fantasy Modern: Loudon Sainthill's Theatre of Art and Life by Andrew Montana. [Many key names have been indexed,. But to be indexed fully]. [’Detailing the lives and times of Australian painter and theater artist Loudon Sainthill and his partner, the entrepreneur and gallery director Harry Tatlock Miller, this sumptuously illustrated biography contains much of Sainthill’s work along with never-before-published archival photographs. Infused with fantasy, color, and surrealism, Sainthill’s art embraced painting, murals, book illustration, textile design, and fashion. He is best known, however, for his costumes, design, and artwork for theater and ballet. This meticulously researched book paints a compelling picture of an internationally celebrated artist, shedding light at the same time on the realities of the Australian and British art and theater worlds in the mid 20th-century and the lives of gay men at the time’] [From Cross Art & Books website: ‘This book places Loudon Sainthill in the centre of Melbourne's, Sydney's and London''s avant-garde and literary scenes in the mid 20th century. His paintings, set designs and costumes embraced fantasy, colour and surrealism. (SET DESIGN BALLET LONDON GROSVENOR GALLERY MERIOOLA HARRY TATLOCK MILLER ROBERT HELPMAN HELENE KIRSOVA BALLETS RUSSES MICHAEL BENTHALL COSTUME SURREALISM SAINTHILL) ‘
Publishing details: UNSW Press, Australia, 2013
Namatjira Albert & Oscar p301view full entry
Reference: see Fantasy Modern: Loudon Sainthill's Theatre of Art and Life by Andrew Montana. [Many key names have been indexed,. But to be indexed fully]. [’Detailing the lives and times of Australian painter and theater artist Loudon Sainthill and his partner, the entrepreneur and gallery director Harry Tatlock Miller, this sumptuously illustrated biography contains much of Sainthill’s work along with never-before-published archival photographs. Infused with fantasy, color, and surrealism, Sainthill’s art embraced painting, murals, book illustration, textile design, and fashion. He is best known, however, for his costumes, design, and artwork for theater and ballet. This meticulously researched book paints a compelling picture of an internationally celebrated artist, shedding light at the same time on the realities of the Australian and British art and theater worlds in the mid 20th-century and the lives of gay men at the time’] [From Cross Art & Books website: ‘This book places Loudon Sainthill in the centre of Melbourne's, Sydney's and London''s avant-garde and literary scenes in the mid 20th century. His paintings, set designs and costumes embraced fantasy, colour and surrealism. (SET DESIGN BALLET LONDON GROSVENOR GALLERY MERIOOLA HARRY TATLOCK MILLER ROBERT HELPMAN HELENE KIRSOVA BALLETS RUSSES MICHAEL BENTHALL COSTUME SURREALISM SAINTHILL) ‘
Publishing details: UNSW Press, Australia, 2013
Nan Kivell Rex numerous refsview full entry
Reference: see Fantasy Modern: Loudon Sainthill's Theatre of Art and Life by Andrew Montana. [Many key names have been indexed,. But to be indexed fully]. [’Detailing the lives and times of Australian painter and theater artist Loudon Sainthill and his partner, the entrepreneur and gallery director Harry Tatlock Miller, this sumptuously illustrated biography contains much of Sainthill’s work along with never-before-published archival photographs. Infused with fantasy, color, and surrealism, Sainthill’s art embraced painting, murals, book illustration, textile design, and fashion. He is best known, however, for his costumes, design, and artwork for theater and ballet. This meticulously researched book paints a compelling picture of an internationally celebrated artist, shedding light at the same time on the realities of the Australian and British art and theater worlds in the mid 20th-century and the lives of gay men at the time’] [From Cross Art & Books website: ‘This book places Loudon Sainthill in the centre of Melbourne's, Sydney's and London''s avant-garde and literary scenes in the mid 20th century. His paintings, set designs and costumes embraced fantasy, colour and surrealism. (SET DESIGN BALLET LONDON GROSVENOR GALLERY MERIOOLA HARRY TATLOCK MILLER ROBERT HELPMAN HELENE KIRSOVA BALLETS RUSSES MICHAEL BENTHALL COSTUME SURREALISM SAINTHILL) ‘
Publishing details: UNSW Press, Australia, 2013
Nibbi Gino 2 refsview full entry
Reference: see Fantasy Modern: Loudon Sainthill's Theatre of Art and Life by Andrew Montana. [Many key names have been indexed,. But to be indexed fully]. [’Detailing the lives and times of Australian painter and theater artist Loudon Sainthill and his partner, the entrepreneur and gallery director Harry Tatlock Miller, this sumptuously illustrated biography contains much of Sainthill’s work along with never-before-published archival photographs. Infused with fantasy, color, and surrealism, Sainthill’s art embraced painting, murals, book illustration, textile design, and fashion. He is best known, however, for his costumes, design, and artwork for theater and ballet. This meticulously researched book paints a compelling picture of an internationally celebrated artist, shedding light at the same time on the realities of the Australian and British art and theater worlds in the mid 20th-century and the lives of gay men at the time’] [From Cross Art & Books website: ‘This book places Loudon Sainthill in the centre of Melbourne's, Sydney's and London''s avant-garde and literary scenes in the mid 20th century. His paintings, set designs and costumes embraced fantasy, colour and surrealism. (SET DESIGN BALLET LONDON GROSVENOR GALLERY MERIOOLA HARRY TATLOCK MILLER ROBERT HELPMAN HELENE KIRSOVA BALLETS RUSSES MICHAEL BENTHALL COSTUME SURREALISM SAINTHILL) ‘
Publishing details: UNSW Press, Australia, 2013
Nolan Sidney numerous refsview full entry
Reference: see Fantasy Modern: Loudon Sainthill's Theatre of Art and Life by Andrew Montana. [Many key names have been indexed,. But to be indexed fully]. [’Detailing the lives and times of Australian painter and theater artist Loudon Sainthill and his partner, the entrepreneur and gallery director Harry Tatlock Miller, this sumptuously illustrated biography contains much of Sainthill’s work along with never-before-published archival photographs. Infused with fantasy, color, and surrealism, Sainthill’s art embraced painting, murals, book illustration, textile design, and fashion. He is best known, however, for his costumes, design, and artwork for theater and ballet. This meticulously researched book paints a compelling picture of an internationally celebrated artist, shedding light at the same time on the realities of the Australian and British art and theater worlds in the mid 20th-century and the lives of gay men at the time’] [From Cross Art & Books website: ‘This book places Loudon Sainthill in the centre of Melbourne's, Sydney's and London''s avant-garde and literary scenes in the mid 20th century. His paintings, set designs and costumes embraced fantasy, colour and surrealism. (SET DESIGN BALLET LONDON GROSVENOR GALLERY MERIOOLA HARRY TATLOCK MILLER ROBERT HELPMAN HELENE KIRSOVA BALLETS RUSSES MICHAEL BENTHALL COSTUME SURREALISM SAINTHILL) ‘
Publishing details: UNSW Press, Australia, 2013
Notanda Gallery p150-1, 286view full entry
Reference: see Fantasy Modern: Loudon Sainthill's Theatre of Art and Life by Andrew Montana. [Many key names have been indexed,. But to be indexed fully]. [’Detailing the lives and times of Australian painter and theater artist Loudon Sainthill and his partner, the entrepreneur and gallery director Harry Tatlock Miller, this sumptuously illustrated biography contains much of Sainthill’s work along with never-before-published archival photographs. Infused with fantasy, color, and surrealism, Sainthill’s art embraced painting, murals, book illustration, textile design, and fashion. He is best known, however, for his costumes, design, and artwork for theater and ballet. This meticulously researched book paints a compelling picture of an internationally celebrated artist, shedding light at the same time on the realities of the Australian and British art and theater worlds in the mid 20th-century and the lives of gay men at the time’] [From Cross Art & Books website: ‘This book places Loudon Sainthill in the centre of Melbourne's, Sydney's and London''s avant-garde and literary scenes in the mid 20th century. His paintings, set designs and costumes embraced fantasy, colour and surrealism. (SET DESIGN BALLET LONDON GROSVENOR GALLERY MERIOOLA HARRY TATLOCK MILLER ROBERT HELPMAN HELENE KIRSOVA BALLETS RUSSES MICHAEL BENTHALL COSTUME SURREALISM SAINTHILL) ‘
Publishing details: UNSW Press, Australia, 2013
O’Brien Justin numerous refs view full entry
Reference: see Fantasy Modern: Loudon Sainthill's Theatre of Art and Life by Andrew Montana. [Many key names have been indexed,. But to be indexed fully]. [’Detailing the lives and times of Australian painter and theater artist Loudon Sainthill and his partner, the entrepreneur and gallery director Harry Tatlock Miller, this sumptuously illustrated biography contains much of Sainthill’s work along with never-before-published archival photographs. Infused with fantasy, color, and surrealism, Sainthill’s art embraced painting, murals, book illustration, textile design, and fashion. He is best known, however, for his costumes, design, and artwork for theater and ballet. This meticulously researched book paints a compelling picture of an internationally celebrated artist, shedding light at the same time on the realities of the Australian and British art and theater worlds in the mid 20th-century and the lives of gay men at the time’] [From Cross Art & Books website: ‘This book places Loudon Sainthill in the centre of Melbourne's, Sydney's and London''s avant-garde and literary scenes in the mid 20th century. His paintings, set designs and costumes embraced fantasy, colour and surrealism. (SET DESIGN BALLET LONDON GROSVENOR GALLERY MERIOOLA HARRY TATLOCK MILLER ROBERT HELPMAN HELENE KIRSOVA BALLETS RUSSES MICHAEL BENTHALL COSTUME SURREALISM SAINTHILL) ‘
Publishing details: UNSW Press, Australia, 2013
O’Connell Michael numerous refs view full entry
Reference: see Fantasy Modern: Loudon Sainthill's Theatre of Art and Life by Andrew Montana. [Many key names have been indexed,. But to be indexed fully]. [’Detailing the lives and times of Australian painter and theater artist Loudon Sainthill and his partner, the entrepreneur and gallery director Harry Tatlock Miller, this sumptuously illustrated biography contains much of Sainthill’s work along with never-before-published archival photographs. Infused with fantasy, color, and surrealism, Sainthill’s art embraced painting, murals, book illustration, textile design, and fashion. He is best known, however, for his costumes, design, and artwork for theater and ballet. This meticulously researched book paints a compelling picture of an internationally celebrated artist, shedding light at the same time on the realities of the Australian and British art and theater worlds in the mid 20th-century and the lives of gay men at the time’] [From Cross Art & Books website: ‘This book places Loudon Sainthill in the centre of Melbourne's, Sydney's and London''s avant-garde and literary scenes in the mid 20th century. His paintings, set designs and costumes embraced fantasy, colour and surrealism. (SET DESIGN BALLET LONDON GROSVENOR GALLERY MERIOOLA HARRY TATLOCK MILLER ROBERT HELPMAN HELENE KIRSOVA BALLETS RUSSES MICHAEL BENTHALL COSTUME SURREALISM SAINTHILL) ‘
Publishing details: UNSW Press, Australia, 2013
Olley Margaret 2 refsview full entry
Reference: see Fantasy Modern: Loudon Sainthill's Theatre of Art and Life by Andrew Montana. [Many key names have been indexed,. But to be indexed fully]. [’Detailing the lives and times of Australian painter and theater artist Loudon Sainthill and his partner, the entrepreneur and gallery director Harry Tatlock Miller, this sumptuously illustrated biography contains much of Sainthill’s work along with never-before-published archival photographs. Infused with fantasy, color, and surrealism, Sainthill’s art embraced painting, murals, book illustration, textile design, and fashion. He is best known, however, for his costumes, design, and artwork for theater and ballet. This meticulously researched book paints a compelling picture of an internationally celebrated artist, shedding light at the same time on the realities of the Australian and British art and theater worlds in the mid 20th-century and the lives of gay men at the time’] [From Cross Art & Books website: ‘This book places Loudon Sainthill in the centre of Melbourne's, Sydney's and London''s avant-garde and literary scenes in the mid 20th century. His paintings, set designs and costumes embraced fantasy, colour and surrealism. (SET DESIGN BALLET LONDON GROSVENOR GALLERY MERIOOLA HARRY TATLOCK MILLER ROBERT HELPMAN HELENE KIRSOVA BALLETS RUSSES MICHAEL BENTHALL COSTUME SURREALISM SAINTHILL) ‘
Publishing details: UNSW Press, Australia, 2013
Pate Klytie p39view full entry
Reference: see Fantasy Modern: Loudon Sainthill's Theatre of Art and Life by Andrew Montana. [Many key names have been indexed,. But to be indexed fully]. [’Detailing the lives and times of Australian painter and theater artist Loudon Sainthill and his partner, the entrepreneur and gallery director Harry Tatlock Miller, this sumptuously illustrated biography contains much of Sainthill’s work along with never-before-published archival photographs. Infused with fantasy, color, and surrealism, Sainthill’s art embraced painting, murals, book illustration, textile design, and fashion. He is best known, however, for his costumes, design, and artwork for theater and ballet. This meticulously researched book paints a compelling picture of an internationally celebrated artist, shedding light at the same time on the realities of the Australian and British art and theater worlds in the mid 20th-century and the lives of gay men at the time’] [From Cross Art & Books website: ‘This book places Loudon Sainthill in the centre of Melbourne's, Sydney's and London''s avant-garde and literary scenes in the mid 20th century. His paintings, set designs and costumes embraced fantasy, colour and surrealism. (SET DESIGN BALLET LONDON GROSVENOR GALLERY MERIOOLA HARRY TATLOCK MILLER ROBERT HELPMAN HELENE KIRSOVA BALLETS RUSSES MICHAEL BENTHALL COSTUME SURREALISM SAINTHILL) ‘
Publishing details: UNSW Press, Australia, 2013
Plate Carl p150-1, 286view full entry
Reference: see Fantasy Modern: Loudon Sainthill's Theatre of Art and Life by Andrew Montana. [Many key names have been indexed,. But to be indexed fully]. [’Detailing the lives and times of Australian painter and theater artist Loudon Sainthill and his partner, the entrepreneur and gallery director Harry Tatlock Miller, this sumptuously illustrated biography contains much of Sainthill’s work along with never-before-published archival photographs. Infused with fantasy, color, and surrealism, Sainthill’s art embraced painting, murals, book illustration, textile design, and fashion. He is best known, however, for his costumes, design, and artwork for theater and ballet. This meticulously researched book paints a compelling picture of an internationally celebrated artist, shedding light at the same time on the realities of the Australian and British art and theater worlds in the mid 20th-century and the lives of gay men at the time’] [From Cross Art & Books website: ‘This book places Loudon Sainthill in the centre of Melbourne's, Sydney's and London''s avant-garde and literary scenes in the mid 20th century. His paintings, set designs and costumes embraced fantasy, colour and surrealism. (SET DESIGN BALLET LONDON GROSVENOR GALLERY MERIOOLA HARRY TATLOCK MILLER ROBERT HELPMAN HELENE KIRSOVA BALLETS RUSSES MICHAEL BENTHALL COSTUME SURREALISM SAINTHILL) ‘
Publishing details: UNSW Press, Australia, 2013
Plate Jocelyn p150-1, 214-15view full entry
Reference: see Fantasy Modern: Loudon Sainthill's Theatre of Art and Life by Andrew Montana. [Many key names have been indexed,. But to be indexed fully]. [’Detailing the lives and times of Australian painter and theater artist Loudon Sainthill and his partner, the entrepreneur and gallery director Harry Tatlock Miller, this sumptuously illustrated biography contains much of Sainthill’s work along with never-before-published archival photographs. Infused with fantasy, color, and surrealism, Sainthill’s art embraced painting, murals, book illustration, textile design, and fashion. He is best known, however, for his costumes, design, and artwork for theater and ballet. This meticulously researched book paints a compelling picture of an internationally celebrated artist, shedding light at the same time on the realities of the Australian and British art and theater worlds in the mid 20th-century and the lives of gay men at the time’] [From Cross Art & Books website: ‘This book places Loudon Sainthill in the centre of Melbourne's, Sydney's and London''s avant-garde and literary scenes in the mid 20th century. His paintings, set designs and costumes embraced fantasy, colour and surrealism. (SET DESIGN BALLET LONDON GROSVENOR GALLERY MERIOOLA HARRY TATLOCK MILLER ROBERT HELPMAN HELENE KIRSOVA BALLETS RUSSES MICHAEL BENTHALL COSTUME SURREALISM SAINTHILL) ‘
Publishing details: UNSW Press, Australia, 2013
Preston Margaret 5 refsview full entry
Reference: see Fantasy Modern: Loudon Sainthill's Theatre of Art and Life by Andrew Montana. [Many key names have been indexed,. But to be indexed fully]. [’Detailing the lives and times of Australian painter and theater artist Loudon Sainthill and his partner, the entrepreneur and gallery director Harry Tatlock Miller, this sumptuously illustrated biography contains much of Sainthill’s work along with never-before-published archival photographs. Infused with fantasy, color, and surrealism, Sainthill’s art embraced painting, murals, book illustration, textile design, and fashion. He is best known, however, for his costumes, design, and artwork for theater and ballet. This meticulously researched book paints a compelling picture of an internationally celebrated artist, shedding light at the same time on the realities of the Australian and British art and theater worlds in the mid 20th-century and the lives of gay men at the time’] [From Cross Art & Books website: ‘This book places Loudon Sainthill in the centre of Melbourne's, Sydney's and London''s avant-garde and literary scenes in the mid 20th century. His paintings, set designs and costumes embraced fantasy, colour and surrealism. (SET DESIGN BALLET LONDON GROSVENOR GALLERY MERIOOLA HARRY TATLOCK MILLER ROBERT HELPMAN HELENE KIRSOVA BALLETS RUSSES MICHAEL BENTHALL COSTUME SURREALISM SAINTHILL) ‘
Publishing details: UNSW Press, Australia, 2013
Proctor Thea 2 refsview full entry
Reference: see Fantasy Modern: Loudon Sainthill's Theatre of Art and Life by Andrew Montana. [Many key names have been indexed,. But to be indexed fully]. [’Detailing the lives and times of Australian painter and theater artist Loudon Sainthill and his partner, the entrepreneur and gallery director Harry Tatlock Miller, this sumptuously illustrated biography contains much of Sainthill’s work along with never-before-published archival photographs. Infused with fantasy, color, and surrealism, Sainthill’s art embraced painting, murals, book illustration, textile design, and fashion. He is best known, however, for his costumes, design, and artwork for theater and ballet. This meticulously researched book paints a compelling picture of an internationally celebrated artist, shedding light at the same time on the realities of the Australian and British art and theater worlds in the mid 20th-century and the lives of gay men at the time’] [From Cross Art & Books website: ‘This book places Loudon Sainthill in the centre of Melbourne's, Sydney's and London''s avant-garde and literary scenes in the mid 20th century. His paintings, set designs and costumes embraced fantasy, colour and surrealism. (SET DESIGN BALLET LONDON GROSVENOR GALLERY MERIOOLA HARRY TATLOCK MILLER ROBERT HELPMAN HELENE KIRSOVA BALLETS RUSSES MICHAEL BENTHALL COSTUME SURREALISM SAINTHILL) ‘
Publishing details: UNSW Press, Australia, 2013
Redfern Gallery, London numerous refs view full entry
Reference: see Fantasy Modern: Loudon Sainthill's Theatre of Art and Life by Andrew Montana. [Many key names have been indexed,. But to be indexed fully]. [’Detailing the lives and times of Australian painter and theater artist Loudon Sainthill and his partner, the entrepreneur and gallery director Harry Tatlock Miller, this sumptuously illustrated biography contains much of Sainthill’s work along with never-before-published archival photographs. Infused with fantasy, color, and surrealism, Sainthill’s art embraced painting, murals, book illustration, textile design, and fashion. He is best known, however, for his costumes, design, and artwork for theater and ballet. This meticulously researched book paints a compelling picture of an internationally celebrated artist, shedding light at the same time on the realities of the Australian and British art and theater worlds in the mid 20th-century and the lives of gay men at the time’] [From Cross Art & Books website: ‘This book places Loudon Sainthill in the centre of Melbourne's, Sydney's and London''s avant-garde and literary scenes in the mid 20th century. His paintings, set designs and costumes embraced fantasy, colour and surrealism. (SET DESIGN BALLET LONDON GROSVENOR GALLERY MERIOOLA HARRY TATLOCK MILLER ROBERT HELPMAN HELENE KIRSOVA BALLETS RUSSES MICHAEL BENTHALL COSTUME SURREALISM SAINTHILL) ‘
Publishing details: UNSW Press, Australia, 2013
Reed Cynthia & John 3 refsview full entry
Reference: see Fantasy Modern: Loudon Sainthill's Theatre of Art and Life by Andrew Montana. [Many key names have been indexed,. But to be indexed fully]. [’Detailing the lives and times of Australian painter and theater artist Loudon Sainthill and his partner, the entrepreneur and gallery director Harry Tatlock Miller, this sumptuously illustrated biography contains much of Sainthill’s work along with never-before-published archival photographs. Infused with fantasy, color, and surrealism, Sainthill’s art embraced painting, murals, book illustration, textile design, and fashion. He is best known, however, for his costumes, design, and artwork for theater and ballet. This meticulously researched book paints a compelling picture of an internationally celebrated artist, shedding light at the same time on the realities of the Australian and British art and theater worlds in the mid 20th-century and the lives of gay men at the time’] [From Cross Art & Books website: ‘This book places Loudon Sainthill in the centre of Melbourne's, Sydney's and London''s avant-garde and literary scenes in the mid 20th century. His paintings, set designs and costumes embraced fantasy, colour and surrealism. (SET DESIGN BALLET LONDON GROSVENOR GALLERY MERIOOLA HARRY TATLOCK MILLER ROBERT HELPMAN HELENE KIRSOVA BALLETS RUSSES MICHAEL BENTHALL COSTUME SURREALISM SAINTHILL) ‘
Publishing details: UNSW Press, Australia, 2013
Rees Loyd 2 refsview full entry
Reference: see Fantasy Modern: Loudon Sainthill's Theatre of Art and Life by Andrew Montana. [Many key names have been indexed,. But to be indexed fully]. [’Detailing the lives and times of Australian painter and theater artist Loudon Sainthill and his partner, the entrepreneur and gallery director Harry Tatlock Miller, this sumptuously illustrated biography contains much of Sainthill’s work along with never-before-published archival photographs. Infused with fantasy, color, and surrealism, Sainthill’s art embraced painting, murals, book illustration, textile design, and fashion. He is best known, however, for his costumes, design, and artwork for theater and ballet. This meticulously researched book paints a compelling picture of an internationally celebrated artist, shedding light at the same time on the realities of the Australian and British art and theater worlds in the mid 20th-century and the lives of gay men at the time’] [From Cross Art & Books website: ‘This book places Loudon Sainthill in the centre of Melbourne's, Sydney's and London''s avant-garde and literary scenes in the mid 20th century. His paintings, set designs and costumes embraced fantasy, colour and surrealism. (SET DESIGN BALLET LONDON GROSVENOR GALLERY MERIOOLA HARRY TATLOCK MILLER ROBERT HELPMAN HELENE KIRSOVA BALLETS RUSSES MICHAEL BENTHALL COSTUME SURREALISM SAINTHILL) ‘
Publishing details: UNSW Press, Australia, 2013
Rickards Jocelyn numerous refsview full entry
Reference: see Fantasy Modern: Loudon Sainthill's Theatre of Art and Life by Andrew Montana. [Many key names have been indexed,. But to be indexed fully]. [’Detailing the lives and times of Australian painter and theater artist Loudon Sainthill and his partner, the entrepreneur and gallery director Harry Tatlock Miller, this sumptuously illustrated biography contains much of Sainthill’s work along with never-before-published archival photographs. Infused with fantasy, color, and surrealism, Sainthill’s art embraced painting, murals, book illustration, textile design, and fashion. He is best known, however, for his costumes, design, and artwork for theater and ballet. This meticulously researched book paints a compelling picture of an internationally celebrated artist, shedding light at the same time on the realities of the Australian and British art and theater worlds in the mid 20th-century and the lives of gay men at the time’] [From Cross Art & Books website: ‘This book places Loudon Sainthill in the centre of Melbourne's, Sydney's and London''s avant-garde and literary scenes in the mid 20th century. His paintings, set designs and costumes embraced fantasy, colour and surrealism. (SET DESIGN BALLET LONDON GROSVENOR GALLERY MERIOOLA HARRY TATLOCK MILLER ROBERT HELPMAN HELENE KIRSOVA BALLETS RUSSES MICHAEL BENTHALL COSTUME SURREALISM SAINTHILL) ‘
Publishing details: UNSW Press, Australia, 2013
Ritchard Edgar 8 refsview full entry
Reference: see Fantasy Modern: Loudon Sainthill's Theatre of Art and Life by Andrew Montana. [Many key names have been indexed,. But to be indexed fully]. [’Detailing the lives and times of Australian painter and theater artist Loudon Sainthill and his partner, the entrepreneur and gallery director Harry Tatlock Miller, this sumptuously illustrated biography contains much of Sainthill’s work along with never-before-published archival photographs. Infused with fantasy, color, and surrealism, Sainthill’s art embraced painting, murals, book illustration, textile design, and fashion. He is best known, however, for his costumes, design, and artwork for theater and ballet. This meticulously researched book paints a compelling picture of an internationally celebrated artist, shedding light at the same time on the realities of the Australian and British art and theater worlds in the mid 20th-century and the lives of gay men at the time’] [From Cross Art & Books website: ‘This book places Loudon Sainthill in the centre of Melbourne's, Sydney's and London''s avant-garde and literary scenes in the mid 20th century. His paintings, set designs and costumes embraced fantasy, colour and surrealism. (SET DESIGN BALLET LONDON GROSVENOR GALLERY MERIOOLA HARRY TATLOCK MILLER ROBERT HELPMAN HELENE KIRSOVA BALLETS RUSSES MICHAEL BENTHALL COSTUME SURREALISM SAINTHILL) ‘
Publishing details: UNSW Press, Australia, 2013
Roberts Hera 1 refview full entry
Reference: see Fantasy Modern: Loudon Sainthill's Theatre of Art and Life by Andrew Montana. [Many key names have been indexed,. But to be indexed fully]. [’Detailing the lives and times of Australian painter and theater artist Loudon Sainthill and his partner, the entrepreneur and gallery director Harry Tatlock Miller, this sumptuously illustrated biography contains much of Sainthill’s work along with never-before-published archival photographs. Infused with fantasy, color, and surrealism, Sainthill’s art embraced painting, murals, book illustration, textile design, and fashion. He is best known, however, for his costumes, design, and artwork for theater and ballet. This meticulously researched book paints a compelling picture of an internationally celebrated artist, shedding light at the same time on the realities of the Australian and British art and theater worlds in the mid 20th-century and the lives of gay men at the time’] [From Cross Art & Books website: ‘This book places Loudon Sainthill in the centre of Melbourne's, Sydney's and London''s avant-garde and literary scenes in the mid 20th century. His paintings, set designs and costumes embraced fantasy, colour and surrealism. (SET DESIGN BALLET LONDON GROSVENOR GALLERY MERIOOLA HARRY TATLOCK MILLER ROBERT HELPMAN HELENE KIRSOVA BALLETS RUSSES MICHAEL BENTHALL COSTUME SURREALISM SAINTHILL) ‘
Publishing details: UNSW Press, Australia, 2013
Robertson Bryan numerous refsview full entry
Reference: see Fantasy Modern: Loudon Sainthill's Theatre of Art and Life by Andrew Montana. [Many key names have been indexed,. But to be indexed fully]. [’Detailing the lives and times of Australian painter and theater artist Loudon Sainthill and his partner, the entrepreneur and gallery director Harry Tatlock Miller, this sumptuously illustrated biography contains much of Sainthill’s work along with never-before-published archival photographs. Infused with fantasy, color, and surrealism, Sainthill’s art embraced painting, murals, book illustration, textile design, and fashion. He is best known, however, for his costumes, design, and artwork for theater and ballet. This meticulously researched book paints a compelling picture of an internationally celebrated artist, shedding light at the same time on the realities of the Australian and British art and theater worlds in the mid 20th-century and the lives of gay men at the time’] [From Cross Art & Books website: ‘This book places Loudon Sainthill in the centre of Melbourne's, Sydney's and London''s avant-garde and literary scenes in the mid 20th century. His paintings, set designs and costumes embraced fantasy, colour and surrealism. (SET DESIGN BALLET LONDON GROSVENOR GALLERY MERIOOLA HARRY TATLOCK MILLER ROBERT HELPMAN HELENE KIRSOVA BALLETS RUSSES MICHAEL BENTHALL COSTUME SURREALISM SAINTHILL) ‘
Publishing details: UNSW Press, Australia, 2013
Rowell Kenneth numerous refsview full entry
Reference: see Fantasy Modern: Loudon Sainthill's Theatre of Art and Life by Andrew Montana. [Many key names have been indexed,. But to be indexed fully]. [’Detailing the lives and times of Australian painter and theater artist Loudon Sainthill and his partner, the entrepreneur and gallery director Harry Tatlock Miller, this sumptuously illustrated biography contains much of Sainthill’s work along with never-before-published archival photographs. Infused with fantasy, color, and surrealism, Sainthill’s art embraced painting, murals, book illustration, textile design, and fashion. He is best known, however, for his costumes, design, and artwork for theater and ballet. This meticulously researched book paints a compelling picture of an internationally celebrated artist, shedding light at the same time on the realities of the Australian and British art and theater worlds in the mid 20th-century and the lives of gay men at the time’] [From Cross Art & Books website: ‘This book places Loudon Sainthill in the centre of Melbourne's, Sydney's and London''s avant-garde and literary scenes in the mid 20th century. His paintings, set designs and costumes embraced fantasy, colour and surrealism. (SET DESIGN BALLET LONDON GROSVENOR GALLERY MERIOOLA HARRY TATLOCK MILLER ROBERT HELPMAN HELENE KIRSOVA BALLETS RUSSES MICHAEL BENTHALL COSTUME SURREALISM SAINTHILL) ‘
Publishing details: UNSW Press, Australia, 2013
Smith Treania 6 refsview full entry
Reference: see Fantasy Modern: Loudon Sainthill's Theatre of Art and Life by Andrew Montana. [Many key names have been indexed,. But to be indexed fully]. [’Detailing the lives and times of Australian painter and theater artist Loudon Sainthill and his partner, the entrepreneur and gallery director Harry Tatlock Miller, this sumptuously illustrated biography contains much of Sainthill’s work along with never-before-published archival photographs. Infused with fantasy, color, and surrealism, Sainthill’s art embraced painting, murals, book illustration, textile design, and fashion. He is best known, however, for his costumes, design, and artwork for theater and ballet. This meticulously researched book paints a compelling picture of an internationally celebrated artist, shedding light at the same time on the realities of the Australian and British art and theater worlds in the mid 20th-century and the lives of gay men at the time’] [From Cross Art & Books website: ‘This book places Loudon Sainthill in the centre of Melbourne's, Sydney's and London''s avant-garde and literary scenes in the mid 20th century. His paintings, set designs and costumes embraced fantasy, colour and surrealism. (SET DESIGN BALLET LONDON GROSVENOR GALLERY MERIOOLA HARRY TATLOCK MILLER ROBERT HELPMAN HELENE KIRSOVA BALLETS RUSSES MICHAEL BENTHALL COSTUME SURREALISM SAINTHILL) ‘
Publishing details: UNSW Press, Australia, 2013
Spowers Ethel 2 refsview full entry
Reference: see Fantasy Modern: Loudon Sainthill's Theatre of Art and Life by Andrew Montana. [Many key names have been indexed,. But to be indexed fully]. [’Detailing the lives and times of Australian painter and theater artist Loudon Sainthill and his partner, the entrepreneur and gallery director Harry Tatlock Miller, this sumptuously illustrated biography contains much of Sainthill’s work along with never-before-published archival photographs. Infused with fantasy, color, and surrealism, Sainthill’s art embraced painting, murals, book illustration, textile design, and fashion. He is best known, however, for his costumes, design, and artwork for theater and ballet. This meticulously researched book paints a compelling picture of an internationally celebrated artist, shedding light at the same time on the realities of the Australian and British art and theater worlds in the mid 20th-century and the lives of gay men at the time’] [From Cross Art & Books website: ‘This book places Loudon Sainthill in the centre of Melbourne's, Sydney's and London''s avant-garde and literary scenes in the mid 20th century. His paintings, set designs and costumes embraced fantasy, colour and surrealism. (SET DESIGN BALLET LONDON GROSVENOR GALLERY MERIOOLA HARRY TATLOCK MILLER ROBERT HELPMAN HELENE KIRSOVA BALLETS RUSSES MICHAEL BENTHALL COSTUME SURREALISM SAINTHILL) ‘
Publishing details: UNSW Press, Australia, 2013
Strasser Roland 6 refsview full entry
Reference: see Fantasy Modern: Loudon Sainthill's Theatre of Art and Life by Andrew Montana. [Many key names have been indexed,. But to be indexed fully]. [’Detailing the lives and times of Australian painter and theater artist Loudon Sainthill and his partner, the entrepreneur and gallery director Harry Tatlock Miller, this sumptuously illustrated biography contains much of Sainthill’s work along with never-before-published archival photographs. Infused with fantasy, color, and surrealism, Sainthill’s art embraced painting, murals, book illustration, textile design, and fashion. He is best known, however, for his costumes, design, and artwork for theater and ballet. This meticulously researched book paints a compelling picture of an internationally celebrated artist, shedding light at the same time on the realities of the Australian and British art and theater worlds in the mid 20th-century and the lives of gay men at the time’] [From Cross Art & Books website: ‘This book places Loudon Sainthill in the centre of Melbourne's, Sydney's and London''s avant-garde and literary scenes in the mid 20th century. His paintings, set designs and costumes embraced fantasy, colour and surrealism. (SET DESIGN BALLET LONDON GROSVENOR GALLERY MERIOOLA HARRY TATLOCK MILLER ROBERT HELPMAN HELENE KIRSOVA BALLETS RUSSES MICHAEL BENTHALL COSTUME SURREALISM SAINTHILL) ‘
Publishing details: UNSW Press, Australia, 2013
Strasser Roland 4 refsview full entry
Reference: see Fantasy Modern: Loudon Sainthill's Theatre of Art and Life by Andrew Montana. [Many key names have been indexed,. But to be indexed fully]. [’Detailing the lives and times of Australian painter and theater artist Loudon Sainthill and his partner, the entrepreneur and gallery director Harry Tatlock Miller, this sumptuously illustrated biography contains much of Sainthill’s work along with never-before-published archival photographs. Infused with fantasy, color, and surrealism, Sainthill’s art embraced painting, murals, book illustration, textile design, and fashion. He is best known, however, for his costumes, design, and artwork for theater and ballet. This meticulously researched book paints a compelling picture of an internationally celebrated artist, shedding light at the same time on the realities of the Australian and British art and theater worlds in the mid 20th-century and the lives of gay men at the time’] [From Cross Art & Books website: ‘This book places Loudon Sainthill in the centre of Melbourne's, Sydney's and London''s avant-garde and literary scenes in the mid 20th century. His paintings, set designs and costumes embraced fantasy, colour and surrealism. (SET DESIGN BALLET LONDON GROSVENOR GALLERY MERIOOLA HARRY TATLOCK MILLER ROBERT HELPMAN HELENE KIRSOVA BALLETS RUSSES MICHAEL BENTHALL COSTUME SURREALISM SAINTHILL) ‘
Publishing details: UNSW Press, Australia, 2013
Swanton Lucy 3 refsview full entry
Reference: see Fantasy Modern: Loudon Sainthill's Theatre of Art and Life by Andrew Montana. [Many key names have been indexed,. But to be indexed fully]. [’Detailing the lives and times of Australian painter and theater artist Loudon Sainthill and his partner, the entrepreneur and gallery director Harry Tatlock Miller, this sumptuously illustrated biography contains much of Sainthill’s work along with never-before-published archival photographs. Infused with fantasy, color, and surrealism, Sainthill’s art embraced painting, murals, book illustration, textile design, and fashion. He is best known, however, for his costumes, design, and artwork for theater and ballet. This meticulously researched book paints a compelling picture of an internationally celebrated artist, shedding light at the same time on the realities of the Australian and British art and theater worlds in the mid 20th-century and the lives of gay men at the time’] [From Cross Art & Books website: ‘This book places Loudon Sainthill in the centre of Melbourne's, Sydney's and London''s avant-garde and literary scenes in the mid 20th century. His paintings, set designs and costumes embraced fantasy, colour and surrealism. (SET DESIGN BALLET LONDON GROSVENOR GALLERY MERIOOLA HARRY TATLOCK MILLER ROBERT HELPMAN HELENE KIRSOVA BALLETS RUSSES MICHAEL BENTHALL COSTUME SURREALISM SAINTHILL) ‘
Publishing details: UNSW Press, Australia, 2013
Syme Elizabeth 1 refview full entry
Reference: see Fantasy Modern: Loudon Sainthill's Theatre of Art and Life by Andrew Montana. [Many key names have been indexed,. But to be indexed fully]. [’Detailing the lives and times of Australian painter and theater artist Loudon Sainthill and his partner, the entrepreneur and gallery director Harry Tatlock Miller, this sumptuously illustrated biography contains much of Sainthill’s work along with never-before-published archival photographs. Infused with fantasy, color, and surrealism, Sainthill’s art embraced painting, murals, book illustration, textile design, and fashion. He is best known, however, for his costumes, design, and artwork for theater and ballet. This meticulously researched book paints a compelling picture of an internationally celebrated artist, shedding light at the same time on the realities of the Australian and British art and theater worlds in the mid 20th-century and the lives of gay men at the time’] [From Cross Art & Books website: ‘This book places Loudon Sainthill in the centre of Melbourne's, Sydney's and London''s avant-garde and literary scenes in the mid 20th century. His paintings, set designs and costumes embraced fantasy, colour and surrealism. (SET DESIGN BALLET LONDON GROSVENOR GALLERY MERIOOLA HARRY TATLOCK MILLER ROBERT HELPMAN HELENE KIRSOVA BALLETS RUSSES MICHAEL BENTHALL COSTUME SURREALISM SAINTHILL) ‘
Publishing details: UNSW Press, Australia, 2013
Thake Eric 2 refsview full entry
Reference: see Fantasy Modern: Loudon Sainthill's Theatre of Art and Life by Andrew Montana. [Many key names have been indexed,. But to be indexed fully]. [’Detailing the lives and times of Australian painter and theater artist Loudon Sainthill and his partner, the entrepreneur and gallery director Harry Tatlock Miller, this sumptuously illustrated biography contains much of Sainthill’s work along with never-before-published archival photographs. Infused with fantasy, color, and surrealism, Sainthill’s art embraced painting, murals, book illustration, textile design, and fashion. He is best known, however, for his costumes, design, and artwork for theater and ballet. This meticulously researched book paints a compelling picture of an internationally celebrated artist, shedding light at the same time on the realities of the Australian and British art and theater worlds in the mid 20th-century and the lives of gay men at the time’] [From Cross Art & Books website: ‘This book places Loudon Sainthill in the centre of Melbourne's, Sydney's and London''s avant-garde and literary scenes in the mid 20th century. His paintings, set designs and costumes embraced fantasy, colour and surrealism. (SET DESIGN BALLET LONDON GROSVENOR GALLERY MERIOOLA HARRY TATLOCK MILLER ROBERT HELPMAN HELENE KIRSOVA BALLETS RUSSES MICHAEL BENTHALL COSTUME SURREALISM SAINTHILL) ‘
Publishing details: UNSW Press, Australia, 2013
Thornhill Dorothy 1 refview full entry
Reference: see Fantasy Modern: Loudon Sainthill's Theatre of Art and Life by Andrew Montana. [Many key names have been indexed,. But to be indexed fully]. [’Detailing the lives and times of Australian painter and theater artist Loudon Sainthill and his partner, the entrepreneur and gallery director Harry Tatlock Miller, this sumptuously illustrated biography contains much of Sainthill’s work along with never-before-published archival photographs. Infused with fantasy, color, and surrealism, Sainthill’s art embraced painting, murals, book illustration, textile design, and fashion. He is best known, however, for his costumes, design, and artwork for theater and ballet. This meticulously researched book paints a compelling picture of an internationally celebrated artist, shedding light at the same time on the realities of the Australian and British art and theater worlds in the mid 20th-century and the lives of gay men at the time’] [From Cross Art & Books website: ‘This book places Loudon Sainthill in the centre of Melbourne's, Sydney's and London''s avant-garde and literary scenes in the mid 20th century. His paintings, set designs and costumes embraced fantasy, colour and surrealism. (SET DESIGN BALLET LONDON GROSVENOR GALLERY MERIOOLA HARRY TATLOCK MILLER ROBERT HELPMAN HELENE KIRSOVA BALLETS RUSSES MICHAEL BENTHALL COSTUME SURREALISM SAINTHILL) ‘
Publishing details: UNSW Press, Australia, 2013
Thornton Wallaace 1 refview full entry
Reference: see Fantasy Modern: Loudon Sainthill's Theatre of Art and Life by Andrew Montana. [Many key names have been indexed,. But to be indexed fully]. [’Detailing the lives and times of Australian painter and theater artist Loudon Sainthill and his partner, the entrepreneur and gallery director Harry Tatlock Miller, this sumptuously illustrated biography contains much of Sainthill’s work along with never-before-published archival photographs. Infused with fantasy, color, and surrealism, Sainthill’s art embraced painting, murals, book illustration, textile design, and fashion. He is best known, however, for his costumes, design, and artwork for theater and ballet. This meticulously researched book paints a compelling picture of an internationally celebrated artist, shedding light at the same time on the realities of the Australian and British art and theater worlds in the mid 20th-century and the lives of gay men at the time’] [From Cross Art & Books website: ‘This book places Loudon Sainthill in the centre of Melbourne's, Sydney's and London''s avant-garde and literary scenes in the mid 20th century. His paintings, set designs and costumes embraced fantasy, colour and surrealism. (SET DESIGN BALLET LONDON GROSVENOR GALLERY MERIOOLA HARRY TATLOCK MILLER ROBERT HELPMAN HELENE KIRSOVA BALLETS RUSSES MICHAEL BENTHALL COSTUME SURREALISM SAINTHILL) ‘
Publishing details: UNSW Press, Australia, 2013
Travers Hilda 1 refview full entry
Reference: see Fantasy Modern: Loudon Sainthill's Theatre of Art and Life by Andrew Montana. [Many key names have been indexed,. But to be indexed fully]. [’Detailing the lives and times of Australian painter and theater artist Loudon Sainthill and his partner, the entrepreneur and gallery director Harry Tatlock Miller, this sumptuously illustrated biography contains much of Sainthill’s work along with never-before-published archival photographs. Infused with fantasy, color, and surrealism, Sainthill’s art embraced painting, murals, book illustration, textile design, and fashion. He is best known, however, for his costumes, design, and artwork for theater and ballet. This meticulously researched book paints a compelling picture of an internationally celebrated artist, shedding light at the same time on the realities of the Australian and British art and theater worlds in the mid 20th-century and the lives of gay men at the time’] [From Cross Art & Books website: ‘This book places Loudon Sainthill in the centre of Melbourne's, Sydney's and London''s avant-garde and literary scenes in the mid 20th century. His paintings, set designs and costumes embraced fantasy, colour and surrealism. (SET DESIGN BALLET LONDON GROSVENOR GALLERY MERIOOLA HARRY TATLOCK MILLER ROBERT HELPMAN HELENE KIRSOVA BALLETS RUSSES MICHAEL BENTHALL COSTUME SURREALISM SAINTHILL) ‘
Publishing details: UNSW Press, Australia, 2013
Tucker Albert 3 refsview full entry
Reference: see Fantasy Modern: Loudon Sainthill's Theatre of Art and Life by Andrew Montana. [Many key names have been indexed,. But to be indexed fully]. [’Detailing the lives and times of Australian painter and theater artist Loudon Sainthill and his partner, the entrepreneur and gallery director Harry Tatlock Miller, this sumptuously illustrated biography contains much of Sainthill’s work along with never-before-published archival photographs. Infused with fantasy, color, and surrealism, Sainthill’s art embraced painting, murals, book illustration, textile design, and fashion. He is best known, however, for his costumes, design, and artwork for theater and ballet. This meticulously researched book paints a compelling picture of an internationally celebrated artist, shedding light at the same time on the realities of the Australian and British art and theater worlds in the mid 20th-century and the lives of gay men at the time’] [From Cross Art & Books website: ‘This book places Loudon Sainthill in the centre of Melbourne's, Sydney's and London''s avant-garde and literary scenes in the mid 20th century. His paintings, set designs and costumes embraced fantasy, colour and surrealism. (SET DESIGN BALLET LONDON GROSVENOR GALLERY MERIOOLA HARRY TATLOCK MILLER ROBERT HELPMAN HELENE KIRSOVA BALLETS RUSSES MICHAEL BENTHALL COSTUME SURREALISM SAINTHILL) ‘
Publishing details: UNSW Press, Australia, 2013
Turnbull Clive 5 refsview full entry
Reference: see Fantasy Modern: Loudon Sainthill's Theatre of Art and Life by Andrew Montana. [Many key names have been indexed,. But to be indexed fully]. [’Detailing the lives and times of Australian painter and theater artist Loudon Sainthill and his partner, the entrepreneur and gallery director Harry Tatlock Miller, this sumptuously illustrated biography contains much of Sainthill’s work along with never-before-published archival photographs. Infused with fantasy, color, and surrealism, Sainthill’s art embraced painting, murals, book illustration, textile design, and fashion. He is best known, however, for his costumes, design, and artwork for theater and ballet. This meticulously researched book paints a compelling picture of an internationally celebrated artist, shedding light at the same time on the realities of the Australian and British art and theater worlds in the mid 20th-century and the lives of gay men at the time’] [From Cross Art & Books website: ‘This book places Loudon Sainthill in the centre of Melbourne's, Sydney's and London''s avant-garde and literary scenes in the mid 20th century. His paintings, set designs and costumes embraced fantasy, colour and surrealism. (SET DESIGN BALLET LONDON GROSVENOR GALLERY MERIOOLA HARRY TATLOCK MILLER ROBERT HELPMAN HELENE KIRSOVA BALLETS RUSSES MICHAEL BENTHALL COSTUME SURREALISM SAINTHILL) ‘
Publishing details: UNSW Press, Australia, 2013
Smith Sydney Ure numerous refsview full entry
Reference: see Fantasy Modern: Loudon Sainthill's Theatre of Art and Life by Andrew Montana. [Many key names have been indexed,. But to be indexed fully]. [’Detailing the lives and times of Australian painter and theater artist Loudon Sainthill and his partner, the entrepreneur and gallery director Harry Tatlock Miller, this sumptuously illustrated biography contains much of Sainthill’s work along with never-before-published archival photographs. Infused with fantasy, color, and surrealism, Sainthill’s art embraced painting, murals, book illustration, textile design, and fashion. He is best known, however, for his costumes, design, and artwork for theater and ballet. This meticulously researched book paints a compelling picture of an internationally celebrated artist, shedding light at the same time on the realities of the Australian and British art and theater worlds in the mid 20th-century and the lives of gay men at the time’] [From Cross Art & Books website: ‘This book places Loudon Sainthill in the centre of Melbourne's, Sydney's and London''s avant-garde and literary scenes in the mid 20th century. His paintings, set designs and costumes embraced fantasy, colour and surrealism. (SET DESIGN BALLET LONDON GROSVENOR GALLERY MERIOOLA HARRY TATLOCK MILLER ROBERT HELPMAN HELENE KIRSOVA BALLETS RUSSES MICHAEL BENTHALL COSTUME SURREALISM SAINTHILL) ‘
Publishing details: UNSW Press, Australia, 2013
Vassilieff Danila 1 ref view full entry
Reference: see Fantasy Modern: Loudon Sainthill's Theatre of Art and Life by Andrew Montana. [Many key names have been indexed,. But to be indexed fully]. [’Detailing the lives and times of Australian painter and theater artist Loudon Sainthill and his partner, the entrepreneur and gallery director Harry Tatlock Miller, this sumptuously illustrated biography contains much of Sainthill’s work along with never-before-published archival photographs. Infused with fantasy, color, and surrealism, Sainthill’s art embraced painting, murals, book illustration, textile design, and fashion. He is best known, however, for his costumes, design, and artwork for theater and ballet. This meticulously researched book paints a compelling picture of an internationally celebrated artist, shedding light at the same time on the realities of the Australian and British art and theater worlds in the mid 20th-century and the lives of gay men at the time’] [From Cross Art & Books website: ‘This book places Loudon Sainthill in the centre of Melbourne's, Sydney's and London''s avant-garde and literary scenes in the mid 20th century. His paintings, set designs and costumes embraced fantasy, colour and surrealism. (SET DESIGN BALLET LONDON GROSVENOR GALLERY MERIOOLA HARRY TATLOCK MILLER ROBERT HELPMAN HELENE KIRSOVA BALLETS RUSSES MICHAEL BENTHALL COSTUME SURREALISM SAINTHILL) ‘
Publishing details: UNSW Press, Australia, 2013
Waller Christian 3 refsview full entry
Reference: see Fantasy Modern: Loudon Sainthill's Theatre of Art and Life by Andrew Montana. [Many key names have been indexed,. But to be indexed fully]. [’Detailing the lives and times of Australian painter and theater artist Loudon Sainthill and his partner, the entrepreneur and gallery director Harry Tatlock Miller, this sumptuously illustrated biography contains much of Sainthill’s work along with never-before-published archival photographs. Infused with fantasy, color, and surrealism, Sainthill’s art embraced painting, murals, book illustration, textile design, and fashion. He is best known, however, for his costumes, design, and artwork for theater and ballet. This meticulously researched book paints a compelling picture of an internationally celebrated artist, shedding light at the same time on the realities of the Australian and British art and theater worlds in the mid 20th-century and the lives of gay men at the time’] [From Cross Art & Books website: ‘This book places Loudon Sainthill in the centre of Melbourne's, Sydney's and London''s avant-garde and literary scenes in the mid 20th century. His paintings, set designs and costumes embraced fantasy, colour and surrealism. (SET DESIGN BALLET LONDON GROSVENOR GALLERY MERIOOLA HARRY TATLOCK MILLER ROBERT HELPMAN HELENE KIRSOVA BALLETS RUSSES MICHAEL BENTHALL COSTUME SURREALISM SAINTHILL) ‘
Publishing details: UNSW Press, Australia, 2013
Williams Fred 1 refview full entry
Reference: see Fantasy Modern: Loudon Sainthill's Theatre of Art and Life by Andrew Montana. [Many key names have been indexed,. But to be indexed fully]. [’Detailing the lives and times of Australian painter and theater artist Loudon Sainthill and his partner, the entrepreneur and gallery director Harry Tatlock Miller, this sumptuously illustrated biography contains much of Sainthill’s work along with never-before-published archival photographs. Infused with fantasy, color, and surrealism, Sainthill’s art embraced painting, murals, book illustration, textile design, and fashion. He is best known, however, for his costumes, design, and artwork for theater and ballet. This meticulously researched book paints a compelling picture of an internationally celebrated artist, shedding light at the same time on the realities of the Australian and British art and theater worlds in the mid 20th-century and the lives of gay men at the time’] [From Cross Art & Books website: ‘This book places Loudon Sainthill in the centre of Melbourne's, Sydney's and London''s avant-garde and literary scenes in the mid 20th century. His paintings, set designs and costumes embraced fantasy, colour and surrealism. (SET DESIGN BALLET LONDON GROSVENOR GALLERY MERIOOLA HARRY TATLOCK MILLER ROBERT HELPMAN HELENE KIRSOVA BALLETS RUSSES MICHAEL BENTHALL COSTUME SURREALISM SAINTHILL) ‘
Publishing details: UNSW Press, Australia, 2013
Waller Mervyn Napier 5 refsview full entry
Reference: see Fantasy Modern: Loudon Sainthill's Theatre of Art and Life by Andrew Montana. [Many key names have been indexed,. But to be indexed fully]. [’Detailing the lives and times of Australian painter and theater artist Loudon Sainthill and his partner, the entrepreneur and gallery director Harry Tatlock Miller, this sumptuously illustrated biography contains much of Sainthill’s work along with never-before-published archival photographs. Infused with fantasy, color, and surrealism, Sainthill’s art embraced painting, murals, book illustration, textile design, and fashion. He is best known, however, for his costumes, design, and artwork for theater and ballet. This meticulously researched book paints a compelling picture of an internationally celebrated artist, shedding light at the same time on the realities of the Australian and British art and theater worlds in the mid 20th-century and the lives of gay men at the time’] [From Cross Art & Books website: ‘This book places Loudon Sainthill in the centre of Melbourne's, Sydney's and London''s avant-garde and literary scenes in the mid 20th century. His paintings, set designs and costumes embraced fantasy, colour and surrealism. (SET DESIGN BALLET LONDON GROSVENOR GALLERY MERIOOLA HARRY TATLOCK MILLER ROBERT HELPMAN HELENE KIRSOVA BALLETS RUSSES MICHAEL BENTHALL COSTUME SURREALISM SAINTHILL) ‘
Publishing details: UNSW Press, Australia, 2013
Weinholt Anne p261-3view full entry
Reference: see Fantasy Modern: Loudon Sainthill's Theatre of Art and Life by Andrew Montana. [Many key names have been indexed,. But to be indexed fully]. [’Detailing the lives and times of Australian painter and theater artist Loudon Sainthill and his partner, the entrepreneur and gallery director Harry Tatlock Miller, this sumptuously illustrated biography contains much of Sainthill’s work along with never-before-published archival photographs. Infused with fantasy, color, and surrealism, Sainthill’s art embraced painting, murals, book illustration, textile design, and fashion. He is best known, however, for his costumes, design, and artwork for theater and ballet. This meticulously researched book paints a compelling picture of an internationally celebrated artist, shedding light at the same time on the realities of the Australian and British art and theater worlds in the mid 20th-century and the lives of gay men at the time’] [From Cross Art & Books website: ‘This book places Loudon Sainthill in the centre of Melbourne's, Sydney's and London''s avant-garde and literary scenes in the mid 20th century. His paintings, set designs and costumes embraced fantasy, colour and surrealism. (SET DESIGN BALLET LONDON GROSVENOR GALLERY MERIOOLA HARRY TATLOCK MILLER ROBERT HELPMAN HELENE KIRSOVA BALLETS RUSSES MICHAEL BENTHALL COSTUME SURREALISM SAINTHILL) ‘
Publishing details: UNSW Press, Australia, 2013
Wilson Hardy 1 refview full entry
Reference: see Fantasy Modern: Loudon Sainthill's Theatre of Art and Life by Andrew Montana. [Many key names have been indexed,. But to be indexed fully]. [’Detailing the lives and times of Australian painter and theater artist Loudon Sainthill and his partner, the entrepreneur and gallery director Harry Tatlock Miller, this sumptuously illustrated biography contains much of Sainthill’s work along with never-before-published archival photographs. Infused with fantasy, color, and surrealism, Sainthill’s art embraced painting, murals, book illustration, textile design, and fashion. He is best known, however, for his costumes, design, and artwork for theater and ballet. This meticulously researched book paints a compelling picture of an internationally celebrated artist, shedding light at the same time on the realities of the Australian and British art and theater worlds in the mid 20th-century and the lives of gay men at the time’] [From Cross Art & Books website: ‘This book places Loudon Sainthill in the centre of Melbourne's, Sydney's and London''s avant-garde and literary scenes in the mid 20th century. His paintings, set designs and costumes embraced fantasy, colour and surrealism. (SET DESIGN BALLET LONDON GROSVENOR GALLERY MERIOOLA HARRY TATLOCK MILLER ROBERT HELPMAN HELENE KIRSOVA BALLETS RUSSES MICHAEL BENTHALL COSTUME SURREALISM SAINTHILL) ‘
Publishing details: UNSW Press, Australia, 2013
women artists in Australia p196-7view full entry
Reference: see Fantasy Modern: Loudon Sainthill's Theatre of Art and Life by Andrew Montana. [Many key names have been indexed,. But to be indexed fully]. [’Detailing the lives and times of Australian painter and theater artist Loudon Sainthill and his partner, the entrepreneur and gallery director Harry Tatlock Miller, this sumptuously illustrated biography contains much of Sainthill’s work along with never-before-published archival photographs. Infused with fantasy, color, and surrealism, Sainthill’s art embraced painting, murals, book illustration, textile design, and fashion. He is best known, however, for his costumes, design, and artwork for theater and ballet. This meticulously researched book paints a compelling picture of an internationally celebrated artist, shedding light at the same time on the realities of the Australian and British art and theater worlds in the mid 20th-century and the lives of gay men at the time’] [From Cross Art & Books website: ‘This book places Loudon Sainthill in the centre of Melbourne's, Sydney's and London''s avant-garde and literary scenes in the mid 20th century. His paintings, set designs and costumes embraced fantasy, colour and surrealism. (SET DESIGN BALLET LONDON GROSVENOR GALLERY MERIOOLA HARRY TATLOCK MILLER ROBERT HELPMAN HELENE KIRSOVA BALLETS RUSSES MICHAEL BENTHALL COSTUME SURREALISM SAINTHILL) ‘
Publishing details: UNSW Press, Australia, 2013
Wood Marjorie photographer numerous refsview full entry
Reference: see Fantasy Modern: Loudon Sainthill's Theatre of Art and Life by Andrew Montana. [Many key names have been indexed,. But to be indexed fully]. [’Detailing the lives and times of Australian painter and theater artist Loudon Sainthill and his partner, the entrepreneur and gallery director Harry Tatlock Miller, this sumptuously illustrated biography contains much of Sainthill’s work along with never-before-published archival photographs. Infused with fantasy, color, and surrealism, Sainthill’s art embraced painting, murals, book illustration, textile design, and fashion. He is best known, however, for his costumes, design, and artwork for theater and ballet. This meticulously researched book paints a compelling picture of an internationally celebrated artist, shedding light at the same time on the realities of the Australian and British art and theater worlds in the mid 20th-century and the lives of gay men at the time’] [From Cross Art & Books website: ‘This book places Loudon Sainthill in the centre of Melbourne's, Sydney's and London''s avant-garde and literary scenes in the mid 20th century. His paintings, set designs and costumes embraced fantasy, colour and surrealism. (SET DESIGN BALLET LONDON GROSVENOR GALLERY MERIOOLA HARRY TATLOCK MILLER ROBERT HELPMAN HELENE KIRSOVA BALLETS RUSSES MICHAEL BENTHALL COSTUME SURREALISM SAINTHILL) ‘
Publishing details: UNSW Press, Australia, 2013
Zander Allyne Clarice numerous refsview full entry
Reference: see Fantasy Modern: Loudon Sainthill's Theatre of Art and Life by Andrew Montana. [Many key names have been indexed,. But to be indexed fully]. [’Detailing the lives and times of Australian painter and theater artist Loudon Sainthill and his partner, the entrepreneur and gallery director Harry Tatlock Miller, this sumptuously illustrated biography contains much of Sainthill’s work along with never-before-published archival photographs. Infused with fantasy, color, and surrealism, Sainthill’s art embraced painting, murals, book illustration, textile design, and fashion. He is best known, however, for his costumes, design, and artwork for theater and ballet. This meticulously researched book paints a compelling picture of an internationally celebrated artist, shedding light at the same time on the realities of the Australian and British art and theater worlds in the mid 20th-century and the lives of gay men at the time’] [From Cross Art & Books website: ‘This book places Loudon Sainthill in the centre of Melbourne's, Sydney's and London''s avant-garde and literary scenes in the mid 20th century. His paintings, set designs and costumes embraced fantasy, colour and surrealism. (SET DESIGN BALLET LONDON GROSVENOR GALLERY MERIOOLA HARRY TATLOCK MILLER ROBERT HELPMAN HELENE KIRSOVA BALLETS RUSSES MICHAEL BENTHALL COSTUME SURREALISM SAINTHILL) ‘
Publishing details: UNSW Press, Australia, 2013
Zonkeisen Doris 2 refsview full entry
Reference: see Fantasy Modern: Loudon Sainthill's Theatre of Art and Life by Andrew Montana. [Many key names have been indexed,. But to be indexed fully]. [’Detailing the lives and times of Australian painter and theater artist Loudon Sainthill and his partner, the entrepreneur and gallery director Harry Tatlock Miller, this sumptuously illustrated biography contains much of Sainthill’s work along with never-before-published archival photographs. Infused with fantasy, color, and surrealism, Sainthill’s art embraced painting, murals, book illustration, textile design, and fashion. He is best known, however, for his costumes, design, and artwork for theater and ballet. This meticulously researched book paints a compelling picture of an internationally celebrated artist, shedding light at the same time on the realities of the Australian and British art and theater worlds in the mid 20th-century and the lives of gay men at the time’] [From Cross Art & Books website: ‘This book places Loudon Sainthill in the centre of Melbourne's, Sydney's and London''s avant-garde and literary scenes in the mid 20th century. His paintings, set designs and costumes embraced fantasy, colour and surrealism. (SET DESIGN BALLET LONDON GROSVENOR GALLERY MERIOOLA HARRY TATLOCK MILLER ROBERT HELPMAN HELENE KIRSOVA BALLETS RUSSES MICHAEL BENTHALL COSTUME SURREALISM SAINTHILL) ‘
Publishing details: UNSW Press, Australia, 2013
Zander Jocelyn Plate p150-1, 214-5view full entry
Reference: see Fantasy Modern: Loudon Sainthill's Theatre of Art and Life by Andrew Montana. [Many key names have been indexed,. But to be indexed fully]. [’Detailing the lives and times of Australian painter and theater artist Loudon Sainthill and his partner, the entrepreneur and gallery director Harry Tatlock Miller, this sumptuously illustrated biography contains much of Sainthill’s work along with never-before-published archival photographs. Infused with fantasy, color, and surrealism, Sainthill’s art embraced painting, murals, book illustration, textile design, and fashion. He is best known, however, for his costumes, design, and artwork for theater and ballet. This meticulously researched book paints a compelling picture of an internationally celebrated artist, shedding light at the same time on the realities of the Australian and British art and theater worlds in the mid 20th-century and the lives of gay men at the time’] [From Cross Art & Books website: ‘This book places Loudon Sainthill in the centre of Melbourne's, Sydney's and London''s avant-garde and literary scenes in the mid 20th century. His paintings, set designs and costumes embraced fantasy, colour and surrealism. (SET DESIGN BALLET LONDON GROSVENOR GALLERY MERIOOLA HARRY TATLOCK MILLER ROBERT HELPMAN HELENE KIRSOVA BALLETS RUSSES MICHAEL BENTHALL COSTUME SURREALISM SAINTHILL) ‘
Publishing details: UNSW Press, Australia, 2013
Leckie Alexanderview full entry
Reference: see Early 20th Century Decorative arts and Modern Design by Rago Arts and Auction Center June 15, 2014, 11:00 AM EST Lambertville, NJ, USA Lot 887: ALEXANDER LECKIE (1932 - 2010); Polychromed fiberglass wall-hanging sculpture, Australia, 1964; Signed and dated; 36" x 72" x 7"Estimated Price: $1,500 - $2,000

Wykes Henryview full entry
Reference: see Dickins Auctioneers Ltd. 14 June, 2014,
Paintings and Prints, Lot 6 – Henry Wykes (1874-1964) Australian Henry Wykes (1874-1964) Australian English Oil on canvas Portrait bust of an Auburn haired woman wearing a diaphanous dress Inscribed and dated '1901' verso 20x16" A noted photographer and artist. Much of early 20 th century Exeter was photographed by Henry Wykes. SEE ALSO Dickens Auctioneers, 17 June, 2019, lot 7: Henry Wykes, Oil on canvas, Portrait of a young red haired lady, Inscribed verso ' Henry Wykes 1901....' 20 x 16" Henry Wykes - photographer. Much of 20th century Exeter would not have been photographed, but for Henry Wykes. Born in Australia in 1874, Wykes was a talented artist. He travelled to Europe as a young man and spent some time in Antwerp, copying old masters and learning his trade
Reid Stuartview full entry
Reference: see Brightwells
English & Continental Paintings auction 18 June, 2014.

Lot 180 – "STUART REID (Australian) 18 June, 2014 - "STUART REID (Australian) (1883-1971) An FB5 attacking an Aviatik German observation aircraft, World War One, signed ‘Stuart Reid’ (lower left), oil on canvas 16 x 20in (40.6 x 50.8cm). The subject is believed to depict 2nd Lieutenant Gilbert Stuart Insall, V.C., M.C., (No II Squadron RFC) on the occasion of him winning the Victoria Cross, on 7th November 1915 near Achiet, France. Provenance: Formerly in the collection of the Insall family. Thence to the current vendor. On 2nd November 1915 Insall had taken off from Villers Bretonneux aerodrome, flying with his observer. They attacked an Aviatak near Achiet le Grand, and forced it to crash land near Arras. Ignoring ground fire including shots from the enemy aircrew, at whom they returned fire (sending them fleeing from their aeroplane), Insall descended to drop a small incendiary bomb which set the Aviatik on fire. On their way home they also strafed the German trenches, but return fire holed their petrol tank. Insall was forced to land near a wood 500 yards inside the allied lines, where they were subjected to well directed enemy artillery shells. Working through the night by torchlight, Insall and his observer managed to repair their machine under fire. At dawn they somehow took off and managed to return safely to their home airbase. "
Estimate:
£300 - £500
Jensen Johnview full entry
Reference: see Roseberys Auction:
Quarterly Fine Art Auction Day One: Fine European Ceramics, Jewellery, Coins & Silver, Pictures & Modern Sculpture, Antique Picture Frames, Fashion & Textiles featuring “The Suzy Menkes Collection”
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Lot 410 – John Jensen, Australian/British - John Jensen, Australian/British b.1930- "The Man Who Eschewed Credit Cards"; pen and black ink with body colour, signed and inscribed 'with a nod to H M Bateman', 32 x43.5cm: John Jensen, Australian/British b.1930- "The Broker Who Said That Money Isn't Everything"; black ink with watercolour and body colour, signed, and dated '87, 22 x37cm: Rick Brookes, British b.1948- "The man who said 'What's a Euro'"; pen and black ink with blue wash, signed, 28 x36.5cm, (3), (may be subject to Droit de Suite)
Fitzgerald Paul Desmondview full entry
Reference: see Roseberys Auction 24 June 2014.
Quarterly Fine Art Auction Day One: Fine European Ceramics, Jewellery, Coins & Silver, Pictures & Modern Sculpture, Antique Picture Frames, Fashion & Textiles featuring “The Suzy Menkes Collection”
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Lot 500 – Paul Desmond Fitzgerald, Paul Desmond Fitzgerald, Australian b.1922- Portrait of Michael Donnellan; oil on canvas, signed and dated 1952, 61x50.5cm Note: Michael Donnellan, known in the fashion world as Michael of Carlos Place, was a master of British couture and founded the Incorporated Society of London Fashion Designers with Norman Hartnell, Hardy Amies and Digby Morton. Paul Desmond Fitzgerald lived and painted overseas from 1949 to 1957 and visited and worked overseas on commissioned portraits twice each year since 1958 including America, England, Scotland, Ireland, Jersey, France, Italy, Germany, Spain, Malaysia, Singapore, Hong Kong, Hawaii and Bermuda. In England he undertook various Royal commissions including Queen Elizabeth II 1963 and her Official Royal Jubilee Portrait 1978, HRH Prince Philip 1974 and 1975, HRH Prince Charles. In Italy he painted Pope John XXIII.
Estimate:
£500 - £700
Russell Ronview full entry
Reference: see Roseberys Auction 24 June 2014.
Quarterly Fine Art Auction Day One: Fine European Ceramics, Jewellery, Coins & Silver, Pictures & Modern Sculpture, Antique Picture Frames, Fashion & Textiles featuring “The Suzy Menkes Collection”
Back to searchRon Russell, Australian 1923-1994- Untitled abstract composition; oil on canvas, signed and dated 64, bears inscription on the reverse, 51x76cm., (unframed) Estimate:
£150 - £200
Chrystal Alisonview full entry
Reference: see Raffan, Kelleher & Thomas Auction 24 June 2014 for various works. Private collection of paintings included works by Hanke, Murch, Kilgour. Chrystral’s works in the collection included:

Lot 207
ALISON CHRYSTAL 'CHILDREN IN THE PARK'. Oil on board. 75 x 50cm.
Estimate $100-150
Details
Lot 208
ALISON CHRYSTAL 'FIDDLERS FOUR'. Oil on canvas. 106 x 80cm.
Estimate $200-400
Details
Lot 209
ALISON CHRYSTAL 'TÊTE A TÊTE - RIVE GAUCHE'. Oil on canvas. 90 x 58cm.
Estimate $200-400
Details
Lot 210
ALISON CHRYSTAL 'PORTRAIT OF ARTHUR MURCH'. Oil on board. 108 x 80cm.
Estimate $200-250
Connor Kevinview full entry
Reference: see Artist Profile magazine no. 24, essay by Steve Copes
Publishing details: 2013
Campbell Cressidaview full entry
Reference: see Artist Profile magazine no. 24, essay by Bridget Macleod
Publishing details: 2013
Paauwe Deborahview full entry
Reference: see Artist Profile magazine no. 24, essay by Paul Flynn
Publishing details: 2013
McKenzie Alexanderview full entry
Reference: see Artist Profile magazine no. 24, essay by Owen Craven
Publishing details: 2013
Madeleine Annaview full entry
Reference: see Artist Profile magazine no. 24
Publishing details: 2013
Rodda Markview full entry
Reference: see Artist Profile magazine no. 24
Publishing details: 2013
Long Maiview full entry
Reference: see Artist Profile magazine no. 24
Publishing details: 2013
Clinch Robertview full entry
Reference: see Artist Profile magazine no. 24
Publishing details: 2013
Samu Gregview full entry
Reference: see Artist Profile magazine no. 24
Publishing details: 2013
Grant Jillianview full entry
Reference: see Artist Profile magazine no. 24
Publishing details: 2013
Hill Sandraview full entry
Reference: see Artist Profile magazine no. 24
Publishing details: 2013
Armstrong Bruceview full entry
Reference: see Artist Profile magazine no. 24
Publishing details: 2013
Wolfhagen Philipview full entry
Reference: see Artist Profile magazine no. 24
Publishing details: 2013
Williams Justinview full entry
Reference: see Artist Profile magazine no. 24
Publishing details: 2013
Shen Jiaweiview full entry
Reference: see Artist Profile magazine no. 23 article by Paul Flynn
Publishing details: 2013
Gill Simrynview full entry
Reference: see Artist Profile magazine no. 23 article by Anne Sanders
Publishing details: 2013
Polo Tomview full entry
Reference: see Artist Profile magazine no. 23, article by Glenn Barkley
Publishing details: 2013
Goth-Snape Agathaview full entry
Reference: see Artist Profile magazine no. 23, article by Susan Gibb
Publishing details: 2013
Ford Juanview full entry
Reference: see Artist Profile magazine no. 23, article by Ashley Crawford
Publishing details: 2013
Hanks Rewview full entry
Reference: see Artist Profile magazine no. 23, article by Bridget Macleod
Publishing details: 2013
Ganambarr Gunybiview full entry
Reference: see Artist Profile magazine no. 23, article by Will Stubbs
Publishing details: 2013
Dumas Marleneview full entry
Reference: see Artist Profile magazine no. 23, article by Sarah Vandepeer
Publishing details: 2013
Alexander Gilesview full entry
Reference: see Artist Profile magazine no. 23, article by Owen Craven
Publishing details: 2013
Stokes Sallyview full entry
Reference: see Artist Profile magazine no. 23,
Publishing details: 2013
Dooney Hazelview full entry
Reference: see Artist Profile magazine no. 23,
Publishing details: 2013
Dailey Peterview full entry
Reference: see Artist Profile magazine no. 23,
Publishing details: 2013
Bottaro Eolo Paulview full entry
Reference: see Artist Profile magazine no. 23,
Publishing details: 2013
Brown Lyndellview full entry
Reference: see Artist Profile magazine no. 23,
Publishing details: 2013
Green Charlesview full entry
Reference: see Artist Profile magazine no. 23,
Publishing details: 2013
Barrios Carlosview full entry
Reference: see Artist Profile magazine no. 23,
Publishing details: 2013
Baldwin Helen (working 1940s -1980s)view full entry
Reference: numerous paintings of Aboriginal people were offered by Lawsons auction 5-6 July, 2014. Her style is similar to J N Kilgour’s paintings of Aborigines. Examples:

Helen Baldwin (working 1940s - 1980s) - Mulla Mulla, Umpangara, Northern Territory watercolour

Estimate: $300 - $500

Lot 48 - Helen Baldwin (working 1940s - 1980s) - Untitled (Morning Tea, Papunya) watercolour

Helen Baldwin (working 1940s - 1980s) - Untitled (Morning Tea, Papunya) watercolour

Estimate: $500 - $700
Lot 49 - Helen Baldwin (working 1940s - 1980s) - Beswick Lagoon watercolour

Helen Baldwin (working 1940s - 1980s) - Beswick Lagoon watercolour

Estimate: $400 - $600
Lot 50 - Helen Baldwin (working 1940s - 1980s) - Untitled (Young Aboriginal Girl) watercolour

Helen Baldwin (working 1940s - 1980s) - Untitled (Young Aboriginal Girl) watercolour

Estimate: $500 - $700

Helen Baldwin (working 1940s - 1980s) - Jimmy Kalaminda & Toby, Northern Territory 1973 watercolour

Estimate: $400 - $600

Lot 202 - Helen Baldwin (working 1940s - 1980s) - The Young Mother watercolour
Lot 202

Helen Baldwin (working 1940s - 1980s) - The Young Mother watercolour

Estimate: $200 - $400

Lot 203 - Helen Baldwin (working 1940s - 1980s) - Papunya 1973 watercolour
Helen Baldwin (working 1940s - 1980s) - Papunya 1973 watercolour
Estimate: $400 - $600

Lot 204 - Helen Baldwin (working 1940s - 1980s) - The Station Cantee watercolour

Helen Baldwin (working 1940s - 1980s) - The Station Cantee watercolour

Estimate: $400 - $600

Lot 367

Helen Baldwin (working 1940s - 1980s) - The Husband watercolour

Estimate: $200 - $400

Lot 368 - Helen Baldwin (working 1940s - 1980s) - Untitled (Aboriginal Mother and Child) watercolour
Lot 368

Helen Baldwin (working 1940s - 1980s) - Untitled (Aboriginal Mother and Child) watercolour

Estimate: $300 - $500

Email Lot Bid Now Lot Detail
Sale 8000 - Lot 369 - Helen Baldwin (working 1940s - 1980s) - Untitled (Aboriginal Mother and Child) 1968 watercolour on paper
Lot 369

Helen Baldwin (working 1940s - 1980s) - Untitled (Aboriginal Mother and Child) 1968 watercolour on paper

Estimate: $300 - $500

Lot 370 - Helen Baldwin (working 1940s - 1980s) - Untitled (Aboriginal Woman and Children) watercolour

Helen Baldwin (working 1940s - 1980s) - Untitled (Aboriginal Woman and Children) watercolour

Estimate: $400 - $600

And 6 others

She was apparently 101 in 2014



Boyd Martin A’Beckett 1893-1972view full entry
Reference: Novelist Martin Boyd was the uncle of Arthur Boyd and author of ‘Brangane (1926), ‘The Montforts’ (1928) ‘Lucinda Brayford’ (1946) and ‘A Difficult Young Man’ (1955). He also painted - see Mossgreen Auctions 24 June, 2014, lot 65 Group of Three Figurative Works (featuring boys and donkeys) 1961, Estimates
Min. $2,000
Max. $4,000, lot 66 Group of Three Works (two figurative and one landscape) circa 1962
Sale start: 8d 7h 42m 43s
Estimates
Min. $2,000
Max. $4,000
all illustrated in catalogue.

Halpern Deborahview full entry
Reference: Deborah Halpern - Ghost Worms & Glass Hearts, Mossgreen Gallery catalogue
Publishing details: Mossgreen Gallery, 2014, 6pp folding card, 10 illustrations in colour
Ref: 221
Outhwaite Ida Rentoulview full entry
Reference: OUTHWAITE, Ida Rentoul. A BUNCH OF WILD FLOWERS. A collection of poems about fairies and folklore. Written and illustrated by the author.
Publishing details: Angus & Robertson. 1934. Or.dec.bds. 49pp. b/w ills. Col.plates.
Ref: 1000
Mann G V Fview full entry
Reference: MANN, G.V.F. MUNICIPALITY OF NORTH SYDNEY. History and progress from the earliest settlement, 1788-1938.
Publishing details: North Sydney Council. 1938. Roy.8vo. Or.cl. 123pp. b/w ills.
Ref: 1000
Australian coinsview full entry
Reference: MIRA, Dr.W.J.D. COINAGE AND CURRENCY IN NEW SOUTH WALES, 1788-1829 AND AN INDEX OF CURRENCY REFERENCES IN THE SYDNEY GAZETTE, 1803-1811.
Publishing details: Syd. Metropolitan Coin Club. 1981. Or.bds. Dustjacket. 206pp. b/w ills.
Ref: 1000
Australian currencyview full entry
Reference: see Australian coins - MIRA, Dr.W.J.D. COINAGE AND CURRENCY IN NEW SOUTH WALES, 1788-1829 AND AN INDEX OF CURRENCY REFERENCES IN THE SYDNEY GAZETTE, 1803-1811.
Publishing details: Syd. Metropolitan Coin Club. 1981. Or.bds. Dustjacket. 206pp. b/w ills.
Australian banknotesview full entry
Reference: see Australian coins - MIRA, Dr.W.J.D. COINAGE AND CURRENCY IN NEW SOUTH WALES, 1788-1829 AND AN INDEX OF CURRENCY REFERENCES IN THE SYDNEY GAZETTE, 1803-1811.
Publishing details: Syd. Metropolitan Coin Club. 1981. Or.bds. Dustjacket. 206pp. b/w ills.
Milgate Rodneyview full entry
Reference: MILGATE, Rodney. A REFINED LOOK AT EXISTENCE. A Methuen Playscript. . A play written by the Australian artist, poet and actor. It was first performed in Sydney in 1966.
Publishing details: Methuen & Co Ltd. 1968. Ill.wrapps. 94pp.
Ref: 1000
Milgate Rodneyview full entry
Reference: MILGATE, Rod. INCIDENT AT NOLAVA BEACH.
Publishing details: The Nagual. Syd. College of Fine Arts. 1993. Col.Ill.wrapps. 260pp. Col.ills. in limited edition of 50. I
Ref: 1000
Aboriginal Art and Spiritualityview full entry
Reference: Aboriginal Art and Spirituality by Rosemary Crumlin. Curated by Rosemary Crumlin and Anthony Knight. ‘Explores the impacts and meanngs of Aboriginal spirituality expressed through their art’

Publishing details: HarperCollins Religious, Victoria, 1991, hc, dw, 151 pages. Numerous colour photographs (most full page).
Ref: 1000
Colonial Artists and their Booksview full entry
Reference: Colonial Artists and their Books, article by Tim McCormick in Antiques & Art in New South Wales. Short essays on J W Lewin, James Wallis, William Fernyhough, J S Prout, S T Gill, and von Guerard. One illustration for each eassay. The focus is on the books, art foloios and prints produced in Colonial times.
Publishing details: Dec 2013 - May 2014
Ref: 1
Lewin John William 1770-1819view full entry
Reference: Colonial Artists and their Books, article by Tim McCormick in Antiques & Art in New South Wales. Short essays on J W Lewin, James Wallis, William Fernyhough, J S Prout, S T Gill, and von Guerard. One illustration for each eassay. The focus is on the books, art foloios and prints produced in Colonial times.
Publishing details: Dec 2013 - May 2014
Australian art folios
view full entry
Reference: Colonial Artists and their Books, article by Tim McCormick in Antiques & Art in New South Wales. Short essays on J W Lewin, James Wallis, William Fernyhough, J S Prout, S T Gill, and von Guerard. One illustration for each eassay. The focus is on the books, art foloios and prints produced in Colonial times.
Publishing details: Dec 2013 - May 2014
Wallis James 1785? - 1858view full entry
Reference: Colonial Artists and their Books, article by Tim McCormick in Antiques & Art in New South Wales. Short essays on J W Lewin, James Wallis, William Fernyhough, J S Prout, S T Gill, and von Guerard. One illustration for each eassay. The focus is on the books, art foloios and prints produced in Colonial times.
Publishing details: Dec 2013 - May 2014
Fernthough William 1809-1849view full entry
Reference: Colonial Artists and their Books, article by Tim McCormick in Antiques & Art in New South Wales. Short essays on J W Lewin, James Wallis, William Fernyhough, J S Prout, S T Gill, and von Guerard. One illustration for each eassay. The focus is on the books, art foloios and prints produced in Colonial times.
Publishing details: Dec 2013 - May 2014
Prout John Skinner 1805-1876view full entry
Reference: Colonial Artists and their Books, article by Tim McCormick in Antiques & Art in New South Wales. Short essays on J W Lewin, James Wallis, William Fernyhough, J S Prout, S T Gill, and von Guerard. One illustration for each eassay. The focus is on the books, art foloios and prints produced in Colonial times.
Publishing details: Dec 2013 - May 2014
Gill Samuel Thomas 1818 - 1880view full entry
Reference: see Colonial Artists and their Books, article by Tim McCormick in Antiques & Art in New South Wales. Short essays on J W Lewin, James Wallis, William Fernyhough, J S Prout, S T Gill, and von Guerard. One illustration for each eassay. The focus is on the books, art foloios and prints produced in Colonial times.
Publishing details: Dec 2013 - May 2014
von Guerard Eugene 1811-1901view full entry
Reference: Colonial Artists and their Books, article by Tim McCormick in Antiques & Art in New South Wales. Short essays on J W Lewin, James Wallis, William Fernyhough, J S Prout, S T Gill, and von Guerard. One illustration for each eassay. The focus is on the books, art foloios and prints produced in Colonial times.
Publishing details: Dec 2013 - May 2014
Woodbury Walter Bview full entry
Reference: Walter B Woodbury - Photography in Indonesia 1850s-1940s. Article by Gael Newton on exhibition at the National Gallery of Australia.
Publishing details: in Antiques & Art in New South Wales. Dec 2013 - May 2014
Ref: 1
Scottish artists in Australiaview full entry
Reference: Article by Gordon Morrison, director, Ballarat Art Gallery, on exhibition ‘Auld Lang Syne’ at Ballarat Art Gallery in relation to 2014 exhibition.
Publishing details: in Antiques & Art in New South Wales. Dec 2013 - May 2014
Ref: 1
Streeton Arthurview full entry
Reference: see Douglas Stewart Fine Books catalogue devoted to books and catalogues of Arthur Streeton. Following has been cut and pasted from the Stewart catalogue and contains extensive exhibition information.

ARTHUR STREETON CATALOGUES, ETC offered by DOUGLAS STEWART FINE BOOKS PTY
LTD, 720 High Street Armadale Melbourne VIC 3143 Australia +61 3 9066 0200
www.DouglasStewart.com.au 720 High Street Armadale Melbourne VIC 3143 Australia www.douglasstewart.com.au

Art union of pictures by Arthur Streeton. 30 prizes including Spring Pastoral [ARTHUR STREETON]
[Melbourne : J.T. Buxton, 1890].Ticket in an art union of thirty pictures, organised by Arthur Streeton and J.T. Buxton, the 1st prize being Streeton’s Spring Pastoral, valued at £100; other prizes included his Ocean at Coogee (a.k.a The Blue Pacific, which last sold at auction for over $1 million), Lavender Bay and 8 Hours Procession; the paintings were on view at Buxton’s Art Gallery, Swanston Street (the venue for the famous 9 x 5 Impression Exhibition of 1889), where 5/- tickets in the union could be purchased. Single sheet, 160 x 235 mm, printed one side only, one edge perforated, recto with photo-lithographed reproduction of Spring Pastoral, within an Art Nouveau border, letterpress ticket number 372, later annotation at left hand side reads:‘see Streeton correspondence in Mitchell Lib. - Melbourne, under Leitch.’; a very light vertical fold at centre and some mild corner wear at lower right, but overall in very good condition.
An extremely rare item of Streeton ephemera, of which we can trace no other copy in Australian collections.The Mitchell Library holds in its collection a ticket issued for Streeton’s 1897 art union of pictures - a raffle intended to raise money for Streeton’s voyage to England, but which appears not have taken place (see BUTLER, Roger, Poster Art in Australia, 1993, p 8).
$ 3,500 # 7728 4

The art of Arthur Streeton (With an 1890 Streeton exhibition invitation and Streeton cut signature) [ARTHUR STREETON]
Sydney : Angus & Robertson Ltd, 1919. Special number of Art in Australia. Limited edition of 1500 copies; a fair copy, but the verso of the half title has two important ephemeral items laid in:
1. an extremely early and rare Streeton exhibition invitation on thick paper, 84 x 110 mm, with photolithographed illustrated design and text, 'The honor of Mr.Walter J. Anderson's [in MS] company is requested at a private view of pictures by Mr. Arthur Streeton, Mr. C. Douglas Richardson, Mr. Charles Conder at their studios, Gordon Bdgs., Flinders Lane [between Queen and Market Streets] on Thursday, Friday and Saturday the 13, 14, 15 of March, 1890. 11 a.m - 5 p.m.' (small section of surface loss towards the left edge, otherwise in good condition.
2. a cut signature of Streeton with his 49 Murphy St. South Yarra address (the Streetons' home after their return from London in 1921), ink on thick paper, 33 x 65 mm, a few spots of foxing but clean and legible.
The invitation to the viewing of Streeton's, Conder's and Richardson's pictures is unrecorded in Australian collections. A brief review of the exhibition appeared
in the Argus on March 14 1890: 'Local artists are beginning to prepare for their autumnal exhibition, and Messrs Charles Conder, Arthur Streeton, and C. Douglas Richardson have conjointly issued invitations to a private view of their pictures in Gordon Chambers. Heidelberg seems to have furnished some attractive landscape subjects to the two first, und Mr Streeton's large canvas, upon which he has depicted a somewhat striking scene, shows a distinct advance upon his former work. It has gained in definition without any loss of strength, and is truer to nature than the pictures, or sketches, which used to leave one in doubt as to what was the specific object intended to be represented. Mr Conder remains faithful to his impressionist methods, which are least objectionable, because they are no too closely followed, in a pleasing picture of a stretch of sandy sea beach on a hot summer day. Mr Richardson introduces us to a bit of bush life, the interior of a shepherd's hut, the aged occupant of which is stretched on a bed of sickness, and is visited by the daughter of his employer...'
$ 1,800 # 7871
5

Streeton’s Sydney sunshine exhibition, 88 Elizabeth St., next Falks
[ARTHUR STREETON]
[Melbourne : Streeton?, 1896]. Octavo, pictorial wrappers (faint foxing and small nick to top edge, light stain at upper right corner of front which is noticeable on each page, two faint horizontal folds), single folded sheet
(4 pp). Lists 39 works.The very scarce catalogue of Streeton’s first Melbourne solo exhibition, which featured Oblivion and the famous work held in the National Gallery of Victoria, The purple noon’s transparent might, where it is misspelt in the catalogue ‘transparent light’.
$ 1,650

Catalogue of an exhibition of pictures by Arthur Streeton, Sydney, 1907 [ARTHUR STREETON]
Exhibition of pictures of Venice by Arthur Streeton, London, 1909 (presentation copy)
[ARTHUR STREETON]
Exhibition of pictures of Venice by Arthur Streeton
at the Alpine Club, Savile Row,W. : Press notices. Presentation copy, signed on front cover by Streeton and dated 26.8.09. Oblong octavo, printed wrappers, [14] pp (scattered foxing).A collection of reviews of Streeton’s highly successful exhibition of paintings of Venice.
$ 750 # 1996
Catalogue : Mr. Streeton’s pictures. East Melbourne [signed copy]
[ARTHUR STREETON]
Melbourne : [Victorian Artists Society Galleries, 1914]. Large octavo, pictorial wrappers (front cover with contemporary pastedown signature of Arthur Streeton, small nick to lower edge, rear cover
with some discolouration and later annotations in pen), original red cord ties, ex libris Nacye Kent Perry, 8 pp, illustrated with 6 sepia plates. Major exhibition catalogue listing 114 oil paintings and 56 watercolours, with dimensions and prices.
$ 650 # 1986
Catalogue of an exhibition of pictures by Arthur Streeton at the Market Buildings, George St., Sydney. July 1907. Sydney :William Brookes & Co., 1907. Small octavo, pictorial wrappers designed by Streeton, a fine copy. Lists 104 works with prices.
$ 550 # 1988

Catalogue : Mr. Streeton’s pictures. East Melbourne June 1914
[ARTHUR STREETON]
Melbourne :[VictorianArtists Society Galleries, 1914]. Quarto, pictorial wrappers (upper wrapper with some loss due to silverfishing along top
edge and towards tail of spine, mild silverfishing
at lower right and fore-edge), original red cord ties, 8 pp, illustrated with 6 sepia plates. Major exhibition catalogue listing 114 oil paintings and 56 watercolours, with dimensions and prices. Scarce.
$ 475 # 7870
The art of Arthur Streeton
[ARTHUR STREETON] Sydney Ure Smith, Bertram Stevens and C. Lloyd Jones (editors)
Sydney : Angus & Rober tson Ltd, 1919. Special number of Art in Australia. Limited edition of 1500 copies. Quarto, illustrated mauve boards with green linen spine in dustjacket (fine), 56 plates (36 tipped-in, colour), slight offsetting as usual, previous owner's bookplate on front pastedown, the frontispiece plate slightly crumpled on one corner. Limited to 1500 copies. Includes an introduction by Julian Ashton, an essay on Streeton's Australian work by Lionel Lindsay, and an essay on Streeton's English paintings by P.G. Konody. A very good copy.
$ 275 # 7645
The art of Arthur Streeton - signed copy
[ARTHUR STREETON] Sydney Ure Smith, Bertram Stevens and C. Lloyd Jones (editors)
Sydney : Angus & Rober tson Ltd, 1919. Special number of Art in Australia. Limited edition of
1500 copies. Signed in pen verso of frontispiece Arthur Streeton Melbourne 1927.Oblong quarto, original illustrated mauve boards (some fading, corners bumped) with green linen spine, 56 plates (36 tipped-in, colour), (edges mildly foxed; edge tear to margin of sepia plate XLVII). Includes
an introduction by Julian Ashton, an essay on Streeton’s Australian work by Lionel Lindsay, and an essay on Streeton’s English paintings by P.G. Konody.
The Baldwin Spencer collection of Australian pictures and works of art
Melbourne : Fine Art Society in conjunction with ArthurTuckett & Son,1919.Large octavo,printed wrappers (foxing to front cover and preliminaries), 32 pp. Catalogue of the auction held on May 19-21, 1919 at the Fine Art Society’s Galleries, Melbourne, listing 313 works of art.The oil paintings section includes 19 works by Streeton, as well as paintings by Lambert, McCubbin,Withers, Heysen, Conder, Roberts, Percy Lindsay and Phillips Fox.
$ 220 # 1999
Catalogue of the final exhibition of Arthur Streeton’s pictures, Sydney, 1920
[ARTHUR STREETON]
Catalogue of the final exhibition of Arthur’s Streeton’s pictures in the Gallery of the Education Department, Sydney, 10 May 1920. Sydney : Education Dept., 1920. Octavo, printed wrappers, [6] pp. A fine copy. Lists 41 oil paintings with dimensions and 42 watercolours.
$ 275 # 1977
$ 650
# 1973

Catalogue of the exhibition of Mr. Streeton’s pictures, Melbourne, 1920 [ARTHUR STREETON]
Melbourne :Victorian Art Societies’ Gallery, East Melbourne, March 1920. Octavo, single folded sheet, 4 pp (mild spotting and a few annotations in ink). List of 42 works with dimensions.
$ 250 # 2004
7

Mr. Streeton’s exhibition of paintings of the Grampian Mountains (signed) [ARTHUR STREETON]
Cup week 1st Nov. to 6 Nov. 1920. Melbourne : Athenaeum Hall, 1920. Octavo, illustrated self wrappers, pp. 6, inscribed by Arthur Streeton, a short essay on ‘Art prohibition’, catalogue of 17 works, a fine copy.
Streeton’s show of the sunlit suburbs of Sydney
[ARTHUR STREETON]
Cup Week only. Open from 31 Oct to 5 Nov 1921, Athenaeum Hall. Melbourne : Atlas Press, 1921. Octavo, printed wrappers (lightly marked, horizontal crease), 4 pp. List of 10 works..
Exhibition & auction sale : paintings by Arthur Streeton. Farmer’s, Sydney, 1923 [ARTHUR STREETON]
Sydney : Farmer’s, 1923. Large octavo, printed grey wrappers (edges with some chipping and foxing around the edges), [14] pp (some mild spotting to preliminaries and rear free endpapers), illustrated with 6 tipped-in colour plates of Streeton’s work and 1 tipped-in plate of Norman Lindsay’s pen drawing The Bacchanal. A good copy. Catalogue of exhibition and auction held in Farmer’s Exhibition Hall, Sydney by James R. Lawson, auctioneer, November 1923. Included in the exhibition and offered at auction were three pen drawings by Norman Lindsay and an oil painting by Charles Conder.
$ 275 # 1974
Exhibition of paintings by Arthur Streeton, Fine Arts Gallery, Melbourne, 1925
[ARTHUR STREETON]
Exhibition of paintings by Arthur Streeton at the
Fine Arts Gallery, 100 Exhibition St., Melbourne, Nov. 1925. Melbourne : Fine Art Society’s Gallery, 1925. Oblong octavo, pictorial wrappers, 4pp (very mild foxing). List of 36 works with dimensions (prices and some annotations in pencil).
$ 275 # 2008
$ 750
# 6528
$ 350
# 1987

Exhibition and auction sale of pictures by Arthur Streeton
[ARTHUR STREETON]
Auction prospectus for a sale held by J.R. Lawson, Auctioneer, 196 Castlereagh Street. Sydney : Farmer & Company, [193-?]. Octavo, single folded sheet (4 pp),(faint vertical crease).A good copy.
$ 165 # 1978
Arthur Streeton’s exhibition of paintings at the Fine Art Society’s Gallery, 100 Exhibition St. Exhibition opened 25 March 1924 by Dame Nellie Melba,
will remain open until 7th April. Melbourne : [Fine Art Society], 1924. Octavo, pictorial wrappers, 5 pp. List of 38 paintings, including Golden Summer, along with two pages of notes on this painting, one of Streeton’s most celebrated works.A fine copy.
$ 375 # 1976
Arthur Streeton’s exhibition of paintings at the Fine Art Society’s Gallery, Melbourne, 1924 [ARTHUR STREETON]

Exhibition of paintings by Arthur Streeton, Fine Arts Gallery, Melbourne, March 1925
[ARTHUR STREETON]
Exhibition of paintings by Arthur Streeton, Fine Arts Gallery, 100 Exhibition St., March 1925. Melbourne : Fine Arts Gallery, 1925. Oblong octavo, pictorial wrappers, 44pp, 1 tipped-in colour plate (The Chinese Screen). List of 25 paintings. A fine copy. Not recorded in Australian collections.
$ 300 # 1975
An exhibition of paintings and drawings by Arthur Streeton, Fine Arts Gallery, Melbourne, 1926
[ARTHUR STREETON]
An exhibition of paintings and drawings by Arthur Streeton at the Fine Arts Gallery, 100 Exhibition St., Melbourne, 14 July 1926. Melbourne : Fine Art Society, 1926. Oblong octavo, pictorial wrappers,
4 pp. An excellent copy. List of 117 works - oil paintings, watercolours and pencil studies, framed and unframed - with provenance beside each entry. The majority of works were loaned by the Naval
& Military Club, Melbourne, whose collection was sold at auction in 2009.
$ 375 # 1985
Catalogue of an exhibition of the early work of Arthur Streeton,Tom Roberts and others
[STREETON,Arthur, ROBERTS,Tom]
Sydney : Anthony Hordern & Sons Ltd., 1925. Quarto, lettered wrappers, pp. 8, foreword on the exhibition, catalogue of 29 works by aritsts Arthur Streeton,Tom Roberts, David Davies, E. Phillips Fox, Llewelyn Jones, Sir Bertram McKennal et al, with prices, two colour plates tipped in, two black & white plates tipped in, rusted staples removed, split to spine, otherwise fine.
$ 220 # 6280
Exhibition : paintings and drawings. Arthur Streeton. Macquarie Galleries, Sydney, [c 1926]
[ARTHUR STREETON]
Exhibition : paintings and drawings / Arthur
Streeton, April 8th to 18th, the Macquarie Galleries, “Strathkyle”, 19 Bligh Street, Sydney. Sydney :
The Macquarie Galleries, [c 1926]. Small oblong octavo, 4 pp (very mild spotting). List of 14 oil paintings (dimensions and prices) and 3 pencil drawings (prices only). Not recorded in Australian collections.
$ 275 # 1983
Exhibition of paintings by Arthur Streeton, Fine Art Gallery, Melbourne, 1926
[ARTHUR STREETON]
Exhibition of paintings and drawings by Arthur Streeton at the Fine Arts Gallery, 100 Exhibition St., Melbourne, 14 July 1926. Landscape with variations. Melbourne : Fine Art Society, 1926. Octavo, pictorial wrappers (faint discolouration to right and lower edge of front cover), 4 pp (some annotations in pencil). List of 21 works with dimensions.
$ 330
# 1993

Exhibition of oil paintings by Arthur Streeton. Macquarie Galleries, Sydney, 1927
[ARTHUR STREETON]
Exhibition of oil paintings by Arthur Streeton, March 10th to 26th 1927, the Macquarie Galleries, “Strathkyle”, 19 Bligh Street, Sydney. Landscape with variations. Sydney :The Macquarie Galleries, 1927. Small oblong octavo 6 pp (scattered foxing). List of 28 works with dimensions and prices. Not recorded in Australian collections.
$ 275 # 1982
9

Arthur Streeton : an exhibition of oil paintings, Fine Art Society, Melbourne, 1927
[ARTHUR STREETON]
An exhibition of oil paintings held at the Fine Art Society’s Gallery, 100 Exhibition St., Melbourne, 15th March to 26th March 1927. Melbourne : Fine
Art Society, 1927. Oblong octavo, 4pp (foxed, horizontal fold). List of 32 works, with dimensions and prices.
Exhibition of paintings by Arthur Streeton, Fine Art Society, Melbourne, 1928
[ARTHUR STREETON]
Exhibition of paintings by Arthur Streeton held at
the Fine Art Society’s Gallery, 100 Exhibition St., Melbourne, March 15-27, 1928. Melbourne : Fine Art Society, 1928. Oblong octavo, 4 pp (foxed). List of 76 works with prices. Exhibition included designs executed during Streeton’s service in the Royal Australian Medical Corps, 1915-17.
Exhibition : oil paintings and water- colours.Arthur Streeton. Macquarie Galleries, Sydney 1928
[ARTHUR STREETON]
Exhibition of oil paintings and water-colours /
Arthur Streeton, March 6th to March 17th 1928,
the Macquarie Galleries, 19 Bligh Street, Sydney. Sydney :The Macquarie Galleries, 1928. Small oblong octavo (small stain to front cover, pencil annotations inside rear cover), 3 pp. A good copy. List of 14 oil paintings (dimensions and prices) and 36 watercolours (prices only).
$ 220

Arthur Streeton, Fine Art Society, Melbourne, 1929
[ARTHUR STREETON]
Exhibition of paintings by Arthur Streeton, Fine Art Society, Melbourne, 1930
[ARTHUR STREETON]
Exhibition of paintings byArthur Streeton held at the Fine Art Society’s Gallery, 100 Exhibition Street, Melbourne, Mar. 4-15, 1930. Landscape with variations. Melbourne : Fine Art Society, 1930. Oblong octavo, single folded sheet, 4pp. List of 36 works with dimensions and prices.
$ 330 # 2006
Art in Australia.Arthur Streeton Number.
[ARTHUR STREETON]
Arthur Streeton : the Exhibition will be opened on Thursday, 4th April, 1929 and will remain open until Saturday, 20th April, 1929...The Fine Art Society,
100 Exhibition Street,Melbourne. Melbourne :Fine Art Society, 1929. Octavo, single folded sheet (4 pp, foxing and horizontal and vertical creases, a few annotations in pen). List of 25 works with dimensions and prices. Not recorded in Australian collections.
$ 220 # 1980
Third series,number forty.Sydney :Art inAustralia Limited, October, 1931. Edited by Sydney Ure Smith and Leon Gellert. Quarto, wrappers, 76
pp. extensively illustrated.With essays by Lionel Lindsay, J. S .MacDonald, and an editorial. A fresh copy.
$ 110

Loan Exhibition of the works of Arthur Streeton, National Art Gallery of New South Wales, 1931
[ARTHUR STREETON; National Art Gallery of New South Wales]
Loan exhibition of the works of Arthur Streeton : 20th Nov. 1931 - 20th Jan. 1932. Sydney : National Art Gallery of New South Wales, 1931. Octavo, printed wrappers (some rust marks around staples),
8 pp (slightly dog-eared lower right). Lists 173 loan works with provenance beside each entry; [together with] an official invitation to the opening of the exhibition. Buff card (100 x 125 mm) with printed calligraphic font. Very fine.
$ 165

The Arthur Streeton Catalogue STREETON, Arthur
Melbourne :Arthur Streeton,1935.Quarto,gilt- lettered purple cloth (a little sun faded), 141 pp, numerous tipped-in colour and black and white plates, essays by J. S. Macdonald, Irwin Macdonald and Lionel Lindsay. Limited to 500 copies signed by the artist. Published by the artist as a catalogue raisonné of his known works to date, in an effort to stop the circulation of fakes which had plagued him. It is the first Australian work of its kind published, and a fine tribute to Streeton’s work.
$ 1,000 # 6068
A retrospective exhibition of paintings by Arthur Streeton,Athenaeum Gallery, Melbourne, 1933
[ARTHUR STREETON]
A retrospective exhibition of paintings by Arthur Streeton, held at the Athenaeum Gallery, 15th
August - 26th August 1933. Melbourne : Athenaeum Gallery (for the Fine Art Society), 1933. Oblong octavo, printed wrappers, 4pp. List of 50 works with dimensions and prices. A very good copy.
Catalogue of an exhibition of Arthur Streeton paintings,Athenaeum, Melbourne, 1934
[ARTHUR STREETON]
Catalogue of an exhibition of Arthur Streeton’s paintings at the Athenaeum Gallery, Melbourne, 4 June to 16th. Melbourne : Athenaeum Gallery, 1934. Octavo, pictorial wrappers, 4 pp (vertical fold). A good copy. Lists 52 works with dimensions and prices.
$ 250

Catalogue of an exhibition of oil paintings by Arthur Streeton, Melbourne, 1935
[ARTHUR STREETON]
[Cover title]: Arthur Streeton’s Exhibition at the Athenaeum Gallery, 10th June to 22nd June
1935. Landscape and flowers. Melbourne : Athenaeum Gallery (for the Fine Art Society, 100 Exhibition Street), 1935. Oblong octavo, printed wrappers, 2pp. List of 34 works with dimensions and prices. A very good copy.
$ 250

Exhibition of landscape with variations : at the Athenaeum, will open Tuesday 28th July and close on Saturday 8th August 1936 / exhibition manager, Oliver Streeton. Melbourne : Athenaeum Gallery, 1936. Single folded sheet (some foxing to upper portion of each page, tiny amount of silverfish damage to upper edge, heavy horizontal crease). List of 40 works with dimensions and prices.
Arthur Streeton’s exhibition of paintings,Athenaeum Gallery, Melbourne, 1937
[ARTHUR STREETON]
Arthur Streeton’s exhibition of paintings at the Athenaeum Gallery, Melbourne August 24 to Sept.
4, 1937. Melbourne : Athenaeum Gallery, 1937. Octavo, pictorial wrappers (pencil annotations to covers and inner pages), 4 pp. List of 31 works with dimensions and prices.
$ 200


Single page (250 x 200 mm) with Streeton’s embossed letterhead in red (his Grange Road,Toorak address),
dated 6.Feb /937, addressed to Charles Lloyd Jones and Marion [possibly Marion Hall Best, the Sydney interior designer who later became the director of the David Jones’ Art Gallery), written in pen and signed ‘Arthur Streeton’; embellished with a pen drawing by Streeton, showing the sun in the sky with the initials ‘L.J’ (Lloyd Jones) immediately below, and a self-caricature of the artist painting en plein air, holding a palette in the shape of Australia.The letter
is a note of thanks, on behalf of Streeton and his wife, to Lloyd Jones and his wife for their having congratulated Streeton upon receiving his knighthood.The page, which was originally folded into four to fit into its envelope, is in exceptionally clean condition.
‘My dear Charley and Marion,Very many thanks for the kind thought of your note of Congratulation.The Honour is for the Art of Australia as well as for me. 30, 40 years ago I’d have got “tight” for a week, but at 70 (& afraid) am philosophic and respectable.With my love to you both & that of my wife. Arthur Streeton.’
The businessman Sir Charles Lloyd Jones (1878-1958) is recognised as one of the most important patrons of the arts in Australia in the twentieth century. He established the David Jones’ Art Gallery, was the co-founder of the journals Art in Australia and the Home, and his private collection featured numerous works by Streeton.This letter from Streeton, and the playful nature of the accompanying drawing, shows that their relationship was not only mutually respectful, but also that it was a personal friendship rather than a mere formal acquaintanceship.
$ 2,200

[ARTHUR STREETON] Two holograph letters to a collector regarding his painting Oblivion (1892)
Two handwritten letters from Arthur Streeton to Norman Clark (Melbourne), both on Streeton’s 17 Grange Road,Toorak letterhead; octavo, [2] pp and [1] p; dated 18th November and 23rd November, 1937, respectively; accompanied by one of Streeton’s hand-addressed envelopes.
The letters are a response to an enquiry from a Melbourne collector regarding three of Streeton’s paintings in his collection. In the first letter, Streeton identifies two of the works, based on the photographs Mr Clark has sent him.The first he recognises as Oblivion, originally approximately 40 x 30 cm, painted in Sydney in 1892. Streeton remarks that he took this work to England and ‘cut it down to its present size’, selling it to ‘a Mr. Jules Fuerst’.The second he identifies as Chepstow Castle, approximately 60 x 30 cm, which Streeton states he sold to the late Mr. Walter Barnett, also remarking that ‘somehow both these paintings have returned to Australia’. (The painting Chepstow Castle is now in the collection of the Art Gallery of New South Wales; Oblivion resides in an Australian private collection). The third painting Streeton tentatively identifies (without the benefit of
a photograph) as a Sussex view. In the second letter, Streeton expresses his eagerness to view Mr. Clark’s collection, appreciating his enthusiasm for ar t ‘in these days of Profane noise & mechanization of almost ever ything’. In a further reference to Oblivion, Streeton writes: ‘I was living with late Tom Roberts in our tents at Sirius Cove - at time your picture was painted - we posed a model in our studio for the students of our class to study from, & I did my picture which they made their studies - more when I see you & your collection.Yours sincerely,Arthur Streeton.’
Streeton’s painting Oblivion is a highly unusual and important work, dominated by a langourous, semi-naked female reclining in the foreground, with the powerful ocean menacing in the distance. Now in a private collection, it was loaned to the Mornington Peninsula Art Gallery for an exhibition in 2005.These two letters written by Streeton are of great significance because they illuminate the story of this particular painting.

Exhibition of pictures by Sir Arthur Streeton, David Jones Gallery, Sydney, 1937
[ARTHUR STREETON]
Exhibition of pictures by Sir Arthur Streeton,April, 1937 : landscape with variations. Sydney : David Jones’, 1937. Octavo, printed wrappers (mild toning), 4pp. List of 46 works with prices.
$ 220 # 2002
$ 1,100

Form and colour :Arthur Streeton’s exhibition,Athenaeum, Melbourne, 1938
[ARTHUR STREETON]
Arthur Streeton’s exhibition, form and colour : at
the Athenaeum Gallery, Melbourne,August 1938. Melbourne : Athenaeum Gallery, 1938. Octavo, pictorial wrappers (some damp stains to right and upper edges of front cover, tiny amount of silverfish damage to edges, vertical crease), 4 pp. List of 26 works with dimensions and prices.
$ 220

To Alistair Clarke, Esq. this probably the last exhibition by the artist, is dedicated. Melbourne :Athenaeum Gallery, 1940. Quarto, illustrated wrappers, pp. 4, catalogue of 25 works with prices, black & white plate of catalogue number 13, vertical crease, otherwise fine.
$ 330

Variations by Sir Arthur Streeton [ARTHUR STREETON]
In remembrance, Christmas, 1943 : Arthur Streeton’s Dandenongs [ARTHUR STREETON]
[Melbourne] :Webb Printing, 1943. Small octavo, printed green wrappers (spine and edges slightly sunned), 8 pp. An excellent copy. An anonymous eulogy for Streeton focusing on his ‘own beloved hills - his Dandenongs.’

Arthur Streeton memorial exhibition, National Gallery of Victoria, 1944 [ARTHUR STREETON]
Arthur Streeton : memorial exhibition : National Gallery of Victoria, 5th September to 7th October, 1944. [Melbourne] : National Gallery ofVictoria, 1944. Large octavo, printed wrappers (rear cover with surface paper loss), ex National Gallery Library (deaccessioned), 16pp, illustrated (6 black and white, 3 colour plates). Lists 135 works.
Streeton Memorial Exhibition, National Art Gallery of New South Wales, 1945 [ARTHUR STREETON]
Streeton memorial exhibition : souvenir catalogue. [Sydney] : National Art Gallery of N.S.W., 1945. Large octavo, printed wrappers (lightly marked), 16pp (foxing to inside front and rear covers), illustrated (4 black and white, 4 colour plates). List of 61 works and an essay by Lionel Lindsay.
$ 110

Australian pictures including the Mrs. Lorna Moffatt-Pender collection of Sir Arthur Streeton
[ARTHUR STREETON]
Melbourne : Leonard Joel, n.d. [c. 1950s]. Octavo, self-wrappers, 12 pp., illustrated, some light pen annotations. Moffatt-Pender were one of Streeton’s most ardent supporters, and this important sale catalogue features many significant works as well as those by Lindsay, Heysen, McCubbin and Penleigh Boyd, inter alia.
$ 65

At the Sedon galleries, watercolours by the late Sir Arthur Streeton, 1948 [ARTHUR STREETON]
At the Sedon galleries, watercolours by the late Sir Arthur Streeton, September 28th to October 8th, 1948. [Melbourne] : Sedon Galleries, 1948. Large octavo, pictorial wrappers, 4pp, 2 colour plates. A very clean copy.
$ 220

The Sedon Galleries present oil paintings by the late Sir Arthur Streeton, 1949
[ARTHUR STREETON]
The Sedon Galleries present oil paintings by the late Sir Arthur Streeton : September 6th to 16th, 1949. [Melbourne] : Sedon Galleries, 1949. Large octavo, pictorial wrappers, 4 pp, 2 tipped in colour plates (the second plate with corner fold lower left). List of 46 works with dimensions. A very good copy.
$ 220





Publishing details: June 2014
Friend Donaldview full entry
Reference: 'The Farce of Sodom,' by The Right Honourable Earl of Rochester. Written for The Royal Company of Whoremasters. Designed by Donald Friend.
From Douglas Stewart Fine Books catalogue, May, 2014.
The Farce Of Sodom (Donald Friend’s copy)
FRIEND, Donald (1915 - 1989)
# 7675
By the Right Honourable Earl of Rochester. Written for the Royal Company of Whoremasters, and printed a-new upon the three hundredth anniversary of the untimely demise of our noble author in the thirty-third year of his life. With sets and costumes suitable for theatrical performaces designed by Donald Friend. Melbourne: Gryphon Books, 1980. Large folio, full crushed red morocco by Zaehnsdorf with ornately tooled contrasting inlays, gilt-fillet, spine in compartments with raised bands, gilt-lettering and inlaid devices for Zaehnsdorf and the Gryphon Press, silk endpapers, all edges gilt, in red cloth slipcase (insect damaged, the book itself very fine). Colour plates tipped in, b/w frontispiece and illustrations in text, a fine copy. One of 10 deluxe editions, sumptuously bound by the notable firm of Zaehnsdorf. This copy has been specially bound for Donald Friend. A superb demonstration of Donald Friend’s ribald wit and satire. Original prospectus loosely enclosed
The best copy imaginable, the artist's own, in the deluxe binding.
$ 8,500.00 AUD

Publishing details: Gryphon Books 1980. Large folio, half morocco & purple velvet. Edition of 240
Ref: 1000
Sainthill Loudonview full entry
Reference: Louden Sainthill produced images for advertising posters including one for ‘Bond's "Underlovelies”’ which had printed on it:
art by the young Australian artist Loudon Sainthill No.2 in a series of 5’.
Australian Advertisement from 1948. Published by Australian Women’s Weekly. Copy illustrated on Trove.

Size:
38 x 29cm
Vongpoothorn Savanhdaryview full entry
Reference: Savanhdary Vongpoothorn - All is Burning
Publishing details: Martin Browne Contemporary catalogue, 2014, 24pp illustrated, biogarphical summary, with price list and invite
Ref: 221
Bayliss Charlesview full entry
Reference: Down the Darling: The Charles Bayliss photographs by Kevin Jeffcoat. [Charles Bayliss was born in England in 1850 in Hadleigh, near Ipswich in Suffolk. The family left England for Australia arriving in Melbourne in 1854. Soon Bayliss was encouraged to become Beaufoy Merlin's apprentice and he consequently left home to begin a photographic career as Merlin's assistant. In 1886, Bayliss was commissioned to accompany the Royal Commission on Water Conservation which was to travel down the Darling River (inland New South Wales) from Bourke to Wentworth. The photographs from this commission mark another high point of Bayliss's work. They include photographs that demonstrate a creative flair for posing his subjects. The 'artistic posing' technique he used was very much derived from his earlier training with Merlin and enhanced by posing techniques often employed by other important and successful photographers of the period. That is to say that Bayliss photographs were creative so the agents that had commissioned him would have been more than satisfied with the beautiful images that they now had as a record of commission's travels. A copy of the album is housed with the Art Gallery of NSW. This book carries a fine collection of images. ‘]
Publishing details: Heritage Committee, Dept. of Water Resources New South Wales, Australia, 1991, pb, 52 pages
Japanese Aesthetic Aview full entry
Reference: A Japanese Aesthetic - Keith Clouton & Jim Deas Ceramic Collection - A Gift to Newcastle, essay by Daniel McOwen, Director Hamilton Art Gallery.
Publishing details: Newcastle Art Gallery, 2013, 6-page folding card, 9 colour illustrations
Ref: 221
Birch Israelview full entry
Reference: Israel Birch - Aria: Way of the Light
Publishing details: Martin Browne Contemporary catalogue, 2014, 16pp illustrated, with price list and invite
Ref: 221
Browne Richardview full entry
Reference: Richard Browne - a focus exhibition, 30 June - 12 August, 2012, Newcastle Art Gallery. 7 works in exhibition. Illustrated. Foreword by Ron Ramsay, Director, essay by Richard Neville, Mitchell Librarian.
Publishing details: Newcastle Art Gallery, 2012, 6-page folding card,
Ref: 1
Done Kenview full entry
Reference: Ken Done - Painting 1980 - 1990. Travelling exhibition, Caulfield Art Gallery, Geelong Art Gallery, Mildura Arts Centre, Campbelltown City Bicentennial Art Gallery. Preface by Tim Rollason, curator, Caulfield Arts Centre. Notes on 12 paintings and 1-page biography. 12 paintings illustrated
Publishing details: Caulfield Art Complex, 1990, large pb, 20pp
Barton Del Kathryn view full entry
Reference: Del Kathryn Barton by Julie Ewington. Three illustrated essays exploring the life and work of two-time Archibald Prize winner Del Kathryn Barton.
'Del Kathryn Barton's work is celebrated for its frank sexual assertiveness and for her imagined landscapes inhabited by humans, animals and imagined creatures. The three chapters Women in the World; Enchanted; and Drawing, Dreaming are a collaboration between two inspiring women who together celebrate Del's work. Del Kathryn Barton became widely known when she won the Archibald...
Publishing details: Piper Press, 2014 
198 pages : chiefly colour illustrations ;(hardback)
Notes Includes bibliographical references (page 188-197)
Barton Del Kathryn view full entry
Reference: Del Kathryn Barton : thankyou for loving me : 7 September - 1 October 2005
by Barton, Del Kathryn, 1972-
Publishing details: Richmond, Vic. : Karen Woodbury Gallery, [2005]
Ref: 1000
Barton Del Kathryn view full entry
Reference: Del Kathryn Barton, Cathy Blanchflower, Derek O'Connor, Monika Tichacek : 26 March - 1 May 2004

Publishing details: Richmond, Vic. : Karen Woodbury Gallery, 2004
Ref: 1000
Kovaks Ildikoview full entry
Reference: Ildiko Kovaks - Down the Line, 1980-2010, curated by Daniel Mudie Cunningham
Publishing details: Hazelhurst Regional Gallery, 2011
Ref: 1000
Kermadec : nine artists explore the South Pacificview full entry
Reference: Kermadec : nine artists explore the South Pacific / edited by Bronwen Golder and Gregory O'Brien. "In May 2011 the Kermadec Initiative of the Pew Environment Group invited nine artists and broadcaster Marcus Lush to join them on a voyage through the Kermadec region of New Zealand. As seariders on HMNZS Otago, the Kermadec artists voyaged from Auckland to Raoul Island then on to Tonga."-- Dust jacket.

Full contents • Oceanic / Joshua Reichert
• A clear view / Bronwen Golder
• A line in the ocean / Rebecca Priestley
• Voyage to the Kermadecs
• Gateway to a wonderland / Penelope Jackson
• When a boat becomes a ship / Gregory O'Brien / Raoul Island rocks / Phil Dadson
• Visitors / Bruce Foster
• Listing to starboard / Fiona Hall
• A crown & a bell for the Kermadecs / Gregory O'Brien
• Afterimages / Jason O'Hara
• The home and the world / John Pule
• A voice and an echo / John Reynolds
• Mystic garden / Elizabeth Thomson
• Walk this way / Robin White
• The crew
• Acknowledgements.
Publishing details: Pew Environment Group, PO Box 25459, Wellington, N.Z. ; Tauranga Art Gallery, PO Box 13255, Tauranga, N.Z. 
Ref: 1000
Twelve Australian photo artistsview full entry
Reference: Twelve Australian photo artists /by Blair French & Daniel Palmer. Full contents • Bill Henson
• Anne Zahalka
• Destiny Deacon
• Rosemary Laing
• Simryn Gill
• Tracey Moffatt
• Brenda L Croft
• Jacky Redgate
• David Stephenson
• Pat Brassington
• Julie Rrap
• Debra Phillips.

Publishing details: Piper Press, c2009 
200 p. : ill. (chiefly col.) ; 31 cm. 
Ref: 1000
Kingston Peterview full entry
Reference: Peter Kingston - Drawings
Publishing details: Denton Press and Australian Art Research, [2013] 
©2013 
76 unnumbered pages : chiefly illustrations (some colour)
Ref: 1003
Kingston Peterview full entry
Reference: Wheel of fortune / by Peter Kingston
by Kingston, Peter, 1943-


 
Sydney deckie / Peter Kingston by Kingston, Peter, 1943-
[Sydney?] : Possom Press, 2004
Book

 
The Blue Mountains : [circa 1950] / by Peter Kingston
by Kingston, Peter, 1943-
Sydney : Whaling Road Press, c1987
Book

 



NLA Digital Collection
Bookplate, ex libris Barbara Corrigan [picture] / Peter Kingston
by Kingston, Peter, 1943-
1989


 
Drawings / Peter Kingston
by Kingston, Peter, 1943-
Eastwood, N.S.W. : Denton Press and Australian Art Research, [2013] , ©2013
Book [text, still image, volume]


 
Peter Kingston
by Kingston, Peter, 1943-
Sydney ; Melbourne : Australian Galleries Peter Kingston , 1999

 
It feels good when someone hates you / Rae Desmond Jones ; illustration by Peter Kingston by Jones, Rae Desmond, 1941-
[Sydney] : Nicholas Pounder, Polar Bear Press, 2008

 
The bride doll / Fairlie Kingston ; illustrated by Peter Kingston
by Kingston, Fairlie
Tamarama, N.S.W. : Polar Bear Press, 2011

 
Shark-net seahorses of Balmoral : a harbour memoir / Robert Adamson & Peter Kingston
by Adamson, Robert, 1943-
Sydney : Chowder Bay Press, 2012
Book [text, still image, volume]
Publishing details: Sydney : Whaling Road Press, 1988
North Sydney. Whaling Road Press. 1987. oblong quarto. no. 8 of 20 numbered copies. twelve original hand coloured etchings depicting the signs of the Chinese zodiac. each titled, signed and dated, with edition number inscribed lower left. etched title page. signed by the printers, Diana Davidson and James Whittington. ocb. gilt.
Ref: 1000
Kingston Peterview full entry
Reference: Sydney deckie / Peter Kingston by Kingston, Peter, 1943-


Publishing details: [Sydney?] : Possom Press, 2004

Ref: 1000
Kingston Peterview full entry
Reference: The Blue Mountains : [circa 1950] / by Peter Kingston 1943-

 
Publishing details: Sydney : Whaling Road Press, c1987
Ref: 1000
Kingston Peterview full entry
Reference: A-Z / by Peter Kingston
by Kingston, Peter, 1943-






Publishing details: [Sydney] : Whaling Rd Press, c1989
Book, Online - NLA Digital Collection

Ref: 1000
Kingston Peterview full entry
Reference: Bookplate, ex libris Barbara Corrigan [picture] / Peter Kingston



 

Publishing details: by Kingston, Peter, 1943-
1989

Ref: 1000
Kingston Peterview full entry
Reference: Peter Kingston
by Kingston, Peter, 1943-
Publishing details: Sydney ; Melbourne : Australian Galleries Peter Kingston , 1999

Ref: 1000
Kingston Peterview full entry
Reference: It feels good when someone hates you / Rae Desmond Jones ; illustration by Peter Kingston by Jones, Rae Desmond, 1941-
 


 

Publishing details: [Sydney] : Nicholas Pounder, Polar Bear Press, 2008

Ref: 1000
Kingston Peterview full entry
Reference: The bride doll / Fairlie Kingston ; illustrated by Peter Kingston
by Kingston, Fairlie


Publishing details: Tamarama, N.S.W. : Polar Bear Press, 2011

 
Ref: 1000
Kingston Peterview full entry
Reference: Shark-net seahorses of Balmoral : a harbour memoir / Robert Adamson & Peter Kingston by Adamson, Robert, 1943-
Publishing details: Sydney : Chowder Bay Press, 2012
Book [text, still image, volume]
 
Ref: 1000
Stacey Wesview full entry
Reference: Signing the Land - Segni Sul Paesaggio by Wes Stacey. The work exhibited at Canberra School of Art, ANU, IATSIS,
Publishing details: Idea Books, Antonio Cordani, 1993, np, book folds out. Signed by Wes Stacey.
Stacey Wesview full entry
Reference: see 1 folder of miscellaneous pieces. 
Series Australian photographer files
Full contents File contains bibliographic display records, photocopied images, press clippings, a curriculum vitae and a copyright conditions statement. 
Dymock Hetty (? - 1977)view full entry
Reference: see Lawsons Auction 26 June 2014, lot 536 ‘Still Life Pink Hydrangeas’ oil on canvas 39 x 34 cm, in elaborate gilt frame with swept corners. est $1-2000.
Johnson Oview full entry
Reference: see Special Auction Services
Monthly Antique and Collectables, Lot 576 – O.Johnson, Whitney Green, - 1 July, 2014 - O.Johnson, Whitney Green, Byng, New South Wales, Australia, oil on canvas, 25.4cm by 36.5cm, signed and dated 1895, titled to the stretcher, unframed
McCowan Ianview full entry
Reference: see Lot 87: IAN MCCOWAN (DATES UNKNOWN). JOIN THE WOMENS ARMY / A.W.A.S. Circa 1940. 23x18 inches, 60x47 cm. Second Australian Army Survey Mobile Reproduction Section, [Melbourne.] 
Condition A-: minor repaired tears at edges; minor creases in margins; unobtrusive vertical and horizontal folds.
Publishing details: Swann Auction July 2014 USA
Rebels and Precursorsview full entry
Reference: Rebels and Precursors. Aspects of painting in Melbourne 1937 – 1947.

The landmark survey of Australian modernists including Yosl Bergner, Arthur Boyd, John Perceval, Albert Tucker, Danila Vassilieff and Sidney Nolan.
Publishing details: NGV, 1962. Quarto, illustrated wrappers (of Nolan design), 15pp.
Ref: 1000
Nolan Sidneyview full entry
Reference: Sidney Nolan. Shakespeare Sonnets.
September 27 to October 14, 1967.
Publishing details: Sydney: Macquarie Galleries. Tall octavo (folding colour illustrated sheet), printed wrappers, catalogue of 40 works.
Ref: 1000
Winkles Henryview full entry
Reference: see Geelong
WINKLES, Henry (1801-1860), engraver
London : The London Printing and Publishing Company, [c. 1850]. Steel engraving, 112 mm x 179 mm on sheet 175 x 270 mm (trimmed across lower margin, omitting 'The London Printing and Publishing Company'); title engraved below image lower centre: Geelong; engraved on sheet below image lower left: H. Winkles; engraved on sheet below image lower right: H. Bibby; the image is in very good condition with a few very light marks to the margins. 
Winkles' engraving of the port of Geelong was later published in R. Montgomery Martin's Australia (London : John Tallis & Co. 1855).
Bibby Hview full entry
Reference: see Geelong
WINKLES, Henry (1801-1860), engraver
London : The London Printing and Publishing Company, [c. 1850]. Steel engraving, 112 mm x 179 mm on sheet 175 x 270 mm (trimmed across lower margin, omitting 'The London Printing and Publishing Company'); title engraved below image lower centre: Geelong; engraved on sheet below image lower left: H. Winkles; engraved on sheet below image lower right: H. Bibby; the image is in very good condition with a few very light marks to the margins. 
Winkles' engraving of the port of Geelong was later published in R. Montgomery Martin's Australia (London : John Tallis & Co. 1855).
Broadbent Jamesview full entry
Reference: The Australian colonial house by James Broadbent

contains in-depth academic text on the architecture of houses and buildings in New South Wales in the early settling of colonial Australia through to just prior to the Australian gold rush era. A richly illustrated tome showcasing some of Sydney's iconic early structures.
Publishing details: Architecture and society in New South Wales 1788-1842. Sydney : Hordern House, 1997. Quarto, cloth covered boards, pictorial dust jacket, pp. 400, limited to 2000 copies, contains 24 colour plates and over 100 monochrome plates,
Ref: 1000
architecture - Australian colonial architectureview full entry
Reference: see The Australian colonial house
BROADBENT, James
contains in-depth academic text on the architecture of houses and buildings in New South Wales in the early settling of colonial Australia through to just prior to the Australian gold rush era. A richly illustrated tome showcasing some of Sydney's iconic early structures.
Publishing details: Architecture and society in New South Wales 1788-1842. Sydney : Hordern House, 1997. Quarto, cloth covered boards, pictorial dust jacket, pp. 400, limited to 2000 copies, contains 24 colour plates and over 100 monochrome plates,
Australian colonial houseview full entry
Reference: see The Australian colonial house
BROADBENT, James
contains in-depth academic text on the architecture of houses and buildings in New South Wales in the early settling of colonial Australia through to just prior to the Australian gold rush era. A richly illustrated tome showcasing some of Sydney's iconic early structures.
Publishing details: Architecture and society in New South Wales 1788-1842. Sydney : Hordern House, 1997. Quarto, cloth covered boards, pictorial dust jacket, pp. 400, limited to 2000 copies, contains 24 colour plates and over 100 monochrome plates,
Lindsay Lionelview full entry
Reference: Pen drawings by Lionel Lindsay.



Publishing details: Sydney: Readers Digest, 1990. Octavo, folding printed card portfolio with six reproductions of Lionel’s drawings.
Ref: 1000
Studio The view full entry
Reference: The Studio Vol 150 No 750, 'Sid Nolan', A Zander,
Publishing details: September, 1955
Ref: 1000
Nolan Sidneyview full entry
Reference: see The Studio Vol 150 No 750, 'Sid Nolan', A Zander,
Publishing details: Sept 1955
Studio The view full entry
Reference: The Studio 'Australia in Art' Vol 124 No. 595
Publishing details: USA, Oct 1942
Ref: 1000
Studio The view full entry
Reference: The Studio 'Contemporary Australian Painting', May ,1953, pages 145-153. The cover article is titled ‘Contemporary Australian Painting’. The essay is by Arnold Shore.Artists whose works are illustrated are Drysdale (Anthills on Rocky Plains), Wakelin, Arthur Boyd, Hans Heysen, Len Annois, Lloyd Rees (Mc<ahons Point, Sydney’ illustrated on cover), Nolan, Dobell, Frater, Len French, Erik Thake (There’s Someone at the Front Door), Constance Stokes, Margaret Preston, Donald Friend, Roger Kemp (World Today), Alan Warren (The Fisherman).
Publishing details: May ,1953, Vol 145 No. 722.
Contemporary art in Australiaview full entry
Reference: see The Studio 'Contemporary Australian Art' Vol 145 No. 722.
Publishing details: May 1953
Studio The view full entry
Reference: The Studio vol 149 no 743, painting by Alleyne Zander p 60-1
Publishing details: 1954
Ref: 1000
Dupain Max view full entry
Reference: Max Dupain Photographs. Introduction by Hal Missingham. Some Notes About Photography by Max Dupain. 51 photographs illustrated in b & w.
Publishing details: Ure Smith, 1948, hc, edition limited to 1000 copies.
Smith Sydney Ure view full entry
Reference: Relics of Old Colonial Days: A Book of Drawings by Sydney Ure Smith. [With some notes on the subjects].
Publishing details: James R. Tyrrell, Sydney, 1914. 32 pp, quarto, line drawings on tinted paper, fine copy in illustrated, limp wrappers.. Number 32 of 500 copies signed by the artist. Has Notanda Gallery sticker on inside cover
Zander Alleyneview full entry
Reference: see The Studio vol 149 no 743, ‘Painting’ by Alleyne Zander p 60-1
Publishing details: 1954
Parker Nancyview full entry
Reference: see ‘A Woman of Influence - Science, Men & History’ by Ann Moyal. Parker was a friend of Ann Moyal and there is a brief biography on page 97.
Publishing details: UWA Press, 2014, pb, 201pp with index
Gibson Cecilyview full entry
Reference: see ‘A Woman of Influence - Science, Men & History’ by Ann Moyal. Cecily Gibson was a friend of Ann Moyal and there is a brief biography on pages 151-2
Publishing details: UWA Press, 2014, pb, 201pp with index
Beckett Clariceview full entry
Reference: Martin Browne Fine Art Gallery catalogue.Foreword by Gina Lee, Niagara Galleries, (Exhibition held In conjunction with Niagara Gallery, Melbourne), biographical information, 28 works listed, illustrated.
Publishing details: Martin Browne Fine Art, June-July, 2002, 36pp
Flett Jamesview full entry
Reference: Pirates by James Flett. Six Plates in Colour, Printed by Hand from Linoleum Blocks, with an introduction by Blamire Young and a note by the artist
Publishing details: Frank C. Johnson, 327 George Street, Sydney, 1931
Ref: 1000
Laurence Janetview full entry
Reference: Edge of the Trees: A Sculptural Installation by Janet Laurence and Fiona Foley
Publishing details: Historic Houses Trust of NSW, 2000. Trade paper, 4to., card flaps, in fine condition, colour and black & white plates, drawings, references, 111pp.
Ref: 1000
Laurence Janetview full entry
Reference: Janet Laurence: The Ferment by Bryan, Kate; Capon, Edmund; Martin, Colin. Extensively illustrated and with artist’s CV.

Publishing details: London: The Fine Art Society. Qto.,48 pages, colour illustrated.
Ref: 64
Laurence Janetview full entry
Reference: Janet Laurence by Peter Emmett
Publishing details: Sydney Art and Australia/Craftsman House 1998 1st Edition Illustrated monograph on the work of Janet Laurence, with text by Peter Emmett; numerous colour plates of Laurence's work; being the fifth in the series of Art & Australia Monographs
Ref: 1000
Abstreactionview full entry
Reference: Abstraction by Victoria Lynn: Marion Borgelt, Stephen Bram, Liz Coats, Debra Dawes, A.D.S. Donaldon, Clinton Garofano, Emily Kame Kngwarreye, Janet Laurence, John Nixon, Rose Nolan, Carole Roberts, Peter Skipper, Rover Thomas, Aida Tomescu, and John Young
Publishing details: Art Gallery of New South Wales, 2 June-8 July 1990
Ref: 1000
Clarke Philipview full entry
Reference: see Modern & Contemporary Fine Art Sale
by Anderson-Garland
July 8, 2014, 10:00 AM GMT
Newcastle Upon Tyne, United Kingdom
- Estimated Price: £250 - £450
Description: Philip Clarke PLEASURE CRAFT MOORED IN AN AUSTRALIAN HARBOUR; A COASTAL SCENE; AND AN INLAND WATERWAY one inscribed with colour notes in pencil watercolour and gouache 27 x 36.5cms; 10 5/8 x 14 3/8in. (3) Philip (Phil) Clarke was born in Sydney, Australia in 1953. His first solo show was held in 1976 and has lived and worked in various parts of the world, including Spain, Paris, Amsterdam, Hong Kong and Bangkok.
de Wesselow Francis Guillemard Simpkinson view full entry
Reference: from ADB: Francis Guillemard Simpkinson de Wesselow, naval officer and artist, was born on 26 May 1819 in London, the son of Sir John Augustus Francis Simpkinson, barrister and later Q.C., and his wife Mary, nee Griffin, who was a sister of Lady Jane Franklin. In March 1832 he joined the navy as a first-class volunteer in H.M.S. Britannia. In 1836 he joined a surveying ship under Captain Edward Belcher and began a seven year voyage around the world. In Belcher's 'Narrative of a Voyage around the World' (London, 1843) he is mentioned as one of the two midshipmen. In the early 1840s he is said to have been admitted to the Royal Naval College after serving in the China war as gunner's mate. Simpkinson was an accomplished artist and in Hobart he painted a number of landscapes, some of which now belong to the Royal Society of Tasmania and are in the Tasmanian Museum and Art Gallery. He was retired as a lieutenant in April 1870. At St Leonard's on 14 December 1858 he had married Emily, daughter of George Henry Malcolm Wagner. They were living at Westminster in November 1869 when Simpkinson added de Wesselow to his surname by deed poll. Later he lived at Cannes where he acquired much property. He died in London on 4 December 1906 and his estate was sworn at more than £70,000. - Australian Dictionary of National Biography
Little Normanview full entry
Reference: see British & Continental Picture Sale
by 25 Blythe Road Ltd
July 8, 2014, 2:00 PM GMT
London, United Kingdom
Lot 45: NORMAN LITTLE (AUSTRALIAN, 1883-1917) - AN ALBUM OF DRAWINGS OF SCENES FROM MILITARY LIFE AND OTHER SUBJECTS, CIRCA 1910 - Estimated Price: £400 - £600
Description: NORMAN LITTLE (AUSTRALIAN, 1883-1917) 
AN ALBUM OF DRAWINGS OF SCENES FROM MILITARY LIFE AND OTHER SUBJECTS, CIRCA 1910 
pencil drawings laid down on card, 55 sketches in total (front and back cover loose) 
album dimensions 25cm x 30cm; 10in x 12in 
Norman Little was an artist and illustrator, he illustrated several books such as "The Gateway to Tennyson" and "Faust and Marguerite". One of his paintings is held by the National Army Museum (item 80490). He served with the Royal Fusiliers 11th Batallion as a Lieutenant and was killed in action in 1917.
Liu-Zaloga Annaview full entry
Reference: see Antiques & Later Furnishings
at Maynards Fine Art & Antiques
Platinum House
2014 - Description: artist's seal stamped lower left
Dimensions: 20 x 16 1/2 in. (roundel)
Artist or Maker: Anna Liu-Zaloga Australian
Canada
Lot 179: Anna Liu-Zaloga, Australian, Portrait of Daughter Leonelle, oil on canvas, 20 x 16 1/2 in. (roundel)
Parry Lady Isabella view full entry
Reference: see Dominic Winter Auctions
Paintings & Watercolours, Old Master & Modern Prints, Chinese & Japanese Art, Antique Furniture & Clocks, Important Silver & Jewellery, Ceramics & Chinese Jade
Day 1: Lots 1-432 
Day 2: Lots 435-817
Lot 99 – *Miniature. Portrait - *Miniature. Portrait of Isabella, Lady Parry, early 19th century, watercolour on ivory, half length portrait of Isabella as a young lady, with dark tightly-curled hair adorned with roses, wearing a white robe, with lace frill and corsage, 10 x 7.5cm (4 x 3ins), gold mount and gilt moulded frame, glazed, inscribed in contemporary manuscript on the verso ""Isabella, Lady Parry, For Hugh"". Isabella Louisa Stanley (1801-1839) married the Arctic explorer William Edward Parry in 1826. She lived a large portion of her married life in Australia, where her husband was commissioner for the Australian Agricultural Company between 1829 and 1834. Isabella was a keen amateur artist and collector. In 1833 she took her twins to have their portraits drawn by Charles Rodius: ""a Prisoner, who had been recommended to us as the best to do it. He has succeeded very tolerably with dear Teddy, but Myttie is a failure."" Some of her own Australian sketches, many of which she sent home to family in England, are now in the Scott Polar Research Institute, Cambridge. Lady Parry was also an enthusiastic landscape gardener as well as a collector of animals and plants. She proposed taking a collection of live native animals home when they left Australia, including some of the black swans they had on their lake. Lady Parry died in Norfolk in 1839 after giving birth to still-born twin boys. Lady Parry Island is an uninhabited island in Nunavut, Canada, which is named after her. (1)
Publishing details: 16 Jul 2014 11am
17 Jul 2014 11am
Hopwood Henry Silkstoneview full entry
Reference: see Halls Fine Art Auctioneers
Painting Silver & Jewellery Auction 
Lot 451 – Henry Silkstone Hopwood, 16 July, 2014 - Henry Silkstone Hopwood R.W.S.,R.B.C (1860-1914) 'Dancing -Girl, Biskra', signed and inscribed with the title verso, also inscribed, 'Montreuil sur Mer, France', oil on panel, 13.5cm x 17.5cm Provenance: Bonhams Yorkshire Sale, 19th November 2002, Lot 116, also with T.B. & R.Jordan, "Staithes Group Centenary Exhibition at the Pavilions Harrogate, October 2003, No54. Born in Markfield near Leicester, he studied at Manchester School of Art, as well as training with a firm of lithographers. He travelled the world as a deckhand on a tall ship. His subject matter is extremely diverse. He was also taught by Bouguereau at the Academie Julian in Paris where he met his fellow "Staithes" member Arthur E. Friedenson, he was also good friends with Fred Mayor, and Spence Ingall and all of them spent their Summers painting around Runswick Bay and Staithes, during the Winter they retreated to the South of France and North Africa where Ingall had a house.
Estimate:
£800 - £1,200
Australian Art: A Historyview full entry
Reference: see Grishin Sasha - Australian Art: A History by Sasha Grishin [’‘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: Miegunyah Press, 2014, hc, dw 584 pages
Westall Williamview full entry
Reference: William Westall, Views of Australian Scenery, Painted by W. Westall, and Engraved by Byrne. Nine Very Fine
Plates. Price One Guinea.

Westall’s marvellous views from the Flinders voyage.

The superior large paper issue of this series; a smaller version on thinner paper
was published at the same time for 15 shillings, while this version sold for a
guinea.
William Westall (1781-1850) was studying at the Royal Academy School when,
aged 19, he was appointed as the draughtsman on Flinders’s great circumnavigation
of Australia with the impressive salary of 300 guineas. Throughout the voyage
he made hundreds of fine drawings, although some were lost or badly damaged
in the disastrous wreck of the Porpoise in 1803. Westall survived the wreck but
sent his drawings on ahead to England while he sojourned in China, not personally
returning until 1805. Over the next few years he cemented his position as an
associate of the Royal Academy, but it was only after Flinders himself returned to
England in 1810 and the Admiralty began planning the published account of the
voyage that he settled down to complete a series of larger water-colours suitable
for reproduction as aquatints. The series of published views was also included in
the Voyage to Terra Australis of the same year, but as this separate publication attests,
there was evidently great demand for the images, some of which are the earliest
representations of remote parts of the Australian coast. The subjects are: Kangaroo
Island, Malay Road, Wreck-Reef Bank, Murray’s Islands, King George’s
Sound, Port Jackson, Port Bowen, Gulf of Carpentaria and Port Lincoln.
It is interesting that the imprints to the plates are dated February 1814, suggesting
at least the possibility of earlier publication, given that the books weren’t
issued until July.
Australian Rare Books, 74a; Ferguson, 597.
Publishing details: London, G. & W. Nicoll,, 1814. Oblong quarto, series of nine engraved plates, issued in blue floral wrappers with a black eather gilt titling-label;
Ref: 1000
Bauer Ferdinandview full entry
Reference: Ferdinand Bauer, Illustrationes floræ Novæ Hollandiæ…

One of the rarest Australian books: botany of the Flinders voyage
The Treviranus-Caspary copy of this rare and “very beautiful work of which probably
less than 50 copies… were issued” (Great Flower Books, 1990). This particularly
fine and fresh copy with its impeccable provenance is of exceptional rarity.
This fine copy of one of the most beautiful botanical works by one of the greatest
botanical artists of all time was once in the libraries of two great German nineteenth
century botanists: Ludolph Christian Treviranus (1779-1864) and Johann
Caspary (1818-1887). Ferdinand Bauer engraved the plates himself; according to
Bauer’s elder brother Franz, the amount of work involved was too much for him
and he was forced to suspend the project after only three parts were published as
he could not find competent engravers to complete the work.

Born in Feldsberg, Austria in 1760, Ferdinand was trained in botany at the monastery of Feldsberg under the protection of Norbert Boccius (1729-1800). Ferdinand was later sent to study at the Royal Botanical Gardens at Schonbrunn Palace before travelling to England and studying with John Sibthorp, the celebrated
Professor of Botany at Oxford.
Bauer’s first published work was the famous series of engravings that he made for Sibthorp’s great Flora Graeca – described by Joseph Hooker as “the greatest
botanical work that has ever appeared” (On the Flora of Australia). His talent soon
caught the attention of Sir Joseph Banks who was involved in the preparations for
Flinders’s voyage in the Investigator, and Ferdinand was invited to be the expedition’s
scientific artist in partnership with the botanist Robert Brown. In 1803, after the Investigator was condemned as unseaworthy, Bauer and Brown
continued their travels in Australia. They were an ideal team, Brown describing
the collected specimens and Bauer sketching and painting them. Bauer continued, collecting and sketching on Norfolk Island and in New South Wales, while Brown went south to Van Diemen’s Land. They finally returned to England in
1805 with several thousand botanical specimens and hundreds of sketches.
Sir Joseph Banks persuaded the Admiralty to pay Ferdinand to work on a selection
of the plates for publication, and the Illustrationes floræ Novæ Hollandiæ was
prepared in three parts of five plates each. The work was begun as early as 1806,
but was only finally issued in 1813.
Ferguson, 549; Henrey, II, p. 195; Pritzel, 493; Stafleu & Cowan, TL2 362 (noting coloured and uncoloured copies).

15 engravings. [’One of the rarest Australian books, with natural history from the Flinders voyage.

The Treviranus-Caspary copy of this rare and "very beautiful work of which probably less than 50 copies… were issued" (Great Flower Books, 1990).
This fine, unsophisticated copy of one of the greatest botanical works by one of the greatest botanical artists of all time was once in the libraries of two great German nineteenth century botanists: Ludolph Christian Treviranus and Johann Caspary. Ferdinand Bauer engraved the plates himself; according to Bauer's elder brother Franz, the amount of work involved was too much for Ferdinand and he was forced to suspend the project after only three parts were published as he could not find competent engravers to complete the work.
Born in Feldsberg, Austria in 1760, Ferdinand was the son of the court painter to the Prince of Liechtenstein. He was trained in botany at the monastery of Feldsberg under the protection of Norbert Boccius (1729-1800). Ferdinand was later sent to study at the Royal Botanical Gardens at Schonbrunn Palace before travelling to England and studying with John Sibthorp, the celebrated Professor of Botany at Oxford.
Bauer's first published work was the famous series of engravings that he made for Sibthorp's great Flora Graeca - described by Joseph Hooker as "the greatest botanical work that has ever appeared" (On the Flora of Australia). His talent soon caught the attention of Sir Joseph Banks who was involved in the preparations for Matthew Flinders's voyage in the Investigator, which was to make the first circumnavigation of Australia. Ferdinand was invited to be the expedition's scientific artist in partnership with the botanist on this momentous expedition Robert Brown.
In 1801 Bauer was employed on the coastal survey of New Holland carried out under the command of Captain Flinders. In 1803, after the Investigator was condemned as unseaworthy, Flinders left for England to obtain another ship to complete the expedition. Bauer and Brown, however, continued their travels in Australia. They were an ideal team, Brown describing the collected specimens and Bauer sketching and painting them. Bauer continued, collecting and sketching on Norfolk Island and in New South Wales, while Brown went south to Van Diemen's Land. They finally returned to England in 1805 with several thousand botanical specimens and many hundreds of sketches of plants.
Sir Joseph Banks persuaded the Admiralty to pay Ferdinand to work on a selection of the plates for publication, and the Illustrationes floræ Novæ Hollandiæ was prepared in three parts of five plates each. Although work began as early as 1806, both coloured and uncoloured copies of the book were only finally issued in 1813. This association copy is uncoloured. Ferdinand returned to his native Austria in 1814, and died in Vienna in 1826.’ See Hordern House, ‘Bendigo to Bismarck’ catalogue, July 2017].
Publishing details: London, Ferdinand Bauer, 1806-1813. Super royal folio, 15 uncoloured engravings,
Ref: 1000
Arago Jacquesview full entry
Reference: Jacques Arago, Promenade Autour du Monde pendant les années 1817, 1818, 1819 et 1820, sur les corvettes
du Roi l’Uranie et la Physicienne, commandés par M. Freycinet.
The artist’s version: first published account of the Freycinet voyage
First edition:
This wonderful, informal account of the Freycinet voyage is written in the form of
letters to a friend by the voyage’s official artist Jacques Arago, and has a fine series
of lithographs by him: “these entertaining letters, written in a lively and witty
literary style, provide vivid descriptions of the topography and the inhabitants of
the Pacific islands” (Hill). Although a lavish publication in its own right, Arago’s
“unofficial” account appeared years before the much grander official account of
Freycinet himself even began publication, and was so popular that it would have
been the source of much of what was known about the voyage.
The Uranie, with a crew of 125 under the command of Captain Louis de Freycinet,
entered the Pacific from the west to make scientific observations on geography,
magnetism, and meteorology. Arago was the artist of the expedition, which
visited Western Australia, Timor, Hawaii, and New South Wales. The text is peppered
with Arago’s personal and insightful comments on the places they visited,
with long sections devoted to Western Australia and especially to New South
Wales, where Arago gives an interesting account of colonial society at the close of
the Macquarie era. There are good descriptions of Sydney, and the explorers’ visits to Camden and the Blue Mountains. The French were entertained handsomely by the governor and other members of the local aristocracy, with expeditions to the
country estates of the Macarthurs, the Oxleys and the Kings the order of the day.
Arago was particularly known for his lively and arresting images of the people
he encountered, with a distinct preference for the unusual or the grotesque. He
would return many times to his experiences, and his accounts were enormously
popular.

Ferguson, 850; Forbes, ‘Hawaiian National Bibliography’, 537; Hill, 28.
Publishing details: Two volumes, octavo, and small folio atlas; the atlas with separate title, table and 23 lithograph
plates, some scattered foxing; text in period-style quarter calf with double labels, the atlas uncut
in the original blue-grey boards with printed paper label on the front cover; a fine set. Paris,
Leblanc, 1822.

Ref: 1000
Arago Jacquesview full entry
Reference: Jacques Arago, Narrative of a Voyage Round the World, in the “Uranie” and “Physicienne” corvettes, commanded
by Captain Freycinet during the years 1817,
1818, 1819 and 1820.

The first edition in English of this private narrative of the 1817-1820 Freycinet
expedition to Australia and the Pacific – in fact the first appearance in English of
any account of the whole voyage.
The huge multi-volume official account of the voyage was far more serious and
scientific in tone, and has never been published in full in English translation. Arago’s book in this and many subsequent editions became one of the voyage bestsellers of the nineteenth century. Included in this English edition is the important official report to the French Academy of Sciences on the collections made in the course of the expedition: this was not included in the French edition published in Paris the previous year (see previous item). Arago was the official artist on the voyage, and the lithograph plates here are all after his own drawings. He was a particularly sensitive interpreter of the native peoples encountered by the expedition, and writes in an entertaining style with his text reflecting his keen powers of observation. Throughout, he entirely avoids the conventional forms of the voyage narrative, ignoring the ‘eternal repetition of
winds, currents, longitude and latitude’. Long sections relate to western Australia,
and there are also marvellous descriptions of Sydney and the Blue Mountains.
The expedition visited Hawaii in August 1819, at a crucial period in the history of
the islands, visiting Maui, Hawaii and Oahu. Theirs was ‘the last careful examination
of the native culture, even as it was being dismantled by the abolition of the kapu system and less than a year prior to the arrival of the first American missionaries’
(Forbes).

Ferguson, 885; Forbes, ‘Hawaiian National Bibliography’, 562; Hawaii One Hundred, 26n; Hill, 29; Judd, 4; Sabin, 1865.
Publishing details: Paris, Leblanc, 1822., Two parts in one volume, quarto, with a folding map as frontispiece and 25 engraved plates
from original drawings by Arago; a few spots, but a very good copy in period-style full morocco,
elegantly gilt to spine. London, Treuttel and Wurtz, 1823. First edition in English, with new platesplates, text in period-style quarter calf with double labels,atlas

Ref: 1000
Arago Jacquesview full entry
Reference: From Hordern House July 2014 catalogue entry for a Jacques Arago drawing : Original pen and ink sketch, captioned
“L’Intérieur d’un ménage, à Coupang” and dated
at the top “Timor 1818”.
Fine pen, ink & watercolour sketch, the image 198 x 265 mm., on laid paper; pencil note “Mr. Arago” in Freycinet’s later hand at bottom left; framed. [Timor], 1818.’
Publishing details: Paris, Leblanc, 1822., Two parts in one volume, quarto, with a folding map as frontispiece and 25 engraved plates
from original drawings by Arago; a few spots, but a very good copy in period-style full morocco,
elegantly gilt to spine. London, Treuttel and Wurtz, 1823. First edition in English, with new platesplates, text in period-style quarter calf with double labels,atlas

King Phillip Parkerview full entry
Reference: From Hordern House July 2014 catalogue: KING, Phillip Parker. Narrative of a Survey of the Intertropical and Western Coasts of Australia…

Admiral Phillip Parker King (1791-1856), Australian-born
son of the third governor of NSW Philip Gidley King, became
the British navy’s leading hydrographer. His Australian coastal
voyages, together with Oxley’s expeditions inland, represented
the great expansionary undertakings of the Macquarie era. King
charted the greater part of the west, north and north-east coasts
and also carried out important surveys in the area of the Barrier
Reef. His hydrographical work is still the basis of many of the
modern charts for the areas he surveyed.
From 1815 or so, British interest in the largely uncharted
northern and north-western coast of Australia had increased.
Much in the same way that Flinders was commissioned due to
English concerns over the Baudin expedition, King was given
his command because of anxiety about the planned Freycinet
voyage. King was sent from England in 1817, with Admiralty
instructions to complete the survey of Australia and finish the
charting begun by Flinders and Baudin. By 1824-25 he had
issued a series of eight large charts showing the northern coasts,
to be followed with this complete printed journal of his expedition.
The engraved views were taken from King’s own sketches.
The work also includes significant natural history essays, including
work by John Edward Gray, William Sharp Macleay and William Henry
Fitton, three senior British scientists. There is also a long essay by Allan Cunningham,
‘A Few General Remarks on the Vegetation of certain coasts of Terra
Australis…’. Cunningham had sailed with King, and so this section has the added
interest of eyewitness reportage, as well as comparisons between the botany of
east and west coasts. Cunningham’s report is supplemented by notes from Robert
Brown, and the whole section concludes with three natural history plates.
This is the regular 1827 issue: a few copies survive with an 1826 date on the
title-pages, without any other points of difference (the 1826 issue appears to be a
presentation issue of some kind).
Abbey ‘Travel in Aquatint and Lithography 1770-1860’, 573; Davidson, ‘A Book Collector’s Notes’, pp. 127-8; Wantrup, 84b.
Publishing details: Two volumes, octavo, with nine aquatint views, large folding map backed with linen (as common),
smaller engraved chart and three engraved natural history plates (one folding); modern
period-style half calf by Aquarius, gilt with morocco labels. London, Murray, 1827.
King’s survey voyage: a handsome set
First edition of this great book, recounting the Australian coastal voyages of the Mermaid and the Bathurst.
Sweet Robertview full entry
Reference: From Hordern House July 2014 catalogue: SWEET, Robert, Flora Australasica; or a selection of handsome or curious plants, natives of New Holland, and the South Sea Islands…

First edition, one of the most attractive of all Australian botanical books and
the first with illustrations taken from live specimens rather than dried plants or
field sketches - the species depicted having been grown from seeds in London
nurseries and private gardens. This experimentation directly resulted from Joseph
Banks’s methods and indicates how widely his influence had spread.
This was the third English-published illustrated work on the botany of Australia
(the first was James Edward Smith’s Botany of New Holland of 1793, which
included plants from around Sydney, and the second Bauer’s exceptionally rare
Illustrationes Floræ Novæ Hollandiæ of 1813; see catalogue no. 19). Sweet’s book
represents a departure from its two predecessors. As a horticulturist, rather than a
scientific botanist or botanical artist, Sweet was more interested in the cultivation
than the classification of exotic plants. A large number of plants are said to have
been cultivated at the nurseries of Whitley, Brame & Milne (Fulham) and Mackay
(Clapton), two firms for which Sweet had in fact worked over the preceding
decade. During the last ten years of his life he published a number of botanical
works which catered for the educated English public in the same way as Paxton’s
and Curtis’s botanical magazines.
No fewer than nine plants are noted as having been collected in western Australia,
chiefly from the vicinity of King George’s Sound (modern Albany). A further 16
are noted as from the “south coast of New Holland”, with the majority of the rest
coming from around Port Jackson and Tasmania. Sweet includes, where possible,
field notes on the plants, and it is interesting to see that a large number were collected
in Australia personally by the little-known William Baxter, gardener to one
Francis Henchman Esq. of Clapton Nursery. Baxter had been sent out by Henchman
with the express view of collecting plants in remote regions.
This is a fine and fresh copy of the book, completely as issued in the original green
half calf binding, with particularly bright hand colouring to the plates, which were
drawn by one of the finest botanical artists of the day – Edwin Dalton Smith of
Chelsea, for many years attached to the Royal Botanic Gardens, Kew.
Ferguson, 1144; Nissen, BBI 1924.
Publishing details: Octavo, 56 handcoloured engraved plates, with excellent colouring, contemporary half green calf
with original boards as issued; a very good copy. London, James Ridgway, 1827-1828.
A major Australian botany, with many west Australian plants
Ref: 1000
Seymore Robert - Cousin Thomas, or the Swan River Jobview full entry
Reference: From Hordern House July 2014 catalogue: Robert Seymore, Cousin Thomas, or the Swan River Job.
Etching, 350 x 250 mm., with original handcolouring; a fine, bright impression, margins
restored. Thomas McLean, [?16] June, 1829.
Thomas Peel and the Swan River settlement. A fine impression, with excellent original handcolouring, of this rare caricature.

The target of this broadside was Thomas Peel (1793-1865) one of the very early
settlers of Western Australia. In 1828 Thomas and three others formed a consortium
to settle a colony at the Swan River, eventually being granted one million
acres – significantly less than the four million acres originally planned. As a result
of this restriction, the other members of the consortium withdrew early in 1829,
but Peel persisted, ultimately arriving aboard the Gilmore the same year with 300
settlers. The settlement was beset by delays in the arrival of necessary supplies,
poor planning, and a difficult relationship with local aboriginal tribes. In the end,
most of Peel’s fellow settlers drifted back to Fremantle, but Peel stayed on, becoming
an iconic figure on his enormous holding of some 250,000 acres.
The cartoon, however, speaks to contemporary fears that the deal for Swan River
was rife with family influence: Thomas Peel’s cousin happened to be Sir Robert
Peel, at that time Home Secretary, hence the references to “Peeling” and the exclamation
that ‘Cousin Bob’s letter did the job I shall feather my nest however.’ To
the left of Thomas is a sign post ‘The best parts of the Swan River Settlement only
to be got at through the hands of Mr. Thos P-l!!’
The image was executed by Robert Seymour, a caricaturist and artist who would
later work on the early stages of Dickens’ Pickwick Papers, although the two had a
volatile professional relationship: indeed, Seymour shot and killed himself directly
following an argument with Dickens, and the latter made a concerted attempt
to downplay the artist’s involvement in the development of the book. Seymour
worked with the publisher of the current image, Thomas Maclean, for a decade,
mastering the new technique of etching on steel plates. This caricature is typical
of his work and of the hard-biting political cartoons of the day. Although the
English colourists evidently did not know that the swans of Swan River were
black, the engraver did include two minute kangaroos on the horizon.
BM, 15808; Nan Kivell, p.
Day Fine Artview full entry
Reference: Day Fine Art catalogue July 2014.
Publishing details: Day Fine Art, 2014, pb, 16pp
Ref: 132
Thompson Owen 2 watercolours illustratedview full entry
Reference: see Day Fine Art catalogue July 2014.
Publishing details: Day Fine Art, 2014, pb, 16pp
Caldwell John 5 works illustratedview full entry
Reference: see Day Fine Art catalogue July 2014.
Publishing details: Day Fine Art, 2014, pb, 16pp
Allport Henry Curzonview full entry
Reference: see The Sydney punchbowl by Elizabeth Ellis. It is possible that the initials on the punchbowl are H C A (in monogram) and stand for Henry Curzon Allport. The DAAO entry on Allport is inserted in Scheding copy of The Sydney Punchbowl.
Three Australian Painters view full entry
Reference: Three Australian Painters - Jun Chen, Joe Furlonger & Ian Smith at Ray Hughes Gallery. Essay by John McDonald
Publishing details: Guan Shanyue Art Museum and Ray Hughes Gallery, 2007, hc, 48pp, edition limited to 2000 [Small format, filed under Chen Jun]
Yang Shu & Chen Weiminview full entry
Reference: Yang Shu & Chen Weimin, Ray Hughes Gallery publication. Essay by Ursula Panhans-Buhler
Publishing details: Ray Hughes Gallery, 2009, hc, 37pp, edition limited to 1000
Chen Junview full entry
Reference: see Three Australian Painters - Jun Chen, Joe Furlonger & Ian Smith at Ray Hughes Gallery. Essay by John McDonald
Publishing details: Guan Shanyue Art Museum and Ray Hughes Gallery, 2007, hc, 48pp, edition limited to 2000. [Small format, filed under Chen Jun]
Furlonger Joeview full entry
Reference: see Three Australian Painters - Jun Chen, Joe Furlonger & Ian Smith at Ray Hughes Gallery. Essay by John McDonald
Publishing details: Guan Shanyue Art Museum and Ray Hughes Gallery, 2007, hc, 48pp, edition limited to 2000. [Small format, filed under Chen Jun]
Smith Ianview full entry
Reference: see Three Australian Painters - Jun Chen, Joe Furlonger & Ian Smith at Ray Hughes Gallery. Essay by John McDonald
Publishing details: Guan Shanyue Art Museum and Ray Hughes Gallery, 2007, hc, 48pp, edition limited to 2000. [Small format, filed under Chen Jun]
Bookplates - Pat Corrigan & Familyview full entry
Reference: Bookplates - Pat Corrigan & Family, prospectus by Douglas Stewart Fine Books,
Publishing details: Douglas Stewart Fine Books, 2014, 4-page folding card, large format, fine paper, 3 tipped in plates. Includes 6-page additional brochure describing editions.
Bookplates for Pat Corrigan & Familyview full entry
Reference: Bookplates for Pat Corrigan & Family by Robert Littlewood, with 40 original designs by Australian artists.
Publishing details: Douglas Stewart Fine Books, 2014, Standard Edition limited to 200 copies (Delexe edition 15 copies)
Ref: 1000
Lawson Tomview full entry
Reference: The Last man - A British Genocide in Tasmania by Tom Lawson
Publishing details: I. B. Tauris. 2014, hc, dw, 263 pp with index. Signed by author.
Duterrau Benjamin The Conciliation illustratedview full entry
Reference: The Last man - A British Genocide in Tasmania by Tom Lawson
Publishing details: I. B. Tauris. 2014, hc, dw, 263 pp with index. Signed by author.
Glover John 4 illustrationsview full entry
Reference: The Last man - A British Genocide in Tasmania by Tom Lawson
Publishing details: I. B. Tauris. 2014, hc, dw, 263 pp with index. Signed by author.
Gov. Arthur’s Proclamation 1830 (Gov Davey)view full entry
Reference: The Last man - A British Genocide in Tasmania by Tom Lawson
Publishing details: I. B. Tauris. 2014, hc, dw, 263 pp with index. Signed by author.
Meredith Louisa 2 refs p 147, 149view full entry
Reference: The Last man - A British Genocide in Tasmania by Tom Lawson
Publishing details: I. B. Tauris. 2014, hc, dw, 263 pp with index. Signed by author.
Allport Morton p159-60view full entry
Reference: The Last man - A British Genocide in Tasmania by Tom Lawson
Publishing details: I. B. Tauris. 2014, hc, dw, 263 pp with index. Signed by author.
Treasures of Newcastle from the Macquarie Eraview full entry
Reference: Treasures of Newcastle from the Macquarie Era - A State Library of NSW and Newcastle Gallery partnership exhibition. Essay be elizabeth Ellis. Essay by Shane Frost & Kerrie Brauer with Richard Neville. Over 50 works painstakingly catalogued with useful information. [’The exhibition Treasures of Newcastle from the Macquarie era features rarely seen artworks and maps telling the fascinating story of the development of the early colony to Newcastle. It also features the recently discovered Wallis album and the iconic Macquarie Collectors Chest which will return to Newcastle for the first time in 195 years to be displayed beside the Newcastle Chest – a contemporary response.
Highlights include rare images of Awabakal people, paintings of Newcastle by convict artist Joseph Lycett, early views of Nobbys and a stunning panorama of the city by Edward Close.
Treasures of Newcastle from the Macquarie era aims to share the fascinating and little-known stories of Newcastle’s origins as a coal centre, major port and cultural centre.’]
Publishing details: Newcastle Gallery, 2013, pb, 35pp
Ref: 1
Hart Proview full entry
Reference: Pro Hart: Life and Legacy by Gavin Fry [’Pro Hart was without doubt the most enigmatic figure in Australian art of the late twentieth century. The proposition that an individual could be considered a near genius by some, be recognised and loved by millions, yet scorned, derided or at best ignored by expert opinion was the constant contradiction that marked his life.
His works can be found in more Australian homes and collections than any other artist, yet are almost entirely unrepresented in the major galleries at state and national level. Nearly a decade after his death he remains the most recognisable and popular Australian artist, the subject of hundreds of newspaper and magazine stories, TV shows and advertisements. He is however remarkably absent from the fine art media, critical reviews and journals of record. Can one be described as being 'without a doubt the greatest artist in our nation's history', yet also be considered a 'parish pump incompetent', meretricious and a charlatan? That is the paradox of Pro Hart. To be an artist, a one-man industry turning over more than one million dollars a year, yet fly beneath the radar of serious art.
He was not alone in that odd corner of the art world, yet he was the extreme and most obvious example. How that situation arose and what it says about Australian art, society and culture is the story to be told. About the Author Gavin Fry is an arts writer, publisher and museum professional. After working as a teacher and art lecturer in Victoria he began his Museum career as Curator of Art at the Australian War Memorial, Canberra in 1980. He was appointed Deputy Director of the Australian National Maritime Museum, Sydney in 1987 and Secretary to the Centenary of Federation Advisory Committee, Department of Prime Minister & Cabinet in 1994. He is the author of twenty books on Australian art and history and is a publisher of books on art, history and military subjects. Gavin holds the degrees of Bachelor of Arts [Honours] and Master of Arts in Visual Arts from Monash University and Master of Philosophy in Museum Studies from the University of Leicester. Now in retirement, he lives and works in Newcastle, New South Wales.’]
Publishing details: Pro Hart Art Sales, 2014, Hardcover, 212 pages
Hart Proview full entry
Reference: news article re the auction of Pro Hart’s works at Joel’s in Melbourne, 2014: Pro Hart painted as a slave to a marketing monster that demanded he paint up to eight pictures a day
ELIZABETH FORTESCUE VISUAL ARTS WRITER THE SUNDAY TELEGRAPH JULY 06, 2014 12:00AM.

THE popular image of Pro Hart is the crusty ex-miner from Broken Hill who became crazily rich from his art but never stopped wearing stubbies.

The fine art world view is that Pro Hart’s paintings are nice on biscuit tins.

But a new book portrays Hart as the unceasing slave to a marketing monster of his own making — one that ­demanded he paint up to eight pictures a day, every day of the year.

Hart painted so many pictures he lost track of them. Sometimes he didn’t even know if he had been paid for them, art historian Gavin Fry has written in Pro Hart: Life and Legacy.

The book was commissioned by the late artist’s family and accompanies an auction of 172 paintings and one sculpture from Hart’s estate. Leonard Joel auction house will hold the sale on July 22 in Melbourne.

Before his death in 2006, Hart began “effectively mass-producing paintings”, including hundreds of near-identical versions of stock images that Mr and Mrs Everyman were thirsty to buy, often on the recommendation of a middleman that they were a good investment.

Entrepreneurs would trek to Broken Hill and leave with a carload of pictures, often without signing an agreement with the artist. Hart feared confrontation and couldn’t say no.

“The manipulation became so ­blatant that some dealers would send pre-prepared boards already marked up with titles and sizes for Pro to churn out the desired product,” Fry wrote.

Fakers stepped in to suck their own share of blood. Always eccentric, Hart’s answer was to begin microchipping and DNA-marking his paintings.

Hart was a victim of his own success. At the beginning, his paintings commanded recognition by leading galleries. His 1962 painting Judas Flying A Kite, which is being sold in the auction, was exhibited at Heide ­Museum of Modern Art and at the ­National Gallery of Victoria.

“There was a moment where he could have had a very substantial career,” Fry told The Sunday Telegraph.

In the late 1960s, however, the artist swung his focus to the popular end of the art market.

He would eventually employ 17 people in his administration team and felt responsible for supporting all of them. Instead of furthering his career by developing his style and controlling his output, Hart painted up to eight pictures a day when he was at the height of his production.

“No artist could sustain such an ­effort and hope to maintain the levels of quality and engagement necessary to develop a lasting, satisfying and critically relevant career,” Fry wrote.

Established art dealers dropped Hart and serious collectors who had bought work in the 1960s began to sell.


As for the investment potential of Hart’s paintings, Fry wrote that it has “largely evaporated”.
“There are simply too many paintings and too many of those are not of great consequence,” he wrote.

The works to be auctioned this month were the ones that had “sustained” Hart, which is why he had kept or bought them back from collectors, Joel’s head of art Sophie Ullin said.

“The catalogue and the book show how much more adventurous and ­experimental Pro Hart was,” Ullin said. “It gives him more artistic ­credence.”

Fry said his “biggest challenge” in writing about Hart was overcoming his own prejudices to reassess Hart in the context of his life and personality.

“(Painting) 70,000 pictures is just madness, and that’s the great tragedy — that he couldn’t get away from the necessity to produce vast quantities of work,” Fry said.

Wilson Doraview full entry
Reference: from ADB - Dora Lynnell Wilson (b. 1883 Newcastle-upon-Tyne, UK, d. 1946 Australia)

Born in England, Wilson migrated to Australia with her family at an early age.  She was educated at Methodist Ladies College in Melbourne and went on to the National Gallery school where she was taught by Frederick McCubbin.  She gained a good reputation early in her career, in particular for her etchings, pastels and oil paintings.  Her still life, nudes and portraits were noted for their fine draughtsmanship. Wilson later became very well-known for her street scenes of Melbourne, which typically were of tree-lines streets with trams, long shadows and dappled light.  Her exhibition at the Fine Art Society Gallery, Melbourne, was entirely devoted to that subject.  Wilson was commissioned to paint European landmarks and spent several years abroad, exhibiting in London in 1928.  Her style is fresh and free and uses a bright palette and simple, broad impasto brushwork.

Wilson is represented in most State galleries and the Castlemaine and Bendigo galleries in Victoria.
Newcastle Academy - Art in a Colonial Outpostview full entry
Reference: Treasures of Newcastle from the Macquarie Era - A State Library of NSW and Newcastle Gallery partnership exhibition. Essay be elizabeth Ellis. Essay by Shane Frost & Kerrie Brauer with Richard Neville. Over 50 works painstakingly catalogued with useful information. [’The exhibition Treasures of Newcastle from the Macquarie era features rarely seen artworks and maps telling the fascinating story of the development of the early colony to Newcastle. It also features the recently discovered Wallis album and the iconic Macquarie Collectors Chest which will return to Newcastle for the first time in 195 years to be displayed beside the Newcastle Chest – a contemporary response.
Highlights include rare images of Awabakal people, paintings of Newcastle by convict artist Joseph Lycett, early views of Nobbys and a stunning panorama of the city by Edward Close.
Treasures of Newcastle from the Macquarie era aims to share the fascinating and little-known stories of Newcastle’s origins as a coal centre, major port and cultural centre.’]
Publishing details: Newcastle Gallery, 2013, pb, 35pp
Lycett Joseph - Macquarie Collector’s Chest c1818view full entry
Reference: Treasures of Newcastle from the Macquarie Era - A State Library of NSW and Newcastle Gallery partnership exhibition. Essay be elizabeth Ellis. Essay by Shane Frost & Kerrie Brauer with Richard Neville. Over 50 works painstakingly catalogued with useful information. [’The exhibition Treasures of Newcastle from the Macquarie era features rarely seen artworks and maps telling the fascinating story of the development of the early colony to Newcastle. It also features the recently discovered Wallis album and the iconic Macquarie Collectors Chest which will return to Newcastle for the first time in 195 years to be displayed beside the Newcastle Chest – a contemporary response.
Highlights include rare images of Awabakal people, paintings of Newcastle by convict artist Joseph Lycett, early views of Nobbys and a stunning panorama of the city by Edward Close.
Treasures of Newcastle from the Macquarie era aims to share the fascinating and little-known stories of Newcastle’s origins as a coal centre, major port and cultural centre.’]
Publishing details: Newcastle Gallery, 2013, pb, 35pp
Close Edwardview full entry
Reference: Treasures of Newcastle from the Macquarie Era - A State Library of NSW and Newcastle Gallery partnership exhibition. Essay be elizabeth Ellis. Essay by Shane Frost & Kerrie Brauer with Richard Neville. Over 50 works painstakingly catalogued with useful information. [’The exhibition Treasures of Newcastle from the Macquarie era features rarely seen artworks and maps telling the fascinating story of the development of the early colony to Newcastle. It also features the recently discovered Wallis album and the iconic Macquarie Collectors Chest which will return to Newcastle for the first time in 195 years to be displayed beside the Newcastle Chest – a contemporary response.
Highlights include rare images of Awabakal people, paintings of Newcastle by convict artist Joseph Lycett, early views of Nobbys and a stunning panorama of the city by Edward Close.
Treasures of Newcastle from the Macquarie era aims to share the fascinating and little-known stories of Newcastle’s origins as a coal centre, major port and cultural centre.’]
Publishing details: Newcastle Gallery, 2013, pb, 35pp
Lycett Josephview full entry
Reference: Treasures of Newcastle from the Macquarie Era - A State Library of NSW and Newcastle Gallery partnership exhibition. Essay be elizabeth Ellis. Essay by Shane Frost & Kerrie Brauer with Richard Neville. Over 50 works painstakingly catalogued with useful information. [’The exhibition Treasures of Newcastle from the Macquarie era features rarely seen artworks and maps telling the fascinating story of the development of the early colony to Newcastle. It also features the recently discovered Wallis album and the iconic Macquarie Collectors Chest which will return to Newcastle for the first time in 195 years to be displayed beside the Newcastle Chest – a contemporary response.
Highlights include rare images of Awabakal people, paintings of Newcastle by convict artist Joseph Lycett, early views of Nobbys and a stunning panorama of the city by Edward Close.
Treasures of Newcastle from the Macquarie era aims to share the fascinating and little-known stories of Newcastle’s origins as a coal centre, major port and cultural centre.’]
Publishing details: Newcastle Gallery, 2013, pb, 35pp
Read Richard Snrview full entry
Reference: Treasures of Newcastle from the Macquarie Era - A State Library of NSW and Newcastle Gallery partnership exhibition. Essay be elizabeth Ellis. Essay by Shane Frost & Kerrie Brauer with Richard Neville. Over 50 works painstakingly catalogued with useful information. [’The exhibition Treasures of Newcastle from the Macquarie era features rarely seen artworks and maps telling the fascinating story of the development of the early colony to Newcastle. It also features the recently discovered Wallis album and the iconic Macquarie Collectors Chest which will return to Newcastle for the first time in 195 years to be displayed beside the Newcastle Chest – a contemporary response.
Highlights include rare images of Awabakal people, paintings of Newcastle by convict artist Joseph Lycett, early views of Nobbys and a stunning panorama of the city by Edward Close.
Treasures of Newcastle from the Macquarie era aims to share the fascinating and little-known stories of Newcastle’s origins as a coal centre, major port and cultural centre.’]
Publishing details: Newcastle Gallery, 2013, pb, 35pp
Browne Richardview full entry
Reference: Treasures of Newcastle from the Macquarie Era - A State Library of NSW and Newcastle Gallery partnership exhibition. Essay be elizabeth Ellis. Essay by Shane Frost & Kerrie Brauer with Richard Neville. Over 50 works painstakingly catalogued with useful information. [’The exhibition Treasures of Newcastle from the Macquarie era features rarely seen artworks and maps telling the fascinating story of the development of the early colony to Newcastle. It also features the recently discovered Wallis album and the iconic Macquarie Collectors Chest which will return to Newcastle for the first time in 195 years to be displayed beside the Newcastle Chest – a contemporary response.
Highlights include rare images of Awabakal people, paintings of Newcastle by convict artist Joseph Lycett, early views of Nobbys and a stunning panorama of the city by Edward Close.
Treasures of Newcastle from the Macquarie era aims to share the fascinating and little-known stories of Newcastle’s origins as a coal centre, major port and cultural centre.’]
Publishing details: Newcastle Gallery, 2013, pb, 35pp
Skottowe Thomasview full entry
Reference: Treasures of Newcastle from the Macquarie Era - A State Library of NSW and Newcastle Gallery partnership exhibition. Essay be elizabeth Ellis. Essay by Shane Frost & Kerrie Brauer with Richard Neville. Over 50 works painstakingly catalogued with useful information. [’The exhibition Treasures of Newcastle from the Macquarie era features rarely seen artworks and maps telling the fascinating story of the development of the early colony to Newcastle. It also features the recently discovered Wallis album and the iconic Macquarie Collectors Chest which will return to Newcastle for the first time in 195 years to be displayed beside the Newcastle Chest – a contemporary response.
Highlights include rare images of Awabakal people, paintings of Newcastle by convict artist Joseph Lycett, early views of Nobbys and a stunning panorama of the city by Edward Close.
Treasures of Newcastle from the Macquarie era aims to share the fascinating and little-known stories of Newcastle’s origins as a coal centre, major port and cultural centre.’]
Publishing details: Newcastle Gallery, 2013, pb, 35pp
Wallis Jamesview full entry
Reference: Treasures of Newcastle from the Macquarie Era - A State Library of NSW and Newcastle Gallery partnership exhibition. Essay be elizabeth Ellis. Essay by Shane Frost & Kerrie Brauer with Richard Neville. Over 50 works painstakingly catalogued with useful information. [’The exhibition Treasures of Newcastle from the Macquarie era features rarely seen artworks and maps telling the fascinating story of the development of the early colony to Newcastle. It also features the recently discovered Wallis album and the iconic Macquarie Collectors Chest which will return to Newcastle for the first time in 195 years to be displayed beside the Newcastle Chest – a contemporary response.
Highlights include rare images of Awabakal people, paintings of Newcastle by convict artist Joseph Lycett, early views of Nobbys and a stunning panorama of the city by Edward Close.
Treasures of Newcastle from the Macquarie era aims to share the fascinating and little-known stories of Newcastle’s origins as a coal centre, major port and cultural centre.’]
Publishing details: Newcastle Gallery, 2013, pb, 35pp
Preston Walterview full entry
Reference: see Treasures of Newcastle from the Macquarie Era - A State Library of NSW and Newcastle Gallery partnership exhibition. Essay be elizabeth Ellis. Over 50 works painstakingly catalogued with useful information. [’The exhibition Treasures of Newcastle from the Macquarie era features rarely seen artworks and maps telling the fascinating story of the development of the early colony to Newcastle. It also features the recently discovered Wallis album and the iconic Macquarie Collectors Chest which will return to Newcastle for the first time in 195 years to be displayed beside the Newcastle Chest – a contemporary response.
Highlights include rare images of Awabakal people, paintings of Newcastle by convict artist Joseph Lycett, early views of Nobbys and a stunning panorama of the city by Edward Close.
Treasures of Newcastle from the Macquarie era aims to share the fascinating and little-known stories of Newcastle’s origins as a coal centre, major port and cultural centre.’]
Publishing details: Newcastle Gallery, 2013, pb, 35pp
Mitchell Thomasview full entry
Reference: see Treasures of Newcastle from the Macquarie Era - A State Library of NSW and Newcastle Gallery partnership exhibition. Essay be elizabeth Ellis. Over 50 works painstakingly catalogued with useful information. [’The exhibition Treasures of Newcastle from the Macquarie era features rarely seen artworks and maps telling the fascinating story of the development of the early colony to Newcastle. It also features the recently discovered Wallis album and the iconic Macquarie Collectors Chest which will return to Newcastle for the first time in 195 years to be displayed beside the Newcastle Chest – a contemporary response.
Highlights include rare images of Awabakal people, paintings of Newcastle by convict artist Joseph Lycett, early views of Nobbys and a stunning panorama of the city by Edward Close.
Treasures of Newcastle from the Macquarie era aims to share the fascinating and little-known stories of Newcastle’s origins as a coal centre, major port and cultural centre.’]
Publishing details: Newcastle Gallery, 2013, pb, 35pp
Mitchell Thomasview full entry
Reference: see Treasures of Newcastle from the Macquarie Era - A State Library of NSW and Newcastle Gallery partnership exhibition. Essay be elizabeth Ellis. Over 50 works painstakingly catalogued with useful information. [’The exhibition Treasures of Newcastle from the Macquarie era features rarely seen artworks and maps telling the fascinating story of the development of the early colony to Newcastle. It also features the recently discovered Wallis album and the iconic Macquarie Collectors Chest which will return to Newcastle for the first time in 195 years to be displayed beside the Newcastle Chest – a contemporary response.
Highlights include rare images of Awabakal people, paintings of Newcastle by convict artist Joseph Lycett, early views of Nobbys and a stunning panorama of the city by Edward Close.
Treasures of Newcastle from the Macquarie era aims to share the fascinating and little-known stories of Newcastle’s origins as a coal centre, major port and cultural centre.’]
Publishing details: Newcastle Gallery, 2013, pb, 35pp
Smart Jeffrey 1921-2013view full entry
Reference: A Modern Australian Master - Sydney Morning Herald limited and open edition print offer. Essay by John McDonald.
Publishing details: SMH May 31, 2014, 4pp folding sheet.20 illustrations. Inserted in Jeffrey Smat by John McDonald
Bennett Gordon 1955-2014view full entry
Reference: Sydney Morning Herald obituary
Publishing details: SMH, 28-29 June 2014 p45
Ref: 132
National Gallery of Victoria portrait possibly by an Goghview full entry
Reference: The Weekend Australian article by Michaela Boland discussing whether portrait is by Van Gogh or not.
Publishing details: The Australian, ? June 2014
Ref: 132
Pople Rodneyview full entry
Reference: ‘Altered State’, article by Susan Chenery in SMH
Publishing details: SMH Jun 28, 2014
Ref: 132
Boyd Arthurview full entry
Reference: ‘An Enigma in Life & Death by John McDonald
Publishing details: SMH, Spectrum, 28 June, 2014, p18
Ref: 132
Gallery A Sydney 1964-1983view full entry
Reference: Gallery A Sydney 1964-1983. Preface by Lisa Havelah and Ron Ramsay. Introduction by John Murphy. Lists all exhibitions at Gallery A during these years with extensive illustrations. The essays are: remembering Gallery A, Sydney; the galleries of Max Hutchinson; Clement Meadmore in Melbourne, Sydney & New York 1959-1963; Clement meadmore's letters from New York; Frank Hinder; Ralph Balson; Ann Lewis interview; Charles Callins at Gallery A; Rosalie Gasgoigne at Gallery A; master works of the Western Desert (at Gallery A); Peter Kennedy interview. Includes biographies on contributors Nicholas Chambers, A. D. S. Donaldson, Peter Fay, Hannah Fink, Christine France, Dr Stephen Jones, Djon Mundine, Daniel Thomas, Nick Waterlow.
Publishing details: Campbelltown Arts Centre and Newcastle Regional Art Gallery (2009) 260x210: 240pp. colour illustrations, Paperback, in dust jacket,
Lewis Ann gallery directorview full entry
Reference: see Gallery A Sydney 1964-1983. Preface by Lisa Havelah and Ron Ramsay. Introduction by John Murphy. Lists all exhibitions at Gallery A during these years with extensive illustrations. The essays are: remembering Gallery A, Sydney; the galleries of Max Hutchinson; Clement Meadmore in Melbourne, Sydney & New York 1959-1963; Clement meadmore's letters from New York; Frank Hinder; Ralph Balson; Ann Lewis interview; Charles Callins at Gallery A; Rosalie Gasgoigne at Gallery A; master works of the Western Desert (at Gallery A); Peter Kennedy interview. Includes biographies on contributors Nicholas Chambers, A. D. S. Donaldson, Peter Fay, Hannah Fink, Christine France, Dr Stephen Jones, Djon Mundine, Daniel Thomas, Nick Waterlow.
Publishing details: Campbelltown Arts Centre and Newcastle Regional Art Gallery (2009) 260x210: 240pp. colour illustrations, Paperback, in dust jacket,
Lanceley Colin in inaugural exhibitionview full entry
Reference: see Gallery A Sydney 1964-1983. Preface by Lisa Havelah and Ron Ramsay. Introduction by John Murphy. Lists all exhibitions at Gallery A during these years with extensive illustrations. The essays are: remembering Gallery A, Sydney; the galleries of Max Hutchinson; Clement Meadmore in Melbourne, Sydney & New York 1959-1963; Clement meadmore's letters from New York; Frank Hinder; Ralph Balson; Ann Lewis interview; Charles Callins at Gallery A; Rosalie Gasgoigne at Gallery A; master works of the Western Desert (at Gallery A); Peter Kennedy interview. Includes biographies on contributors Nicholas Chambers, A. D. S. Donaldson, Peter Fay, Hannah Fink, Christine France, Dr Stephen Jones, Djon Mundine, Daniel Thomas, Nick Waterlow.
Publishing details: Campbelltown Arts Centre and Newcastle Regional Art Gallery (2009) 260x210: 240pp. colour illustrations, Paperback, in dust jacket,
Callins Charles essay onview full entry
Reference: see Gallery A Sydney 1964-1983. Preface by Lisa Havelah and Ron Ramsay. Introduction by John Murphy. Lists all exhibitions at Gallery A during these years with extensive illustrations. The essays are: remembering Gallery A, Sydney; the galleries of Max Hutchinson; Clement Meadmore in Melbourne, Sydney & New York 1959-1963; Clement meadmore's letters from New York; Frank Hinder; Ralph Balson; Ann Lewis interview; Charles Callins at Gallery A; Rosalie Gasgoigne at Gallery A; master works of the Western Desert (at Gallery A); Peter Kennedy interview. Includes biographies on contributors Nicholas Chambers, A. D. S. Donaldson, Peter Fay, Hannah Fink, Christine France, Dr Stephen Jones, Djon Mundine, Daniel Thomas, Nick Waterlow.
Publishing details: Campbelltown Arts Centre and Newcastle Regional Art Gallery (2009) 260x210: 240pp. colour illustrations, Paperback, in dust jacket,
Callins Charles p12view full entry
Reference: see Gallery A Sydney 1964-1983. Preface by Lisa Havelah and Ron Ramsay. Introduction by John Murphy. Lists all exhibitions at Gallery A during these years with extensive illustrations. The essays are: remembering Gallery A, Sydney; the galleries of Max Hutchinson; Clement Meadmore in Melbourne, Sydney & New York 1959-1963; Clement meadmore's letters from New York; Frank Hinder; Ralph Balson; Ann Lewis interview; Charles Callins at Gallery A; Rosalie Gasgoigne at Gallery A; master works of the Western Desert (at Gallery A); Peter Kennedy interview. Includes biographies on contributors Nicholas Chambers, A. D. S. Donaldson, Peter Fay, Hannah Fink, Christine France, Dr Stephen Jones, Djon Mundine, Daniel Thomas, Nick Waterlow.
Publishing details: Campbelltown Arts Centre and Newcastle Regional Art Gallery (2009) 260x210: 240pp. colour illustrations, Paperback, in dust jacket,
Klippel Robert in inaugural exhibitionview full entry
Reference: see Gallery A Sydney 1964-1983. Preface by Lisa Havelah and Ron Ramsay. Introduction by John Murphy. Lists all exhibitions at Gallery A during these years with extensive illustrations. The essays are: remembering Gallery A, Sydney; the galleries of Max Hutchinson; Clement Meadmore in Melbourne, Sydney & New York 1959-1963; Clement meadmore's letters from New York; Frank Hinder; Ralph Balson; Ann Lewis interview; Charles Callins at Gallery A; Rosalie Gasgoigne at Gallery A; master works of the Western Desert (at Gallery A); Peter Kennedy interview. Includes biographies on contributors Nicholas Chambers, A. D. S. Donaldson, Peter Fay, Hannah Fink, Christine France, Dr Stephen Jones, Djon Mundine, Daniel Thomas, Nick Waterlow.
Publishing details: Campbelltown Arts Centre and Newcastle Regional Art Gallery (2009) 260x210: 240pp. colour illustrations, Paperback, in dust jacket,
Dawson Janet in inaugural exhibitionview full entry
Reference: see Gallery A Sydney 1964-1983. Preface by Lisa Havelah and Ron Ramsay. Introduction by John Murphy. Lists all exhibitions at Gallery A during these years with extensive illustrations. The essays are: remembering Gallery A, Sydney; the galleries of Max Hutchinson; Clement Meadmore in Melbourne, Sydney & New York 1959-1963; Clement meadmore's letters from New York; Frank Hinder; Ralph Balson; Ann Lewis interview; Charles Callins at Gallery A; Rosalie Gasgoigne at Gallery A; master works of the Western Desert (at Gallery A); Peter Kennedy interview. Includes biographies on contributors Nicholas Chambers, A. D. S. Donaldson, Peter Fay, Hannah Fink, Christine France, Dr Stephen Jones, Djon Mundine, Daniel Thomas, Nick Waterlow.
Publishing details: Campbelltown Arts Centre and Newcastle Regional Art Gallery (2009) 260x210: 240pp. colour illustrations, Paperback, in dust jacket,
Olsen Johnt in inaugural exhibitionview full entry
Reference: see Gallery A Sydney 1964-1983. Preface by Lisa Havelah and Ron Ramsay. Introduction by John Murphy. Lists all exhibitions at Gallery A during these years with extensive illustrations. The essays are: remembering Gallery A, Sydney; the galleries of Max Hutchinson; Clement Meadmore in Melbourne, Sydney & New York 1959-1963; Clement meadmore's letters from New York; Frank Hinder; Ralph Balson; Ann Lewis interview; Charles Callins at Gallery A; Rosalie Gasgoigne at Gallery A; master works of the Western Desert (at Gallery A); Peter Kennedy interview. Includes biographies on contributors Nicholas Chambers, A. D. S. Donaldson, Peter Fay, Hannah Fink, Christine France, Dr Stephen Jones, Djon Mundine, Daniel Thomas, Nick Waterlow.
Publishing details: Campbelltown Arts Centre and Newcastle Regional Art Gallery (2009) 260x210: 240pp. colour illustrations, Paperback, in dust jacket,
Balson Ralph essay onview full entry
Reference: see Gallery A Sydney 1964-1983. Preface by Lisa Havelah and Ron Ramsay. Introduction by John Murphy. Lists all exhibitions at Gallery A during these years with extensive illustrations. The essays are: remembering Gallery A, Sydney; the galleries of Max Hutchinson; Clement Meadmore in Melbourne, Sydney & New York 1959-1963; Clement meadmore's letters from New York; Frank Hinder; Ralph Balson; Ann Lewis interview; Charles Callins at Gallery A; Rosalie Gasgoigne at Gallery A; master works of the Western Desert (at Gallery A); Peter Kennedy interview. Includes biographies on contributors Nicholas Chambers, A. D. S. Donaldson, Peter Fay, Hannah Fink, Christine France, Dr Stephen Jones, Djon Mundine, Daniel Thomas, Nick Waterlow.
Publishing details: Campbelltown Arts Centre and Newcastle Regional Art Gallery (2009) 260x210: 240pp. colour illustrations, Paperback, in dust jacket,
Hutchinson Max gallery ownerview full entry
Reference: see Gallery A Sydney 1964-1983. Preface by Lisa Havelah and Ron Ramsay. Introduction by John Murphy. Lists all exhibitions at Gallery A during these years with extensive illustrations. The essays are: remembering Gallery A, Sydney; the galleries of Max Hutchinson; Clement Meadmore in Melbourne, Sydney & New York 1959-1963; Clement meadmore's letters from New York; Frank Hinder; Ralph Balson; Ann Lewis interview; Charles Callins at Gallery A; Rosalie Gasgoigne at Gallery A; master works of the Western Desert (at Gallery A); Peter Kennedy interview. Includes biographies on contributors Nicholas Chambers, A. D. S. Donaldson, Peter Fay, Hannah Fink, Christine France, Dr Stephen Jones, Djon Mundine, Daniel Thomas, Nick Waterlow.
Publishing details: Campbelltown Arts Centre and Newcastle Regional Art Gallery (2009) 260x210: 240pp. colour illustrations, Paperback, in dust jacket,
Powditch Peterview full entry
Reference: see Gallery A Sydney 1964-1983. Preface by Lisa Havelah and Ron Ramsay. Introduction by John Murphy. Lists all exhibitions at Gallery A during these years with extensive illustrations. The essays are: remembering Gallery A, Sydney; the galleries of Max Hutchinson; Clement Meadmore in Melbourne, Sydney & New York 1959-1963; Clement meadmore's letters from New York; Frank Hinder; Ralph Balson; Ann Lewis interview; Charles Callins at Gallery A; Rosalie Gasgoigne at Gallery A; master works of the Western Desert (at Gallery A); Peter Kennedy interview. Includes biographies on contributors Nicholas Chambers, A. D. S. Donaldson, Peter Fay, Hannah Fink, Christine France, Dr Stephen Jones, Djon Mundine, Daniel Thomas, Nick Waterlow.
Publishing details: Campbelltown Arts Centre and Newcastle Regional Art Gallery (2009) 260x210: 240pp. colour illustrations, Paperback, in dust jacket,
Meadmore Clementview full entry
Reference: see Gallery A Sydney 1964-1983. Preface by Lisa Havelah and Ron Ramsay. Introduction by John Murphy. Lists all exhibitions at Gallery A during these years with extensive illustrations. The essays are: remembering Gallery A, Sydney; the galleries of Max Hutchinson; Clement Meadmore in Melbourne, Sydney & New York 1959-1963; Clement meadmore's letters from New York; Frank Hinder; Ralph Balson; Ann Lewis interview; Charles Callins at Gallery A; Rosalie Gasgoigne at Gallery A; master works of the Western Desert (at Gallery A); Peter Kennedy interview. Includes biographies on contributors Nicholas Chambers, A. D. S. Donaldson, Peter Fay, Hannah Fink, Christine France, Dr Stephen Jones, Djon Mundine, Daniel Thomas, Nick Waterlow.
Publishing details: Campbelltown Arts Centre and Newcastle Regional Art Gallery (2009) 260x210: 240pp. colour illustrations, Paperback, in dust jacket,
Reddington Charlesview full entry
Reference: see Gallery A Sydney 1964-1983. Preface by Lisa Havelah and Ron Ramsay. Introduction by John Murphy. Lists all exhibitions at Gallery A during these years with extensive illustrations. The essays are: remembering Gallery A, Sydney; the galleries of Max Hutchinson; Clement Meadmore in Melbourne, Sydney & New York 1959-1963; Clement meadmore's letters from New York; Frank Hinder; Ralph Balson; Ann Lewis interview; Charles Callins at Gallery A; Rosalie Gasgoigne at Gallery A; master works of the Western Desert (at Gallery A); Peter Kennedy interview. Includes biographies on contributors Nicholas Chambers, A. D. S. Donaldson, Peter Fay, Hannah Fink, Christine France, Dr Stephen Jones, Djon Mundine, Daniel Thomas, Nick Waterlow.
Publishing details: Campbelltown Arts Centre and Newcastle Regional Art Gallery (2009) 260x210: 240pp. colour illustrations, Paperback, in dust jacket,
Turner Boydview full entry
Reference: see Gallery A Sydney 1964-1983. Preface by Lisa Havelah and Ron Ramsay. Introduction by John Murphy. Lists all exhibitions at Gallery A during these years with extensive illustrations. The essays are: remembering Gallery A, Sydney; the galleries of Max Hutchinson; Clement Meadmore in Melbourne, Sydney & New York 1959-1963; Clement meadmore's letters from New York; Frank Hinder; Ralph Balson; Ann Lewis interview; Charles Callins at Gallery A; Rosalie Gasgoigne at Gallery A; master works of the Western Desert (at Gallery A); Peter Kennedy interview. Includes biographies on contributors Nicholas Chambers, A. D. S. Donaldson, Peter Fay, Hannah Fink, Christine France, Dr Stephen Jones, Djon Mundine, Daniel Thomas, Nick Waterlow.
Publishing details: Campbelltown Arts Centre and Newcastle Regional Art Gallery (2009) 260x210: 240pp. colour illustrations, Paperback, in dust jacket,
Firth-Smith Johnview full entry
Reference: see Gallery A Sydney 1964-1983. Preface by Lisa Havelah and Ron Ramsay. Introduction by John Murphy. Lists all exhibitions at Gallery A during these years with extensive illustrations. The essays are: remembering Gallery A, Sydney; the galleries of Max Hutchinson; Clement Meadmore in Melbourne, Sydney & New York 1959-1963; Clement meadmore's letters from New York; Frank Hinder; Ralph Balson; Ann Lewis interview; Charles Callins at Gallery A; Rosalie Gasgoigne at Gallery A; master works of the Western Desert (at Gallery A); Peter Kennedy interview. Includes biographies on contributors Nicholas Chambers, A. D. S. Donaldson, Peter Fay, Hannah Fink, Christine France, Dr Stephen Jones, Djon Mundine, Daniel Thomas, Nick Waterlow.
Publishing details: Campbelltown Arts Centre and Newcastle Regional Art Gallery (2009) 260x210: 240pp. colour illustrations, Paperback, in dust jacket,
Storr Robert (US, in Sydney 2008)view full entry
Reference: see Gallery A Sydney 1964-1983. Preface by Lisa Havelah and Ron Ramsay. Introduction by John Murphy. Lists all exhibitions at Gallery A during these years with extensive illustrations. The essays are: remembering Gallery A, Sydney; the galleries of Max Hutchinson; Clement Meadmore in Melbourne, Sydney & New York 1959-1963; Clement meadmore's letters from New York; Frank Hinder; Ralph Balson; Ann Lewis interview; Charles Callins at Gallery A; Rosalie Gasgoigne at Gallery A; master works of the Western Desert (at Gallery A); Peter Kennedy interview. Includes biographies on contributors Nicholas Chambers, A. D. S. Donaldson, Peter Fay, Hannah Fink, Christine France, Dr Stephen Jones, Djon Mundine, Daniel Thomas, Nick Waterlow.
Publishing details: Campbelltown Arts Centre and Newcastle Regional Art Gallery (2009) 260x210: 240pp. colour illustrations, Paperback, in dust jacket,
Hinder Frank essay onview full entry
Reference: see Gallery A Sydney 1964-1983. Preface by Lisa Havelah and Ron Ramsay. Introduction by John Murphy. Lists all exhibitions at Gallery A during these years with extensive illustrations. The essays are: remembering Gallery A, Sydney; the galleries of Max Hutchinson; Clement Meadmore in Melbourne, Sydney & New York 1959-1963; Clement meadmore's letters from New York; Frank Hinder; Ralph Balson; Ann Lewis interview; Charles Callins at Gallery A; Rosalie Gasgoigne at Gallery A; master works of the Western Desert (at Gallery A); Peter Kennedy interview. Includes biographies on contributors Nicholas Chambers, A. D. S. Donaldson, Peter Fay, Hannah Fink, Christine France, Dr Stephen Jones, Djon Mundine, Daniel Thomas, Nick Waterlow.
Publishing details: Campbelltown Arts Centre and Newcastle Regional Art Gallery (2009) 260x210: 240pp. colour illustrations, Paperback, in dust jacket,
Johnson Michaelview full entry
Reference: see Gallery A Sydney 1964-1983. Preface by Lisa Havelah and Ron Ramsay. Introduction by John Murphy. Lists all exhibitions at Gallery A during these years with extensive illustrations. The essays are: remembering Gallery A, Sydney; the galleries of Max Hutchinson; Clement Meadmore in Melbourne, Sydney & New York 1959-1963; Clement meadmore's letters from New York; Frank Hinder; Ralph Balson; Ann Lewis interview; Charles Callins at Gallery A; Rosalie Gasgoigne at Gallery A; master works of the Western Desert (at Gallery A); Peter Kennedy interview. Includes biographies on contributors Nicholas Chambers, A. D. S. Donaldson, Peter Fay, Hannah Fink, Christine France, Dr Stephen Jones, Djon Mundine, Daniel Thomas, Nick Waterlow.
Publishing details: Campbelltown Arts Centre and Newcastle Regional Art Gallery (2009) 260x210: 240pp. colour illustrations, Paperback, in dust jacket,
Gascoigne Rosalie essay onview full entry
Reference: see Gallery A Sydney 1964-1983. Preface by Lisa Havelah and Ron Ramsay. Introduction by John Murphy. Lists all exhibitions at Gallery A during these years with extensive illustrations. The essays are: remembering Gallery A, Sydney; the galleries of Max Hutchinson; Clement Meadmore in Melbourne, Sydney & New York 1959-1963; Clement meadmore's letters from New York; Frank Hinder; Ralph Balson; Ann Lewis interview; Charles Callins at Gallery A; Rosalie Gasgoigne at Gallery A; master works of the Western Desert (at Gallery A); Peter Kennedy interview. Includes biographies on contributors Nicholas Chambers, A. D. S. Donaldson, Peter Fay, Hannah Fink, Christine France, Dr Stephen Jones, Djon Mundine, Daniel Thomas, Nick Waterlow.
Publishing details: Campbelltown Arts Centre and Newcastle Regional Art Gallery (2009) 260x210: 240pp. colour illustrations, Paperback, in dust jacket,
paintings of the Western Desertview full entry
Reference: see Gallery A Sydney 1964-1983. Preface by Lisa Havelah and Ron Ramsay. Introduction by John Murphy. Lists all exhibitions at Gallery A during these years with extensive illustrations. The essays are: remembering Gallery A, Sydney; the galleries of Max Hutchinson; Clement Meadmore in Melbourne, Sydney & New York 1959-1963; Clement meadmore's letters from New York; Frank Hinder; Ralph Balson; Ann Lewis interview; Charles Callins at Gallery A; Rosalie Gasgoigne at Gallery A; master works of the Western Desert (at Gallery A); Peter Kennedy interview. Includes biographies on contributors Nicholas Chambers, A. D. S. Donaldson, Peter Fay, Hannah Fink, Christine France, Dr Stephen Jones, Djon Mundine, Daniel Thomas, Nick Waterlow.
Publishing details: Campbelltown Arts Centre and Newcastle Regional Art Gallery (2009) 260x210: 240pp. colour illustrations, Paperback, in dust jacket,
Encounters With Australian Modern Artview full entry
Reference: Encounters With Australian Modern Art by Christopher Heathcote, Patrick McCaughey and Sarah Thomas. Edited by Maudie Palmer. Foreword by Eva and Marc Besen (owners of the Tarrawarra Museum).

[’Encounters With Australian Modern Art symbolises a milestone in presenting Australian art to a world-wide audience. With over 200 images from the Tarrawarra Museum (in the Yarra Valley outside of Melbourne - owned by the Besen family) collection, Encounters With Australian Modern Art includes an overview of some of the finest Australian modern artists, between 1950 and today...

Encounters with Australian Modern Art represents a vital milestone in the presentation of Australian art to a world-wide readership. It was published in both French and English, and lavishly illustrated with more than 200 iconic images, many drawn from the collection of the TarraWarra museum of Art. Maudie Palmer, Director of the Museum and Editor of the book, devised its concept and selected the authors. They, like herself and the Besens, have witnessed first-hand the development of Australian Modernism during the second half of the twentieth century when the careers of its leading artist practitioners were firmly established. During those decades, many of these became acknowledged national identites - some enjoying overseas acclaim. 

Christopher Heathcote explores the art of the 1950s and 60s post-war reconstruction era. It witnessed the expansion of Australian suburbs and their growing populations of idiosyncratic urbanites. During these decades the earlier Australian landscape painting tradition survived and was further strengthened by the creations of artists like John Olsen and Fred Williams. 

Patrick MacCaughey's approach is both refreshing and revealing. He pairs artists such as Brett Whiteley and Fred Williams; John Brack and Roger Kemp, and John Olsen and Jeffrey Smart. Intriguing insights emerge as he explores the affinities and differences that exist between their approaches. 

Sarah Thomas had the complex task of drawing together the rich plurality of the changing art world from the mid-1980s, a time when women artists came to the fore. Her spectrum includes the introduction of the new technologies and the escalation of cultural connections within Australia and with Asia and the world at large.’]
Publishing details: Macmillan, 2008, hc, dw, 274 pages hardcover colour illustrations. With index.

Besen Eva and Marc - (owners Tarrawarra Museum)
view full entry
Reference: see Encounters With Australian Modern Art by Christopher Heathcote, Patrick McCaughey and Sarah Thomas. Edited by Maudie Palmer. Foreword by Eva and Marc Besen (owners of the Tarrawarra Museum).

[’Encounters With Australian Modern Art symbolises a milestone in presenting Australian art to a world-wide audience. With over 200 images from the Tarrawarra Museum (in the Yarra Valley outside of Melbourne - owned by the Besen family) collection, Encounters With Australian Modern Art includes an overview of some of the finest Australian modern artists, between 1950 and today...

Encounters with Australian Modern Art represents a vital milestone in the presentation of Australian art to a world-wide readership. It was published in both French and English, and lavishly illustrated with more than 200 iconic images, many drawn from the collection of the TarraWarra museum of Art. Maudie Palmer, Director of the Museum and Editor of the book, devised its concept and selected the authors. They, like herself and the Besens, have witnessed first-hand the development of Australian Modernism during the second half of the twentieth century when the careers of its leading artist practitioners were firmly established. During those decades, many of these became acknowledged national identites - some enjoying overseas acclaim. 

Christopher Heathcote explores the art of the 1950s and 60s post-war reconstruction era. It witnessed the expansion of Australian suburbs and their growing populations of idiosyncratic urbanites. During these decades the earlier Australian landscape painting tradition survived and was further strengthened by the creations of artists like John Olsen and Fred Williams. 

Patrick MacCaughey's approach is both refreshing and revealing. He pairs artists such as Brett Whiteley and Fred Williams; John Brack and Roger Kemp, and John Olsen and Jeffrey Smart. Intriguing insights emerge as he explores the affinities and differences that exist between their approaches. 

Sarah Thomas had the complex task of drawing together the rich plurality of the changing art world from the mid-1980s, a time when women artists came to the fore. Her spectrum includes the introduction of the new technologies and the escalation of cultural connections within Australia and with Asia and the world at large.
Publishing details: Macmillan, 2008, hc, dw, 274 pages hardcover colour illustrations. With index.

Allen Davida
view full entry
Reference: see Encounters With Australian Modern Art by Christopher Heathcote, Patrick McCaughey and Sarah Thomas. Edited by Maudie Palmer. Foreword by Eva and Marc Besen (owners of the Tarrawarra Museum).

[’Encounters With Australian Modern Art symbolises a milestone in presenting Australian art to a world-wide audience. With over 200 images from the Tarrawarra Museum (in the Yarra Valley outside of Melbourne - owned by the Besen family) collection, Encounters With Australian Modern Art includes an overview of some of the finest Australian modern artists, between 1950 and today...

Encounters with Australian Modern Art represents a vital milestone in the presentation of Australian art to a world-wide readership. It was published in both French and English, and lavishly illustrated with more than 200 iconic images, many drawn from the collection of the TarraWarra museum of Art. Maudie Palmer, Director of the Museum and Editor of the book, devised its concept and selected the authors. They, like herself and the Besens, have witnessed first-hand the development of Australian Modernism during the second half of the twentieth century when the careers of its leading artist practitioners were firmly established. During those decades, many of these became acknowledged national identites - some enjoying overseas acclaim. 

Christopher Heathcote explores the art of the 1950s and 60s post-war reconstruction era. It witnessed the expansion of Australian suburbs and their growing populations of idiosyncratic urbanites. During these decades the earlier Australian landscape painting tradition survived and was further strengthened by the creations of artists like John Olsen and Fred Williams. 

Patrick MacCaughey's approach is both refreshing and revealing. He pairs artists such as Brett Whiteley and Fred Williams; John Brack and Roger Kemp, and John Olsen and Jeffrey Smart. Intriguing insights emerge as he explores the affinities and differences that exist between their approaches. 

Sarah Thomas had the complex task of drawing together the rich plurality of the changing art world from the mid-1980s, a time when women artists came to the fore. Her spectrum includes the introduction of the new technologies and the escalation of cultural connections within Australia and with Asia and the world at large.
Publishing details: Macmillan, 2008, hc, dw, 274 pages hardcover colour illustrations. With index.

Amor Rickview full entry
Reference: see Encounters With Australian Modern Art by Christopher Heathcote, Patrick McCaughey and Sarah Thomas. Edited by Maudie Palmer. Foreword by Eva and Marc Besen (owners of the Tarrawarra Museum).

[’Encounters With Australian Modern Art symbolises a milestone in presenting Australian art to a world-wide audience. With over 200 images from the Tarrawarra Museum (in the Yarra Valley outside of Melbourne - owned by the Besen family) collection, Encounters With Australian Modern Art includes an overview of some of the finest Australian modern artists, between 1950 and today...

Encounters with Australian Modern Art represents a vital milestone in the presentation of Australian art to a world-wide readership. It was published in both French and English, and lavishly illustrated with more than 200 iconic images, many drawn from the collection of the TarraWarra museum of Art. Maudie Palmer, Director of the Museum and Editor of the book, devised its concept and selected the authors. They, like herself and the Besens, have witnessed first-hand the development of Australian Modernism during the second half of the twentieth century when the careers of its leading artist practitioners were firmly established. During those decades, many of these became acknowledged national identites - some enjoying overseas acclaim. 

Christopher Heathcote explores the art of the 1950s and 60s post-war reconstruction era. It witnessed the expansion of Australian suburbs and their growing populations of idiosyncratic urbanites. During these decades the earlier Australian landscape painting tradition survived and was further strengthened by the creations of artists like John Olsen and Fred Williams. 

Patrick MacCaughey's approach is both refreshing and revealing. He pairs artists such as Brett Whiteley and Fred Williams; John Brack and Roger Kemp, and John Olsen and Jeffrey Smart. Intriguing insights emerge as he explores the affinities and differences that exist between their approaches. 

Sarah Thomas had the complex task of drawing together the rich plurality of the changing art world from the mid-1980s, a time when women artists came to the fore. Her spectrum includes the introduction of the new technologies and the escalation of cultural connections within Australia and with Asia and the world at large.
Publishing details: Macmillan, 2008, hc, dw, 274 pages hardcover colour illustrations. With index.

Arkley Howardview full entry
Reference: see Encounters With Australian Modern Art by Christopher Heathcote, Patrick McCaughey and Sarah Thomas. Edited by Maudie Palmer. Foreword by Eva and Marc Besen (owners of the Tarrawarra Museum).

[’Encounters With Australian Modern Art symbolises a milestone in presenting Australian art to a world-wide audience. With over 200 images from the Tarrawarra Museum (in the Yarra Valley outside of Melbourne - owned by the Besen family) collection, Encounters With Australian Modern Art includes an overview of some of the finest Australian modern artists, between 1950 and today...

Encounters with Australian Modern Art represents a vital milestone in the presentation of Australian art to a world-wide readership. It was published in both French and English, and lavishly illustrated with more than 200 iconic images, many drawn from the collection of the TarraWarra museum of Art. Maudie Palmer, Director of the Museum and Editor of the book, devised its concept and selected the authors. They, like herself and the Besens, have witnessed first-hand the development of Australian Modernism during the second half of the twentieth century when the careers of its leading artist practitioners were firmly established. During those decades, many of these became acknowledged national identites - some enjoying overseas acclaim. 

Christopher Heathcote explores the art of the 1950s and 60s post-war reconstruction era. It witnessed the expansion of Australian suburbs and their growing populations of idiosyncratic urbanites. During these decades the earlier Australian landscape painting tradition survived and was further strengthened by the creations of artists like John Olsen and Fred Williams. 

Patrick MacCaughey's approach is both refreshing and revealing. He pairs artists such as Brett Whiteley and Fred Williams; John Brack and Roger Kemp, and John Olsen and Jeffrey Smart. Intriguing insights emerge as he explores the affinities and differences that exist between their approaches. 

Sarah Thomas had the complex task of drawing together the rich plurality of the changing art world from the mid-1980s, a time when women artists came to the fore. Her spectrum includes the introduction of the new technologies and the escalation of cultural connections within Australia and with Asia and the world at large.
Publishing details: Macmillan, 2008, hc, dw, 274 pages hardcover colour illustrations. With index.

Aspden Davidview full entry
Reference: see Encounters With Australian Modern Art by Christopher Heathcote, Patrick McCaughey and Sarah Thomas. Edited by Maudie Palmer. Foreword by Eva and Marc Besen (owners of the Tarrawarra Museum).

[’Encounters With Australian Modern Art symbolises a milestone in presenting Australian art to a world-wide audience. With over 200 images from the Tarrawarra Museum (in the Yarra Valley outside of Melbourne - owned by the Besen family) collection, Encounters With Australian Modern Art includes an overview of some of the finest Australian modern artists, between 1950 and today...

Encounters with Australian Modern Art represents a vital milestone in the presentation of Australian art to a world-wide readership. It was published in both French and English, and lavishly illustrated with more than 200 iconic images, many drawn from the collection of the TarraWarra museum of Art. Maudie Palmer, Director of the Museum and Editor of the book, devised its concept and selected the authors. They, like herself and the Besens, have witnessed first-hand the development of Australian Modernism during the second half of the twentieth century when the careers of its leading artist practitioners were firmly established. During those decades, many of these became acknowledged national identites - some enjoying overseas acclaim. 

Christopher Heathcote explores the art of the 1950s and 60s post-war reconstruction era. It witnessed the expansion of Australian suburbs and their growing populations of idiosyncratic urbanites. During these decades the earlier Australian landscape painting tradition survived and was further strengthened by the creations of artists like John Olsen and Fred Williams. 

Patrick MacCaughey's approach is both refreshing and revealing. He pairs artists such as Brett Whiteley and Fred Williams; John Brack and Roger Kemp, and John Olsen and Jeffrey Smart. Intriguing insights emerge as he explores the affinities and differences that exist between their approaches. 

Sarah Thomas had the complex task of drawing together the rich plurality of the changing art world from the mid-1980s, a time when women artists came to the fore. Her spectrum includes the introduction of the new technologies and the escalation of cultural connections within Australia and with Asia and the world at large.
Publishing details: Macmillan, 2008, hc, dw, 274 pages hardcover colour illustrations. With index.

Baldessin Georgeview full entry
Reference: see Encounters With Australian Modern Art by Christopher Heathcote, Patrick McCaughey and Sarah Thomas. Edited by Maudie Palmer. Foreword by Eva and Marc Besen (owners of the Tarrawarra Museum).

[’Encounters With Australian Modern Art symbolises a milestone in presenting Australian art to a world-wide audience. With over 200 images from the Tarrawarra Museum (in the Yarra Valley outside of Melbourne - owned by the Besen family) collection, Encounters With Australian Modern Art includes an overview of some of the finest Australian modern artists, between 1950 and today...

Encounters with Australian Modern Art represents a vital milestone in the presentation of Australian art to a world-wide readership. It was published in both French and English, and lavishly illustrated with more than 200 iconic images, many drawn from the collection of the TarraWarra museum of Art. Maudie Palmer, Director of the Museum and Editor of the book, devised its concept and selected the authors. They, like herself and the Besens, have witnessed first-hand the development of Australian Modernism during the second half of the twentieth century when the careers of its leading artist practitioners were firmly established. During those decades, many of these became acknowledged national identites - some enjoying overseas acclaim. 

Christopher Heathcote explores the art of the 1950s and 60s post-war reconstruction era. It witnessed the expansion of Australian suburbs and their growing populations of idiosyncratic urbanites. During these decades the earlier Australian landscape painting tradition survived and was further strengthened by the creations of artists like John Olsen and Fred Williams. 

Patrick MacCaughey's approach is both refreshing and revealing. He pairs artists such as Brett Whiteley and Fred Williams; John Brack and Roger Kemp, and John Olsen and Jeffrey Smart. Intriguing insights emerge as he explores the affinities and differences that exist between their approaches. 

Sarah Thomas had the complex task of drawing together the rich plurality of the changing art world from the mid-1980s, a time when women artists came to the fore. Her spectrum includes the introduction of the new technologies and the escalation of cultural connections within Australia and with Asia and the world at large.
Publishing details: Macmillan, 2008, hc, dw, 274 pages hardcover colour illustrations. With index.

Ball Sydneyview full entry
Reference: see Encounters With Australian Modern Art by Christopher Heathcote, Patrick McCaughey and Sarah Thomas. Edited by Maudie Palmer. Foreword by Eva and Marc Besen (owners of the Tarrawarra Museum).

[’Encounters With Australian Modern Art symbolises a milestone in presenting Australian art to a world-wide audience. With over 200 images from the Tarrawarra Museum (in the Yarra Valley outside of Melbourne - owned by the Besen family) collection, Encounters With Australian Modern Art includes an overview of some of the finest Australian modern artists, between 1950 and today...

Encounters with Australian Modern Art represents a vital milestone in the presentation of Australian art to a world-wide readership. It was published in both French and English, and lavishly illustrated with more than 200 iconic images, many drawn from the collection of the TarraWarra museum of Art. Maudie Palmer, Director of the Museum and Editor of the book, devised its concept and selected the authors. They, like herself and the Besens, have witnessed first-hand the development of Australian Modernism during the second half of the twentieth century when the careers of its leading artist practitioners were firmly established. During those decades, many of these became acknowledged national identites - some enjoying overseas acclaim. 

Christopher Heathcote explores the art of the 1950s and 60s post-war reconstruction era. It witnessed the expansion of Australian suburbs and their growing populations of idiosyncratic urbanites. During these decades the earlier Australian landscape painting tradition survived and was further strengthened by the creations of artists like John Olsen and Fred Williams. 

Patrick MacCaughey's approach is both refreshing and revealing. He pairs artists such as Brett Whiteley and Fred Williams; John Brack and Roger Kemp, and John Olsen and Jeffrey Smart. Intriguing insights emerge as he explores the affinities and differences that exist between their approaches. 

Sarah Thomas had the complex task of drawing together the rich plurality of the changing art world from the mid-1980s, a time when women artists came to the fore. Her spectrum includes the introduction of the new technologies and the escalation of cultural connections within Australia and with Asia and the world at large.
Publishing details: Macmillan, 2008, hc, dw, 274 pages hardcover colour illustrations. With index.

Balson Ralphview full entry
Reference: see Encounters With Australian Modern Art by Christopher Heathcote, Patrick McCaughey and Sarah Thomas. Edited by Maudie Palmer. Foreword by Eva and Marc Besen (owners of the Tarrawarra Museum).

[’Encounters With Australian Modern Art symbolises a milestone in presenting Australian art to a world-wide audience. With over 200 images from the Tarrawarra Museum (in the Yarra Valley outside of Melbourne - owned by the Besen family) collection, Encounters With Australian Modern Art includes an overview of some of the finest Australian modern artists, between 1950 and today...

Encounters with Australian Modern Art represents a vital milestone in the presentation of Australian art to a world-wide readership. It was published in both French and English, and lavishly illustrated with more than 200 iconic images, many drawn from the collection of the TarraWarra museum of Art. Maudie Palmer, Director of the Museum and Editor of the book, devised its concept and selected the authors. They, like herself and the Besens, have witnessed first-hand the development of Australian Modernism during the second half of the twentieth century when the careers of its leading artist practitioners were firmly established. During those decades, many of these became acknowledged national identites - some enjoying overseas acclaim. 

Christopher Heathcote explores the art of the 1950s and 60s post-war reconstruction era. It witnessed the expansion of Australian suburbs and their growing populations of idiosyncratic urbanites. During these decades the earlier Australian landscape painting tradition survived and was further strengthened by the creations of artists like John Olsen and Fred Williams. 

Patrick MacCaughey's approach is both refreshing and revealing. He pairs artists such as Brett Whiteley and Fred Williams; John Brack and Roger Kemp, and John Olsen and Jeffrey Smart. Intriguing insights emerge as he explores the affinities and differences that exist between their approaches. 

Sarah Thomas had the complex task of drawing together the rich plurality of the changing art world from the mid-1980s, a time when women artists came to the fore. Her spectrum includes the introduction of the new technologies and the escalation of cultural connections within Australia and with Asia and the world at large.
Publishing details: Macmillan, 2008, hc, dw, 274 pages hardcover colour illustrations. With index.

Bell Richardview full entry
Reference: see Encounters With Australian Modern Art by Christopher Heathcote, Patrick McCaughey and Sarah Thomas. Edited by Maudie Palmer. Foreword by Eva and Marc Besen (owners of the Tarrawarra Museum).

[’Encounters With Australian Modern Art symbolises a milestone in presenting Australian art to a world-wide audience. With over 200 images from the Tarrawarra Museum (in the Yarra Valley outside of Melbourne - owned by the Besen family) collection, Encounters With Australian Modern Art includes an overview of some of the finest Australian modern artists, between 1950 and today...

Encounters with Australian Modern Art represents a vital milestone in the presentation of Australian art to a world-wide readership. It was published in both French and English, and lavishly illustrated with more than 200 iconic images, many drawn from the collection of the TarraWarra museum of Art. Maudie Palmer, Director of the Museum and Editor of the book, devised its concept and selected the authors. They, like herself and the Besens, have witnessed first-hand the development of Australian Modernism during the second half of the twentieth century when the careers of its leading artist practitioners were firmly established. During those decades, many of these became acknowledged national identites - some enjoying overseas acclaim. 

Christopher Heathcote explores the art of the 1950s and 60s post-war reconstruction era. It witnessed the expansion of Australian suburbs and their growing populations of idiosyncratic urbanites. During these decades the earlier Australian landscape painting tradition survived and was further strengthened by the creations of artists like John Olsen and Fred Williams. 

Patrick MacCaughey's approach is both refreshing and revealing. He pairs artists such as Brett Whiteley and Fred Williams; John Brack and Roger Kemp, and John Olsen and Jeffrey Smart. Intriguing insights emerge as he explores the affinities and differences that exist between their approaches. 

Sarah Thomas had the complex task of drawing together the rich plurality of the changing art world from the mid-1980s, a time when women artists came to the fore. Her spectrum includes the introduction of the new technologies and the escalation of cultural connections within Australia and with Asia and the world at large.
Publishing details: Macmillan, 2008, hc, dw, 274 pages hardcover colour illustrations. With index.

Blackman Charlesview full entry
Reference: see Encounters With Australian Modern Art by Christopher Heathcote, Patrick McCaughey and Sarah Thomas. Edited by Maudie Palmer. Foreword by Eva and Marc Besen (owners of the Tarrawarra Museum).

[’Encounters With Australian Modern Art symbolises a milestone in presenting Australian art to a world-wide audience. With over 200 images from the Tarrawarra Museum (in the Yarra Valley outside of Melbourne - owned by the Besen family) collection, Encounters With Australian Modern Art includes an overview of some of the finest Australian modern artists, between 1950 and today...

Encounters with Australian Modern Art represents a vital milestone in the presentation of Australian art to a world-wide readership. It was published in both French and English, and lavishly illustrated with more than 200 iconic images, many drawn from the collection of the TarraWarra museum of Art. Maudie Palmer, Director of the Museum and Editor of the book, devised its concept and selected the authors. They, like herself and the Besens, have witnessed first-hand the development of Australian Modernism during the second half of the twentieth century when the careers of its leading artist practitioners were firmly established. During those decades, many of these became acknowledged national identites - some enjoying overseas acclaim. 

Christopher Heathcote explores the art of the 1950s and 60s post-war reconstruction era. It witnessed the expansion of Australian suburbs and their growing populations of idiosyncratic urbanites. During these decades the earlier Australian landscape painting tradition survived and was further strengthened by the creations of artists like John Olsen and Fred Williams. 

Patrick MacCaughey's approach is both refreshing and revealing. He pairs artists such as Brett Whiteley and Fred Williams; John Brack and Roger Kemp, and John Olsen and Jeffrey Smart. Intriguing insights emerge as he explores the affinities and differences that exist between their approaches. 

Sarah Thomas had the complex task of drawing together the rich plurality of the changing art world from the mid-1980s, a time when women artists came to the fore. Her spectrum includes the introduction of the new technologies and the escalation of cultural connections within Australia and with Asia and the world at large.
Publishing details: Macmillan, 2008, hc, dw, 274 pages hardcover colour illustrations. With index.

Booth Peterview full entry
Reference: see Encounters With Australian Modern Art by Christopher Heathcote, Patrick McCaughey and Sarah Thomas. Edited by Maudie Palmer. Foreword by Eva and Marc Besen (owners of the Tarrawarra Museum).

[’Encounters With Australian Modern Art symbolises a milestone in presenting Australian art to a world-wide audience. With over 200 images from the Tarrawarra Museum (in the Yarra Valley outside of Melbourne - owned by the Besen family) collection, Encounters With Australian Modern Art includes an overview of some of the finest Australian modern artists, between 1950 and today...

Encounters with Australian Modern Art represents a vital milestone in the presentation of Australian art to a world-wide readership. It was published in both French and English, and lavishly illustrated with more than 200 iconic images, many drawn from the collection of the TarraWarra museum of Art. Maudie Palmer, Director of the Museum and Editor of the book, devised its concept and selected the authors. They, like herself and the Besens, have witnessed first-hand the development of Australian Modernism during the second half of the twentieth century when the careers of its leading artist practitioners were firmly established. During those decades, many of these became acknowledged national identites - some enjoying overseas acclaim. 

Christopher Heathcote explores the art of the 1950s and 60s post-war reconstruction era. It witnessed the expansion of Australian suburbs and their growing populations of idiosyncratic urbanites. During these decades the earlier Australian landscape painting tradition survived and was further strengthened by the creations of artists like John Olsen and Fred Williams. 

Patrick MacCaughey's approach is both refreshing and revealing. He pairs artists such as Brett Whiteley and Fred Williams; John Brack and Roger Kemp, and John Olsen and Jeffrey Smart. Intriguing insights emerge as he explores the affinities and differences that exist between their approaches. 

Sarah Thomas had the complex task of drawing together the rich plurality of the changing art world from the mid-1980s, a time when women artists came to the fore. Her spectrum includes the introduction of the new technologies and the escalation of cultural connections within Australia and with Asia and the world at large.
Publishing details: Macmillan, 2008, hc, dw, 274 pages hardcover colour illustrations. With index.

Boston Paulview full entry
Reference: see Encounters With Australian Modern Art by Christopher Heathcote, Patrick McCaughey and Sarah Thomas. Edited by Maudie Palmer. Foreword by Eva and Marc Besen (owners of the Tarrawarra Museum).

[’Encounters With Australian Modern Art symbolises a milestone in presenting Australian art to a world-wide audience. With over 200 images from the Tarrawarra Museum (in the Yarra Valley outside of Melbourne - owned by the Besen family) collection, Encounters With Australian Modern Art includes an overview of some of the finest Australian modern artists, between 1950 and today...

Encounters with Australian Modern Art represents a vital milestone in the presentation of Australian art to a world-wide readership. It was published in both French and English, and lavishly illustrated with more than 200 iconic images, many drawn from the collection of the TarraWarra museum of Art. Maudie Palmer, Director of the Museum and Editor of the book, devised its concept and selected the authors. They, like herself and the Besens, have witnessed first-hand the development of Australian Modernism during the second half of the twentieth century when the careers of its leading artist practitioners were firmly established. During those decades, many of these became acknowledged national identites - some enjoying overseas acclaim. 

Christopher Heathcote explores the art of the 1950s and 60s post-war reconstruction era. It witnessed the expansion of Australian suburbs and their growing populations of idiosyncratic urbanites. During these decades the earlier Australian landscape painting tradition survived and was further strengthened by the creations of artists like John Olsen and Fred Williams. 

Patrick MacCaughey's approach is both refreshing and revealing. He pairs artists such as Brett Whiteley and Fred Williams; John Brack and Roger Kemp, and John Olsen and Jeffrey Smart. Intriguing insights emerge as he explores the affinities and differences that exist between their approaches. 

Sarah Thomas had the complex task of drawing together the rich plurality of the changing art world from the mid-1980s, a time when women artists came to the fore. Her spectrum includes the introduction of the new technologies and the escalation of cultural connections within Australia and with Asia and the world at large.
Publishing details: Macmillan, 2008, hc, dw, 274 pages hardcover colour illustrations. With index.

Boyd Arthurview full entry
Reference: see Encounters With Australian Modern Art by Christopher Heathcote, Patrick McCaughey and Sarah Thomas. Edited by Maudie Palmer. Foreword by Eva and Marc Besen (owners of the Tarrawarra Museum).

[’Encounters With Australian Modern Art symbolises a milestone in presenting Australian art to a world-wide audience. With over 200 images from the Tarrawarra Museum (in the Yarra Valley outside of Melbourne - owned by the Besen family) collection, Encounters With Australian Modern Art includes an overview of some of the finest Australian modern artists, between 1950 and today...

Encounters with Australian Modern Art represents a vital milestone in the presentation of Australian art to a world-wide readership. It was published in both French and English, and lavishly illustrated with more than 200 iconic images, many drawn from the collection of the TarraWarra museum of Art. Maudie Palmer, Director of the Museum and Editor of the book, devised its concept and selected the authors. They, like herself and the Besens, have witnessed first-hand the development of Australian Modernism during the second half of the twentieth century when the careers of its leading artist practitioners were firmly established. During those decades, many of these became acknowledged national identites - some enjoying overseas acclaim. 

Christopher Heathcote explores the art of the 1950s and 60s post-war reconstruction era. It witnessed the expansion of Australian suburbs and their growing populations of idiosyncratic urbanites. During these decades the earlier Australian landscape painting tradition survived and was further strengthened by the creations of artists like John Olsen and Fred Williams. 

Patrick MacCaughey's approach is both refreshing and revealing. He pairs artists such as Brett Whiteley and Fred Williams; John Brack and Roger Kemp, and John Olsen and Jeffrey Smart. Intriguing insights emerge as he explores the affinities and differences that exist between their approaches. 

Sarah Thomas had the complex task of drawing together the rich plurality of the changing art world from the mid-1980s, a time when women artists came to the fore. Her spectrum includes the introduction of the new technologies and the escalation of cultural connections within Australia and with Asia and the world at large.
Publishing details: Macmillan, 2008, hc, dw, 274 pages hardcover colour illustrations. With index.

Brack Johnview full entry
Reference: see Encounters With Australian Modern Art by Christopher Heathcote, Patrick McCaughey and Sarah Thomas. Edited by Maudie Palmer. Foreword by Eva and Marc Besen (owners of the Tarrawarra Museum).

[’Encounters With Australian Modern Art symbolises a milestone in presenting Australian art to a world-wide audience. With over 200 images from the Tarrawarra Museum (in the Yarra Valley outside of Melbourne - owned by the Besen family) collection, Encounters With Australian Modern Art includes an overview of some of the finest Australian modern artists, between 1950 and today...

Encounters with Australian Modern Art represents a vital milestone in the presentation of Australian art to a world-wide readership. It was published in both French and English, and lavishly illustrated with more than 200 iconic images, many drawn from the collection of the TarraWarra museum of Art. Maudie Palmer, Director of the Museum and Editor of the book, devised its concept and selected the authors. They, like herself and the Besens, have witnessed first-hand the development of Australian Modernism during the second half of the twentieth century when the careers of its leading artist practitioners were firmly established. During those decades, many of these became acknowledged national identites - some enjoying overseas acclaim. 

Christopher Heathcote explores the art of the 1950s and 60s post-war reconstruction era. It witnessed the expansion of Australian suburbs and their growing populations of idiosyncratic urbanites. During these decades the earlier Australian landscape painting tradition survived and was further strengthened by the creations of artists like John Olsen and Fred Williams. 

Patrick MacCaughey's approach is both refreshing and revealing. He pairs artists such as Brett Whiteley and Fred Williams; John Brack and Roger Kemp, and John Olsen and Jeffrey Smart. Intriguing insights emerge as he explores the affinities and differences that exist between their approaches. 

Sarah Thomas had the complex task of drawing together the rich plurality of the changing art world from the mid-1980s, a time when women artists came to the fore. Her spectrum includes the introduction of the new technologies and the escalation of cultural connections within Australia and with Asia and the world at large.
Publishing details: Macmillan, 2008, hc, dw, 274 pages hardcover colour illustrations. With index.

Bren Jeffreyview full entry
Reference: see Encounters With Australian Modern Art by Christopher Heathcote, Patrick McCaughey and Sarah Thomas. Edited by Maudie Palmer. Foreword by Eva and Marc Besen (owners of the Tarrawarra Museum).

[’Encounters With Australian Modern Art symbolises a milestone in presenting Australian art to a world-wide audience. With over 200 images from the Tarrawarra Museum (in the Yarra Valley outside of Melbourne - owned by the Besen family) collection, Encounters With Australian Modern Art includes an overview of some of the finest Australian modern artists, between 1950 and today...

Encounters with Australian Modern Art represents a vital milestone in the presentation of Australian art to a world-wide readership. It was published in both French and English, and lavishly illustrated with more than 200 iconic images, many drawn from the collection of the TarraWarra museum of Art. Maudie Palmer, Director of the Museum and Editor of the book, devised its concept and selected the authors. They, like herself and the Besens, have witnessed first-hand the development of Australian Modernism during the second half of the twentieth century when the careers of its leading artist practitioners were firmly established. During those decades, many of these became acknowledged national identites - some enjoying overseas acclaim. 

Christopher Heathcote explores the art of the 1950s and 60s post-war reconstruction era. It witnessed the expansion of Australian suburbs and their growing populations of idiosyncratic urbanites. During these decades the earlier Australian landscape painting tradition survived and was further strengthened by the creations of artists like John Olsen and Fred Williams. 

Patrick MacCaughey's approach is both refreshing and revealing. He pairs artists such as Brett Whiteley and Fred Williams; John Brack and Roger Kemp, and John Olsen and Jeffrey Smart. Intriguing insights emerge as he explores the affinities and differences that exist between their approaches. 

Sarah Thomas had the complex task of drawing together the rich plurality of the changing art world from the mid-1980s, a time when women artists came to the fore. Her spectrum includes the introduction of the new technologies and the escalation of cultural connections within Australia and with Asia and the world at large.
Publishing details: Macmillan, 2008, hc, dw, 274 pages hardcover colour illustrations. With index.

Brennan Angelaview full entry
Reference: see Encounters With Australian Modern Art by Christopher Heathcote, Patrick McCaughey and Sarah Thomas. Edited by Maudie Palmer. Foreword by Eva and Marc Besen (owners of the Tarrawarra Museum).

[’Encounters With Australian Modern Art symbolises a milestone in presenting Australian art to a world-wide audience. With over 200 images from the Tarrawarra Museum (in the Yarra Valley outside of Melbourne - owned by the Besen family) collection, Encounters With Australian Modern Art includes an overview of some of the finest Australian modern artists, between 1950 and today...

Encounters with Australian Modern Art represents a vital milestone in the presentation of Australian art to a world-wide readership. It was published in both French and English, and lavishly illustrated with more than 200 iconic images, many drawn from the collection of the TarraWarra museum of Art. Maudie Palmer, Director of the Museum and Editor of the book, devised its concept and selected the authors. They, like herself and the Besens, have witnessed first-hand the development of Australian Modernism during the second half of the twentieth century when the careers of its leading artist practitioners were firmly established. During those decades, many of these became acknowledged national identites - some enjoying overseas acclaim. 

Christopher Heathcote explores the art of the 1950s and 60s post-war reconstruction era. It witnessed the expansion of Australian suburbs and their growing populations of idiosyncratic urbanites. During these decades the earlier Australian landscape painting tradition survived and was further strengthened by the creations of artists like John Olsen and Fred Williams. 

Patrick MacCaughey's approach is both refreshing and revealing. He pairs artists such as Brett Whiteley and Fred Williams; John Brack and Roger Kemp, and John Olsen and Jeffrey Smart. Intriguing insights emerge as he explores the affinities and differences that exist between their approaches. 

Sarah Thomas had the complex task of drawing together the rich plurality of the changing art world from the mid-1980s, a time when women artists came to the fore. Her spectrum includes the introduction of the new technologies and the escalation of cultural connections within Australia and with Asia and the world at large.
Publishing details: Macmillan, 2008, hc, dw, 274 pages hardcover colour illustrations. With index.

Bridgewater Robertview full entry
Reference: see Encounters With Australian Modern Art by Christopher Heathcote, Patrick McCaughey and Sarah Thomas. Edited by Maudie Palmer. Foreword by Eva and Marc Besen (owners of the Tarrawarra Museum).

[’Encounters With Australian Modern Art symbolises a milestone in presenting Australian art to a world-wide audience. With over 200 images from the Tarrawarra Museum (in the Yarra Valley outside of Melbourne - owned by the Besen family) collection, Encounters With Australian Modern Art includes an overview of some of the finest Australian modern artists, between 1950 and today...

Encounters with Australian Modern Art represents a vital milestone in the presentation of Australian art to a world-wide readership. It was published in both French and English, and lavishly illustrated with more than 200 iconic images, many drawn from the collection of the TarraWarra museum of Art. Maudie Palmer, Director of the Museum and Editor of the book, devised its concept and selected the authors. They, like herself and the Besens, have witnessed first-hand the development of Australian Modernism during the second half of the twentieth century when the careers of its leading artist practitioners were firmly established. During those decades, many of these became acknowledged national identites - some enjoying overseas acclaim. 

Christopher Heathcote explores the art of the 1950s and 60s post-war reconstruction era. It witnessed the expansion of Australian suburbs and their growing populations of idiosyncratic urbanites. During these decades the earlier Australian landscape painting tradition survived and was further strengthened by the creations of artists like John Olsen and Fred Williams. 

Patrick MacCaughey's approach is both refreshing and revealing. He pairs artists such as Brett Whiteley and Fred Williams; John Brack and Roger Kemp, and John Olsen and Jeffrey Smart. Intriguing insights emerge as he explores the affinities and differences that exist between their approaches. 

Sarah Thomas had the complex task of drawing together the rich plurality of the changing art world from the mid-1980s, a time when women artists came to the fore. Her spectrum includes the introduction of the new technologies and the escalation of cultural connections within Australia and with Asia and the world at large.
Publishing details: Macmillan, 2008, hc, dw, 274 pages hardcover colour illustrations. With index.

Cattapan Jonview full entry
Reference: see Encounters With Australian Modern Art by Christopher Heathcote, Patrick McCaughey and Sarah Thomas. Edited by Maudie Palmer. Foreword by Eva and Marc Besen (owners of the Tarrawarra Museum).

[’Encounters With Australian Modern Art symbolises a milestone in presenting Australian art to a world-wide audience. With over 200 images from the Tarrawarra Museum (in the Yarra Valley outside of Melbourne - owned by the Besen family) collection, Encounters With Australian Modern Art includes an overview of some of the finest Australian modern artists, between 1950 and today...

Encounters with Australian Modern Art represents a vital milestone in the presentation of Australian art to a world-wide readership. It was published in both French and English, and lavishly illustrated with more than 200 iconic images, many drawn from the collection of the TarraWarra museum of Art. Maudie Palmer, Director of the Museum and Editor of the book, devised its concept and selected the authors. They, like herself and the Besens, have witnessed first-hand the development of Australian Modernism during the second half of the twentieth century when the careers of its leading artist practitioners were firmly established. During those decades, many of these became acknowledged national identites - some enjoying overseas acclaim. 

Christopher Heathcote explores the art of the 1950s and 60s post-war reconstruction era. It witnessed the expansion of Australian suburbs and their growing populations of idiosyncratic urbanites. During these decades the earlier Australian landscape painting tradition survived and was further strengthened by the creations of artists like John Olsen and Fred Williams. 

Patrick MacCaughey's approach is both refreshing and revealing. He pairs artists such as Brett Whiteley and Fred Williams; John Brack and Roger Kemp, and John Olsen and Jeffrey Smart. Intriguing insights emerge as he explores the affinities and differences that exist between their approaches. 

Sarah Thomas had the complex task of drawing together the rich plurality of the changing art world from the mid-1980s, a time when women artists came to the fore. Her spectrum includes the introduction of the new technologies and the escalation of cultural connections within Australia and with Asia and the world at large.
Publishing details: Macmillan, 2008, hc, dw, 274 pages hardcover colour illustrations. With index.

Clark Tonyview full entry
Reference: see Encounters With Australian Modern Art by Christopher Heathcote, Patrick McCaughey and Sarah Thomas. Edited by Maudie Palmer. Foreword by Eva and Marc Besen (owners of the Tarrawarra Museum).

[’Encounters With Australian Modern Art symbolises a milestone in presenting Australian art to a world-wide audience. With over 200 images from the Tarrawarra Museum (in the Yarra Valley outside of Melbourne - owned by the Besen family) collection, Encounters With Australian Modern Art includes an overview of some of the finest Australian modern artists, between 1950 and today...

Encounters with Australian Modern Art represents a vital milestone in the presentation of Australian art to a world-wide readership. It was published in both French and English, and lavishly illustrated with more than 200 iconic images, many drawn from the collection of the TarraWarra museum of Art. Maudie Palmer, Director of the Museum and Editor of the book, devised its concept and selected the authors. They, like herself and the Besens, have witnessed first-hand the development of Australian Modernism during the second half of the twentieth century when the careers of its leading artist practitioners were firmly established. During those decades, many of these became acknowledged national identites - some enjoying overseas acclaim. 

Christopher Heathcote explores the art of the 1950s and 60s post-war reconstruction era. It witnessed the expansion of Australian suburbs and their growing populations of idiosyncratic urbanites. During these decades the earlier Australian landscape painting tradition survived and was further strengthened by the creations of artists like John Olsen and Fred Williams. 

Patrick MacCaughey's approach is both refreshing and revealing. He pairs artists such as Brett Whiteley and Fred Williams; John Brack and Roger Kemp, and John Olsen and Jeffrey Smart. Intriguing insights emerge as he explores the affinities and differences that exist between their approaches. 

Sarah Thomas had the complex task of drawing together the rich plurality of the changing art world from the mid-1980s, a time when women artists came to the fore. Her spectrum includes the introduction of the new technologies and the escalation of cultural connections within Australia and with Asia and the world at large.
Publishing details: Macmillan, 2008, hc, dw, 274 pages hardcover colour illustrations. With index.

Clarke Peterview full entry
Reference: see Encounters With Australian Modern Art by Christopher Heathcote, Patrick McCaughey and Sarah Thomas. Edited by Maudie Palmer. Foreword by Eva and Marc Besen (owners of the Tarrawarra Museum).

[’Encounters With Australian Modern Art symbolises a milestone in presenting Australian art to a world-wide audience. With over 200 images from the Tarrawarra Museum (in the Yarra Valley outside of Melbourne - owned by the Besen family) collection, Encounters With Australian Modern Art includes an overview of some of the finest Australian modern artists, between 1950 and today...

Encounters with Australian Modern Art represents a vital milestone in the presentation of Australian art to a world-wide readership. It was published in both French and English, and lavishly illustrated with more than 200 iconic images, many drawn from the collection of the TarraWarra museum of Art. Maudie Palmer, Director of the Museum and Editor of the book, devised its concept and selected the authors. They, like herself and the Besens, have witnessed first-hand the development of Australian Modernism during the second half of the twentieth century when the careers of its leading artist practitioners were firmly established. During those decades, many of these became acknowledged national identites - some enjoying overseas acclaim. 

Christopher Heathcote explores the art of the 1950s and 60s post-war reconstruction era. It witnessed the expansion of Australian suburbs and their growing populations of idiosyncratic urbanites. During these decades the earlier Australian landscape painting tradition survived and was further strengthened by the creations of artists like John Olsen and Fred Williams. 

Patrick MacCaughey's approach is both refreshing and revealing. He pairs artists such as Brett Whiteley and Fred Williams; John Brack and Roger Kemp, and John Olsen and Jeffrey Smart. Intriguing insights emerge as he explores the affinities and differences that exist between their approaches. 

Sarah Thomas had the complex task of drawing together the rich plurality of the changing art world from the mid-1980s, a time when women artists came to the fore. Her spectrum includes the introduction of the new technologies and the escalation of cultural connections within Australia and with Asia and the world at large.
Publishing details: Macmillan, 2008, hc, dw, 274 pages hardcover colour illustrations. With index.

Cress Fredview full entry
Reference: see Encounters With Australian Modern Art by Christopher Heathcote, Patrick McCaughey and Sarah Thomas. Edited by Maudie Palmer. Foreword by Eva and Marc Besen (owners of the Tarrawarra Museum).

[’Encounters With Australian Modern Art symbolises a milestone in presenting Australian art to a world-wide audience. With over 200 images from the Tarrawarra Museum (in the Yarra Valley outside of Melbourne - owned by the Besen family) collection, Encounters With Australian Modern Art includes an overview of some of the finest Australian modern artists, between 1950 and today...

Encounters with Australian Modern Art represents a vital milestone in the presentation of Australian art to a world-wide readership. It was published in both French and English, and lavishly illustrated with more than 200 iconic images, many drawn from the collection of the TarraWarra museum of Art. Maudie Palmer, Director of the Museum and Editor of the book, devised its concept and selected the authors. They, like herself and the Besens, have witnessed first-hand the development of Australian Modernism during the second half of the twentieth century when the careers of its leading artist practitioners were firmly established. During those decades, many of these became acknowledged national identites - some enjoying overseas acclaim. 

Christopher Heathcote explores the art of the 1950s and 60s post-war reconstruction era. It witnessed the expansion of Australian suburbs and their growing populations of idiosyncratic urbanites. During these decades the earlier Australian landscape painting tradition survived and was further strengthened by the creations of artists like John Olsen and Fred Williams. 

Patrick MacCaughey's approach is both refreshing and revealing. He pairs artists such as Brett Whiteley and Fred Williams; John Brack and Roger Kemp, and John Olsen and Jeffrey Smart. Intriguing insights emerge as he explores the affinities and differences that exist between their approaches. 

Sarah Thomas had the complex task of drawing together the rich plurality of the changing art world from the mid-1980s, a time when women artists came to the fore. Her spectrum includes the introduction of the new technologies and the escalation of cultural connections within Australia and with Asia and the world at large.
Publishing details: Macmillan, 2008, hc, dw, 274 pages hardcover colour illustrations. With index.

Cook William Delafieldview full entry
Reference: see Encounters With Australian Modern Art by Christopher Heathcote, Patrick McCaughey and Sarah Thomas. Edited by Maudie Palmer. Foreword by Eva and Marc Besen (owners of the Tarrawarra Museum).

[’Encounters With Australian Modern Art symbolises a milestone in presenting Australian art to a world-wide audience. With over 200 images from the Tarrawarra Museum (in the Yarra Valley outside of Melbourne - owned by the Besen family) collection, Encounters With Australian Modern Art includes an overview of some of the finest Australian modern artists, between 1950 and today...

Encounters with Australian Modern Art represents a vital milestone in the presentation of Australian art to a world-wide readership. It was published in both French and English, and lavishly illustrated with more than 200 iconic images, many drawn from the collection of the TarraWarra museum of Art. Maudie Palmer, Director of the Museum and Editor of the book, devised its concept and selected the authors. They, like herself and the Besens, have witnessed first-hand the development of Australian Modernism during the second half of the twentieth century when the careers of its leading artist practitioners were firmly established. During those decades, many of these became acknowledged national identites - some enjoying overseas acclaim. 

Christopher Heathcote explores the art of the 1950s and 60s post-war reconstruction era. It witnessed the expansion of Australian suburbs and their growing populations of idiosyncratic urbanites. During these decades the earlier Australian landscape painting tradition survived and was further strengthened by the creations of artists like John Olsen and Fred Williams. 

Patrick MacCaughey's approach is both refreshing and revealing. He pairs artists such as Brett Whiteley and Fred Williams; John Brack and Roger Kemp, and John Olsen and Jeffrey Smart. Intriguing insights emerge as he explores the affinities and differences that exist between their approaches. 

Sarah Thomas had the complex task of drawing together the rich plurality of the changing art world from the mid-1980s, a time when women artists came to the fore. Her spectrum includes the introduction of the new technologies and the escalation of cultural connections within Australia and with Asia and the world at large.
Publishing details: Macmillan, 2008, hc, dw, 274 pages hardcover colour illustrations. With index.

Dobell Williamview full entry
Reference: see Encounters With Australian Modern Art by Christopher Heathcote, Patrick McCaughey and Sarah Thomas. Edited by Maudie Palmer. Foreword by Eva and Marc Besen (owners of the Tarrawarra Museum).

[’Encounters With Australian Modern Art symbolises a milestone in presenting Australian art to a world-wide audience. With over 200 images from the Tarrawarra Museum (in the Yarra Valley outside of Melbourne - owned by the Besen family) collection, Encounters With Australian Modern Art includes an overview of some of the finest Australian modern artists, between 1950 and today...

Encounters with Australian Modern Art represents a vital milestone in the presentation of Australian art to a world-wide readership. It was published in both French and English, and lavishly illustrated with more than 200 iconic images, many drawn from the collection of the TarraWarra museum of Art. Maudie Palmer, Director of the Museum and Editor of the book, devised its concept and selected the authors. They, like herself and the Besens, have witnessed first-hand the development of Australian Modernism during the second half of the twentieth century when the careers of its leading artist practitioners were firmly established. During those decades, many of these became acknowledged national identites - some enjoying overseas acclaim. 

Christopher Heathcote explores the art of the 1950s and 60s post-war reconstruction era. It witnessed the expansion of Australian suburbs and their growing populations of idiosyncratic urbanites. During these decades the earlier Australian landscape painting tradition survived and was further strengthened by the creations of artists like John Olsen and Fred Williams. 

Patrick MacCaughey's approach is both refreshing and revealing. He pairs artists such as Brett Whiteley and Fred Williams; John Brack and Roger Kemp, and John Olsen and Jeffrey Smart. Intriguing insights emerge as he explores the affinities and differences that exist between their approaches. 

Sarah Thomas had the complex task of drawing together the rich plurality of the changing art world from the mid-1980s, a time when women artists came to the fore. Her spectrum includes the introduction of the new technologies and the escalation of cultural connections within Australia and with Asia and the world at large.
Publishing details: Macmillan, 2008, hc, dw, 274 pages hardcover colour illustrations. With index.

Drysdale Russellview full entry
Reference: see Encounters With Australian Modern Art by Christopher Heathcote, Patrick McCaughey and Sarah Thomas. Edited by Maudie Palmer. Foreword by Eva and Marc Besen (owners of the Tarrawarra Museum).

[’Encounters With Australian Modern Art symbolises a milestone in presenting Australian art to a world-wide audience. With over 200 images from the Tarrawarra Museum (in the Yarra Valley outside of Melbourne - owned by the Besen family) collection, Encounters With Australian Modern Art includes an overview of some of the finest Australian modern artists, between 1950 and today...

Encounters with Australian Modern Art represents a vital milestone in the presentation of Australian art to a world-wide readership. It was published in both French and English, and lavishly illustrated with more than 200 iconic images, many drawn from the collection of the TarraWarra museum of Art. Maudie Palmer, Director of the Museum and Editor of the book, devised its concept and selected the authors. They, like herself and the Besens, have witnessed first-hand the development of Australian Modernism during the second half of the twentieth century when the careers of its leading artist practitioners were firmly established. During those decades, many of these became acknowledged national identites - some enjoying overseas acclaim. 

Christopher Heathcote explores the art of the 1950s and 60s post-war reconstruction era. It witnessed the expansion of Australian suburbs and their growing populations of idiosyncratic urbanites. During these decades the earlier Australian landscape painting tradition survived and was further strengthened by the creations of artists like John Olsen and Fred Williams. 

Patrick MacCaughey's approach is both refreshing and revealing. He pairs artists such as Brett Whiteley and Fred Williams; John Brack and Roger Kemp, and John Olsen and Jeffrey Smart. Intriguing insights emerge as he explores the affinities and differences that exist between their approaches. 

Sarah Thomas had the complex task of drawing together the rich plurality of the changing art world from the mid-1980s, a time when women artists came to the fore. Her spectrum includes the introduction of the new technologies and the escalation of cultural connections within Australia and with Asia and the world at large.
Publishing details: Macmillan, 2008, hc, dw, 274 pages hardcover colour illustrations. With index.

Dumbrell Lesleyview full entry
Reference: see Encounters With Australian Modern Art by Christopher Heathcote, Patrick McCaughey and Sarah Thomas. Edited by Maudie Palmer. Foreword by Eva and Marc Besen (owners of the Tarrawarra Museum).

[’Encounters With Australian Modern Art symbolises a milestone in presenting Australian art to a world-wide audience. With over 200 images from the Tarrawarra Museum (in the Yarra Valley outside of Melbourne - owned by the Besen family) collection, Encounters With Australian Modern Art includes an overview of some of the finest Australian modern artists, between 1950 and today...

Encounters with Australian Modern Art represents a vital milestone in the presentation of Australian art to a world-wide readership. It was published in both French and English, and lavishly illustrated with more than 200 iconic images, many drawn from the collection of the TarraWarra museum of Art. Maudie Palmer, Director of the Museum and Editor of the book, devised its concept and selected the authors. They, like herself and the Besens, have witnessed first-hand the development of Australian Modernism during the second half of the twentieth century when the careers of its leading artist practitioners were firmly established. During those decades, many of these became acknowledged national identites - some enjoying overseas acclaim. 

Christopher Heathcote explores the art of the 1950s and 60s post-war reconstruction era. It witnessed the expansion of Australian suburbs and their growing populations of idiosyncratic urbanites. During these decades the earlier Australian landscape painting tradition survived and was further strengthened by the creations of artists like John Olsen and Fred Williams. 

Patrick MacCaughey's approach is both refreshing and revealing. He pairs artists such as Brett Whiteley and Fred Williams; John Brack and Roger Kemp, and John Olsen and Jeffrey Smart. Intriguing insights emerge as he explores the affinities and differences that exist between their approaches. 

Sarah Thomas had the complex task of drawing together the rich plurality of the changing art world from the mid-1980s, a time when women artists came to the fore. Her spectrum includes the introduction of the new technologies and the escalation of cultural connections within Australia and with Asia and the world at large.
Publishing details: Macmillan, 2008, hc, dw, 274 pages hardcover colour illustrations. With index.

Durrant Ivanview full entry
Reference: see Encounters With Australian Modern Art by Christopher Heathcote, Patrick McCaughey and Sarah Thomas. Edited by Maudie Palmer. Foreword by Eva and Marc Besen (owners of the Tarrawarra Museum).

[’Encounters With Australian Modern Art symbolises a milestone in presenting Australian art to a world-wide audience. With over 200 images from the Tarrawarra Museum (in the Yarra Valley outside of Melbourne - owned by the Besen family) collection, Encounters With Australian Modern Art includes an overview of some of the finest Australian modern artists, between 1950 and today...

Encounters with Australian Modern Art represents a vital milestone in the presentation of Australian art to a world-wide readership. It was published in both French and English, and lavishly illustrated with more than 200 iconic images, many drawn from the collection of the TarraWarra museum of Art. Maudie Palmer, Director of the Museum and Editor of the book, devised its concept and selected the authors. They, like herself and the Besens, have witnessed first-hand the development of Australian Modernism during the second half of the twentieth century when the careers of its leading artist practitioners were firmly established. During those decades, many of these became acknowledged national identites - some enjoying overseas acclaim. 

Christopher Heathcote explores the art of the 1950s and 60s post-war reconstruction era. It witnessed the expansion of Australian suburbs and their growing populations of idiosyncratic urbanites. During these decades the earlier Australian landscape painting tradition survived and was further strengthened by the creations of artists like John Olsen and Fred Williams. 

Patrick MacCaughey's approach is both refreshing and revealing. He pairs artists such as Brett Whiteley and Fred Williams; John Brack and Roger Kemp, and John Olsen and Jeffrey Smart. Intriguing insights emerge as he explores the affinities and differences that exist between their approaches. 

Sarah Thomas had the complex task of drawing together the rich plurality of the changing art world from the mid-1980s, a time when women artists came to the fore. Her spectrum includes the introduction of the new technologies and the escalation of cultural connections within Australia and with Asia and the world at large.
Publishing details: Macmillan, 2008, hc, dw, 274 pages hardcover colour illustrations. With index.

Fairweather Ianview full entry
Reference: see Encounters With Australian Modern Art by Christopher Heathcote, Patrick McCaughey and Sarah Thomas. Edited by Maudie Palmer. Foreword by Eva and Marc Besen (owners of the Tarrawarra Museum).

[’Encounters With Australian Modern Art symbolises a milestone in presenting Australian art to a world-wide audience. With over 200 images from the Tarrawarra Museum (in the Yarra Valley outside of Melbourne - owned by the Besen family) collection, Encounters With Australian Modern Art includes an overview of some of the finest Australian modern artists, between 1950 and today...

Encounters with Australian Modern Art represents a vital milestone in the presentation of Australian art to a world-wide readership. It was published in both French and English, and lavishly illustrated with more than 200 iconic images, many drawn from the collection of the TarraWarra museum of Art. Maudie Palmer, Director of the Museum and Editor of the book, devised its concept and selected the authors. They, like herself and the Besens, have witnessed first-hand the development of Australian Modernism during the second half of the twentieth century when the careers of its leading artist practitioners were firmly established. During those decades, many of these became acknowledged national identites - some enjoying overseas acclaim. 

Christopher Heathcote explores the art of the 1950s and 60s post-war reconstruction era. It witnessed the expansion of Australian suburbs and their growing populations of idiosyncratic urbanites. During these decades the earlier Australian landscape painting tradition survived and was further strengthened by the creations of artists like John Olsen and Fred Williams. 

Patrick MacCaughey's approach is both refreshing and revealing. He pairs artists such as Brett Whiteley and Fred Williams; John Brack and Roger Kemp, and John Olsen and Jeffrey Smart. Intriguing insights emerge as he explores the affinities and differences that exist between their approaches. 

Sarah Thomas had the complex task of drawing together the rich plurality of the changing art world from the mid-1980s, a time when women artists came to the fore. Her spectrum includes the introduction of the new technologies and the escalation of cultural connections within Australia and with Asia and the world at large.
Publishing details: Macmillan, 2008, hc, dw, 274 pages hardcover colour illustrations. With index.

Frank Daleview full entry
Reference: see Encounters With Australian Modern Art by Christopher Heathcote, Patrick McCaughey and Sarah Thomas. Edited by Maudie Palmer. Foreword by Eva and Marc Besen (owners of the Tarrawarra Museum).

[’Encounters With Australian Modern Art symbolises a milestone in presenting Australian art to a world-wide audience. With over 200 images from the Tarrawarra Museum (in the Yarra Valley outside of Melbourne - owned by the Besen family) collection, Encounters With Australian Modern Art includes an overview of some of the finest Australian modern artists, between 1950 and today...

Encounters with Australian Modern Art represents a vital milestone in the presentation of Australian art to a world-wide readership. It was published in both French and English, and lavishly illustrated with more than 200 iconic images, many drawn from the collection of the TarraWarra museum of Art. Maudie Palmer, Director of the Museum and Editor of the book, devised its concept and selected the authors. They, like herself and the Besens, have witnessed first-hand the development of Australian Modernism during the second half of the twentieth century when the careers of its leading artist practitioners were firmly established. During those decades, many of these became acknowledged national identites - some enjoying overseas acclaim. 

Christopher Heathcote explores the art of the 1950s and 60s post-war reconstruction era. It witnessed the expansion of Australian suburbs and their growing populations of idiosyncratic urbanites. During these decades the earlier Australian landscape painting tradition survived and was further strengthened by the creations of artists like John Olsen and Fred Williams. 

Patrick MacCaughey's approach is both refreshing and revealing. He pairs artists such as Brett Whiteley and Fred Williams; John Brack and Roger Kemp, and John Olsen and Jeffrey Smart. Intriguing insights emerge as he explores the affinities and differences that exist between their approaches. 

Sarah Thomas had the complex task of drawing together the rich plurality of the changing art world from the mid-1980s, a time when women artists came to the fore. Her spectrum includes the introduction of the new technologies and the escalation of cultural connections within Australia and with Asia and the world at large.
Publishing details: Macmillan, 2008, hc, dw, 274 pages hardcover colour illustrations. With index.

Firth-Smith Johnview full entry
Reference: see Encounters With Australian Modern Art by Christopher Heathcote, Patrick McCaughey and Sarah Thomas. Edited by Maudie Palmer. Foreword by Eva and Marc Besen (owners of the Tarrawarra Museum).

[’Encounters With Australian Modern Art symbolises a milestone in presenting Australian art to a world-wide audience. With over 200 images from the Tarrawarra Museum (in the Yarra Valley outside of Melbourne - owned by the Besen family) collection, Encounters With Australian Modern Art includes an overview of some of the finest Australian modern artists, between 1950 and today...

Encounters with Australian Modern Art represents a vital milestone in the presentation of Australian art to a world-wide readership. It was published in both French and English, and lavishly illustrated with more than 200 iconic images, many drawn from the collection of the TarraWarra museum of Art. Maudie Palmer, Director of the Museum and Editor of the book, devised its concept and selected the authors. They, like herself and the Besens, have witnessed first-hand the development of Australian Modernism during the second half of the twentieth century when the careers of its leading artist practitioners were firmly established. During those decades, many of these became acknowledged national identites - some enjoying overseas acclaim. 

Christopher Heathcote explores the art of the 1950s and 60s post-war reconstruction era. It witnessed the expansion of Australian suburbs and their growing populations of idiosyncratic urbanites. During these decades the earlier Australian landscape painting tradition survived and was further strengthened by the creations of artists like John Olsen and Fred Williams. 

Patrick MacCaughey's approach is both refreshing and revealing. He pairs artists such as Brett Whiteley and Fred Williams; John Brack and Roger Kemp, and John Olsen and Jeffrey Smart. Intriguing insights emerge as he explores the affinities and differences that exist between their approaches. 

Sarah Thomas had the complex task of drawing together the rich plurality of the changing art world from the mid-1980s, a time when women artists came to the fore. Her spectrum includes the introduction of the new technologies and the escalation of cultural connections within Australia and with Asia and the world at large.
Publishing details: Macmillan, 2008, hc, dw, 274 pages hardcover colour illustrations. With index.

French Leonardview full entry
Reference: see Encounters With Australian Modern Art by Christopher Heathcote, Patrick McCaughey and Sarah Thomas. Edited by Maudie Palmer. Foreword by Eva and Marc Besen (owners of the Tarrawarra Museum).

[’Encounters With Australian Modern Art symbolises a milestone in presenting Australian art to a world-wide audience. With over 200 images from the Tarrawarra Museum (in the Yarra Valley outside of Melbourne - owned by the Besen family) collection, Encounters With Australian Modern Art includes an overview of some of the finest Australian modern artists, between 1950 and today...

Encounters with Australian Modern Art represents a vital milestone in the presentation of Australian art to a world-wide readership. It was published in both French and English, and lavishly illustrated with more than 200 iconic images, many drawn from the collection of the TarraWarra museum of Art. Maudie Palmer, Director of the Museum and Editor of the book, devised its concept and selected the authors. They, like herself and the Besens, have witnessed first-hand the development of Australian Modernism during the second half of the twentieth century when the careers of its leading artist practitioners were firmly established. During those decades, many of these became acknowledged national identites - some enjoying overseas acclaim. 

Christopher Heathcote explores the art of the 1950s and 60s post-war reconstruction era. It witnessed the expansion of Australian suburbs and their growing populations of idiosyncratic urbanites. During these decades the earlier Australian landscape painting tradition survived and was further strengthened by the creations of artists like John Olsen and Fred Williams. 

Patrick MacCaughey's approach is both refreshing and revealing. He pairs artists such as Brett Whiteley and Fred Williams; John Brack and Roger Kemp, and John Olsen and Jeffrey Smart. Intriguing insights emerge as he explores the affinities and differences that exist between their approaches. 

Sarah Thomas had the complex task of drawing together the rich plurality of the changing art world from the mid-1980s, a time when women artists came to the fore. Her spectrum includes the introduction of the new technologies and the escalation of cultural connections within Australia and with Asia and the world at large.
Publishing details: Macmillan, 2008, hc, dw, 274 pages hardcover colour illustrations. With index.

Fullbrook Samview full entry
Reference: see Encounters With Australian Modern Art by Christopher Heathcote, Patrick McCaughey and Sarah Thomas. Edited by Maudie Palmer. Foreword by Eva and Marc Besen (owners of the Tarrawarra Museum).

[’Encounters With Australian Modern Art symbolises a milestone in presenting Australian art to a world-wide audience. With over 200 images from the Tarrawarra Museum (in the Yarra Valley outside of Melbourne - owned by the Besen family) collection, Encounters With Australian Modern Art includes an overview of some of the finest Australian modern artists, between 1950 and today...

Encounters with Australian Modern Art represents a vital milestone in the presentation of Australian art to a world-wide readership. It was published in both French and English, and lavishly illustrated with more than 200 iconic images, many drawn from the collection of the TarraWarra museum of Art. Maudie Palmer, Director of the Museum and Editor of the book, devised its concept and selected the authors. They, like herself and the Besens, have witnessed first-hand the development of Australian Modernism during the second half of the twentieth century when the careers of its leading artist practitioners were firmly established. During those decades, many of these became acknowledged national identites - some enjoying overseas acclaim. 

Christopher Heathcote explores the art of the 1950s and 60s post-war reconstruction era. It witnessed the expansion of Australian suburbs and their growing populations of idiosyncratic urbanites. During these decades the earlier Australian landscape painting tradition survived and was further strengthened by the creations of artists like John Olsen and Fred Williams. 

Patrick MacCaughey's approach is both refreshing and revealing. He pairs artists such as Brett Whiteley and Fred Williams; John Brack and Roger Kemp, and John Olsen and Jeffrey Smart. Intriguing insights emerge as he explores the affinities and differences that exist between their approaches. 

Sarah Thomas had the complex task of drawing together the rich plurality of the changing art world from the mid-1980s, a time when women artists came to the fore. Her spectrum includes the introduction of the new technologies and the escalation of cultural connections within Australia and with Asia and the world at large.
Publishing details: Macmillan, 2008, hc, dw, 274 pages hardcover colour illustrations. With index.

Gascoigne Rosalieview full entry
Reference: see Encounters With Australian Modern Art by Christopher Heathcote, Patrick McCaughey and Sarah Thomas. Edited by Maudie Palmer. Foreword by Eva and Marc Besen (owners of the Tarrawarra Museum).

[’Encounters With Australian Modern Art symbolises a milestone in presenting Australian art to a world-wide audience. With over 200 images from the Tarrawarra Museum (in the Yarra Valley outside of Melbourne - owned by the Besen family) collection, Encounters With Australian Modern Art includes an overview of some of the finest Australian modern artists, between 1950 and today...

Encounters with Australian Modern Art represents a vital milestone in the presentation of Australian art to a world-wide readership. It was published in both French and English, and lavishly illustrated with more than 200 iconic images, many drawn from the collection of the TarraWarra museum of Art. Maudie Palmer, Director of the Museum and Editor of the book, devised its concept and selected the authors. They, like herself and the Besens, have witnessed first-hand the development of Australian Modernism during the second half of the twentieth century when the careers of its leading artist practitioners were firmly established. During those decades, many of these became acknowledged national identites - some enjoying overseas acclaim. 

Christopher Heathcote explores the art of the 1950s and 60s post-war reconstruction era. It witnessed the expansion of Australian suburbs and their growing populations of idiosyncratic urbanites. During these decades the earlier Australian landscape painting tradition survived and was further strengthened by the creations of artists like John Olsen and Fred Williams. 

Patrick MacCaughey's approach is both refreshing and revealing. He pairs artists such as Brett Whiteley and Fred Williams; John Brack and Roger Kemp, and John Olsen and Jeffrey Smart. Intriguing insights emerge as he explores the affinities and differences that exist between their approaches. 

Sarah Thomas had the complex task of drawing together the rich plurality of the changing art world from the mid-1980s, a time when women artists came to the fore. Her spectrum includes the introduction of the new technologies and the escalation of cultural connections within Australia and with Asia and the world at large.
Publishing details: Macmillan, 2008, hc, dw, 274 pages hardcover colour illustrations. With index.

Pigott Gwyn Hanssen view full entry
Reference: see Encounters With Australian Modern Art by Christopher Heathcote, Patrick McCaughey and Sarah Thomas. Edited by Maudie Palmer. Foreword by Eva and Marc Besen (owners of the Tarrawarra Museum).

[’Encounters With Australian Modern Art symbolises a milestone in presenting Australian art to a world-wide audience. With over 200 images from the Tarrawarra Museum (in the Yarra Valley outside of Melbourne - owned by the Besen family) collection, Encounters With Australian Modern Art includes an overview of some of the finest Australian modern artists, between 1950 and today...

Encounters with Australian Modern Art represents a vital milestone in the presentation of Australian art to a world-wide readership. It was published in both French and English, and lavishly illustrated with more than 200 iconic images, many drawn from the collection of the TarraWarra museum of Art. Maudie Palmer, Director of the Museum and Editor of the book, devised its concept and selected the authors. They, like herself and the Besens, have witnessed first-hand the development of Australian Modernism during the second half of the twentieth century when the careers of its leading artist practitioners were firmly established. During those decades, many of these became acknowledged national identites - some enjoying overseas acclaim. 

Christopher Heathcote explores the art of the 1950s and 60s post-war reconstruction era. It witnessed the expansion of Australian suburbs and their growing populations of idiosyncratic urbanites. During these decades the earlier Australian landscape painting tradition survived and was further strengthened by the creations of artists like John Olsen and Fred Williams. 

Patrick MacCaughey's approach is both refreshing and revealing. He pairs artists such as Brett Whiteley and Fred Williams; John Brack and Roger Kemp, and John Olsen and Jeffrey Smart. Intriguing insights emerge as he explores the affinities and differences that exist between their approaches. 

Sarah Thomas had the complex task of drawing together the rich plurality of the changing art world from the mid-1980s, a time when women artists came to the fore. Her spectrum includes the introduction of the new technologies and the escalation of cultural connections within Australia and with Asia and the world at large.
Publishing details: Macmillan, 2008, hc, dw, 274 pages hardcover colour illustrations. With index.

Harper Melindaview full entry
Reference: see Encounters With Australian Modern Art by Christopher Heathcote, Patrick McCaughey and Sarah Thomas. Edited by Maudie Palmer. Foreword by Eva and Marc Besen (owners of the Tarrawarra Museum).

[’Encounters With Australian Modern Art symbolises a milestone in presenting Australian art to a world-wide audience. With over 200 images from the Tarrawarra Museum (in the Yarra Valley outside of Melbourne - owned by the Besen family) collection, Encounters With Australian Modern Art includes an overview of some of the finest Australian modern artists, between 1950 and today...

Encounters with Australian Modern Art represents a vital milestone in the presentation of Australian art to a world-wide readership. It was published in both French and English, and lavishly illustrated with more than 200 iconic images, many drawn from the collection of the TarraWarra museum of Art. Maudie Palmer, Director of the Museum and Editor of the book, devised its concept and selected the authors. They, like herself and the Besens, have witnessed first-hand the development of Australian Modernism during the second half of the twentieth century when the careers of its leading artist practitioners were firmly established. During those decades, many of these became acknowledged national identites - some enjoying overseas acclaim. 

Christopher Heathcote explores the art of the 1950s and 60s post-war reconstruction era. It witnessed the expansion of Australian suburbs and their growing populations of idiosyncratic urbanites. During these decades the earlier Australian landscape painting tradition survived and was further strengthened by the creations of artists like John Olsen and Fred Williams. 

Patrick MacCaughey's approach is both refreshing and revealing. He pairs artists such as Brett Whiteley and Fred Williams; John Brack and Roger Kemp, and John Olsen and Jeffrey Smart. Intriguing insights emerge as he explores the affinities and differences that exist between their approaches. 

Sarah Thomas had the complex task of drawing together the rich plurality of the changing art world from the mid-1980s, a time when women artists came to the fore. Her spectrum includes the introduction of the new technologies and the escalation of cultural connections within Australia and with Asia and the world at large.
Publishing details: Macmillan, 2008, hc, dw, 274 pages hardcover colour illustrations. With index.

Harris Brettview full entry
Reference: see Encounters With Australian Modern Art by Christopher Heathcote, Patrick McCaughey and Sarah Thomas. Edited by Maudie Palmer. Foreword by Eva and Marc Besen (owners of the Tarrawarra Museum).

[’Encounters With Australian Modern Art symbolises a milestone in presenting Australian art to a world-wide audience. With over 200 images from the Tarrawarra Museum (in the Yarra Valley outside of Melbourne - owned by the Besen family) collection, Encounters With Australian Modern Art includes an overview of some of the finest Australian modern artists, between 1950 and today...

Encounters with Australian Modern Art represents a vital milestone in the presentation of Australian art to a world-wide readership. It was published in both French and English, and lavishly illustrated with more than 200 iconic images, many drawn from the collection of the TarraWarra museum of Art. Maudie Palmer, Director of the Museum and Editor of the book, devised its concept and selected the authors. They, like herself and the Besens, have witnessed first-hand the development of Australian Modernism during the second half of the twentieth century when the careers of its leading artist practitioners were firmly established. During those decades, many of these became acknowledged national identites - some enjoying overseas acclaim. 

Christopher Heathcote explores the art of the 1950s and 60s post-war reconstruction era. It witnessed the expansion of Australian suburbs and their growing populations of idiosyncratic urbanites. During these decades the earlier Australian landscape painting tradition survived and was further strengthened by the creations of artists like John Olsen and Fred Williams. 

Patrick MacCaughey's approach is both refreshing and revealing. He pairs artists such as Brett Whiteley and Fred Williams; John Brack and Roger Kemp, and John Olsen and Jeffrey Smart. Intriguing insights emerge as he explores the affinities and differences that exist between their approaches. 

Sarah Thomas had the complex task of drawing together the rich plurality of the changing art world from the mid-1980s, a time when women artists came to the fore. Her spectrum includes the introduction of the new technologies and the escalation of cultural connections within Australia and with Asia and the world at large.
Publishing details: Macmillan, 2008, hc, dw, 274 pages hardcover colour illustrations. With index.

Hearman Louiseview full entry
Reference: see Encounters With Australian Modern Art by Christopher Heathcote, Patrick McCaughey and Sarah Thomas. Edited by Maudie Palmer. Foreword by Eva and Marc Besen (owners of the Tarrawarra Museum).

[’Encounters With Australian Modern Art symbolises a milestone in presenting Australian art to a world-wide audience. With over 200 images from the Tarrawarra Museum (in the Yarra Valley outside of Melbourne - owned by the Besen family) collection, Encounters With Australian Modern Art includes an overview of some of the finest Australian modern artists, between 1950 and today...

Encounters with Australian Modern Art represents a vital milestone in the presentation of Australian art to a world-wide readership. It was published in both French and English, and lavishly illustrated with more than 200 iconic images, many drawn from the collection of the TarraWarra museum of Art. Maudie Palmer, Director of the Museum and Editor of the book, devised its concept and selected the authors. They, like herself and the Besens, have witnessed first-hand the development of Australian Modernism during the second half of the twentieth century when the careers of its leading artist practitioners were firmly established. During those decades, many of these became acknowledged national identites - some enjoying overseas acclaim. 

Christopher Heathcote explores the art of the 1950s and 60s post-war reconstruction era. It witnessed the expansion of Australian suburbs and their growing populations of idiosyncratic urbanites. During these decades the earlier Australian landscape painting tradition survived and was further strengthened by the creations of artists like John Olsen and Fred Williams. 

Patrick MacCaughey's approach is both refreshing and revealing. He pairs artists such as Brett Whiteley and Fred Williams; John Brack and Roger Kemp, and John Olsen and Jeffrey Smart. Intriguing insights emerge as he explores the affinities and differences that exist between their approaches. 

Sarah Thomas had the complex task of drawing together the rich plurality of the changing art world from the mid-1980s, a time when women artists came to the fore. Her spectrum includes the introduction of the new technologies and the escalation of cultural connections within Australia and with Asia and the world at large.
Publishing details: Macmillan, 2008, hc, dw, 274 pages hardcover colour illustrations. With index.

Henson Billview full entry
Reference: see Encounters With Australian Modern Art by Christopher Heathcote, Patrick McCaughey and Sarah Thomas. Edited by Maudie Palmer. Foreword by Eva and Marc Besen (owners of the Tarrawarra Museum).

[’Encounters With Australian Modern Art symbolises a milestone in presenting Australian art to a world-wide audience. With over 200 images from the Tarrawarra Museum (in the Yarra Valley outside of Melbourne - owned by the Besen family) collection, Encounters With Australian Modern Art includes an overview of some of the finest Australian modern artists, between 1950 and today...

Encounters with Australian Modern Art represents a vital milestone in the presentation of Australian art to a world-wide readership. It was published in both French and English, and lavishly illustrated with more than 200 iconic images, many drawn from the collection of the TarraWarra museum of Art. Maudie Palmer, Director of the Museum and Editor of the book, devised its concept and selected the authors. They, like herself and the Besens, have witnessed first-hand the development of Australian Modernism during the second half of the twentieth century when the careers of its leading artist practitioners were firmly established. During those decades, many of these became acknowledged national identites - some enjoying overseas acclaim. 

Christopher Heathcote explores the art of the 1950s and 60s post-war reconstruction era. It witnessed the expansion of Australian suburbs and their growing populations of idiosyncratic urbanites. During these decades the earlier Australian landscape painting tradition survived and was further strengthened by the creations of artists like John Olsen and Fred Williams. 

Patrick MacCaughey's approach is both refreshing and revealing. He pairs artists such as Brett Whiteley and Fred Williams; John Brack and Roger Kemp, and John Olsen and Jeffrey Smart. Intriguing insights emerge as he explores the affinities and differences that exist between their approaches. 

Sarah Thomas had the complex task of drawing together the rich plurality of the changing art world from the mid-1980s, a time when women artists came to the fore. Her spectrum includes the introduction of the new technologies and the escalation of cultural connections within Australia and with Asia and the world at large.
Publishing details: Macmillan, 2008, hc, dw, 274 pages hardcover colour illustrations. With index.

Herman Saliview full entry
Reference: see Encounters With Australian Modern Art by Christopher Heathcote, Patrick McCaughey and Sarah Thomas. Edited by Maudie Palmer. Foreword by Eva and Marc Besen (owners of the Tarrawarra Museum).

[’Encounters With Australian Modern Art symbolises a milestone in presenting Australian art to a world-wide audience. With over 200 images from the Tarrawarra Museum (in the Yarra Valley outside of Melbourne - owned by the Besen family) collection, Encounters With Australian Modern Art includes an overview of some of the finest Australian modern artists, between 1950 and today...

Encounters with Australian Modern Art represents a vital milestone in the presentation of Australian art to a world-wide readership. It was published in both French and English, and lavishly illustrated with more than 200 iconic images, many drawn from the collection of the TarraWarra museum of Art. Maudie Palmer, Director of the Museum and Editor of the book, devised its concept and selected the authors. They, like herself and the Besens, have witnessed first-hand the development of Australian Modernism during the second half of the twentieth century when the careers of its leading artist practitioners were firmly established. During those decades, many of these became acknowledged national identites - some enjoying overseas acclaim. 

Christopher Heathcote explores the art of the 1950s and 60s post-war reconstruction era. It witnessed the expansion of Australian suburbs and their growing populations of idiosyncratic urbanites. During these decades the earlier Australian landscape painting tradition survived and was further strengthened by the creations of artists like John Olsen and Fred Williams. 

Patrick MacCaughey's approach is both refreshing and revealing. He pairs artists such as Brett Whiteley and Fred Williams; John Brack and Roger Kemp, and John Olsen and Jeffrey Smart. Intriguing insights emerge as he explores the affinities and differences that exist between their approaches. 

Sarah Thomas had the complex task of drawing together the rich plurality of the changing art world from the mid-1980s, a time when women artists came to the fore. Her spectrum includes the introduction of the new technologies and the escalation of cultural connections within Australia and with Asia and the world at large.
Publishing details: Macmillan, 2008, hc, dw, 274 pages hardcover colour illustrations. With index.

Hester Joyview full entry
Reference: see Encounters With Australian Modern Art by Christopher Heathcote, Patrick McCaughey and Sarah Thomas. Edited by Maudie Palmer. Foreword by Eva and Marc Besen (owners of the Tarrawarra Museum).

[’Encounters With Australian Modern Art symbolises a milestone in presenting Australian art to a world-wide audience. With over 200 images from the Tarrawarra Museum (in the Yarra Valley outside of Melbourne - owned by the Besen family) collection, Encounters With Australian Modern Art includes an overview of some of the finest Australian modern artists, between 1950 and today...

Encounters with Australian Modern Art represents a vital milestone in the presentation of Australian art to a world-wide readership. It was published in both French and English, and lavishly illustrated with more than 200 iconic images, many drawn from the collection of the TarraWarra museum of Art. Maudie Palmer, Director of the Museum and Editor of the book, devised its concept and selected the authors. They, like herself and the Besens, have witnessed first-hand the development of Australian Modernism during the second half of the twentieth century when the careers of its leading artist practitioners were firmly established. During those decades, many of these became acknowledged national identites - some enjoying overseas acclaim. 

Christopher Heathcote explores the art of the 1950s and 60s post-war reconstruction era. It witnessed the expansion of Australian suburbs and their growing populations of idiosyncratic urbanites. During these decades the earlier Australian landscape painting tradition survived and was further strengthened by the creations of artists like John Olsen and Fred Williams. 

Patrick MacCaughey's approach is both refreshing and revealing. He pairs artists such as Brett Whiteley and Fred Williams; John Brack and Roger Kemp, and John Olsen and Jeffrey Smart. Intriguing insights emerge as he explores the affinities and differences that exist between their approaches. 

Sarah Thomas had the complex task of drawing together the rich plurality of the changing art world from the mid-1980s, a time when women artists came to the fore. Her spectrum includes the introduction of the new technologies and the escalation of cultural connections within Australia and with Asia and the world at large.
Publishing details: Macmillan, 2008, hc, dw, 274 pages hardcover colour illustrations. With index.

Hickey Daleview full entry
Reference: see Encounters With Australian Modern Art by Christopher Heathcote, Patrick McCaughey and Sarah Thomas. Edited by Maudie Palmer. Foreword by Eva and Marc Besen (owners of the Tarrawarra Museum).

[’Encounters With Australian Modern Art symbolises a milestone in presenting Australian art to a world-wide audience. With over 200 images from the Tarrawarra Museum (in the Yarra Valley outside of Melbourne - owned by the Besen family) collection, Encounters With Australian Modern Art includes an overview of some of the finest Australian modern artists, between 1950 and today...

Encounters with Australian Modern Art represents a vital milestone in the presentation of Australian art to a world-wide readership. It was published in both French and English, and lavishly illustrated with more than 200 iconic images, many drawn from the collection of the TarraWarra museum of Art. Maudie Palmer, Director of the Museum and Editor of the book, devised its concept and selected the authors. They, like herself and the Besens, have witnessed first-hand the development of Australian Modernism during the second half of the twentieth century when the careers of its leading artist practitioners were firmly established. During those decades, many of these became acknowledged national identites - some enjoying overseas acclaim. 

Christopher Heathcote explores the art of the 1950s and 60s post-war reconstruction era. It witnessed the expansion of Australian suburbs and their growing populations of idiosyncratic urbanites. During these decades the earlier Australian landscape painting tradition survived and was further strengthened by the creations of artists like John Olsen and Fred Williams. 

Patrick MacCaughey's approach is both refreshing and revealing. He pairs artists such as Brett Whiteley and Fred Williams; John Brack and Roger Kemp, and John Olsen and Jeffrey Smart. Intriguing insights emerge as he explores the affinities and differences that exist between their approaches. 

Sarah Thomas had the complex task of drawing together the rich plurality of the changing art world from the mid-1980s, a time when women artists came to the fore. Her spectrum includes the introduction of the new technologies and the escalation of cultural connections within Australia and with Asia and the world at large.
Publishing details: Macmillan, 2008, hc, dw, 274 pages hardcover colour illustrations. With index.

Hopkins Johnview full entry
Reference: see Encounters With Australian Modern Art by Christopher Heathcote, Patrick McCaughey and Sarah Thomas. Edited by Maudie Palmer. Foreword by Eva and Marc Besen (owners of the Tarrawarra Museum).

[’Encounters With Australian Modern Art symbolises a milestone in presenting Australian art to a world-wide audience. With over 200 images from the Tarrawarra Museum (in the Yarra Valley outside of Melbourne - owned by the Besen family) collection, Encounters With Australian Modern Art includes an overview of some of the finest Australian modern artists, between 1950 and today...

Encounters with Australian Modern Art represents a vital milestone in the presentation of Australian art to a world-wide readership. It was published in both French and English, and lavishly illustrated with more than 200 iconic images, many drawn from the collection of the TarraWarra museum of Art. Maudie Palmer, Director of the Museum and Editor of the book, devised its concept and selected the authors. They, like herself and the Besens, have witnessed first-hand the development of Australian Modernism during the second half of the twentieth century when the careers of its leading artist practitioners were firmly established. During those decades, many of these became acknowledged national identites - some enjoying overseas acclaim. 

Christopher Heathcote explores the art of the 1950s and 60s post-war reconstruction era. It witnessed the expansion of Australian suburbs and their growing populations of idiosyncratic urbanites. During these decades the earlier Australian landscape painting tradition survived and was further strengthened by the creations of artists like John Olsen and Fred Williams. 

Patrick MacCaughey's approach is both refreshing and revealing. He pairs artists such as Brett Whiteley and Fred Williams; John Brack and Roger Kemp, and John Olsen and Jeffrey Smart. Intriguing insights emerge as he explores the affinities and differences that exist between their approaches. 

Sarah Thomas had the complex task of drawing together the rich plurality of the changing art world from the mid-1980s, a time when women artists came to the fore. Her spectrum includes the introduction of the new technologies and the escalation of cultural connections within Australia and with Asia and the world at large.
Publishing details: Macmillan, 2008, hc, dw, 274 pages hardcover colour illustrations. With index.

Hunter Robertview full entry
Reference: see Encounters With Australian Modern Art by Christopher Heathcote, Patrick McCaughey and Sarah Thomas. Edited by Maudie Palmer. Foreword by Eva and Marc Besen (owners of the Tarrawarra Museum).

[’Encounters With Australian Modern Art symbolises a milestone in presenting Australian art to a world-wide audience. With over 200 images from the Tarrawarra Museum (in the Yarra Valley outside of Melbourne - owned by the Besen family) collection, Encounters With Australian Modern Art includes an overview of some of the finest Australian modern artists, between 1950 and today...

Encounters with Australian Modern Art represents a vital milestone in the presentation of Australian art to a world-wide readership. It was published in both French and English, and lavishly illustrated with more than 200 iconic images, many drawn from the collection of the TarraWarra museum of Art. Maudie Palmer, Director of the Museum and Editor of the book, devised its concept and selected the authors. They, like herself and the Besens, have witnessed first-hand the development of Australian Modernism during the second half of the twentieth century when the careers of its leading artist practitioners were firmly established. During those decades, many of these became acknowledged national identites - some enjoying overseas acclaim. 

Christopher Heathcote explores the art of the 1950s and 60s post-war reconstruction era. It witnessed the expansion of Australian suburbs and their growing populations of idiosyncratic urbanites. During these decades the earlier Australian landscape painting tradition survived and was further strengthened by the creations of artists like John Olsen and Fred Williams. 

Patrick MacCaughey's approach is both refreshing and revealing. He pairs artists such as Brett Whiteley and Fred Williams; John Brack and Roger Kemp, and John Olsen and Jeffrey Smart. Intriguing insights emerge as he explores the affinities and differences that exist between their approaches. 

Sarah Thomas had the complex task of drawing together the rich plurality of the changing art world from the mid-1980s, a time when women artists came to the fore. Her spectrum includes the introduction of the new technologies and the escalation of cultural connections within Australia and with Asia and the world at large.
Publishing details: Macmillan, 2008, hc, dw, 274 pages hardcover colour illustrations. With index.

Jacks Robertview full entry
Reference: see Encounters With Australian Modern Art by Christopher Heathcote, Patrick McCaughey and Sarah Thomas. Edited by Maudie Palmer. Foreword by Eva and Marc Besen (owners of the Tarrawarra Museum).

[’Encounters With Australian Modern Art symbolises a milestone in presenting Australian art to a world-wide audience. With over 200 images from the Tarrawarra Museum (in the Yarra Valley outside of Melbourne - owned by the Besen family) collection, Encounters With Australian Modern Art includes an overview of some of the finest Australian modern artists, between 1950 and today...

Encounters with Australian Modern Art represents a vital milestone in the presentation of Australian art to a world-wide readership. It was published in both French and English, and lavishly illustrated with more than 200 iconic images, many drawn from the collection of the TarraWarra museum of Art. Maudie Palmer, Director of the Museum and Editor of the book, devised its concept and selected the authors. They, like herself and the Besens, have witnessed first-hand the development of Australian Modernism during the second half of the twentieth century when the careers of its leading artist practitioners were firmly established. During those decades, many of these became acknowledged national identites - some enjoying overseas acclaim. 

Christopher Heathcote explores the art of the 1950s and 60s post-war reconstruction era. It witnessed the expansion of Australian suburbs and their growing populations of idiosyncratic urbanites. During these decades the earlier Australian landscape painting tradition survived and was further strengthened by the creations of artists like John Olsen and Fred Williams. 

Patrick MacCaughey's approach is both refreshing and revealing. He pairs artists such as Brett Whiteley and Fred Williams; John Brack and Roger Kemp, and John Olsen and Jeffrey Smart. Intriguing insights emerge as he explores the affinities and differences that exist between their approaches. 

Sarah Thomas had the complex task of drawing together the rich plurality of the changing art world from the mid-1980s, a time when women artists came to the fore. Her spectrum includes the introduction of the new technologies and the escalation of cultural connections within Australia and with Asia and the world at large.
Publishing details: Macmillan, 2008, hc, dw, 274 pages hardcover colour illustrations. With index.

Johnson Michaelview full entry
Reference: see Encounters With Australian Modern Art by Christopher Heathcote, Patrick McCaughey and Sarah Thomas. Edited by Maudie Palmer. Foreword by Eva and Marc Besen (owners of the Tarrawarra Museum).

[’Encounters With Australian Modern Art symbolises a milestone in presenting Australian art to a world-wide audience. With over 200 images from the Tarrawarra Museum (in the Yarra Valley outside of Melbourne - owned by the Besen family) collection, Encounters With Australian Modern Art includes an overview of some of the finest Australian modern artists, between 1950 and today...

Encounters with Australian Modern Art represents a vital milestone in the presentation of Australian art to a world-wide readership. It was published in both French and English, and lavishly illustrated with more than 200 iconic images, many drawn from the collection of the TarraWarra museum of Art. Maudie Palmer, Director of the Museum and Editor of the book, devised its concept and selected the authors. They, like herself and the Besens, have witnessed first-hand the development of Australian Modernism during the second half of the twentieth century when the careers of its leading artist practitioners were firmly established. During those decades, many of these became acknowledged national identites - some enjoying overseas acclaim. 

Christopher Heathcote explores the art of the 1950s and 60s post-war reconstruction era. It witnessed the expansion of Australian suburbs and their growing populations of idiosyncratic urbanites. During these decades the earlier Australian landscape painting tradition survived and was further strengthened by the creations of artists like John Olsen and Fred Williams. 

Patrick MacCaughey's approach is both refreshing and revealing. He pairs artists such as Brett Whiteley and Fred Williams; John Brack and Roger Kemp, and John Olsen and Jeffrey Smart. Intriguing insights emerge as he explores the affinities and differences that exist between their approaches. 

Sarah Thomas had the complex task of drawing together the rich plurality of the changing art world from the mid-1980s, a time when women artists came to the fore. Her spectrum includes the introduction of the new technologies and the escalation of cultural connections within Australia and with Asia and the world at large.
Publishing details: Macmillan, 2008, hc, dw, 274 pages hardcover colour illustrations. With index.

Juniper Robertview full entry
Reference: see Encounters With Australian Modern Art by Christopher Heathcote, Patrick McCaughey and Sarah Thomas. Edited by Maudie Palmer. Foreword by Eva and Marc Besen (owners of the Tarrawarra Museum).

[’Encounters With Australian Modern Art symbolises a milestone in presenting Australian art to a world-wide audience. With over 200 images from the Tarrawarra Museum (in the Yarra Valley outside of Melbourne - owned by the Besen family) collection, Encounters With Australian Modern Art includes an overview of some of the finest Australian modern artists, between 1950 and today...

Encounters with Australian Modern Art represents a vital milestone in the presentation of Australian art to a world-wide readership. It was published in both French and English, and lavishly illustrated with more than 200 iconic images, many drawn from the collection of the TarraWarra museum of Art. Maudie Palmer, Director of the Museum and Editor of the book, devised its concept and selected the authors. They, like herself and the Besens, have witnessed first-hand the development of Australian Modernism during the second half of the twentieth century when the careers of its leading artist practitioners were firmly established. During those decades, many of these became acknowledged national identites - some enjoying overseas acclaim. 

Christopher Heathcote explores the art of the 1950s and 60s post-war reconstruction era. It witnessed the expansion of Australian suburbs and their growing populations of idiosyncratic urbanites. During these decades the earlier Australian landscape painting tradition survived and was further strengthened by the creations of artists like John Olsen and Fred Williams. 

Patrick MacCaughey's approach is both refreshing and revealing. He pairs artists such as Brett Whiteley and Fred Williams; John Brack and Roger Kemp, and John Olsen and Jeffrey Smart. Intriguing insights emerge as he explores the affinities and differences that exist between their approaches. 

Sarah Thomas had the complex task of drawing together the rich plurality of the changing art world from the mid-1980s, a time when women artists came to the fore. Her spectrum includes the introduction of the new technologies and the escalation of cultural connections within Australia and with Asia and the world at large.
Publishing details: Macmillan, 2008, hc, dw, 274 pages hardcover colour illustrations. With index.

Kelly Williamview full entry
Reference: see Encounters With Australian Modern Art by Christopher Heathcote, Patrick McCaughey and Sarah Thomas. Edited by Maudie Palmer. Foreword by Eva and Marc Besen (owners of the Tarrawarra Museum).

[’Encounters With Australian Modern Art symbolises a milestone in presenting Australian art to a world-wide audience. With over 200 images from the Tarrawarra Museum (in the Yarra Valley outside of Melbourne - owned by the Besen family) collection, Encounters With Australian Modern Art includes an overview of some of the finest Australian modern artists, between 1950 and today...

Encounters with Australian Modern Art represents a vital milestone in the presentation of Australian art to a world-wide readership. It was published in both French and English, and lavishly illustrated with more than 200 iconic images, many drawn from the collection of the TarraWarra museum of Art. Maudie Palmer, Director of the Museum and Editor of the book, devised its concept and selected the authors. They, like herself and the Besens, have witnessed first-hand the development of Australian Modernism during the second half of the twentieth century when the careers of its leading artist practitioners were firmly established. During those decades, many of these became acknowledged national identites - some enjoying overseas acclaim. 

Christopher Heathcote explores the art of the 1950s and 60s post-war reconstruction era. It witnessed the expansion of Australian suburbs and their growing populations of idiosyncratic urbanites. During these decades the earlier Australian landscape painting tradition survived and was further strengthened by the creations of artists like John Olsen and Fred Williams. 

Patrick MacCaughey's approach is both refreshing and revealing. He pairs artists such as Brett Whiteley and Fred Williams; John Brack and Roger Kemp, and John Olsen and Jeffrey Smart. Intriguing insights emerge as he explores the affinities and differences that exist between their approaches. 

Sarah Thomas had the complex task of drawing together the rich plurality of the changing art world from the mid-1980s, a time when women artists came to the fore. Her spectrum includes the introduction of the new technologies and the escalation of cultural connections within Australia and with Asia and the world at large.
Publishing details: Macmillan, 2008, hc, dw, 274 pages hardcover colour illustrations. With index.

Kemp Rogerview full entry
Reference: see Encounters With Australian Modern Art by Christopher Heathcote, Patrick McCaughey and Sarah Thomas. Edited by Maudie Palmer. Foreword by Eva and Marc Besen (owners of the Tarrawarra Museum).

[’Encounters With Australian Modern Art symbolises a milestone in presenting Australian art to a world-wide audience. With over 200 images from the Tarrawarra Museum (in the Yarra Valley outside of Melbourne - owned by the Besen family) collection, Encounters With Australian Modern Art includes an overview of some of the finest Australian modern artists, between 1950 and today...

Encounters with Australian Modern Art represents a vital milestone in the presentation of Australian art to a world-wide readership. It was published in both French and English, and lavishly illustrated with more than 200 iconic images, many drawn from the collection of the TarraWarra museum of Art. Maudie Palmer, Director of the Museum and Editor of the book, devised its concept and selected the authors. They, like herself and the Besens, have witnessed first-hand the development of Australian Modernism during the second half of the twentieth century when the careers of its leading artist practitioners were firmly established. During those decades, many of these became acknowledged national identites - some enjoying overseas acclaim. 

Christopher Heathcote explores the art of the 1950s and 60s post-war reconstruction era. It witnessed the expansion of Australian suburbs and their growing populations of idiosyncratic urbanites. During these decades the earlier Australian landscape painting tradition survived and was further strengthened by the creations of artists like John Olsen and Fred Williams. 

Patrick MacCaughey's approach is both refreshing and revealing. He pairs artists such as Brett Whiteley and Fred Williams; John Brack and Roger Kemp, and John Olsen and Jeffrey Smart. Intriguing insights emerge as he explores the affinities and differences that exist between their approaches. 

Sarah Thomas had the complex task of drawing together the rich plurality of the changing art world from the mid-1980s, a time when women artists came to the fore. Her spectrum includes the introduction of the new technologies and the escalation of cultural connections within Australia and with Asia and the world at large.
Publishing details: Macmillan, 2008, hc, dw, 274 pages hardcover colour illustrations. With index.

King Ingeview full entry
Reference: see Encounters With Australian Modern Art by Christopher Heathcote, Patrick McCaughey and Sarah Thomas. Edited by Maudie Palmer. Foreword by Eva and Marc Besen (owners of the Tarrawarra Museum).

[’Encounters With Australian Modern Art symbolises a milestone in presenting Australian art to a world-wide audience. With over 200 images from the Tarrawarra Museum (in the Yarra Valley outside of Melbourne - owned by the Besen family) collection, Encounters With Australian Modern Art includes an overview of some of the finest Australian modern artists, between 1950 and today...

Encounters with Australian Modern Art represents a vital milestone in the presentation of Australian art to a world-wide readership. It was published in both French and English, and lavishly illustrated with more than 200 iconic images, many drawn from the collection of the TarraWarra museum of Art. Maudie Palmer, Director of the Museum and Editor of the book, devised its concept and selected the authors. They, like herself and the Besens, have witnessed first-hand the development of Australian Modernism during the second half of the twentieth century when the careers of its leading artist practitioners were firmly established. During those decades, many of these became acknowledged national identites - some enjoying overseas acclaim. 

Christopher Heathcote explores the art of the 1950s and 60s post-war reconstruction era. It witnessed the expansion of Australian suburbs and their growing populations of idiosyncratic urbanites. During these decades the earlier Australian landscape painting tradition survived and was further strengthened by the creations of artists like John Olsen and Fred Williams. 

Patrick MacCaughey's approach is both refreshing and revealing. He pairs artists such as Brett Whiteley and Fred Williams; John Brack and Roger Kemp, and John Olsen and Jeffrey Smart. Intriguing insights emerge as he explores the affinities and differences that exist between their approaches. 

Sarah Thomas had the complex task of drawing together the rich plurality of the changing art world from the mid-1980s, a time when women artists came to the fore. Her spectrum includes the introduction of the new technologies and the escalation of cultural connections within Australia and with Asia and the world at large.
Publishing details: Macmillan, 2008, hc, dw, 274 pages hardcover colour illustrations. With index.

Klippel Robertview full entry
Reference: see Encounters With Australian Modern Art by Christopher Heathcote, Patrick McCaughey and Sarah Thomas. Edited by Maudie Palmer. Foreword by Eva and Marc Besen (owners of the Tarrawarra Museum).

[’Encounters With Australian Modern Art symbolises a milestone in presenting Australian art to a world-wide audience. With over 200 images from the Tarrawarra Museum (in the Yarra Valley outside of Melbourne - owned by the Besen family) collection, Encounters With Australian Modern Art includes an overview of some of the finest Australian modern artists, between 1950 and today...

Encounters with Australian Modern Art represents a vital milestone in the presentation of Australian art to a world-wide readership. It was published in both French and English, and lavishly illustrated with more than 200 iconic images, many drawn from the collection of the TarraWarra museum of Art. Maudie Palmer, Director of the Museum and Editor of the book, devised its concept and selected the authors. They, like herself and the Besens, have witnessed first-hand the development of Australian Modernism during the second half of the twentieth century when the careers of its leading artist practitioners were firmly established. During those decades, many of these became acknowledged national identites - some enjoying overseas acclaim. 

Christopher Heathcote explores the art of the 1950s and 60s post-war reconstruction era. It witnessed the expansion of Australian suburbs and their growing populations of idiosyncratic urbanites. During these decades the earlier Australian landscape painting tradition survived and was further strengthened by the creations of artists like John Olsen and Fred Williams. 

Patrick MacCaughey's approach is both refreshing and revealing. He pairs artists such as Brett Whiteley and Fred Williams; John Brack and Roger Kemp, and John Olsen and Jeffrey Smart. Intriguing insights emerge as he explores the affinities and differences that exist between their approaches. 

Sarah Thomas had the complex task of drawing together the rich plurality of the changing art world from the mid-1980s, a time when women artists came to the fore. Her spectrum includes the introduction of the new technologies and the escalation of cultural connections within Australia and with Asia and the world at large.
Publishing details: Macmillan, 2008, hc, dw, 274 pages hardcover colour illustrations. With index.

Lamb Joannaview full entry
Reference: see Encounters With Australian Modern Art by Christopher Heathcote, Patrick McCaughey and Sarah Thomas. Edited by Maudie Palmer. Foreword by Eva and Marc Besen (owners of the Tarrawarra Museum).

[’Encounters With Australian Modern Art symbolises a milestone in presenting Australian art to a world-wide audience. With over 200 images from the Tarrawarra Museum (in the Yarra Valley outside of Melbourne - owned by the Besen family) collection, Encounters With Australian Modern Art includes an overview of some of the finest Australian modern artists, between 1950 and today...

Encounters with Australian Modern Art represents a vital milestone in the presentation of Australian art to a world-wide readership. It was published in both French and English, and lavishly illustrated with more than 200 iconic images, many drawn from the collection of the TarraWarra museum of Art. Maudie Palmer, Director of the Museum and Editor of the book, devised its concept and selected the authors. They, like herself and the Besens, have witnessed first-hand the development of Australian Modernism during the second half of the twentieth century when the careers of its leading artist practitioners were firmly established. During those decades, many of these became acknowledged national identites - some enjoying overseas acclaim. 

Christopher Heathcote explores the art of the 1950s and 60s post-war reconstruction era. It witnessed the expansion of Australian suburbs and their growing populations of idiosyncratic urbanites. During these decades the earlier Australian landscape painting tradition survived and was further strengthened by the creations of artists like John Olsen and Fred Williams. 

Patrick MacCaughey's approach is both refreshing and revealing. He pairs artists such as Brett Whiteley and Fred Williams; John Brack and Roger Kemp, and John Olsen and Jeffrey Smart. Intriguing insights emerge as he explores the affinities and differences that exist between their approaches. 

Sarah Thomas had the complex task of drawing together the rich plurality of the changing art world from the mid-1980s, a time when women artists came to the fore. Her spectrum includes the introduction of the new technologies and the escalation of cultural connections within Australia and with Asia and the world at large.
Publishing details: Macmillan, 2008, hc, dw, 274 pages hardcover colour illustrations. With index.

Lanceley Colinview full entry
Reference: see Encounters With Australian Modern Art by Christopher Heathcote, Patrick McCaughey and Sarah Thomas. Edited by Maudie Palmer. Foreword by Eva and Marc Besen (owners of the Tarrawarra Museum).

[’Encounters With Australian Modern Art symbolises a milestone in presenting Australian art to a world-wide audience. With over 200 images from the Tarrawarra Museum (in the Yarra Valley outside of Melbourne - owned by the Besen family) collection, Encounters With Australian Modern Art includes an overview of some of the finest Australian modern artists, between 1950 and today...

Encounters with Australian Modern Art represents a vital milestone in the presentation of Australian art to a world-wide readership. It was published in both French and English, and lavishly illustrated with more than 200 iconic images, many drawn from the collection of the TarraWarra museum of Art. Maudie Palmer, Director of the Museum and Editor of the book, devised its concept and selected the authors. They, like herself and the Besens, have witnessed first-hand the development of Australian Modernism during the second half of the twentieth century when the careers of its leading artist practitioners were firmly established. During those decades, many of these became acknowledged national identites - some enjoying overseas acclaim. 

Christopher Heathcote explores the art of the 1950s and 60s post-war reconstruction era. It witnessed the expansion of Australian suburbs and their growing populations of idiosyncratic urbanites. During these decades the earlier Australian landscape painting tradition survived and was further strengthened by the creations of artists like John Olsen and Fred Williams. 

Patrick MacCaughey's approach is both refreshing and revealing. He pairs artists such as Brett Whiteley and Fred Williams; John Brack and Roger Kemp, and John Olsen and Jeffrey Smart. Intriguing insights emerge as he explores the affinities and differences that exist between their approaches. 

Sarah Thomas had the complex task of drawing together the rich plurality of the changing art world from the mid-1980s, a time when women artists came to the fore. Her spectrum includes the introduction of the new technologies and the escalation of cultural connections within Australia and with Asia and the world at large.
Publishing details: Macmillan, 2008, hc, dw, 274 pages hardcover colour illustrations. With index.

Larter Richardview full entry
Reference: see Encounters With Australian Modern Art by Christopher Heathcote, Patrick McCaughey and Sarah Thomas. Edited by Maudie Palmer. Foreword by Eva and Marc Besen (owners of the Tarrawarra Museum).

[’Encounters With Australian Modern Art symbolises a milestone in presenting Australian art to a world-wide audience. With over 200 images from the Tarrawarra Museum (in the Yarra Valley outside of Melbourne - owned by the Besen family) collection, Encounters With Australian Modern Art includes an overview of some of the finest Australian modern artists, between 1950 and today...

Encounters with Australian Modern Art represents a vital milestone in the presentation of Australian art to a world-wide readership. It was published in both French and English, and lavishly illustrated with more than 200 iconic images, many drawn from the collection of the TarraWarra museum of Art. Maudie Palmer, Director of the Museum and Editor of the book, devised its concept and selected the authors. They, like herself and the Besens, have witnessed first-hand the development of Australian Modernism during the second half of the twentieth century when the careers of its leading artist practitioners were firmly established. During those decades, many of these became acknowledged national identites - some enjoying overseas acclaim. 

Christopher Heathcote explores the art of the 1950s and 60s post-war reconstruction era. It witnessed the expansion of Australian suburbs and their growing populations of idiosyncratic urbanites. During these decades the earlier Australian landscape painting tradition survived and was further strengthened by the creations of artists like John Olsen and Fred Williams. 

Patrick MacCaughey's approach is both refreshing and revealing. He pairs artists such as Brett Whiteley and Fred Williams; John Brack and Roger Kemp, and John Olsen and Jeffrey Smart. Intriguing insights emerge as he explores the affinities and differences that exist between their approaches. 

Sarah Thomas had the complex task of drawing together the rich plurality of the changing art world from the mid-1980s, a time when women artists came to the fore. Her spectrum includes the introduction of the new technologies and the escalation of cultural connections within Australia and with Asia and the world at large.
Publishing details: Macmillan, 2008, hc, dw, 274 pages hardcover colour illustrations. With index.

Larwill Davidview full entry
Reference: see Encounters With Australian Modern Art by Christopher Heathcote, Patrick McCaughey and Sarah Thomas. Edited by Maudie Palmer. Foreword by Eva and Marc Besen (owners of the Tarrawarra Museum).

[’Encounters With Australian Modern Art symbolises a milestone in presenting Australian art to a world-wide audience. With over 200 images from the Tarrawarra Museum (in the Yarra Valley outside of Melbourne - owned by the Besen family) collection, Encounters With Australian Modern Art includes an overview of some of the finest Australian modern artists, between 1950 and today...

Encounters with Australian Modern Art represents a vital milestone in the presentation of Australian art to a world-wide readership. It was published in both French and English, and lavishly illustrated with more than 200 iconic images, many drawn from the collection of the TarraWarra museum of Art. Maudie Palmer, Director of the Museum and Editor of the book, devised its concept and selected the authors. They, like herself and the Besens, have witnessed first-hand the development of Australian Modernism during the second half of the twentieth century when the careers of its leading artist practitioners were firmly established. During those decades, many of these became acknowledged national identites - some enjoying overseas acclaim. 

Christopher Heathcote explores the art of the 1950s and 60s post-war reconstruction era. It witnessed the expansion of Australian suburbs and their growing populations of idiosyncratic urbanites. During these decades the earlier Australian landscape painting tradition survived and was further strengthened by the creations of artists like John Olsen and Fred Williams. 

Patrick MacCaughey's approach is both refreshing and revealing. He pairs artists such as Brett Whiteley and Fred Williams; John Brack and Roger Kemp, and John Olsen and Jeffrey Smart. Intriguing insights emerge as he explores the affinities and differences that exist between their approaches. 

Sarah Thomas had the complex task of drawing together the rich plurality of the changing art world from the mid-1980s, a time when women artists came to the fore. Her spectrum includes the introduction of the new technologies and the escalation of cultural connections within Australia and with Asia and the world at large.
Publishing details: Macmillan, 2008, hc, dw, 274 pages hardcover colour illustrations. With index.

Last Cliffordview full entry
Reference: see Encounters With Australian Modern Art by Christopher Heathcote, Patrick McCaughey and Sarah Thomas. Edited by Maudie Palmer. Foreword by Eva and Marc Besen (owners of the Tarrawarra Museum).

[’Encounters With Australian Modern Art symbolises a milestone in presenting Australian art to a world-wide audience. With over 200 images from the Tarrawarra Museum (in the Yarra Valley outside of Melbourne - owned by the Besen family) collection, Encounters With Australian Modern Art includes an overview of some of the finest Australian modern artists, between 1950 and today...

Encounters with Australian Modern Art represents a vital milestone in the presentation of Australian art to a world-wide readership. It was published in both French and English, and lavishly illustrated with more than 200 iconic images, many drawn from the collection of the TarraWarra museum of Art. Maudie Palmer, Director of the Museum and Editor of the book, devised its concept and selected the authors. They, like herself and the Besens, have witnessed first-hand the development of Australian Modernism during the second half of the twentieth century when the careers of its leading artist practitioners were firmly established. During those decades, many of these became acknowledged national identites - some enjoying overseas acclaim. 

Christopher Heathcote explores the art of the 1950s and 60s post-war reconstruction era. It witnessed the expansion of Australian suburbs and their growing populations of idiosyncratic urbanites. During these decades the earlier Australian landscape painting tradition survived and was further strengthened by the creations of artists like John Olsen and Fred Williams. 

Patrick MacCaughey's approach is both refreshing and revealing. He pairs artists such as Brett Whiteley and Fred Williams; John Brack and Roger Kemp, and John Olsen and Jeffrey Smart. Intriguing insights emerge as he explores the affinities and differences that exist between their approaches. 

Sarah Thomas had the complex task of drawing together the rich plurality of the changing art world from the mid-1980s, a time when women artists came to the fore. Her spectrum includes the introduction of the new technologies and the escalation of cultural connections within Australia and with Asia and the world at large.
Publishing details: Macmillan, 2008, hc, dw, 274 pages hardcover colour illustrations. With index.

Laurence Janetview full entry
Reference: see Encounters With Australian Modern Art by Christopher Heathcote, Patrick McCaughey and Sarah Thomas. Edited by Maudie Palmer. Foreword by Eva and Marc Besen (owners of the Tarrawarra Museum).

[’Encounters With Australian Modern Art symbolises a milestone in presenting Australian art to a world-wide audience. With over 200 images from the Tarrawarra Museum (in the Yarra Valley outside of Melbourne - owned by the Besen family) collection, Encounters With Australian Modern Art includes an overview of some of the finest Australian modern artists, between 1950 and today...

Encounters with Australian Modern Art represents a vital milestone in the presentation of Australian art to a world-wide readership. It was published in both French and English, and lavishly illustrated with more than 200 iconic images, many drawn from the collection of the TarraWarra museum of Art. Maudie Palmer, Director of the Museum and Editor of the book, devised its concept and selected the authors. They, like herself and the Besens, have witnessed first-hand the development of Australian Modernism during the second half of the twentieth century when the careers of its leading artist practitioners were firmly established. During those decades, many of these became acknowledged national identites - some enjoying overseas acclaim. 

Christopher Heathcote explores the art of the 1950s and 60s post-war reconstruction era. It witnessed the expansion of Australian suburbs and their growing populations of idiosyncratic urbanites. During these decades the earlier Australian landscape painting tradition survived and was further strengthened by the creations of artists like John Olsen and Fred Williams. 

Patrick MacCaughey's approach is both refreshing and revealing. He pairs artists such as Brett Whiteley and Fred Williams; John Brack and Roger Kemp, and John Olsen and Jeffrey Smart. Intriguing insights emerge as he explores the affinities and differences that exist between their approaches. 

Sarah Thomas had the complex task of drawing together the rich plurality of the changing art world from the mid-1980s, a time when women artists came to the fore. Her spectrum includes the introduction of the new technologies and the escalation of cultural connections within Australia and with Asia and the world at large.
Publishing details: Macmillan, 2008, hc, dw, 274 pages hardcover colour illustrations. With index.

Leach-Jones Alunview full entry
Reference: see Encounters With Australian Modern Art by Christopher Heathcote, Patrick McCaughey and Sarah Thomas. Edited by Maudie Palmer. Foreword by Eva and Marc Besen (owners of the Tarrawarra Museum).

[’Encounters With Australian Modern Art symbolises a milestone in presenting Australian art to a world-wide audience. With over 200 images from the Tarrawarra Museum (in the Yarra Valley outside of Melbourne - owned by the Besen family) collection, Encounters With Australian Modern Art includes an overview of some of the finest Australian modern artists, between 1950 and today...

Encounters with Australian Modern Art represents a vital milestone in the presentation of Australian art to a world-wide readership. It was published in both French and English, and lavishly illustrated with more than 200 iconic images, many drawn from the collection of the TarraWarra museum of Art. Maudie Palmer, Director of the Museum and Editor of the book, devised its concept and selected the authors. They, like herself and the Besens, have witnessed first-hand the development of Australian Modernism during the second half of the twentieth century when the careers of its leading artist practitioners were firmly established. During those decades, many of these became acknowledged national identites - some enjoying overseas acclaim. 

Christopher Heathcote explores the art of the 1950s and 60s post-war reconstruction era. It witnessed the expansion of Australian suburbs and their growing populations of idiosyncratic urbanites. During these decades the earlier Australian landscape painting tradition survived and was further strengthened by the creations of artists like John Olsen and Fred Williams. 

Patrick MacCaughey's approach is both refreshing and revealing. He pairs artists such as Brett Whiteley and Fred Williams; John Brack and Roger Kemp, and John Olsen and Jeffrey Smart. Intriguing insights emerge as he explores the affinities and differences that exist between their approaches. 

Sarah Thomas had the complex task of drawing together the rich plurality of the changing art world from the mid-1980s, a time when women artists came to the fore. Her spectrum includes the introduction of the new technologies and the escalation of cultural connections within Australia and with Asia and the world at large.
Publishing details: Macmillan, 2008, hc, dw, 274 pages hardcover colour illustrations. With index.

Maguire Timview full entry
Reference: see Encounters With Australian Modern Art by Christopher Heathcote, Patrick McCaughey and Sarah Thomas. Edited by Maudie Palmer. Foreword by Eva and Marc Besen (owners of the Tarrawarra Museum).

[’Encounters With Australian Modern Art symbolises a milestone in presenting Australian art to a world-wide audience. With over 200 images from the Tarrawarra Museum (in the Yarra Valley outside of Melbourne - owned by the Besen family) collection, Encounters With Australian Modern Art includes an overview of some of the finest Australian modern artists, between 1950 and today...

Encounters with Australian Modern Art represents a vital milestone in the presentation of Australian art to a world-wide readership. It was published in both French and English, and lavishly illustrated with more than 200 iconic images, many drawn from the collection of the TarraWarra museum of Art. Maudie Palmer, Director of the Museum and Editor of the book, devised its concept and selected the authors. They, like herself and the Besens, have witnessed first-hand the development of Australian Modernism during the second half of the twentieth century when the careers of its leading artist practitioners were firmly established. During those decades, many of these became acknowledged national identites - some enjoying overseas acclaim. 

Christopher Heathcote explores the art of the 1950s and 60s post-war reconstruction era. It witnessed the expansion of Australian suburbs and their growing populations of idiosyncratic urbanites. During these decades the earlier Australian landscape painting tradition survived and was further strengthened by the creations of artists like John Olsen and Fred Williams. 

Patrick MacCaughey's approach is both refreshing and revealing. He pairs artists such as Brett Whiteley and Fred Williams; John Brack and Roger Kemp, and John Olsen and Jeffrey Smart. Intriguing insights emerge as he explores the affinities and differences that exist between their approaches. 

Sarah Thomas had the complex task of drawing together the rich plurality of the changing art world from the mid-1980s, a time when women artists came to the fore. Her spectrum includes the introduction of the new technologies and the escalation of cultural connections within Australia and with Asia and the world at large.
Publishing details: Macmillan, 2008, hc, dw, 274 pages hardcover colour illustrations. With index.

Mais Hilarieview full entry
Reference: see Encounters With Australian Modern Art by Christopher Heathcote, Patrick McCaughey and Sarah Thomas. Edited by Maudie Palmer. Foreword by Eva and Marc Besen (owners of the Tarrawarra Museum).

[’Encounters With Australian Modern Art symbolises a milestone in presenting Australian art to a world-wide audience. With over 200 images from the Tarrawarra Museum (in the Yarra Valley outside of Melbourne - owned by the Besen family) collection, Encounters With Australian Modern Art includes an overview of some of the finest Australian modern artists, between 1950 and today...

Encounters with Australian Modern Art represents a vital milestone in the presentation of Australian art to a world-wide readership. It was published in both French and English, and lavishly illustrated with more than 200 iconic images, many drawn from the collection of the TarraWarra museum of Art. Maudie Palmer, Director of the Museum and Editor of the book, devised its concept and selected the authors. They, like herself and the Besens, have witnessed first-hand the development of Australian Modernism during the second half of the twentieth century when the careers of its leading artist practitioners were firmly established. During those decades, many of these became acknowledged national identites - some enjoying overseas acclaim. 

Christopher Heathcote explores the art of the 1950s and 60s post-war reconstruction era. It witnessed the expansion of Australian suburbs and their growing populations of idiosyncratic urbanites. During these decades the earlier Australian landscape painting tradition survived and was further strengthened by the creations of artists like John Olsen and Fred Williams. 

Patrick MacCaughey's approach is both refreshing and revealing. He pairs artists such as Brett Whiteley and Fred Williams; John Brack and Roger Kemp, and John Olsen and Jeffrey Smart. Intriguing insights emerge as he explores the affinities and differences that exist between their approaches. 

Sarah Thomas had the complex task of drawing together the rich plurality of the changing art world from the mid-1980s, a time when women artists came to the fore. Her spectrum includes the introduction of the new technologies and the escalation of cultural connections within Australia and with Asia and the world at large.
Publishing details: Macmillan, 2008, hc, dw, 274 pages hardcover colour illustrations. With index.

Makigawa Akioview full entry
Reference: see Encounters With Australian Modern Art by Christopher Heathcote, Patrick McCaughey and Sarah Thomas. Edited by Maudie Palmer. Foreword by Eva and Marc Besen (owners of the Tarrawarra Museum).

[’Encounters With Australian Modern Art symbolises a milestone in presenting Australian art to a world-wide audience. With over 200 images from the Tarrawarra Museum (in the Yarra Valley outside of Melbourne - owned by the Besen family) collection, Encounters With Australian Modern Art includes an overview of some of the finest Australian modern artists, between 1950 and today...

Encounters with Australian Modern Art represents a vital milestone in the presentation of Australian art to a world-wide readership. It was published in both French and English, and lavishly illustrated with more than 200 iconic images, many drawn from the collection of the TarraWarra museum of Art. Maudie Palmer, Director of the Museum and Editor of the book, devised its concept and selected the authors. They, like herself and the Besens, have witnessed first-hand the development of Australian Modernism during the second half of the twentieth century when the careers of its leading artist practitioners were firmly established. During those decades, many of these became acknowledged national identites - some enjoying overseas acclaim. 

Christopher Heathcote explores the art of the 1950s and 60s post-war reconstruction era. It witnessed the expansion of Australian suburbs and their growing populations of idiosyncratic urbanites. During these decades the earlier Australian landscape painting tradition survived and was further strengthened by the creations of artists like John Olsen and Fred Williams. 

Patrick MacCaughey's approach is both refreshing and revealing. He pairs artists such as Brett Whiteley and Fred Williams; John Brack and Roger Kemp, and John Olsen and Jeffrey Smart. Intriguing insights emerge as he explores the affinities and differences that exist between their approaches. 

Sarah Thomas had the complex task of drawing together the rich plurality of the changing art world from the mid-1980s, a time when women artists came to the fore. Her spectrum includes the introduction of the new technologies and the escalation of cultural connections within Australia and with Asia and the world at large.
Publishing details: Macmillan, 2008, hc, dw, 274 pages hardcover colour illustrations. With index.

Meadmore Clementview full entry
Reference: see Encounters With Australian Modern Art by Christopher Heathcote, Patrick McCaughey and Sarah Thomas. Edited by Maudie Palmer. Foreword by Eva and Marc Besen (owners of the Tarrawarra Museum).

[’Encounters With Australian Modern Art symbolises a milestone in presenting Australian art to a world-wide audience. With over 200 images from the Tarrawarra Museum (in the Yarra Valley outside of Melbourne - owned by the Besen family) collection, Encounters With Australian Modern Art includes an overview of some of the finest Australian modern artists, between 1950 and today...

Encounters with Australian Modern Art represents a vital milestone in the presentation of Australian art to a world-wide readership. It was published in both French and English, and lavishly illustrated with more than 200 iconic images, many drawn from the collection of the TarraWarra museum of Art. Maudie Palmer, Director of the Museum and Editor of the book, devised its concept and selected the authors. They, like herself and the Besens, have witnessed first-hand the development of Australian Modernism during the second half of the twentieth century when the careers of its leading artist practitioners were firmly established. During those decades, many of these became acknowledged national identites - some enjoying overseas acclaim. 

Christopher Heathcote explores the art of the 1950s and 60s post-war reconstruction era. It witnessed the expansion of Australian suburbs and their growing populations of idiosyncratic urbanites. During these decades the earlier Australian landscape painting tradition survived and was further strengthened by the creations of artists like John Olsen and Fred Williams. 

Patrick MacCaughey's approach is both refreshing and revealing. He pairs artists such as Brett Whiteley and Fred Williams; John Brack and Roger Kemp, and John Olsen and Jeffrey Smart. Intriguing insights emerge as he explores the affinities and differences that exist between their approaches. 

Sarah Thomas had the complex task of drawing together the rich plurality of the changing art world from the mid-1980s, a time when women artists came to the fore. Her spectrum includes the introduction of the new technologies and the escalation of cultural connections within Australia and with Asia and the world at large.
Publishing details: Macmillan, 2008, hc, dw, 274 pages hardcover colour illustrations. With index.

Miller Godfreyview full entry
Reference: see Encounters With Australian Modern Art by Christopher Heathcote, Patrick McCaughey and Sarah Thomas. Edited by Maudie Palmer. Foreword by Eva and Marc Besen (owners of the Tarrawarra Museum).

[’Encounters With Australian Modern Art symbolises a milestone in presenting Australian art to a world-wide audience. With over 200 images from the Tarrawarra Museum (in the Yarra Valley outside of Melbourne - owned by the Besen family) collection, Encounters With Australian Modern Art includes an overview of some of the finest Australian modern artists, between 1950 and today...

Encounters with Australian Modern Art represents a vital milestone in the presentation of Australian art to a world-wide readership. It was published in both French and English, and lavishly illustrated with more than 200 iconic images, many drawn from the collection of the TarraWarra museum of Art. Maudie Palmer, Director of the Museum and Editor of the book, devised its concept and selected the authors. They, like herself and the Besens, have witnessed first-hand the development of Australian Modernism during the second half of the twentieth century when the careers of its leading artist practitioners were firmly established. During those decades, many of these became acknowledged national identites - some enjoying overseas acclaim. 

Christopher Heathcote explores the art of the 1950s and 60s post-war reconstruction era. It witnessed the expansion of Australian suburbs and their growing populations of idiosyncratic urbanites. During these decades the earlier Australian landscape painting tradition survived and was further strengthened by the creations of artists like John Olsen and Fred Williams. 

Patrick MacCaughey's approach is both refreshing and revealing. He pairs artists such as Brett Whiteley and Fred Williams; John Brack and Roger Kemp, and John Olsen and Jeffrey Smart. Intriguing insights emerge as he explores the affinities and differences that exist between their approaches. 

Sarah Thomas had the complex task of drawing together the rich plurality of the changing art world from the mid-1980s, a time when women artists came to the fore. Her spectrum includes the introduction of the new technologies and the escalation of cultural connections within Australia and with Asia and the world at large.
Publishing details: Macmillan, 2008, hc, dw, 274 pages hardcover colour illustrations. With index.

Morrison Jamesview full entry
Reference: see Encounters With Australian Modern Art by Christopher Heathcote, Patrick McCaughey and Sarah Thomas. Edited by Maudie Palmer. Foreword by Eva and Marc Besen (owners of the Tarrawarra Museum).

[’Encounters With Australian Modern Art symbolises a milestone in presenting Australian art to a world-wide audience. With over 200 images from the Tarrawarra Museum (in the Yarra Valley outside of Melbourne - owned by the Besen family) collection, Encounters With Australian Modern Art includes an overview of some of the finest Australian modern artists, between 1950 and today...

Encounters with Australian Modern Art represents a vital milestone in the presentation of Australian art to a world-wide readership. It was published in both French and English, and lavishly illustrated with more than 200 iconic images, many drawn from the collection of the TarraWarra museum of Art. Maudie Palmer, Director of the Museum and Editor of the book, devised its concept and selected the authors. They, like herself and the Besens, have witnessed first-hand the development of Australian Modernism during the second half of the twentieth century when the careers of its leading artist practitioners were firmly established. During those decades, many of these became acknowledged national identites - some enjoying overseas acclaim. 

Christopher Heathcote explores the art of the 1950s and 60s post-war reconstruction era. It witnessed the expansion of Australian suburbs and their growing populations of idiosyncratic urbanites. During these decades the earlier Australian landscape painting tradition survived and was further strengthened by the creations of artists like John Olsen and Fred Williams. 

Patrick MacCaughey's approach is both refreshing and revealing. He pairs artists such as Brett Whiteley and Fred Williams; John Brack and Roger Kemp, and John Olsen and Jeffrey Smart. Intriguing insights emerge as he explores the affinities and differences that exist between their approaches. 

Sarah Thomas had the complex task of drawing together the rich plurality of the changing art world from the mid-1980s, a time when women artists came to the fore. Her spectrum includes the introduction of the new technologies and the escalation of cultural connections within Australia and with Asia and the world at large.
Publishing details: Macmillan, 2008, hc, dw, 274 pages hardcover colour illustrations. With index.

Nixon Johnview full entry
Reference: see Encounters With Australian Modern Art by Christopher Heathcote, Patrick McCaughey and Sarah Thomas. Edited by Maudie Palmer. Foreword by Eva and Marc Besen (owners of the Tarrawarra Museum).

[’Encounters With Australian Modern Art symbolises a milestone in presenting Australian art to a world-wide audience. With over 200 images from the Tarrawarra Museum (in the Yarra Valley outside of Melbourne - owned by the Besen family) collection, Encounters With Australian Modern Art includes an overview of some of the finest Australian modern artists, between 1950 and today...

Encounters with Australian Modern Art represents a vital milestone in the presentation of Australian art to a world-wide readership. It was published in both French and English, and lavishly illustrated with more than 200 iconic images, many drawn from the collection of the TarraWarra museum of Art. Maudie Palmer, Director of the Museum and Editor of the book, devised its concept and selected the authors. They, like herself and the Besens, have witnessed first-hand the development of Australian Modernism during the second half of the twentieth century when the careers of its leading artist practitioners were firmly established. During those decades, many of these became acknowledged national identites - some enjoying overseas acclaim. 

Christopher Heathcote explores the art of the 1950s and 60s post-war reconstruction era. It witnessed the expansion of Australian suburbs and their growing populations of idiosyncratic urbanites. During these decades the earlier Australian landscape painting tradition survived and was further strengthened by the creations of artists like John Olsen and Fred Williams. 

Patrick MacCaughey's approach is both refreshing and revealing. He pairs artists such as Brett Whiteley and Fred Williams; John Brack and Roger Kemp, and John Olsen and Jeffrey Smart. Intriguing insights emerge as he explores the affinities and differences that exist between their approaches. 

Sarah Thomas had the complex task of drawing together the rich plurality of the changing art world from the mid-1980s, a time when women artists came to the fore. Her spectrum includes the introduction of the new technologies and the escalation of cultural connections within Australia and with Asia and the world at large.
Publishing details: Macmillan, 2008, hc, dw, 274 pages hardcover colour illustrations. With index.

Nolan Sidneyview full entry
Reference: see Encounters With Australian Modern Art by Christopher Heathcote, Patrick McCaughey and Sarah Thomas. Edited by Maudie Palmer. Foreword by Eva and Marc Besen (owners of the Tarrawarra Museum).

[’Encounters With Australian Modern Art symbolises a milestone in presenting Australian art to a world-wide audience. With over 200 images from the Tarrawarra Museum (in the Yarra Valley outside of Melbourne - owned by the Besen family) collection, Encounters With Australian Modern Art includes an overview of some of the finest Australian modern artists, between 1950 and today...

Encounters with Australian Modern Art represents a vital milestone in the presentation of Australian art to a world-wide readership. It was published in both French and English, and lavishly illustrated with more than 200 iconic images, many drawn from the collection of the TarraWarra museum of Art. Maudie Palmer, Director of the Museum and Editor of the book, devised its concept and selected the authors. They, like herself and the Besens, have witnessed first-hand the development of Australian Modernism during the second half of the twentieth century when the careers of its leading artist practitioners were firmly established. During those decades, many of these became acknowledged national identites - some enjoying overseas acclaim. 

Christopher Heathcote explores the art of the 1950s and 60s post-war reconstruction era. It witnessed the expansion of Australian suburbs and their growing populations of idiosyncratic urbanites. During these decades the earlier Australian landscape painting tradition survived and was further strengthened by the creations of artists like John Olsen and Fred Williams. 

Patrick MacCaughey's approach is both refreshing and revealing. He pairs artists such as Brett Whiteley and Fred Williams; John Brack and Roger Kemp, and John Olsen and Jeffrey Smart. Intriguing insights emerge as he explores the affinities and differences that exist between their approaches. 

Sarah Thomas had the complex task of drawing together the rich plurality of the changing art world from the mid-1980s, a time when women artists came to the fore. Her spectrum includes the introduction of the new technologies and the escalation of cultural connections within Australia and with Asia and the world at large.
Publishing details: Macmillan, 2008, hc, dw, 274 pages hardcover colour illustrations. With index.

Norrie Susanview full entry
Reference: see Encounters With Australian Modern Art by Christopher Heathcote, Patrick McCaughey and Sarah Thomas. Edited by Maudie Palmer. Foreword by Eva and Marc Besen (owners of the Tarrawarra Museum).

[’Encounters With Australian Modern Art symbolises a milestone in presenting Australian art to a world-wide audience. With over 200 images from the Tarrawarra Museum (in the Yarra Valley outside of Melbourne - owned by the Besen family) collection, Encounters With Australian Modern Art includes an overview of some of the finest Australian modern artists, between 1950 and today...

Encounters with Australian Modern Art represents a vital milestone in the presentation of Australian art to a world-wide readership. It was published in both French and English, and lavishly illustrated with more than 200 iconic images, many drawn from the collection of the TarraWarra museum of Art. Maudie Palmer, Director of the Museum and Editor of the book, devised its concept and selected the authors. They, like herself and the Besens, have witnessed first-hand the development of Australian Modernism during the second half of the twentieth century when the careers of its leading artist practitioners were firmly established. During those decades, many of these became acknowledged national identites - some enjoying overseas acclaim. 

Christopher Heathcote explores the art of the 1950s and 60s post-war reconstruction era. It witnessed the expansion of Australian suburbs and their growing populations of idiosyncratic urbanites. During these decades the earlier Australian landscape painting tradition survived and was further strengthened by the creations of artists like John Olsen and Fred Williams. 

Patrick MacCaughey's approach is both refreshing and revealing. He pairs artists such as Brett Whiteley and Fred Williams; John Brack and Roger Kemp, and John Olsen and Jeffrey Smart. Intriguing insights emerge as he explores the affinities and differences that exist between their approaches. 

Sarah Thomas had the complex task of drawing together the rich plurality of the changing art world from the mid-1980s, a time when women artists came to the fore. Her spectrum includes the introduction of the new technologies and the escalation of cultural connections within Australia and with Asia and the world at large.
Publishing details: Macmillan, 2008, hc, dw, 274 pages hardcover colour illustrations. With index.

Oliver Bronwynview full entry
Reference: see Encounters With Australian Modern Art by Christopher Heathcote, Patrick McCaughey and Sarah Thomas. Edited by Maudie Palmer. Foreword by Eva and Marc Besen (owners of the Tarrawarra Museum).

[’Encounters With Australian Modern Art symbolises a milestone in presenting Australian art to a world-wide audience. With over 200 images from the Tarrawarra Museum (in the Yarra Valley outside of Melbourne - owned by the Besen family) collection, Encounters With Australian Modern Art includes an overview of some of the finest Australian modern artists, between 1950 and today...

Encounters with Australian Modern Art represents a vital milestone in the presentation of Australian art to a world-wide readership. It was published in both French and English, and lavishly illustrated with more than 200 iconic images, many drawn from the collection of the TarraWarra museum of Art. Maudie Palmer, Director of the Museum and Editor of the book, devised its concept and selected the authors. They, like herself and the Besens, have witnessed first-hand the development of Australian Modernism during the second half of the twentieth century when the careers of its leading artist practitioners were firmly established. During those decades, many of these became acknowledged national identites - some enjoying overseas acclaim. 

Christopher Heathcote explores the art of the 1950s and 60s post-war reconstruction era. It witnessed the expansion of Australian suburbs and their growing populations of idiosyncratic urbanites. During these decades the earlier Australian landscape painting tradition survived and was further strengthened by the creations of artists like John Olsen and Fred Williams. 

Patrick MacCaughey's approach is both refreshing and revealing. He pairs artists such as Brett Whiteley and Fred Williams; John Brack and Roger Kemp, and John Olsen and Jeffrey Smart. Intriguing insights emerge as he explores the affinities and differences that exist between their approaches. 

Sarah Thomas had the complex task of drawing together the rich plurality of the changing art world from the mid-1980s, a time when women artists came to the fore. Her spectrum includes the introduction of the new technologies and the escalation of cultural connections within Australia and with Asia and the world at large.
Publishing details: Macmillan, 2008, hc, dw, 274 pages hardcover colour illustrations. With index.

Olsen Johnview full entry
Reference: see Encounters With Australian Modern Art by Christopher Heathcote, Patrick McCaughey and Sarah Thomas. Edited by Maudie Palmer. Foreword by Eva and Marc Besen (owners of the Tarrawarra Museum).

[’Encounters With Australian Modern Art symbolises a milestone in presenting Australian art to a world-wide audience. With over 200 images from the Tarrawarra Museum (in the Yarra Valley outside of Melbourne - owned by the Besen family) collection, Encounters With Australian Modern Art includes an overview of some of the finest Australian modern artists, between 1950 and today...

Encounters with Australian Modern Art represents a vital milestone in the presentation of Australian art to a world-wide readership. It was published in both French and English, and lavishly illustrated with more than 200 iconic images, many drawn from the collection of the TarraWarra museum of Art. Maudie Palmer, Director of the Museum and Editor of the book, devised its concept and selected the authors. They, like herself and the Besens, have witnessed first-hand the development of Australian Modernism during the second half of the twentieth century when the careers of its leading artist practitioners were firmly established. During those decades, many of these became acknowledged national identites - some enjoying overseas acclaim. 

Christopher Heathcote explores the art of the 1950s and 60s post-war reconstruction era. It witnessed the expansion of Australian suburbs and their growing populations of idiosyncratic urbanites. During these decades the earlier Australian landscape painting tradition survived and was further strengthened by the creations of artists like John Olsen and Fred Williams. 

Patrick MacCaughey's approach is both refreshing and revealing. He pairs artists such as Brett Whiteley and Fred Williams; John Brack and Roger Kemp, and John Olsen and Jeffrey Smart. Intriguing insights emerge as he explores the affinities and differences that exist between their approaches. 

Sarah Thomas had the complex task of drawing together the rich plurality of the changing art world from the mid-1980s, a time when women artists came to the fore. Her spectrum includes the introduction of the new technologies and the escalation of cultural connections within Australia and with Asia and the world at large.
Publishing details: Macmillan, 2008, hc, dw, 274 pages hardcover colour illustrations. With index.

Owen Robertview full entry
Reference: see Encounters With Australian Modern Art by Christopher Heathcote, Patrick McCaughey and Sarah Thomas. Edited by Maudie Palmer. Foreword by Eva and Marc Besen (owners of the Tarrawarra Museum).

[’Encounters With Australian Modern Art symbolises a milestone in presenting Australian art to a world-wide audience. With over 200 images from the Tarrawarra Museum (in the Yarra Valley outside of Melbourne - owned by the Besen family) collection, Encounters With Australian Modern Art includes an overview of some of the finest Australian modern artists, between 1950 and today...

Encounters with Australian Modern Art represents a vital milestone in the presentation of Australian art to a world-wide readership. It was published in both French and English, and lavishly illustrated with more than 200 iconic images, many drawn from the collection of the TarraWarra museum of Art. Maudie Palmer, Director of the Museum and Editor of the book, devised its concept and selected the authors. They, like herself and the Besens, have witnessed first-hand the development of Australian Modernism during the second half of the twentieth century when the careers of its leading artist practitioners were firmly established. During those decades, many of these became acknowledged national identites - some enjoying overseas acclaim. 

Christopher Heathcote explores the art of the 1950s and 60s post-war reconstruction era. It witnessed the expansion of Australian suburbs and their growing populations of idiosyncratic urbanites. During these decades the earlier Australian landscape painting tradition survived and was further strengthened by the creations of artists like John Olsen and Fred Williams. 

Patrick MacCaughey's approach is both refreshing and revealing. He pairs artists such as Brett Whiteley and Fred Williams; John Brack and Roger Kemp, and John Olsen and Jeffrey Smart. Intriguing insights emerge as he explores the affinities and differences that exist between their approaches. 

Sarah Thomas had the complex task of drawing together the rich plurality of the changing art world from the mid-1980s, a time when women artists came to the fore. Her spectrum includes the introduction of the new technologies and the escalation of cultural connections within Australia and with Asia and the world at large.
Publishing details: Macmillan, 2008, hc, dw, 274 pages hardcover colour illustrations. With index.

Parr Lentonview full entry
Reference: see Encounters With Australian Modern Art by Christopher Heathcote, Patrick McCaughey and Sarah Thomas. Edited by Maudie Palmer. Foreword by Eva and Marc Besen (owners of the Tarrawarra Museum).

[’Encounters With Australian Modern Art symbolises a milestone in presenting Australian art to a world-wide audience. With over 200 images from the Tarrawarra Museum (in the Yarra Valley outside of Melbourne - owned by the Besen family) collection, Encounters With Australian Modern Art includes an overview of some of the finest Australian modern artists, between 1950 and today...

Encounters with Australian Modern Art represents a vital milestone in the presentation of Australian art to a world-wide readership. It was published in both French and English, and lavishly illustrated with more than 200 iconic images, many drawn from the collection of the TarraWarra museum of Art. Maudie Palmer, Director of the Museum and Editor of the book, devised its concept and selected the authors. They, like herself and the Besens, have witnessed first-hand the development of Australian Modernism during the second half of the twentieth century when the careers of its leading artist practitioners were firmly established. During those decades, many of these became acknowledged national identites - some enjoying overseas acclaim. 

Christopher Heathcote explores the art of the 1950s and 60s post-war reconstruction era. It witnessed the expansion of Australian suburbs and their growing populations of idiosyncratic urbanites. During these decades the earlier Australian landscape painting tradition survived and was further strengthened by the creations of artists like John Olsen and Fred Williams. 

Patrick MacCaughey's approach is both refreshing and revealing. He pairs artists such as Brett Whiteley and Fred Williams; John Brack and Roger Kemp, and John Olsen and Jeffrey Smart. Intriguing insights emerge as he explores the affinities and differences that exist between their approaches. 

Sarah Thomas had the complex task of drawing together the rich plurality of the changing art world from the mid-1980s, a time when women artists came to the fore. Her spectrum includes the introduction of the new technologies and the escalation of cultural connections within Australia and with Asia and the world at large.
Publishing details: Macmillan, 2008, hc, dw, 274 pages hardcover colour illustrations. With index.

Parr Mikeview full entry
Reference: see Encounters With Australian Modern Art by Christopher Heathcote, Patrick McCaughey and Sarah Thomas. Edited by Maudie Palmer. Foreword by Eva and Marc Besen (owners of the Tarrawarra Museum).

[’Encounters With Australian Modern Art symbolises a milestone in presenting Australian art to a world-wide audience. With over 200 images from the Tarrawarra Museum (in the Yarra Valley outside of Melbourne - owned by the Besen family) collection, Encounters With Australian Modern Art includes an overview of some of the finest Australian modern artists, between 1950 and today...

Encounters with Australian Modern Art represents a vital milestone in the presentation of Australian art to a world-wide readership. It was published in both French and English, and lavishly illustrated with more than 200 iconic images, many drawn from the collection of the TarraWarra museum of Art. Maudie Palmer, Director of the Museum and Editor of the book, devised its concept and selected the authors. They, like herself and the Besens, have witnessed first-hand the development of Australian Modernism during the second half of the twentieth century when the careers of its leading artist practitioners were firmly established. During those decades, many of these became acknowledged national identites - some enjoying overseas acclaim. 

Christopher Heathcote explores the art of the 1950s and 60s post-war reconstruction era. It witnessed the expansion of Australian suburbs and their growing populations of idiosyncratic urbanites. During these decades the earlier Australian landscape painting tradition survived and was further strengthened by the creations of artists like John Olsen and Fred Williams. 

Patrick MacCaughey's approach is both refreshing and revealing. He pairs artists such as Brett Whiteley and Fred Williams; John Brack and Roger Kemp, and John Olsen and Jeffrey Smart. Intriguing insights emerge as he explores the affinities and differences that exist between their approaches. 

Sarah Thomas had the complex task of drawing together the rich plurality of the changing art world from the mid-1980s, a time when women artists came to the fore. Her spectrum includes the introduction of the new technologies and the escalation of cultural connections within Australia and with Asia and the world at large.
Publishing details: Macmillan, 2008, hc, dw, 274 pages hardcover colour illustrations. With index.

Partos Paulview full entry
Reference: see Encounters With Australian Modern Art by Christopher Heathcote, Patrick McCaughey and Sarah Thomas. Edited by Maudie Palmer. Foreword by Eva and Marc Besen (owners of the Tarrawarra Museum).

[’Encounters With Australian Modern Art symbolises a milestone in presenting Australian art to a world-wide audience. With over 200 images from the Tarrawarra Museum (in the Yarra Valley outside of Melbourne - owned by the Besen family) collection, Encounters With Australian Modern Art includes an overview of some of the finest Australian modern artists, between 1950 and today...

Encounters with Australian Modern Art represents a vital milestone in the presentation of Australian art to a world-wide readership. It was published in both French and English, and lavishly illustrated with more than 200 iconic images, many drawn from the collection of the TarraWarra museum of Art. Maudie Palmer, Director of the Museum and Editor of the book, devised its concept and selected the authors. They, like herself and the Besens, have witnessed first-hand the development of Australian Modernism during the second half of the twentieth century when the careers of its leading artist practitioners were firmly established. During those decades, many of these became acknowledged national identites - some enjoying overseas acclaim. 

Christopher Heathcote explores the art of the 1950s and 60s post-war reconstruction era. It witnessed the expansion of Australian suburbs and their growing populations of idiosyncratic urbanites. During these decades the earlier Australian landscape painting tradition survived and was further strengthened by the creations of artists like John Olsen and Fred Williams. 

Patrick MacCaughey's approach is both refreshing and revealing. He pairs artists such as Brett Whiteley and Fred Williams; John Brack and Roger Kemp, and John Olsen and Jeffrey Smart. Intriguing insights emerge as he explores the affinities and differences that exist between their approaches. 

Sarah Thomas had the complex task of drawing together the rich plurality of the changing art world from the mid-1980s, a time when women artists came to the fore. Her spectrum includes the introduction of the new technologies and the escalation of cultural connections within Australia and with Asia and the world at large.
Publishing details: Macmillan, 2008, hc, dw, 274 pages hardcover colour illustrations. With index.

Peart Johnview full entry
Reference: see Encounters With Australian Modern Art by Christopher Heathcote, Patrick McCaughey and Sarah Thomas. Edited by Maudie Palmer. Foreword by Eva and Marc Besen (owners of the Tarrawarra Museum).

[’Encounters With Australian Modern Art symbolises a milestone in presenting Australian art to a world-wide audience. With over 200 images from the Tarrawarra Museum (in the Yarra Valley outside of Melbourne - owned by the Besen family) collection, Encounters With Australian Modern Art includes an overview of some of the finest Australian modern artists, between 1950 and today...

Encounters with Australian Modern Art represents a vital milestone in the presentation of Australian art to a world-wide readership. It was published in both French and English, and lavishly illustrated with more than 200 iconic images, many drawn from the collection of the TarraWarra museum of Art. Maudie Palmer, Director of the Museum and Editor of the book, devised its concept and selected the authors. They, like herself and the Besens, have witnessed first-hand the development of Australian Modernism during the second half of the twentieth century when the careers of its leading artist practitioners were firmly established. During those decades, many of these became acknowledged national identites - some enjoying overseas acclaim. 

Christopher Heathcote explores the art of the 1950s and 60s post-war reconstruction era. It witnessed the expansion of Australian suburbs and their growing populations of idiosyncratic urbanites. During these decades the earlier Australian landscape painting tradition survived and was further strengthened by the creations of artists like John Olsen and Fred Williams. 

Patrick MacCaughey's approach is both refreshing and revealing. He pairs artists such as Brett Whiteley and Fred Williams; John Brack and Roger Kemp, and John Olsen and Jeffrey Smart. Intriguing insights emerge as he explores the affinities and differences that exist between their approaches. 

Sarah Thomas had the complex task of drawing together the rich plurality of the changing art world from the mid-1980s, a time when women artists came to the fore. Her spectrum includes the introduction of the new technologies and the escalation of cultural connections within Australia and with Asia and the world at large.
Publishing details: Macmillan, 2008, hc, dw, 274 pages hardcover colour illustrations. With index.

Passmore Johnview full entry
Reference: see Encounters With Australian Modern Art by Christopher Heathcote, Patrick McCaughey and Sarah Thomas. Edited by Maudie Palmer. Foreword by Eva and Marc Besen (owners of the Tarrawarra Museum).

[’Encounters With Australian Modern Art symbolises a milestone in presenting Australian art to a world-wide audience. With over 200 images from the Tarrawarra Museum (in the Yarra Valley outside of Melbourne - owned by the Besen family) collection, Encounters With Australian Modern Art includes an overview of some of the finest Australian modern artists, between 1950 and today...

Encounters with Australian Modern Art represents a vital milestone in the presentation of Australian art to a world-wide readership. It was published in both French and English, and lavishly illustrated with more than 200 iconic images, many drawn from the collection of the TarraWarra museum of Art. Maudie Palmer, Director of the Museum and Editor of the book, devised its concept and selected the authors. They, like herself and the Besens, have witnessed first-hand the development of Australian Modernism during the second half of the twentieth century when the careers of its leading artist practitioners were firmly established. During those decades, many of these became acknowledged national identites - some enjoying overseas acclaim. 

Christopher Heathcote explores the art of the 1950s and 60s post-war reconstruction era. It witnessed the expansion of Australian suburbs and their growing populations of idiosyncratic urbanites. During these decades the earlier Australian landscape painting tradition survived and was further strengthened by the creations of artists like John Olsen and Fred Williams. 

Patrick MacCaughey's approach is both refreshing and revealing. He pairs artists such as Brett Whiteley and Fred Williams; John Brack and Roger Kemp, and John Olsen and Jeffrey Smart. Intriguing insights emerge as he explores the affinities and differences that exist between their approaches. 

Sarah Thomas had the complex task of drawing together the rich plurality of the changing art world from the mid-1980s, a time when women artists came to the fore. Her spectrum includes the introduction of the new technologies and the escalation of cultural connections within Australia and with Asia and the world at large.
Publishing details: Macmillan, 2008, hc, dw, 274 pages hardcover colour illustrations. With index.

Perceval Johnview full entry
Reference: see Encounters With Australian Modern Art by Christopher Heathcote, Patrick McCaughey and Sarah Thomas. Edited by Maudie Palmer. Foreword by Eva and Marc Besen (owners of the Tarrawarra Museum).

[’Encounters With Australian Modern Art symbolises a milestone in presenting Australian art to a world-wide audience. With over 200 images from the Tarrawarra Museum (in the Yarra Valley outside of Melbourne - owned by the Besen family) collection, Encounters With Australian Modern Art includes an overview of some of the finest Australian modern artists, between 1950 and today...

Encounters with Australian Modern Art represents a vital milestone in the presentation of Australian art to a world-wide readership. It was published in both French and English, and lavishly illustrated with more than 200 iconic images, many drawn from the collection of the TarraWarra museum of Art. Maudie Palmer, Director of the Museum and Editor of the book, devised its concept and selected the authors. They, like herself and the Besens, have witnessed first-hand the development of Australian Modernism during the second half of the twentieth century when the careers of its leading artist practitioners were firmly established. During those decades, many of these became acknowledged national identites - some enjoying overseas acclaim. 

Christopher Heathcote explores the art of the 1950s and 60s post-war reconstruction era. It witnessed the expansion of Australian suburbs and their growing populations of idiosyncratic urbanites. During these decades the earlier Australian landscape painting tradition survived and was further strengthened by the creations of artists like John Olsen and Fred Williams. 

Patrick MacCaughey's approach is both refreshing and revealing. He pairs artists such as Brett Whiteley and Fred Williams; John Brack and Roger Kemp, and John Olsen and Jeffrey Smart. Intriguing insights emerge as he explores the affinities and differences that exist between their approaches. 

Sarah Thomas had the complex task of drawing together the rich plurality of the changing art world from the mid-1980s, a time when women artists came to the fore. Her spectrum includes the introduction of the new technologies and the escalation of cultural connections within Australia and with Asia and the world at large.
Publishing details: Macmillan, 2008, hc, dw, 274 pages hardcover colour illustrations. With index.

Piggott Rosslyndview full entry
Reference: see Encounters With Australian Modern Art by Christopher Heathcote, Patrick McCaughey and Sarah Thomas. Edited by Maudie Palmer. Foreword by Eva and Marc Besen (owners of the Tarrawarra Museum).

[’Encounters With Australian Modern Art symbolises a milestone in presenting Australian art to a world-wide audience. With over 200 images from the Tarrawarra Museum (in the Yarra Valley outside of Melbourne - owned by the Besen family) collection, Encounters With Australian Modern Art includes an overview of some of the finest Australian modern artists, between 1950 and today...

Encounters with Australian Modern Art represents a vital milestone in the presentation of Australian art to a world-wide readership. It was published in both French and English, and lavishly illustrated with more than 200 iconic images, many drawn from the collection of the TarraWarra museum of Art. Maudie Palmer, Director of the Museum and Editor of the book, devised its concept and selected the authors. They, like herself and the Besens, have witnessed first-hand the development of Australian Modernism during the second half of the twentieth century when the careers of its leading artist practitioners were firmly established. During those decades, many of these became acknowledged national identites - some enjoying overseas acclaim. 

Christopher Heathcote explores the art of the 1950s and 60s post-war reconstruction era. It witnessed the expansion of Australian suburbs and their growing populations of idiosyncratic urbanites. During these decades the earlier Australian landscape painting tradition survived and was further strengthened by the creations of artists like John Olsen and Fred Williams. 

Patrick MacCaughey's approach is both refreshing and revealing. He pairs artists such as Brett Whiteley and Fred Williams; John Brack and Roger Kemp, and John Olsen and Jeffrey Smart. Intriguing insights emerge as he explores the affinities and differences that exist between their approaches. 

Sarah Thomas had the complex task of drawing together the rich plurality of the changing art world from the mid-1980s, a time when women artists came to the fore. Her spectrum includes the introduction of the new technologies and the escalation of cultural connections within Australia and with Asia and the world at large.
Publishing details: Macmillan, 2008, hc, dw, 274 pages hardcover colour illustrations. With index.

Piccinini Patriciaview full entry
Reference: see Encounters With Australian Modern Art by Christopher Heathcote, Patrick McCaughey and Sarah Thomas. Edited by Maudie Palmer. Foreword by Eva and Marc Besen (owners of the Tarrawarra Museum).

[’Encounters With Australian Modern Art symbolises a milestone in presenting Australian art to a world-wide audience. With over 200 images from the Tarrawarra Museum (in the Yarra Valley outside of Melbourne - owned by the Besen family) collection, Encounters With Australian Modern Art includes an overview of some of the finest Australian modern artists, between 1950 and today...

Encounters with Australian Modern Art represents a vital milestone in the presentation of Australian art to a world-wide readership. It was published in both French and English, and lavishly illustrated with more than 200 iconic images, many drawn from the collection of the TarraWarra museum of Art. Maudie Palmer, Director of the Museum and Editor of the book, devised its concept and selected the authors. They, like herself and the Besens, have witnessed first-hand the development of Australian Modernism during the second half of the twentieth century when the careers of its leading artist practitioners were firmly established. During those decades, many of these became acknowledged national identites - some enjoying overseas acclaim. 

Christopher Heathcote explores the art of the 1950s and 60s post-war reconstruction era. It witnessed the expansion of Australian suburbs and their growing populations of idiosyncratic urbanites. During these decades the earlier Australian landscape painting tradition survived and was further strengthened by the creations of artists like John Olsen and Fred Williams. 

Patrick MacCaughey's approach is both refreshing and revealing. He pairs artists such as Brett Whiteley and Fred Williams; John Brack and Roger Kemp, and John Olsen and Jeffrey Smart. Intriguing insights emerge as he explores the affinities and differences that exist between their approaches. 

Sarah Thomas had the complex task of drawing together the rich plurality of the changing art world from the mid-1980s, a time when women artists came to the fore. Her spectrum includes the introduction of the new technologies and the escalation of cultural connections within Australia and with Asia and the world at large.
Publishing details: Macmillan, 2008, hc, dw, 274 pages hardcover colour illustrations. With index.

Preston Margaretview full entry
Reference: see Encounters With Australian Modern Art by Christopher Heathcote, Patrick McCaughey and Sarah Thomas. Edited by Maudie Palmer. Foreword by Eva and Marc Besen (owners of the Tarrawarra Museum).

[’Encounters With Australian Modern Art symbolises a milestone in presenting Australian art to a world-wide audience. With over 200 images from the Tarrawarra Museum (in the Yarra Valley outside of Melbourne - owned by the Besen family) collection, Encounters With Australian Modern Art includes an overview of some of the finest Australian modern artists, between 1950 and today...

Encounters with Australian Modern Art represents a vital milestone in the presentation of Australian art to a world-wide readership. It was published in both French and English, and lavishly illustrated with more than 200 iconic images, many drawn from the collection of the TarraWarra museum of Art. Maudie Palmer, Director of the Museum and Editor of the book, devised its concept and selected the authors. They, like herself and the Besens, have witnessed first-hand the development of Australian Modernism during the second half of the twentieth century when the careers of its leading artist practitioners were firmly established. During those decades, many of these became acknowledged national identites - some enjoying overseas acclaim. 

Christopher Heathcote explores the art of the 1950s and 60s post-war reconstruction era. It witnessed the expansion of Australian suburbs and their growing populations of idiosyncratic urbanites. During these decades the earlier Australian landscape painting tradition survived and was further strengthened by the creations of artists like John Olsen and Fred Williams. 

Patrick MacCaughey's approach is both refreshing and revealing. He pairs artists such as Brett Whiteley and Fred Williams; John Brack and Roger Kemp, and John Olsen and Jeffrey Smart. Intriguing insights emerge as he explores the affinities and differences that exist between their approaches. 

Sarah Thomas had the complex task of drawing together the rich plurality of the changing art world from the mid-1980s, a time when women artists came to the fore. Her spectrum includes the introduction of the new technologies and the escalation of cultural connections within Australia and with Asia and the world at large.
Publishing details: Macmillan, 2008, hc, dw, 274 pages hardcover colour illustrations. With index.

Pryor Anthonyview full entry
Reference: see Encounters With Australian Modern Art by Christopher Heathcote, Patrick McCaughey and Sarah Thomas. Edited by Maudie Palmer. Foreword by Eva and Marc Besen (owners of the Tarrawarra Museum).

[’Encounters With Australian Modern Art symbolises a milestone in presenting Australian art to a world-wide audience. With over 200 images from the Tarrawarra Museum (in the Yarra Valley outside of Melbourne - owned by the Besen family) collection, Encounters With Australian Modern Art includes an overview of some of the finest Australian modern artists, between 1950 and today...

Encounters with Australian Modern Art represents a vital milestone in the presentation of Australian art to a world-wide readership. It was published in both French and English, and lavishly illustrated with more than 200 iconic images, many drawn from the collection of the TarraWarra museum of Art. Maudie Palmer, Director of the Museum and Editor of the book, devised its concept and selected the authors. They, like herself and the Besens, have witnessed first-hand the development of Australian Modernism during the second half of the twentieth century when the careers of its leading artist practitioners were firmly established. During those decades, many of these became acknowledged national identites - some enjoying overseas acclaim. 

Christopher Heathcote explores the art of the 1950s and 60s post-war reconstruction era. It witnessed the expansion of Australian suburbs and their growing populations of idiosyncratic urbanites. During these decades the earlier Australian landscape painting tradition survived and was further strengthened by the creations of artists like John Olsen and Fred Williams. 

Patrick MacCaughey's approach is both refreshing and revealing. He pairs artists such as Brett Whiteley and Fred Williams; John Brack and Roger Kemp, and John Olsen and Jeffrey Smart. Intriguing insights emerge as he explores the affinities and differences that exist between their approaches. 

Sarah Thomas had the complex task of drawing together the rich plurality of the changing art world from the mid-1980s, a time when women artists came to the fore. Her spectrum includes the introduction of the new technologies and the escalation of cultural connections within Australia and with Asia and the world at large.
Publishing details: Macmillan, 2008, hc, dw, 274 pages hardcover colour illustrations. With index.

Pugh Cliftonview full entry
Reference: see Encounters With Australian Modern Art by Christopher Heathcote, Patrick McCaughey and Sarah Thomas. Edited by Maudie Palmer. Foreword by Eva and Marc Besen (owners of the Tarrawarra Museum).

[’Encounters With Australian Modern Art symbolises a milestone in presenting Australian art to a world-wide audience. With over 200 images from the Tarrawarra Museum (in the Yarra Valley outside of Melbourne - owned by the Besen family) collection, Encounters With Australian Modern Art includes an overview of some of the finest Australian modern artists, between 1950 and today...

Encounters with Australian Modern Art represents a vital milestone in the presentation of Australian art to a world-wide readership. It was published in both French and English, and lavishly illustrated with more than 200 iconic images, many drawn from the collection of the TarraWarra museum of Art. Maudie Palmer, Director of the Museum and Editor of the book, devised its concept and selected the authors. They, like herself and the Besens, have witnessed first-hand the development of Australian Modernism during the second half of the twentieth century when the careers of its leading artist practitioners were firmly established. During those decades, many of these became acknowledged national identites - some enjoying overseas acclaim. 

Christopher Heathcote explores the art of the 1950s and 60s post-war reconstruction era. It witnessed the expansion of Australian suburbs and their growing populations of idiosyncratic urbanites. During these decades the earlier Australian landscape painting tradition survived and was further strengthened by the creations of artists like John Olsen and Fred Williams. 

Patrick MacCaughey's approach is both refreshing and revealing. He pairs artists such as Brett Whiteley and Fred Williams; John Brack and Roger Kemp, and John Olsen and Jeffrey Smart. Intriguing insights emerge as he explores the affinities and differences that exist between their approaches. 

Sarah Thomas had the complex task of drawing together the rich plurality of the changing art world from the mid-1980s, a time when women artists came to the fore. Her spectrum includes the introduction of the new technologies and the escalation of cultural connections within Australia and with Asia and the world at large.
Publishing details: Macmillan, 2008, hc, dw, 274 pages hardcover colour illustrations. With index.

Pushman Benview full entry
Reference: see Encounters With Australian Modern Art by Christopher Heathcote, Patrick McCaughey and Sarah Thomas. Edited by Maudie Palmer. Foreword by Eva and Marc Besen (owners of the Tarrawarra Museum).

[’Encounters With Australian Modern Art symbolises a milestone in presenting Australian art to a world-wide audience. With over 200 images from the Tarrawarra Museum (in the Yarra Valley outside of Melbourne - owned by the Besen family) collection, Encounters With Australian Modern Art includes an overview of some of the finest Australian modern artists, between 1950 and today...

Encounters with Australian Modern Art represents a vital milestone in the presentation of Australian art to a world-wide readership. It was published in both French and English, and lavishly illustrated with more than 200 iconic images, many drawn from the collection of the TarraWarra museum of Art. Maudie Palmer, Director of the Museum and Editor of the book, devised its concept and selected the authors. They, like herself and the Besens, have witnessed first-hand the development of Australian Modernism during the second half of the twentieth century when the careers of its leading artist practitioners were firmly established. During those decades, many of these became acknowledged national identites - some enjoying overseas acclaim. 

Christopher Heathcote explores the art of the 1950s and 60s post-war reconstruction era. It witnessed the expansion of Australian suburbs and their growing populations of idiosyncratic urbanites. During these decades the earlier Australian landscape painting tradition survived and was further strengthened by the creations of artists like John Olsen and Fred Williams. 

Patrick MacCaughey's approach is both refreshing and revealing. He pairs artists such as Brett Whiteley and Fred Williams; John Brack and Roger Kemp, and John Olsen and Jeffrey Smart. Intriguing insights emerge as he explores the affinities and differences that exist between their approaches. 

Sarah Thomas had the complex task of drawing together the rich plurality of the changing art world from the mid-1980s, a time when women artists came to the fore. Her spectrum includes the introduction of the new technologies and the escalation of cultural connections within Australia and with Asia and the world at large.
Publishing details: Macmillan, 2008, hc, dw, 274 pages hardcover colour illustrations. With index.

Redpath Normaview full entry
Reference: see Encounters With Australian Modern Art by Christopher Heathcote, Patrick McCaughey and Sarah Thomas. Edited by Maudie Palmer. Foreword by Eva and Marc Besen (owners of the Tarrawarra Museum).

[’Encounters With Australian Modern Art symbolises a milestone in presenting Australian art to a world-wide audience. With over 200 images from the Tarrawarra Museum (in the Yarra Valley outside of Melbourne - owned by the Besen family) collection, Encounters With Australian Modern Art includes an overview of some of the finest Australian modern artists, between 1950 and today...

Encounters with Australian Modern Art represents a vital milestone in the presentation of Australian art to a world-wide readership. It was published in both French and English, and lavishly illustrated with more than 200 iconic images, many drawn from the collection of the TarraWarra museum of Art. Maudie Palmer, Director of the Museum and Editor of the book, devised its concept and selected the authors. They, like herself and the Besens, have witnessed first-hand the development of Australian Modernism during the second half of the twentieth century when the careers of its leading artist practitioners were firmly established. During those decades, many of these became acknowledged national identites - some enjoying overseas acclaim. 

Christopher Heathcote explores the art of the 1950s and 60s post-war reconstruction era. It witnessed the expansion of Australian suburbs and their growing populations of idiosyncratic urbanites. During these decades the earlier Australian landscape painting tradition survived and was further strengthened by the creations of artists like John Olsen and Fred Williams. 

Patrick MacCaughey's approach is both refreshing and revealing. He pairs artists such as Brett Whiteley and Fred Williams; John Brack and Roger Kemp, and John Olsen and Jeffrey Smart. Intriguing insights emerge as he explores the affinities and differences that exist between their approaches. 

Sarah Thomas had the complex task of drawing together the rich plurality of the changing art world from the mid-1980s, a time when women artists came to the fore. Her spectrum includes the introduction of the new technologies and the escalation of cultural connections within Australia and with Asia and the world at large.
Publishing details: Macmillan, 2008, hc, dw, 274 pages hardcover colour illustrations. With index.

Rees Lloydview full entry
Reference: see Encounters With Australian Modern Art by Christopher Heathcote, Patrick McCaughey and Sarah Thomas. Edited by Maudie Palmer. Foreword by Eva and Marc Besen (owners of the Tarrawarra Museum).

[’Encounters With Australian Modern Art symbolises a milestone in presenting Australian art to a world-wide audience. With over 200 images from the Tarrawarra Museum (in the Yarra Valley outside of Melbourne - owned by the Besen family) collection, Encounters With Australian Modern Art includes an overview of some of the finest Australian modern artists, between 1950 and today...

Encounters with Australian Modern Art represents a vital milestone in the presentation of Australian art to a world-wide readership. It was published in both French and English, and lavishly illustrated with more than 200 iconic images, many drawn from the collection of the TarraWarra museum of Art. Maudie Palmer, Director of the Museum and Editor of the book, devised its concept and selected the authors. They, like herself and the Besens, have witnessed first-hand the development of Australian Modernism during the second half of the twentieth century when the careers of its leading artist practitioners were firmly established. During those decades, many of these became acknowledged national identites - some enjoying overseas acclaim. 

Christopher Heathcote explores the art of the 1950s and 60s post-war reconstruction era. It witnessed the expansion of Australian suburbs and their growing populations of idiosyncratic urbanites. During these decades the earlier Australian landscape painting tradition survived and was further strengthened by the creations of artists like John Olsen and Fred Williams. 

Patrick MacCaughey's approach is both refreshing and revealing. He pairs artists such as Brett Whiteley and Fred Williams; John Brack and Roger Kemp, and John Olsen and Jeffrey Smart. Intriguing insights emerge as he explores the affinities and differences that exist between their approaches. 

Sarah Thomas had the complex task of drawing together the rich plurality of the changing art world from the mid-1980s, a time when women artists came to the fore. Her spectrum includes the introduction of the new technologies and the escalation of cultural connections within Australia and with Asia and the world at large.
Publishing details: Macmillan, 2008, hc, dw, 274 pages hardcover colour illustrations. With index.

Robinson Williamview full entry
Reference: see Encounters With Australian Modern Art by Christopher Heathcote, Patrick McCaughey and Sarah Thomas. Edited by Maudie Palmer. Foreword by Eva and Marc Besen (owners of the Tarrawarra Museum).

[’Encounters With Australian Modern Art symbolises a milestone in presenting Australian art to a world-wide audience. With over 200 images from the Tarrawarra Museum (in the Yarra Valley outside of Melbourne - owned by the Besen family) collection, Encounters With Australian Modern Art includes an overview of some of the finest Australian modern artists, between 1950 and today...

Encounters with Australian Modern Art represents a vital milestone in the presentation of Australian art to a world-wide readership. It was published in both French and English, and lavishly illustrated with more than 200 iconic images, many drawn from the collection of the TarraWarra museum of Art. Maudie Palmer, Director of the Museum and Editor of the book, devised its concept and selected the authors. They, like herself and the Besens, have witnessed first-hand the development of Australian Modernism during the second half of the twentieth century when the careers of its leading artist practitioners were firmly established. During those decades, many of these became acknowledged national identites - some enjoying overseas acclaim. 

Christopher Heathcote explores the art of the 1950s and 60s post-war reconstruction era. It witnessed the expansion of Australian suburbs and their growing populations of idiosyncratic urbanites. During these decades the earlier Australian landscape painting tradition survived and was further strengthened by the creations of artists like John Olsen and Fred Williams. 

Patrick MacCaughey's approach is both refreshing and revealing. He pairs artists such as Brett Whiteley and Fred Williams; John Brack and Roger Kemp, and John Olsen and Jeffrey Smart. Intriguing insights emerge as he explores the affinities and differences that exist between their approaches. 

Sarah Thomas had the complex task of drawing together the rich plurality of the changing art world from the mid-1980s, a time when women artists came to the fore. Her spectrum includes the introduction of the new technologies and the escalation of cultural connections within Australia and with Asia and the world at large.
Publishing details: Macmillan, 2008, hc, dw, 274 pages hardcover colour illustrations. With index.

Senbergs Janview full entry
Reference: see Encounters With Australian Modern Art by Christopher Heathcote, Patrick McCaughey and Sarah Thomas. Edited by Maudie Palmer. Foreword by Eva and Marc Besen (owners of the Tarrawarra Museum).

[’Encounters With Australian Modern Art symbolises a milestone in presenting Australian art to a world-wide audience. With over 200 images from the Tarrawarra Museum (in the Yarra Valley outside of Melbourne - owned by the Besen family) collection, Encounters With Australian Modern Art includes an overview of some of the finest Australian modern artists, between 1950 and today...

Encounters with Australian Modern Art represents a vital milestone in the presentation of Australian art to a world-wide readership. It was published in both French and English, and lavishly illustrated with more than 200 iconic images, many drawn from the collection of the TarraWarra museum of Art. Maudie Palmer, Director of the Museum and Editor of the book, devised its concept and selected the authors. They, like herself and the Besens, have witnessed first-hand the development of Australian Modernism during the second half of the twentieth century when the careers of its leading artist practitioners were firmly established. During those decades, many of these became acknowledged national identites - some enjoying overseas acclaim. 

Christopher Heathcote explores the art of the 1950s and 60s post-war reconstruction era. It witnessed the expansion of Australian suburbs and their growing populations of idiosyncratic urbanites. During these decades the earlier Australian landscape painting tradition survived and was further strengthened by the creations of artists like John Olsen and Fred Williams. 

Patrick MacCaughey's approach is both refreshing and revealing. He pairs artists such as Brett Whiteley and Fred Williams; John Brack and Roger Kemp, and John Olsen and Jeffrey Smart. Intriguing insights emerge as he explores the affinities and differences that exist between their approaches. 

Sarah Thomas had the complex task of drawing together the rich plurality of the changing art world from the mid-1980s, a time when women artists came to the fore. Her spectrum includes the introduction of the new technologies and the escalation of cultural connections within Australia and with Asia and the world at large.
Publishing details: Macmillan, 2008, hc, dw, 274 pages hardcover colour illustrations. With index.

Shannon Michaelview full entry
Reference: see Encounters With Australian Modern Art by Christopher Heathcote, Patrick McCaughey and Sarah Thomas. Edited by Maudie Palmer. Foreword by Eva and Marc Besen (owners of the Tarrawarra Museum).

[’Encounters With Australian Modern Art symbolises a milestone in presenting Australian art to a world-wide audience. With over 200 images from the Tarrawarra Museum (in the Yarra Valley outside of Melbourne - owned by the Besen family) collection, Encounters With Australian Modern Art includes an overview of some of the finest Australian modern artists, between 1950 and today...

Encounters with Australian Modern Art represents a vital milestone in the presentation of Australian art to a world-wide readership. It was published in both French and English, and lavishly illustrated with more than 200 iconic images, many drawn from the collection of the TarraWarra museum of Art. Maudie Palmer, Director of the Museum and Editor of the book, devised its concept and selected the authors. They, like herself and the Besens, have witnessed first-hand the development of Australian Modernism during the second half of the twentieth century when the careers of its leading artist practitioners were firmly established. During those decades, many of these became acknowledged national identites - some enjoying overseas acclaim. 

Christopher Heathcote explores the art of the 1950s and 60s post-war reconstruction era. It witnessed the expansion of Australian suburbs and their growing populations of idiosyncratic urbanites. During these decades the earlier Australian landscape painting tradition survived and was further strengthened by the creations of artists like John Olsen and Fred Williams. 

Patrick MacCaughey's approach is both refreshing and revealing. He pairs artists such as Brett Whiteley and Fred Williams; John Brack and Roger Kemp, and John Olsen and Jeffrey Smart. Intriguing insights emerge as he explores the affinities and differences that exist between their approaches. 

Sarah Thomas had the complex task of drawing together the rich plurality of the changing art world from the mid-1980s, a time when women artists came to the fore. Her spectrum includes the introduction of the new technologies and the escalation of cultural connections within Australia and with Asia and the world at large.
Publishing details: Macmillan, 2008, hc, dw, 274 pages hardcover colour illustrations. With index.

LeWitt Vivienne Sharkview full entry
Reference: see Encounters With Australian Modern Art by Christopher Heathcote, Patrick McCaughey and Sarah Thomas. Edited by Maudie Palmer. Foreword by Eva and Marc Besen (owners of the Tarrawarra Museum).

[’Encounters With Australian Modern Art symbolises a milestone in presenting Australian art to a world-wide audience. With over 200 images from the Tarrawarra Museum (in the Yarra Valley outside of Melbourne - owned by the Besen family) collection, Encounters With Australian Modern Art includes an overview of some of the finest Australian modern artists, between 1950 and today...

Encounters with Australian Modern Art represents a vital milestone in the presentation of Australian art to a world-wide readership. It was published in both French and English, and lavishly illustrated with more than 200 iconic images, many drawn from the collection of the TarraWarra museum of Art. Maudie Palmer, Director of the Museum and Editor of the book, devised its concept and selected the authors. They, like herself and the Besens, have witnessed first-hand the development of Australian Modernism during the second half of the twentieth century when the careers of its leading artist practitioners were firmly established. During those decades, many of these became acknowledged national identites - some enjoying overseas acclaim. 

Christopher Heathcote explores the art of the 1950s and 60s post-war reconstruction era. It witnessed the expansion of Australian suburbs and their growing populations of idiosyncratic urbanites. During these decades the earlier Australian landscape painting tradition survived and was further strengthened by the creations of artists like John Olsen and Fred Williams. 

Patrick MacCaughey's approach is both refreshing and revealing. He pairs artists such as Brett Whiteley and Fred Williams; John Brack and Roger Kemp, and John Olsen and Jeffrey Smart. Intriguing insights emerge as he explores the affinities and differences that exist between their approaches. 

Sarah Thomas had the complex task of drawing together the rich plurality of the changing art world from the mid-1980s, a time when women artists came to the fore. Her spectrum includes the introduction of the new technologies and the escalation of cultural connections within Australia and with Asia and the world at large.
Publishing details: Macmillan, 2008, hc, dw, 274 pages hardcover colour illustrations. With index.

Sime Dawnview full entry
Reference: see Encounters With Australian Modern Art by Christopher Heathcote, Patrick McCaughey and Sarah Thomas. Edited by Maudie Palmer. Foreword by Eva and Marc Besen (owners of the Tarrawarra Museum).

[’Encounters With Australian Modern Art symbolises a milestone in presenting Australian art to a world-wide audience. With over 200 images from the Tarrawarra Museum (in the Yarra Valley outside of Melbourne - owned by the Besen family) collection, Encounters With Australian Modern Art includes an overview of some of the finest Australian modern artists, between 1950 and today...

Encounters with Australian Modern Art represents a vital milestone in the presentation of Australian art to a world-wide readership. It was published in both French and English, and lavishly illustrated with more than 200 iconic images, many drawn from the collection of the TarraWarra museum of Art. Maudie Palmer, Director of the Museum and Editor of the book, devised its concept and selected the authors. They, like herself and the Besens, have witnessed first-hand the development of Australian Modernism during the second half of the twentieth century when the careers of its leading artist practitioners were firmly established. During those decades, many of these became acknowledged national identites - some enjoying overseas acclaim. 

Christopher Heathcote explores the art of the 1950s and 60s post-war reconstruction era. It witnessed the expansion of Australian suburbs and their growing populations of idiosyncratic urbanites. During these decades the earlier Australian landscape painting tradition survived and was further strengthened by the creations of artists like John Olsen and Fred Williams. 

Patrick MacCaughey's approach is both refreshing and revealing. He pairs artists such as Brett Whiteley and Fred Williams; John Brack and Roger Kemp, and John Olsen and Jeffrey Smart. Intriguing insights emerge as he explores the affinities and differences that exist between their approaches. 

Sarah Thomas had the complex task of drawing together the rich plurality of the changing art world from the mid-1980s, a time when women artists came to the fore. Her spectrum includes the introduction of the new technologies and the escalation of cultural connections within Australia and with Asia and the world at large.
Publishing details: Macmillan, 2008, hc, dw, 274 pages hardcover colour illustrations. With index.

Smart Jeffreyview full entry
Reference: see Encounters With Australian Modern Art by Christopher Heathcote, Patrick McCaughey and Sarah Thomas. Edited by Maudie Palmer. Foreword by Eva and Marc Besen (owners of the Tarrawarra Museum).

[’Encounters With Australian Modern Art symbolises a milestone in presenting Australian art to a world-wide audience. With over 200 images from the Tarrawarra Museum (in the Yarra Valley outside of Melbourne - owned by the Besen family) collection, Encounters With Australian Modern Art includes an overview of some of the finest Australian modern artists, between 1950 and today...

Encounters with Australian Modern Art represents a vital milestone in the presentation of Australian art to a world-wide readership. It was published in both French and English, and lavishly illustrated with more than 200 iconic images, many drawn from the collection of the TarraWarra museum of Art. Maudie Palmer, Director of the Museum and Editor of the book, devised its concept and selected the authors. They, like herself and the Besens, have witnessed first-hand the development of Australian Modernism during the second half of the twentieth century when the careers of its leading artist practitioners were firmly established. During those decades, many of these became acknowledged national identites - some enjoying overseas acclaim. 

Christopher Heathcote explores the art of the 1950s and 60s post-war reconstruction era. It witnessed the expansion of Australian suburbs and their growing populations of idiosyncratic urbanites. During these decades the earlier Australian landscape painting tradition survived and was further strengthened by the creations of artists like John Olsen and Fred Williams. 

Patrick MacCaughey's approach is both refreshing and revealing. He pairs artists such as Brett Whiteley and Fred Williams; John Brack and Roger Kemp, and John Olsen and Jeffrey Smart. Intriguing insights emerge as he explores the affinities and differences that exist between their approaches. 

Sarah Thomas had the complex task of drawing together the rich plurality of the changing art world from the mid-1980s, a time when women artists came to the fore. Her spectrum includes the introduction of the new technologies and the escalation of cultural connections within Australia and with Asia and the world at large.
Publishing details: Macmillan, 2008, hc, dw, 274 pages hardcover colour illustrations. With index.

Storrier Timview full entry
Reference: see Encounters With Australian Modern Art by Christopher Heathcote, Patrick McCaughey and Sarah Thomas. Edited by Maudie Palmer. Foreword by Eva and Marc Besen (owners of the Tarrawarra Museum).

[’Encounters With Australian Modern Art symbolises a milestone in presenting Australian art to a world-wide audience. With over 200 images from the Tarrawarra Museum (in the Yarra Valley outside of Melbourne - owned by the Besen family) collection, Encounters With Australian Modern Art includes an overview of some of the finest Australian modern artists, between 1950 and today...

Encounters with Australian Modern Art represents a vital milestone in the presentation of Australian art to a world-wide readership. It was published in both French and English, and lavishly illustrated with more than 200 iconic images, many drawn from the collection of the TarraWarra museum of Art. Maudie Palmer, Director of the Museum and Editor of the book, devised its concept and selected the authors. They, like herself and the Besens, have witnessed first-hand the development of Australian Modernism during the second half of the twentieth century when the careers of its leading artist practitioners were firmly established. During those decades, many of these became acknowledged national identites - some enjoying overseas acclaim. 

Christopher Heathcote explores the art of the 1950s and 60s post-war reconstruction era. It witnessed the expansion of Australian suburbs and their growing populations of idiosyncratic urbanites. During these decades the earlier Australian landscape painting tradition survived and was further strengthened by the creations of artists like John Olsen and Fred Williams. 

Patrick MacCaughey's approach is both refreshing and revealing. He pairs artists such as Brett Whiteley and Fred Williams; John Brack and Roger Kemp, and John Olsen and Jeffrey Smart. Intriguing insights emerge as he explores the affinities and differences that exist between their approaches. 

Sarah Thomas had the complex task of drawing together the rich plurality of the changing art world from the mid-1980s, a time when women artists came to the fore. Her spectrum includes the introduction of the new technologies and the escalation of cultural connections within Australia and with Asia and the world at large.
Publishing details: Macmillan, 2008, hc, dw, 274 pages hardcover colour illustrations. With index.

Stuart Guyview full entry
Reference: see Encounters With Australian Modern Art by Christopher Heathcote, Patrick McCaughey and Sarah Thomas. Edited by Maudie Palmer. Foreword by Eva and Marc Besen (owners of the Tarrawarra Museum).

[’Encounters With Australian Modern Art symbolises a milestone in presenting Australian art to a world-wide audience. With over 200 images from the Tarrawarra Museum (in the Yarra Valley outside of Melbourne - owned by the Besen family) collection, Encounters With Australian Modern Art includes an overview of some of the finest Australian modern artists, between 1950 and today...

Encounters with Australian Modern Art represents a vital milestone in the presentation of Australian art to a world-wide readership. It was published in both French and English, and lavishly illustrated with more than 200 iconic images, many drawn from the collection of the TarraWarra museum of Art. Maudie Palmer, Director of the Museum and Editor of the book, devised its concept and selected the authors. They, like herself and the Besens, have witnessed first-hand the development of Australian Modernism during the second half of the twentieth century when the careers of its leading artist practitioners were firmly established. During those decades, many of these became acknowledged national identites - some enjoying overseas acclaim. 

Christopher Heathcote explores the art of the 1950s and 60s post-war reconstruction era. It witnessed the expansion of Australian suburbs and their growing populations of idiosyncratic urbanites. During these decades the earlier Australian landscape painting tradition survived and was further strengthened by the creations of artists like John Olsen and Fred Williams. 

Patrick MacCaughey's approach is both refreshing and revealing. He pairs artists such as Brett Whiteley and Fred Williams; John Brack and Roger Kemp, and John Olsen and Jeffrey Smart. Intriguing insights emerge as he explores the affinities and differences that exist between their approaches. 

Sarah Thomas had the complex task of drawing together the rich plurality of the changing art world from the mid-1980s, a time when women artists came to the fore. Her spectrum includes the introduction of the new technologies and the escalation of cultural connections within Australia and with Asia and the world at large.
Publishing details: Macmillan, 2008, hc, dw, 274 pages hardcover colour illustrations. With index.

Swallow Rickyview full entry
Reference: see Encounters With Australian Modern Art by Christopher Heathcote, Patrick McCaughey and Sarah Thomas. Edited by Maudie Palmer. Foreword by Eva and Marc Besen (owners of the Tarrawarra Museum).

[’Encounters With Australian Modern Art symbolises a milestone in presenting Australian art to a world-wide audience. With over 200 images from the Tarrawarra Museum (in the Yarra Valley outside of Melbourne - owned by the Besen family) collection, Encounters With Australian Modern Art includes an overview of some of the finest Australian modern artists, between 1950 and today...

Encounters with Australian Modern Art represents a vital milestone in the presentation of Australian art to a world-wide readership. It was published in both French and English, and lavishly illustrated with more than 200 iconic images, many drawn from the collection of the TarraWarra museum of Art. Maudie Palmer, Director of the Museum and Editor of the book, devised its concept and selected the authors. They, like herself and the Besens, have witnessed first-hand the development of Australian Modernism during the second half of the twentieth century when the careers of its leading artist practitioners were firmly established. During those decades, many of these became acknowledged national identites - some enjoying overseas acclaim. 

Christopher Heathcote explores the art of the 1950s and 60s post-war reconstruction era. It witnessed the expansion of Australian suburbs and their growing populations of idiosyncratic urbanites. During these decades the earlier Australian landscape painting tradition survived and was further strengthened by the creations of artists like John Olsen and Fred Williams. 

Patrick MacCaughey's approach is both refreshing and revealing. He pairs artists such as Brett Whiteley and Fred Williams; John Brack and Roger Kemp, and John Olsen and Jeffrey Smart. Intriguing insights emerge as he explores the affinities and differences that exist between their approaches. 

Sarah Thomas had the complex task of drawing together the rich plurality of the changing art world from the mid-1980s, a time when women artists came to the fore. Her spectrum includes the introduction of the new technologies and the escalation of cultural connections within Australia and with Asia and the world at large.
Publishing details: Macmillan, 2008, hc, dw, 274 pages hardcover colour illustrations. With index.

Tanner Edwinview full entry
Reference: see Encounters With Australian Modern Art by Christopher Heathcote, Patrick McCaughey and Sarah Thomas. Edited by Maudie Palmer. Foreword by Eva and Marc Besen (owners of the Tarrawarra Museum).

[’Encounters With Australian Modern Art symbolises a milestone in presenting Australian art to a world-wide audience. With over 200 images from the Tarrawarra Museum (in the Yarra Valley outside of Melbourne - owned by the Besen family) collection, Encounters With Australian Modern Art includes an overview of some of the finest Australian modern artists, between 1950 and today...

Encounters with Australian Modern Art represents a vital milestone in the presentation of Australian art to a world-wide readership. It was published in both French and English, and lavishly illustrated with more than 200 iconic images, many drawn from the collection of the TarraWarra museum of Art. Maudie Palmer, Director of the Museum and Editor of the book, devised its concept and selected the authors. They, like herself and the Besens, have witnessed first-hand the development of Australian Modernism during the second half of the twentieth century when the careers of its leading artist practitioners were firmly established. During those decades, many of these became acknowledged national identites - some enjoying overseas acclaim. 

Christopher Heathcote explores the art of the 1950s and 60s post-war reconstruction era. It witnessed the expansion of Australian suburbs and their growing populations of idiosyncratic urbanites. During these decades the earlier Australian landscape painting tradition survived and was further strengthened by the creations of artists like John Olsen and Fred Williams. 

Patrick MacCaughey's approach is both refreshing and revealing. He pairs artists such as Brett Whiteley and Fred Williams; John Brack and Roger Kemp, and John Olsen and Jeffrey Smart. Intriguing insights emerge as he explores the affinities and differences that exist between their approaches. 

Sarah Thomas had the complex task of drawing together the rich plurality of the changing art world from the mid-1980s, a time when women artists came to the fore. Her spectrum includes the introduction of the new technologies and the escalation of cultural connections within Australia and with Asia and the world at large.
Publishing details: Macmillan, 2008, hc, dw, 274 pages hardcover colour illustrations. With index.

Taylor Michaelview full entry
Reference: see Encounters With Australian Modern Art by Christopher Heathcote, Patrick McCaughey and Sarah Thomas. Edited by Maudie Palmer. Foreword by Eva and Marc Besen (owners of the Tarrawarra Museum).

[’Encounters With Australian Modern Art symbolises a milestone in presenting Australian art to a world-wide audience. With over 200 images from the Tarrawarra Museum (in the Yarra Valley outside of Melbourne - owned by the Besen family) collection, Encounters With Australian Modern Art includes an overview of some of the finest Australian modern artists, between 1950 and today...

Encounters with Australian Modern Art represents a vital milestone in the presentation of Australian art to a world-wide readership. It was published in both French and English, and lavishly illustrated with more than 200 iconic images, many drawn from the collection of the TarraWarra museum of Art. Maudie Palmer, Director of the Museum and Editor of the book, devised its concept and selected the authors. They, like herself and the Besens, have witnessed first-hand the development of Australian Modernism during the second half of the twentieth century when the careers of its leading artist practitioners were firmly established. During those decades, many of these became acknowledged national identites - some enjoying overseas acclaim. 

Christopher Heathcote explores the art of the 1950s and 60s post-war reconstruction era. It witnessed the expansion of Australian suburbs and their growing populations of idiosyncratic urbanites. During these decades the earlier Australian landscape painting tradition survived and was further strengthened by the creations of artists like John Olsen and Fred Williams. 

Patrick MacCaughey's approach is both refreshing and revealing. He pairs artists such as Brett Whiteley and Fred Williams; John Brack and Roger Kemp, and John Olsen and Jeffrey Smart. Intriguing insights emerge as he explores the affinities and differences that exist between their approaches. 

Sarah Thomas had the complex task of drawing together the rich plurality of the changing art world from the mid-1980s, a time when women artists came to the fore. Her spectrum includes the introduction of the new technologies and the escalation of cultural connections within Australia and with Asia and the world at large.
Publishing details: Macmillan, 2008, hc, dw, 274 pages hardcover colour illustrations. With index.

Tillers Imantsview full entry
Reference: see Encounters With Australian Modern Art by Christopher Heathcote, Patrick McCaughey and Sarah Thomas. Edited by Maudie Palmer. Foreword by Eva and Marc Besen (owners of the Tarrawarra Museum).

[’Encounters With Australian Modern Art symbolises a milestone in presenting Australian art to a world-wide audience. With over 200 images from the Tarrawarra Museum (in the Yarra Valley outside of Melbourne - owned by the Besen family) collection, Encounters With Australian Modern Art includes an overview of some of the finest Australian modern artists, between 1950 and today...

Encounters with Australian Modern Art represents a vital milestone in the presentation of Australian art to a world-wide readership. It was published in both French and English, and lavishly illustrated with more than 200 iconic images, many drawn from the collection of the TarraWarra museum of Art. Maudie Palmer, Director of the Museum and Editor of the book, devised its concept and selected the authors. They, like herself and the Besens, have witnessed first-hand the development of Australian Modernism during the second half of the twentieth century when the careers of its leading artist practitioners were firmly established. During those decades, many of these became acknowledged national identites - some enjoying overseas acclaim. 

Christopher Heathcote explores the art of the 1950s and 60s post-war reconstruction era. It witnessed the expansion of Australian suburbs and their growing populations of idiosyncratic urbanites. During these decades the earlier Australian landscape painting tradition survived and was further strengthened by the creations of artists like John Olsen and Fred Williams. 

Patrick MacCaughey's approach is both refreshing and revealing. He pairs artists such as Brett Whiteley and Fred Williams; John Brack and Roger Kemp, and John Olsen and Jeffrey Smart. Intriguing insights emerge as he explores the affinities and differences that exist between their approaches. 

Sarah Thomas had the complex task of drawing together the rich plurality of the changing art world from the mid-1980s, a time when women artists came to the fore. Her spectrum includes the introduction of the new technologies and the escalation of cultural connections within Australia and with Asia and the world at large.
Publishing details: Macmillan, 2008, hc, dw, 274 pages hardcover colour illustrations. With index.

Tomescu Aidaview full entry
Reference: see Encounters With Australian Modern Art by Christopher Heathcote, Patrick McCaughey and Sarah Thomas. Edited by Maudie Palmer. Foreword by Eva and Marc Besen (owners of the Tarrawarra Museum).

[’Encounters With Australian Modern Art symbolises a milestone in presenting Australian art to a world-wide audience. With over 200 images from the Tarrawarra Museum (in the Yarra Valley outside of Melbourne - owned by the Besen family) collection, Encounters With Australian Modern Art includes an overview of some of the finest Australian modern artists, between 1950 and today...

Encounters with Australian Modern Art represents a vital milestone in the presentation of Australian art to a world-wide readership. It was published in both French and English, and lavishly illustrated with more than 200 iconic images, many drawn from the collection of the TarraWarra museum of Art. Maudie Palmer, Director of the Museum and Editor of the book, devised its concept and selected the authors. They, like herself and the Besens, have witnessed first-hand the development of Australian Modernism during the second half of the twentieth century when the careers of its leading artist practitioners were firmly established. During those decades, many of these became acknowledged national identites - some enjoying overseas acclaim. 

Christopher Heathcote explores the art of the 1950s and 60s post-war reconstruction era. It witnessed the expansion of Australian suburbs and their growing populations of idiosyncratic urbanites. During these decades the earlier Australian landscape painting tradition survived and was further strengthened by the creations of artists like John Olsen and Fred Williams. 

Patrick MacCaughey's approach is both refreshing and revealing. He pairs artists such as Brett Whiteley and Fred Williams; John Brack and Roger Kemp, and John Olsen and Jeffrey Smart. Intriguing insights emerge as he explores the affinities and differences that exist between their approaches. 

Sarah Thomas had the complex task of drawing together the rich plurality of the changing art world from the mid-1980s, a time when women artists came to the fore. Her spectrum includes the introduction of the new technologies and the escalation of cultural connections within Australia and with Asia and the world at large.
Publishing details: Macmillan, 2008, hc, dw, 274 pages hardcover colour illustrations. With index.

Tucker Albertview full entry
Reference: see Encounters With Australian Modern Art by Christopher Heathcote, Patrick McCaughey and Sarah Thomas. Edited by Maudie Palmer. Foreword by Eva and Marc Besen (owners of the Tarrawarra Museum).

[’Encounters With Australian Modern Art symbolises a milestone in presenting Australian art to a world-wide audience. With over 200 images from the Tarrawarra Museum (in the Yarra Valley outside of Melbourne - owned by the Besen family) collection, Encounters With Australian Modern Art includes an overview of some of the finest Australian modern artists, between 1950 and today...

Encounters with Australian Modern Art represents a vital milestone in the presentation of Australian art to a world-wide readership. It was published in both French and English, and lavishly illustrated with more than 200 iconic images, many drawn from the collection of the TarraWarra museum of Art. Maudie Palmer, Director of the Museum and Editor of the book, devised its concept and selected the authors. They, like herself and the Besens, have witnessed first-hand the development of Australian Modernism during the second half of the twentieth century when the careers of its leading artist practitioners were firmly established. During those decades, many of these became acknowledged national identites - some enjoying overseas acclaim. 

Christopher Heathcote explores the art of the 1950s and 60s post-war reconstruction era. It witnessed the expansion of Australian suburbs and their growing populations of idiosyncratic urbanites. During these decades the earlier Australian landscape painting tradition survived and was further strengthened by the creations of artists like John Olsen and Fred Williams. 

Patrick MacCaughey's approach is both refreshing and revealing. He pairs artists such as Brett Whiteley and Fred Williams; John Brack and Roger Kemp, and John Olsen and Jeffrey Smart. Intriguing insights emerge as he explores the affinities and differences that exist between their approaches. 

Sarah Thomas had the complex task of drawing together the rich plurality of the changing art world from the mid-1980s, a time when women artists came to the fore. Her spectrum includes the introduction of the new technologies and the escalation of cultural connections within Australia and with Asia and the world at large.
Publishing details: Macmillan, 2008, hc, dw, 274 pages hardcover colour illustrations. With index.

Tuckson Tonyview full entry
Reference: see Encounters With Australian Modern Art by Christopher Heathcote, Patrick McCaughey and Sarah Thomas. Edited by Maudie Palmer. Foreword by Eva and Marc Besen (owners of the Tarrawarra Museum).

[’Encounters With Australian Modern Art symbolises a milestone in presenting Australian art to a world-wide audience. With over 200 images from the Tarrawarra Museum (in the Yarra Valley outside of Melbourne - owned by the Besen family) collection, Encounters With Australian Modern Art includes an overview of some of the finest Australian modern artists, between 1950 and today...

Encounters with Australian Modern Art represents a vital milestone in the presentation of Australian art to a world-wide readership. It was published in both French and English, and lavishly illustrated with more than 200 iconic images, many drawn from the collection of the TarraWarra museum of Art. Maudie Palmer, Director of the Museum and Editor of the book, devised its concept and selected the authors. They, like herself and the Besens, have witnessed first-hand the development of Australian Modernism during the second half of the twentieth century when the careers of its leading artist practitioners were firmly established. During those decades, many of these became acknowledged national identites - some enjoying overseas acclaim. 

Christopher Heathcote explores the art of the 1950s and 60s post-war reconstruction era. It witnessed the expansion of Australian suburbs and their growing populations of idiosyncratic urbanites. During these decades the earlier Australian landscape painting tradition survived and was further strengthened by the creations of artists like John Olsen and Fred Williams. 

Patrick MacCaughey's approach is both refreshing and revealing. He pairs artists such as Brett Whiteley and Fred Williams; John Brack and Roger Kemp, and John Olsen and Jeffrey Smart. Intriguing insights emerge as he explores the affinities and differences that exist between their approaches. 

Sarah Thomas had the complex task of drawing together the rich plurality of the changing art world from the mid-1980s, a time when women artists came to the fore. Her spectrum includes the introduction of the new technologies and the escalation of cultural connections within Australia and with Asia and the world at large.
Publishing details: Macmillan, 2008, hc, dw, 274 pages hardcover colour illustrations. With index.

Tyndall Peterview full entry
Reference: see Encounters With Australian Modern Art by Christopher Heathcote, Patrick McCaughey and Sarah Thomas. Edited by Maudie Palmer. Foreword by Eva and Marc Besen (owners of the Tarrawarra Museum).

[’Encounters With Australian Modern Art symbolises a milestone in presenting Australian art to a world-wide audience. With over 200 images from the Tarrawarra Museum (in the Yarra Valley outside of Melbourne - owned by the Besen family) collection, Encounters With Australian Modern Art includes an overview of some of the finest Australian modern artists, between 1950 and today...

Encounters with Australian Modern Art represents a vital milestone in the presentation of Australian art to a world-wide readership. It was published in both French and English, and lavishly illustrated with more than 200 iconic images, many drawn from the collection of the TarraWarra museum of Art. Maudie Palmer, Director of the Museum and Editor of the book, devised its concept and selected the authors. They, like herself and the Besens, have witnessed first-hand the development of Australian Modernism during the second half of the twentieth century when the careers of its leading artist practitioners were firmly established. During those decades, many of these became acknowledged national identites - some enjoying overseas acclaim. 

Christopher Heathcote explores the art of the 1950s and 60s post-war reconstruction era. It witnessed the expansion of Australian suburbs and their growing populations of idiosyncratic urbanites. During these decades the earlier Australian landscape painting tradition survived and was further strengthened by the creations of artists like John Olsen and Fred Williams. 

Patrick MacCaughey's approach is both refreshing and revealing. He pairs artists such as Brett Whiteley and Fred Williams; John Brack and Roger Kemp, and John Olsen and Jeffrey Smart. Intriguing insights emerge as he explores the affinities and differences that exist between their approaches. 

Sarah Thomas had the complex task of drawing together the rich plurality of the changing art world from the mid-1980s, a time when women artists came to the fore. Her spectrum includes the introduction of the new technologies and the escalation of cultural connections within Australia and with Asia and the world at large.
Publishing details: Macmillan, 2008, hc, dw, 274 pages hardcover colour illustrations. With index.

Upward Peterview full entry
Reference: see Encounters With Australian Modern Art by Christopher Heathcote, Patrick McCaughey and Sarah Thomas. Edited by Maudie Palmer. Foreword by Eva and Marc Besen (owners of the Tarrawarra Museum).

[’Encounters With Australian Modern Art symbolises a milestone in presenting Australian art to a world-wide audience. With over 200 images from the Tarrawarra Museum (in the Yarra Valley outside of Melbourne - owned by the Besen family) collection, Encounters With Australian Modern Art includes an overview of some of the finest Australian modern artists, between 1950 and today...

Encounters with Australian Modern Art represents a vital milestone in the presentation of Australian art to a world-wide readership. It was published in both French and English, and lavishly illustrated with more than 200 iconic images, many drawn from the collection of the TarraWarra museum of Art. Maudie Palmer, Director of the Museum and Editor of the book, devised its concept and selected the authors. They, like herself and the Besens, have witnessed first-hand the development of Australian Modernism during the second half of the twentieth century when the careers of its leading artist practitioners were firmly established. During those decades, many of these became acknowledged national identites - some enjoying overseas acclaim. 

Christopher Heathcote explores the art of the 1950s and 60s post-war reconstruction era. It witnessed the expansion of Australian suburbs and their growing populations of idiosyncratic urbanites. During these decades the earlier Australian landscape painting tradition survived and was further strengthened by the creations of artists like John Olsen and Fred Williams. 

Patrick MacCaughey's approach is both refreshing and revealing. He pairs artists such as Brett Whiteley and Fred Williams; John Brack and Roger Kemp, and John Olsen and Jeffrey Smart. Intriguing insights emerge as he explores the affinities and differences that exist between their approaches. 

Sarah Thomas had the complex task of drawing together the rich plurality of the changing art world from the mid-1980s, a time when women artists came to the fore. Her spectrum includes the introduction of the new technologies and the escalation of cultural connections within Australia and with Asia and the world at large.
Publishing details: Macmillan, 2008, hc, dw, 274 pages hardcover colour illustrations. With index.

Vassilieff Danilaview full entry
Reference: see Encounters With Australian Modern Art by Christopher Heathcote, Patrick McCaughey and Sarah Thomas. Edited by Maudie Palmer. Foreword by Eva and Marc Besen (owners of the Tarrawarra Museum).

[’Encounters With Australian Modern Art symbolises a milestone in presenting Australian art to a world-wide audience. With over 200 images from the Tarrawarra Museum (in the Yarra Valley outside of Melbourne - owned by the Besen family) collection, Encounters With Australian Modern Art includes an overview of some of the finest Australian modern artists, between 1950 and today...

Encounters with Australian Modern Art represents a vital milestone in the presentation of Australian art to a world-wide readership. It was published in both French and English, and lavishly illustrated with more than 200 iconic images, many drawn from the collection of the TarraWarra museum of Art. Maudie Palmer, Director of the Museum and Editor of the book, devised its concept and selected the authors. They, like herself and the Besens, have witnessed first-hand the development of Australian Modernism during the second half of the twentieth century when the careers of its leading artist practitioners were firmly established. During those decades, many of these became acknowledged national identites - some enjoying overseas acclaim. 

Christopher Heathcote explores the art of the 1950s and 60s post-war reconstruction era. It witnessed the expansion of Australian suburbs and their growing populations of idiosyncratic urbanites. During these decades the earlier Australian landscape painting tradition survived and was further strengthened by the creations of artists like John Olsen and Fred Williams. 

Patrick MacCaughey's approach is both refreshing and revealing. He pairs artists such as Brett Whiteley and Fred Williams; John Brack and Roger Kemp, and John Olsen and Jeffrey Smart. Intriguing insights emerge as he explores the affinities and differences that exist between their approaches. 

Sarah Thomas had the complex task of drawing together the rich plurality of the changing art world from the mid-1980s, a time when women artists came to the fore. Her spectrum includes the introduction of the new technologies and the escalation of cultural connections within Australia and with Asia and the world at large.
Publishing details: Macmillan, 2008, hc, dw, 274 pages hardcover colour illustrations. With index.

Vickers Trevorview full entry
Reference: see Encounters With Australian Modern Art by Christopher Heathcote, Patrick McCaughey and Sarah Thomas. Edited by Maudie Palmer. Foreword by Eva and Marc Besen (owners of the Tarrawarra Museum).

[’Encounters With Australian Modern Art symbolises a milestone in presenting Australian art to a world-wide audience. With over 200 images from the Tarrawarra Museum (in the Yarra Valley outside of Melbourne - owned by the Besen family) collection, Encounters With Australian Modern Art includes an overview of some of the finest Australian modern artists, between 1950 and today...

Encounters with Australian Modern Art represents a vital milestone in the presentation of Australian art to a world-wide readership. It was published in both French and English, and lavishly illustrated with more than 200 iconic images, many drawn from the collection of the TarraWarra museum of Art. Maudie Palmer, Director of the Museum and Editor of the book, devised its concept and selected the authors. They, like herself and the Besens, have witnessed first-hand the development of Australian Modernism during the second half of the twentieth century when the careers of its leading artist practitioners were firmly established. During those decades, many of these became acknowledged national identites - some enjoying overseas acclaim. 

Christopher Heathcote explores the art of the 1950s and 60s post-war reconstruction era. It witnessed the expansion of Australian suburbs and their growing populations of idiosyncratic urbanites. During these decades the earlier Australian landscape painting tradition survived and was further strengthened by the creations of artists like John Olsen and Fred Williams. 

Patrick MacCaughey's approach is both refreshing and revealing. He pairs artists such as Brett Whiteley and Fred Williams; John Brack and Roger Kemp, and John Olsen and Jeffrey Smart. Intriguing insights emerge as he explores the affinities and differences that exist between their approaches. 

Sarah Thomas had the complex task of drawing together the rich plurality of the changing art world from the mid-1980s, a time when women artists came to the fore. Her spectrum includes the introduction of the new technologies and the escalation of cultural connections within Australia and with Asia and the world at large.
Publishing details: Macmillan, 2008, hc, dw, 274 pages hardcover colour illustrations. With index.

Watkins Dickview full entry
Reference: see Encounters With Australian Modern Art by Christopher Heathcote, Patrick McCaughey and Sarah Thomas. Edited by Maudie Palmer. Foreword by Eva and Marc Besen (owners of the Tarrawarra Museum).

[’Encounters With Australian Modern Art symbolises a milestone in presenting Australian art to a world-wide audience. With over 200 images from the Tarrawarra Museum (in the Yarra Valley outside of Melbourne - owned by the Besen family) collection, Encounters With Australian Modern Art includes an overview of some of the finest Australian modern artists, between 1950 and today...

Encounters with Australian Modern Art represents a vital milestone in the presentation of Australian art to a world-wide readership. It was published in both French and English, and lavishly illustrated with more than 200 iconic images, many drawn from the collection of the TarraWarra museum of Art. Maudie Palmer, Director of the Museum and Editor of the book, devised its concept and selected the authors. They, like herself and the Besens, have witnessed first-hand the development of Australian Modernism during the second half of the twentieth century when the careers of its leading artist practitioners were firmly established. During those decades, many of these became acknowledged national identites - some enjoying overseas acclaim. 

Christopher Heathcote explores the art of the 1950s and 60s post-war reconstruction era. It witnessed the expansion of Australian suburbs and their growing populations of idiosyncratic urbanites. During these decades the earlier Australian landscape painting tradition survived and was further strengthened by the creations of artists like John Olsen and Fred Williams. 

Patrick MacCaughey's approach is both refreshing and revealing. He pairs artists such as Brett Whiteley and Fred Williams; John Brack and Roger Kemp, and John Olsen and Jeffrey Smart. Intriguing insights emerge as he explores the affinities and differences that exist between their approaches. 

Sarah Thomas had the complex task of drawing together the rich plurality of the changing art world from the mid-1980s, a time when women artists came to the fore. Her spectrum includes the introduction of the new technologies and the escalation of cultural connections within Australia and with Asia and the world at large.
Publishing details: Macmillan, 2008, hc, dw, 274 pages hardcover colour illustrations. With index.

Watson Jennyview full entry
Reference: see Encounters With Australian Modern Art by Christopher Heathcote, Patrick McCaughey and Sarah Thomas. Edited by Maudie Palmer. Foreword by Eva and Marc Besen (owners of the Tarrawarra Museum).

[’Encounters With Australian Modern Art symbolises a milestone in presenting Australian art to a world-wide audience. With over 200 images from the Tarrawarra Museum (in the Yarra Valley outside of Melbourne - owned by the Besen family) collection, Encounters With Australian Modern Art includes an overview of some of the finest Australian modern artists, between 1950 and today...

Encounters with Australian Modern Art represents a vital milestone in the presentation of Australian art to a world-wide readership. It was published in both French and English, and lavishly illustrated with more than 200 iconic images, many drawn from the collection of the TarraWarra museum of Art. Maudie Palmer, Director of the Museum and Editor of the book, devised its concept and selected the authors. They, like herself and the Besens, have witnessed first-hand the development of Australian Modernism during the second half of the twentieth century when the careers of its leading artist practitioners were firmly established. During those decades, many of these became acknowledged national identites - some enjoying overseas acclaim. 

Christopher Heathcote explores the art of the 1950s and 60s post-war reconstruction era. It witnessed the expansion of Australian suburbs and their growing populations of idiosyncratic urbanites. During these decades the earlier Australian landscape painting tradition survived and was further strengthened by the creations of artists like John Olsen and Fred Williams. 

Patrick MacCaughey's approach is both refreshing and revealing. He pairs artists such as Brett Whiteley and Fred Williams; John Brack and Roger Kemp, and John Olsen and Jeffrey Smart. Intriguing insights emerge as he explores the affinities and differences that exist between their approaches. 

Sarah Thomas had the complex task of drawing together the rich plurality of the changing art world from the mid-1980s, a time when women artists came to the fore. Her spectrum includes the introduction of the new technologies and the escalation of cultural connections within Australia and with Asia and the world at large.
Publishing details: Macmillan, 2008, hc, dw, 274 pages hardcover colour illustrations. With index.

Watson Judyview full entry
Reference: see Encounters With Australian Modern Art by Christopher Heathcote, Patrick McCaughey and Sarah Thomas. Edited by Maudie Palmer. Foreword by Eva and Marc Besen (owners of the Tarrawarra Museum).

[’Encounters With Australian Modern Art symbolises a milestone in presenting Australian art to a world-wide audience. With over 200 images from the Tarrawarra Museum (in the Yarra Valley outside of Melbourne - owned by the Besen family) collection, Encounters With Australian Modern Art includes an overview of some of the finest Australian modern artists, between 1950 and today...

Encounters with Australian Modern Art represents a vital milestone in the presentation of Australian art to a world-wide readership. It was published in both French and English, and lavishly illustrated with more than 200 iconic images, many drawn from the collection of the TarraWarra museum of Art. Maudie Palmer, Director of the Museum and Editor of the book, devised its concept and selected the authors. They, like herself and the Besens, have witnessed first-hand the development of Australian Modernism during the second half of the twentieth century when the careers of its leading artist practitioners were firmly established. During those decades, many of these became acknowledged national identites - some enjoying overseas acclaim. 

Christopher Heathcote explores the art of the 1950s and 60s post-war reconstruction era. It witnessed the expansion of Australian suburbs and their growing populations of idiosyncratic urbanites. During these decades the earlier Australian landscape painting tradition survived and was further strengthened by the creations of artists like John Olsen and Fred Williams. 

Patrick MacCaughey's approach is both refreshing and revealing. He pairs artists such as Brett Whiteley and Fred Williams; John Brack and Roger Kemp, and John Olsen and Jeffrey Smart. Intriguing insights emerge as he explores the affinities and differences that exist between their approaches. 

Sarah Thomas had the complex task of drawing together the rich plurality of the changing art world from the mid-1980s, a time when women artists came to the fore. Her spectrum includes the introduction of the new technologies and the escalation of cultural connections within Australia and with Asia and the world at large.
Publishing details: Macmillan, 2008, hc, dw, 274 pages hardcover colour illustrations. With index.

Westwood Bryanview full entry
Reference: see Encounters With Australian Modern Art by Christopher Heathcote, Patrick McCaughey and Sarah Thomas. Edited by Maudie Palmer. Foreword by Eva and Marc Besen (owners of the Tarrawarra Museum).

[’Encounters With Australian Modern Art symbolises a milestone in presenting Australian art to a world-wide audience. With over 200 images from the Tarrawarra Museum (in the Yarra Valley outside of Melbourne - owned by the Besen family) collection, Encounters With Australian Modern Art includes an overview of some of the finest Australian modern artists, between 1950 and today...

Encounters with Australian Modern Art represents a vital milestone in the presentation of Australian art to a world-wide readership. It was published in both French and English, and lavishly illustrated with more than 200 iconic images, many drawn from the collection of the TarraWarra museum of Art. Maudie Palmer, Director of the Museum and Editor of the book, devised its concept and selected the authors. They, like herself and the Besens, have witnessed first-hand the development of Australian Modernism during the second half of the twentieth century when the careers of its leading artist practitioners were firmly established. During those decades, many of these became acknowledged national identites - some enjoying overseas acclaim. 

Christopher Heathcote explores the art of the 1950s and 60s post-war reconstruction era. It witnessed the expansion of Australian suburbs and their growing populations of idiosyncratic urbanites. During these decades the earlier Australian landscape painting tradition survived and was further strengthened by the creations of artists like John Olsen and Fred Williams. 

Patrick MacCaughey's approach is both refreshing and revealing. He pairs artists such as Brett Whiteley and Fred Williams; John Brack and Roger Kemp, and John Olsen and Jeffrey Smart. Intriguing insights emerge as he explores the affinities and differences that exist between their approaches. 

Sarah Thomas had the complex task of drawing together the rich plurality of the changing art world from the mid-1980s, a time when women artists came to the fore. Her spectrum includes the introduction of the new technologies and the escalation of cultural connections within Australia and with Asia and the world at large.
Publishing details: Macmillan, 2008, hc, dw, 274 pages hardcover colour illustrations. With index.

Whisson Kenview full entry
Reference: see Encounters With Australian Modern Art by Christopher Heathcote, Patrick McCaughey and Sarah Thomas. Edited by Maudie Palmer. Foreword by Eva and Marc Besen (owners of the Tarrawarra Museum).

[’Encounters With Australian Modern Art symbolises a milestone in presenting Australian art to a world-wide audience. With over 200 images from the Tarrawarra Museum (in the Yarra Valley outside of Melbourne - owned by the Besen family) collection, Encounters With Australian Modern Art includes an overview of some of the finest Australian modern artists, between 1950 and today...

Encounters with Australian Modern Art represents a vital milestone in the presentation of Australian art to a world-wide readership. It was published in both French and English, and lavishly illustrated with more than 200 iconic images, many drawn from the collection of the TarraWarra museum of Art. Maudie Palmer, Director of the Museum and Editor of the book, devised its concept and selected the authors. They, like herself and the Besens, have witnessed first-hand the development of Australian Modernism during the second half of the twentieth century when the careers of its leading artist practitioners were firmly established. During those decades, many of these became acknowledged national identites - some enjoying overseas acclaim. 

Christopher Heathcote explores the art of the 1950s and 60s post-war reconstruction era. It witnessed the expansion of Australian suburbs and their growing populations of idiosyncratic urbanites. During these decades the earlier Australian landscape painting tradition survived and was further strengthened by the creations of artists like John Olsen and Fred Williams. 

Patrick MacCaughey's approach is both refreshing and revealing. He pairs artists such as Brett Whiteley and Fred Williams; John Brack and Roger Kemp, and John Olsen and Jeffrey Smart. Intriguing insights emerge as he explores the affinities and differences that exist between their approaches. 

Sarah Thomas had the complex task of drawing together the rich plurality of the changing art world from the mid-1980s, a time when women artists came to the fore. Her spectrum includes the introduction of the new technologies and the escalation of cultural connections within Australia and with Asia and the world at large.
Publishing details: Macmillan, 2008, hc, dw, 274 pages hardcover colour illustrations. With index.

Whiteley Brettview full entry
Reference: see Encounters With Australian Modern Art by Christopher Heathcote, Patrick McCaughey and Sarah Thomas. Edited by Maudie Palmer. Foreword by Eva and Marc Besen (owners of the Tarrawarra Museum).

[’Encounters With Australian Modern Art symbolises a milestone in presenting Australian art to a world-wide audience. With over 200 images from the Tarrawarra Museum (in the Yarra Valley outside of Melbourne - owned by the Besen family) collection, Encounters With Australian Modern Art includes an overview of some of the finest Australian modern artists, between 1950 and today...

Encounters with Australian Modern Art represents a vital milestone in the presentation of Australian art to a world-wide readership. It was published in both French and English, and lavishly illustrated with more than 200 iconic images, many drawn from the collection of the TarraWarra museum of Art. Maudie Palmer, Director of the Museum and Editor of the book, devised its concept and selected the authors. They, like herself and the Besens, have witnessed first-hand the development of Australian Modernism during the second half of the twentieth century when the careers of its leading artist practitioners were firmly established. During those decades, many of these became acknowledged national identites - some enjoying overseas acclaim. 

Christopher Heathcote explores the art of the 1950s and 60s post-war reconstruction era. It witnessed the expansion of Australian suburbs and their growing populations of idiosyncratic urbanites. During these decades the earlier Australian landscape painting tradition survived and was further strengthened by the creations of artists like John Olsen and Fred Williams. 

Patrick MacCaughey's approach is both refreshing and revealing. He pairs artists such as Brett Whiteley and Fred Williams; John Brack and Roger Kemp, and John Olsen and Jeffrey Smart. Intriguing insights emerge as he explores the affinities and differences that exist between their approaches. 

Sarah Thomas had the complex task of drawing together the rich plurality of the changing art world from the mid-1980s, a time when women artists came to the fore. Her spectrum includes the introduction of the new technologies and the escalation of cultural connections within Australia and with Asia and the world at large.
Publishing details: Macmillan, 2008, hc, dw, 274 pages hardcover colour illustrations. With index.

Williams Fredview full entry
Reference: see Encounters With Australian Modern Art by Christopher Heathcote, Patrick McCaughey and Sarah Thomas. Edited by Maudie Palmer. Foreword by Eva and Marc Besen (owners of the Tarrawarra Museum).

[’Encounters With Australian Modern Art symbolises a milestone in presenting Australian art to a world-wide audience. With over 200 images from the Tarrawarra Museum (in the Yarra Valley outside of Melbourne - owned by the Besen family) collection, Encounters With Australian Modern Art includes an overview of some of the finest Australian modern artists, between 1950 and today...

Encounters with Australian Modern Art represents a vital milestone in the presentation of Australian art to a world-wide readership. It was published in both French and English, and lavishly illustrated with more than 200 iconic images, many drawn from the collection of the TarraWarra museum of Art. Maudie Palmer, Director of the Museum and Editor of the book, devised its concept and selected the authors. They, like herself and the Besens, have witnessed first-hand the development of Australian Modernism during the second half of the twentieth century when the careers of its leading artist practitioners were firmly established. During those decades, many of these became acknowledged national identites - some enjoying overseas acclaim. 

Christopher Heathcote explores the art of the 1950s and 60s post-war reconstruction era. It witnessed the expansion of Australian suburbs and their growing populations of idiosyncratic urbanites. During these decades the earlier Australian landscape painting tradition survived and was further strengthened by the creations of artists like John Olsen and Fred Williams. 

Patrick MacCaughey's approach is both refreshing and revealing. He pairs artists such as Brett Whiteley and Fred Williams; John Brack and Roger Kemp, and John Olsen and Jeffrey Smart. Intriguing insights emerge as he explores the affinities and differences that exist between their approaches. 

Sarah Thomas had the complex task of drawing together the rich plurality of the changing art world from the mid-1980s, a time when women artists came to the fore. Her spectrum includes the introduction of the new technologies and the escalation of cultural connections within Australia and with Asia and the world at large.
Publishing details: Macmillan, 2008, hc, dw, 274 pages hardcover colour illustrations. With index.

Wolfhagen Philipview full entry
Reference: see Encounters With Australian Modern Art by Christopher Heathcote, Patrick McCaughey and Sarah Thomas. Edited by Maudie Palmer. Foreword by Eva and Marc Besen (owners of the Tarrawarra Museum).

[’Encounters With Australian Modern Art symbolises a milestone in presenting Australian art to a world-wide audience. With over 200 images from the Tarrawarra Museum (in the Yarra Valley outside of Melbourne - owned by the Besen family) collection, Encounters With Australian Modern Art includes an overview of some of the finest Australian modern artists, between 1950 and today...

Encounters with Australian Modern Art represents a vital milestone in the presentation of Australian art to a world-wide readership. It was published in both French and English, and lavishly illustrated with more than 200 iconic images, many drawn from the collection of the TarraWarra museum of Art. Maudie Palmer, Director of the Museum and Editor of the book, devised its concept and selected the authors. They, like herself and the Besens, have witnessed first-hand the development of Australian Modernism during the second half of the twentieth century when the careers of its leading artist practitioners were firmly established. During those decades, many of these became acknowledged national identites - some enjoying overseas acclaim. 

Christopher Heathcote explores the art of the 1950s and 60s post-war reconstruction era. It witnessed the expansion of Australian suburbs and their growing populations of idiosyncratic urbanites. During these decades the earlier Australian landscape painting tradition survived and was further strengthened by the creations of artists like John Olsen and Fred Williams. 

Patrick MacCaughey's approach is both refreshing and revealing. He pairs artists such as Brett Whiteley and Fred Williams; John Brack and Roger Kemp, and John Olsen and Jeffrey Smart. Intriguing insights emerge as he explores the affinities and differences that exist between their approaches. 

Sarah Thomas had the complex task of drawing together the rich plurality of the changing art world from the mid-1980s, a time when women artists came to the fore. Her spectrum includes the introduction of the new technologies and the escalation of cultural connections within Australia and with Asia and the world at large.
Publishing details: Macmillan, 2008, hc, dw, 274 pages hardcover colour illustrations. With index.

Young Johnview full entry
Reference: see Encounters With Australian Modern Art by Christopher Heathcote, Patrick McCaughey and Sarah Thomas. Edited by Maudie Palmer. Foreword by Eva and Marc Besen (owners of the Tarrawarra Museum).

[’Encounters With Australian Modern Art symbolises a milestone in presenting Australian art to a world-wide audience. With over 200 images from the Tarrawarra Museum (in the Yarra Valley outside of Melbourne - owned by the Besen family) collection, Encounters With Australian Modern Art includes an overview of some of the finest Australian modern artists, between 1950 and today...

Encounters with Australian Modern Art represents a vital milestone in the presentation of Australian art to a world-wide readership. It was published in both French and English, and lavishly illustrated with more than 200 iconic images, many drawn from the collection of the TarraWarra museum of Art. Maudie Palmer, Director of the Museum and Editor of the book, devised its concept and selected the authors. They, like herself and the Besens, have witnessed first-hand the development of Australian Modernism during the second half of the twentieth century when the careers of its leading artist practitioners were firmly established. During those decades, many of these became acknowledged national identites - some enjoying overseas acclaim. 

Christopher Heathcote explores the art of the 1950s and 60s post-war reconstruction era. It witnessed the expansion of Australian suburbs and their growing populations of idiosyncratic urbanites. During these decades the earlier Australian landscape painting tradition survived and was further strengthened by the creations of artists like John Olsen and Fred Williams. 

Patrick MacCaughey's approach is both refreshing and revealing. He pairs artists such as Brett Whiteley and Fred Williams; John Brack and Roger Kemp, and John Olsen and Jeffrey Smart. Intriguing insights emerge as he explores the affinities and differences that exist between their approaches. 

Sarah Thomas had the complex task of drawing together the rich plurality of the changing art world from the mid-1980s, a time when women artists came to the fore. Her spectrum includes the introduction of the new technologies and the escalation of cultural connections within Australia and with Asia and the world at large.
Publishing details: Macmillan, 2008, hc, dw, 274 pages hardcover colour illustrations. With index.

Refining Fire Theview full entry
Reference: see Mendham Dawn - The Refining Fire by Mendham Dawn. [’"The work of 16 Australian artists - painters, sculptors and stained-glass artists. The plates reveal the high quality of their art. The text reveals the role of perseverance, dedication and faith in the creative task. ...a rich tapestry spun from the artist' lives and work" Includes artists Margaret Ackland Robert Baines Rick Ball Irene Barberis Warren Breninger Leigh and Peter Campbell Dieter Engler Barbara Grosman John Hopkins Ashleigh Manley Idris Murphy Chris Neild Ariel Pearce Mark Weichard David Wright.’]
Publishing details: Albatross Books, 1987, pb, 160 pages of large & small bw photos.
Ackland Margaret view full entry
Reference: see Mendham Dawn - The Refining Fire by Mendham Dawn. [’"The work of 16 Australian artists - painters, sculptors and stained-glass artists. The plates reveal the high quality of their art. The text reveals the role of perseverance, dedication and faith in the creative task. ...a rich tapestry spun from the artist' lives and work" Includes artists Margaret Ackland Robert Baines Rick Ball Irene Barberis Warren Breninger Leigh and Peter Campbell Dieter Engler Barbara Grosman John Hopkins Ashleigh Manley Idris Murphy Chris Neild Ariel Pearce Mark Weichard David Wright.’]
Publishing details: Albatross Books, 1987, pb, 160 pages of large & small bw photos.
Baines Robert jewellerview full entry
Reference: see Mendham Dawn - The Refining Fire by Mendham Dawn. [’"The work of 16 Australian artists - painters, sculptors and stained-glass artists. The plates reveal the high quality of their art. The text reveals the role of perseverance, dedication and faith in the creative task. ...a rich tapestry spun from the artist' lives and work" Includes artists Margaret Ackland Robert Baines Rick Ball Irene Barberis Warren Breninger Leigh and Peter Campbell Dieter Engler Barbara Grosman John Hopkins Ashleigh Manley Idris Murphy Chris Neild Ariel Pearce Mark Weichard David Wright.’]
Publishing details: Albatross Books, 1987, pb, 160 pages of large & small bw photos.
Ball Rick view full entry
Reference: see Mendham Dawn - The Refining Fire by Mendham Dawn. [’"The work of 16 Australian artists - painters, sculptors and stained-glass artists. The plates reveal the high quality of their art. The text reveals the role of perseverance, dedication and faith in the creative task. ...a rich tapestry spun from the artist' lives and work" Includes artists Margaret Ackland Robert Baines Rick Ball Irene Barberis Warren Breninger Leigh and Peter Campbell Dieter Engler Barbara Grosman John Hopkins Ashleigh Manley Idris Murphy Chris Neild Ariel Pearce Mark Weichard David Wright.’]
Publishing details: Albatross Books, 1987, pb, 160 pages of large & small bw photos.
Barberis Irene view full entry
Reference: see Mendham Dawn - The Refining Fire by Mendham Dawn. [’"The work of 16 Australian artists - painters, sculptors and stained-glass artists. The plates reveal the high quality of their art. The text reveals the role of perseverance, dedication and faith in the creative task. ...a rich tapestry spun from the artist' lives and work" Includes artists Margaret Ackland Robert Baines Rick Ball Irene Barberis Warren Breninger Leigh and Peter Campbell Dieter Engler Barbara Grosman John Hopkins Ashleigh Manley Idris Murphy Chris Neild Ariel Pearce Mark Weichard David Wright.’]
Publishing details: Albatross Books, 1987, pb, 160 pages of large & small bw photos.
Breninger Warren view full entry
Reference: see Mendham Dawn - The Refining Fire by Mendham Dawn. [’"The work of 16 Australian artists - painters, sculptors and stained-glass artists. The plates reveal the high quality of their art. The text reveals the role of perseverance, dedication and faith in the creative task. ...a rich tapestry spun from the artist' lives and work" Includes artists Margaret Ackland Robert Baines Rick Ball Irene Barberis Warren Breninger Leigh and Peter Campbell Dieter Engler Barbara Grosman John Hopkins Ashleigh Manley Idris Murphy Chris Neild Ariel Pearce Mark Weichard David Wright.’]
Publishing details: Albatross Books, 1987, pb, 160 pages of large & small bw photos.
Campbell Peter view full entry
Reference: see Mendham Dawn - The Refining Fire by Mendham Dawn. [’"The work of 16 Australian artists - painters, sculptors and stained-glass artists. The plates reveal the high quality of their art. The text reveals the role of perseverance, dedication and faith in the creative task. ...a rich tapestry spun from the artist' lives and work" Includes artists Margaret Ackland Robert Baines Rick Ball Irene Barberis Warren Breninger Leigh and Peter Campbell Dieter Engler Barbara Grosman John Hopkins Ashleigh Manley Idris Murphy Chris Neild Ariel Pearce Mark Weichard David Wright.’]
Publishing details: Albatross Books, 1987, pb, 160 pages of large & small bw photos.
Engler Dieter view full entry
Reference: see Mendham Dawn - The Refining Fire by Mendham Dawn. [’"The work of 16 Australian artists - painters, sculptors and stained-glass artists. The plates reveal the high quality of their art. The text reveals the role of perseverance, dedication and faith in the creative task. ...a rich tapestry spun from the artist' lives and work" Includes artists Margaret Ackland Robert Baines Rick Ball Irene Barberis Warren Breninger Leigh and Peter Campbell Dieter Engler Barbara Grosman John Hopkins Ashleigh Manley Idris Murphy Chris Neild Ariel Pearce Mark Weichard David Wright.’]
Publishing details: Albatross Books, 1987, pb, 160 pages of large & small bw photos.
Grosman Barbara view full entry
Reference: see Mendham Dawn - The Refining Fire by Mendham Dawn. [’"The work of 16 Australian artists - painters, sculptors and stained-glass artists. The plates reveal the high quality of their art. The text reveals the role of perseverance, dedication and faith in the creative task. ...a rich tapestry spun from the artist' lives and work" Includes artists Margaret Ackland Robert Baines Rick Ball Irene Barberis Warren Breninger Leigh and Peter Campbell Dieter Engler Barbara Grosman John Hopkins Ashleigh Manley Idris Murphy Chris Neild Ariel Pearce Mark Weichard David Wright.’]
Publishing details: Albatross Books, 1987, pb, 160 pages of large & small bw photos.
Hopkins John view full entry
Reference: see Mendham Dawn - The Refining Fire by Mendham Dawn. [’"The work of 16 Australian artists - painters, sculptors and stained-glass artists. The plates reveal the high quality of their art. The text reveals the role of perseverance, dedication and faith in the creative task. ...a rich tapestry spun from the artist' lives and work" Includes artists Margaret Ackland Robert Baines Rick Ball Irene Barberis Warren Breninger Leigh and Peter Campbell Dieter Engler Barbara Grosman John Hopkins Ashleigh Manley Idris Murphy Chris Neild Ariel Pearce Mark Weichard David Wright.’]
Publishing details: Albatross Books, 1987, pb, 160 pages of large & small bw photos.
Manley Ashleigh view full entry
Reference: see Mendham Dawn - The Refining Fire by Mendham Dawn. [’"The work of 16 Australian artists - painters, sculptors and stained-glass artists. The plates reveal the high quality of their art. The text reveals the role of perseverance, dedication and faith in the creative task. ...a rich tapestry spun from the artist' lives and work" Includes artists Margaret Ackland Robert Baines Rick Ball Irene Barberis Warren Breninger Leigh and Peter Campbell Dieter Engler Barbara Grosman John Hopkins Ashleigh Manley Idris Murphy Chris Neild Ariel Pearce Mark Weichard David Wright.’]
Publishing details: Albatross Books, 1987, pb, 160 pages of large & small bw photos.
Murphy Idris view full entry
Reference: see Mendham Dawn - The Refining Fire by Mendham Dawn. [’"The work of 16 Australian artists - painters, sculptors and stained-glass artists. The plates reveal the high quality of their art. The text reveals the role of perseverance, dedication and faith in the creative task. ...a rich tapestry spun from the artist' lives and work" Includes artists Margaret Ackland Robert Baines Rick Ball Irene Barberis Warren Breninger Leigh and Peter Campbell Dieter Engler Barbara Grosman John Hopkins Ashleigh Manley Idris Murphy Chris Neild Ariel Pearce Mark Weichard David Wright.’]
Publishing details: Albatross Books, 1987, pb, 160 pages of large & small bw photos.
Neild Chris view full entry
Reference: see Mendham Dawn - The Refining Fire by Mendham Dawn. [’"The work of 16 Australian artists - painters, sculptors and stained-glass artists. The plates reveal the high quality of their art. The text reveals the role of perseverance, dedication and faith in the creative task. ...a rich tapestry spun from the artist' lives and work" Includes artists Margaret Ackland Robert Baines Rick Ball Irene Barberis Warren Breninger Leigh and Peter Campbell Dieter Engler Barbara Grosman John Hopkins Ashleigh Manley Idris Murphy Chris Neild Ariel Pearce Mark Weichard David Wright.’]
Publishing details: Albatross Books, 1987, pb, 160 pages of large & small bw photos.
Pearce Ariel view full entry
Reference: see Mendham Dawn - The Refining Fire by Mendham Dawn. [’"The work of 16 Australian artists - painters, sculptors and stained-glass artists. The plates reveal the high quality of their art. The text reveals the role of perseverance, dedication and faith in the creative task. ...a rich tapestry spun from the artist' lives and work" Includes artists Margaret Ackland Robert Baines Rick Ball Irene Barberis Warren Breninger Leigh and Peter Campbell Dieter Engler Barbara Grosman John Hopkins Ashleigh Manley Idris Murphy Chris Neild Ariel Pearce Mark Weichard David Wright.’]
Publishing details: Albatross Books, 1987, pb, 160 pages of large & small bw photos.
Weichard Mark view full entry
Reference: see Mendham Dawn - The Refining Fire by Mendham Dawn. [’"The work of 16 Australian artists - painters, sculptors and stained-glass artists. The plates reveal the high quality of their art. The text reveals the role of perseverance, dedication and faith in the creative task. ...a rich tapestry spun from the artist' lives and work" Includes artists Margaret Ackland Robert Baines Rick Ball Irene Barberis Warren Breninger Leigh and Peter Campbell Dieter Engler Barbara Grosman John Hopkins Ashleigh Manley Idris Murphy Chris Neild Ariel Pearce Mark Weichard David Wright.’]
Publishing details: Albatross Books, 1987, pb, 160 pages of large & small bw photos.
Wright David view full entry
Reference: see Mendham Dawn - The Refining Fire by Mendham Dawn. [’"The work of 16 Australian artists - painters, sculptors and stained-glass artists. The plates reveal the high quality of their art. The text reveals the role of perseverance, dedication and faith in the creative task. ...a rich tapestry spun from the artist' lives and work" Includes artists Margaret Ackland Robert Baines Rick Ball Irene Barberis Warren Breninger Leigh and Peter Campbell Dieter Engler Barbara Grosman John Hopkins Ashleigh Manley Idris Murphy Chris Neild Ariel Pearce Mark Weichard David Wright.’]
Publishing details: Albatross Books, 1987, pb, 160 pages of large & small bw photos.
religious art is Australiaview full entry
Reference: see Mendham Dawn - The Refining Fire by Mendham Dawn. [’"The work of 16 Australian artists - painters, sculptors and stained-glass artists. The plates reveal the high quality of their art. The text reveals the role of perseverance, dedication and faith in the creative task. ...a rich tapestry spun from the artist' lives and work" Includes artists Margaret Ackland Robert Baines Rick Ball Irene Barberis Warren Breninger Leigh and Peter Campbell Dieter Engler Barbara Grosman John Hopkins Ashleigh Manley Idris Murphy Chris Neild Ariel Pearce Mark Weichard David Wright.’]
Publishing details: Albatross Books, 1987, pb, 160 pages of large & small bw photos.
religion in Australian artview full entry
Reference: see Mendham Dawn - The Refining Fire by Mendham Dawn. [’"The work of 16 Australian artists - painters, sculptors and stained-glass artists. The plates reveal the high quality of their art. The text reveals the role of perseverance, dedication and faith in the creative task. ...a rich tapestry spun from the artist' lives and work" Includes artists Margaret Ackland Robert Baines Rick Ball Irene Barberis Warren Breninger Leigh and Peter Campbell Dieter Engler Barbara Grosman John Hopkins Ashleigh Manley Idris Murphy Chris Neild Ariel Pearce Mark Weichard David Wright.’]
Publishing details: Albatross Books, 1987, pb, 160 pages of large & small bw photos.
50 Australian artists. Vol. 1view full entry
Reference: 50 Australian artists. Vol. 1. Has "Directory of artists" with artists’ addresses and the galleries at which they exhibit. There is a biography of each artist, a photographic portrait and at least one colour illustration of a work by each artist
Publishing details: Artists Ink, Australia, c1994 
1 v. (unpaged) : chiefly col. ill., ports.
Anderson Peter Andrewview full entry
Reference: see 50 Australian artists. Vol. 1. Has "Directory of artists" with artists’ addresses and the galleries at which they exhibit. There is a biography of each artist, a photographic portrait and at least one colour illustration of a work by each artist
Publishing details: Artists Ink, Australia, c1994 
1 v. (unpaged) : chiefly col. ill., ports.
Atkins Christine Fview full entry
Reference: see 50 Australian artists. Vol. 1. Has "Directory of artists" with artists’ addresses and the galleries at which they exhibit. There is a biography of each artist, a photographic portrait and at least one colour illustration of a work by each artist
Publishing details: Artists Ink, Australia, c1994 
1 v. (unpaged) : chiefly col. ill., ports.
August Barbara Eview full entry
Reference: see 50 Australian artists. Vol. 1. Has "Directory of artists" with artists’ addresses and the galleries at which they exhibit. There is a biography of each artist, a photographic portrait and at least one colour illustration of a work by each artist
Publishing details: Artists Ink, Australia, c1994 
1 v. (unpaged) : chiefly col. ill., ports.
Balmain Johnview full entry
Reference: see 50 Australian artists. Vol. 1. Has "Directory of artists" with artists’ addresses and the galleries at which they exhibit. There is a biography of each artist, a photographic portrait and at least one colour illustration of a work by each artist
Publishing details: Artists Ink, Australia, c1994 
1 v. (unpaged) : chiefly col. ill., ports.
Bosch Lilliianview full entry
Reference: see 50 Australian artists. Vol. 1. Has "Directory of artists" with artists’ addresses and the galleries at which they exhibit. There is a biography of each artist, a photographic portrait and at least one colour illustration of a work by each artist
Publishing details: Artists Ink, Australia, c1994 
1 v. (unpaged) : chiefly col. ill., ports.
Castagnet Alvaroview full entry
Reference: see 50 Australian artists. Vol. 1. Has "Directory of artists" with artists’ addresses and the galleries at which they exhibit. There is a biography of each artist, a photographic portrait and at least one colour illustration of a work by each artist
Publishing details: Artists Ink, Australia, c1994 
1 v. (unpaged) : chiefly col. ill., ports.
Davis Geoffreyview full entry
Reference: see 50 Australian artists. Vol. 1. Has "Directory of artists" with artists’ addresses and the galleries at which they exhibit. There is a biography of each artist, a photographic portrait and at least one colour illustration of a work by each artist
Publishing details: Artists Ink, Australia, c1994 
1 v. (unpaged) : chiefly col. ill., ports.
Dollery Johnview full entry
Reference: see 50 Australian artists. Vol. 1. Has "Directory of artists" with artists’ addresses and the galleries at which they exhibit. There is a biography of each artist, a photographic portrait and at least one colour illustration of a work by each artist
Publishing details: Artists Ink, Australia, c1994 
1 v. (unpaged) : chiefly col. ill., ports.
Drew Dudleyview full entry
Reference: see 50 Australian artists. Vol. 1. Has "Directory of artists" with artists’ addresses and the galleries at which they exhibit. There is a biography of each artist, a photographic portrait and at least one colour illustration of a work by each artist
Publishing details: Artists Ink, Australia, c1994 
1 v. (unpaged) : chiefly col. ill., ports.
Duncan-Firth Johnview full entry
Reference: see 50 Australian artists. Vol. 1. Has "Directory of artists" with artists’ addresses and the galleries at which they exhibit. There is a biography of each artist, a photographic portrait and at least one colour illustration of a work by each artist
Publishing details: Artists Ink, Australia, c1994 
1 v. (unpaged) : chiefly col. ill., ports.
Dunne Peterview full entry
Reference: see 50 Australian artists. Vol. 1. Has "Directory of artists" with artists’ addresses and the galleries at which they exhibit. There is a biography of each artist, a photographic portrait and at least one colour illustration of a work by each artist
Publishing details: Artists Ink, Australia, c1994 
1 v. (unpaged) : chiefly col. ill., ports.
Eggleton Peterview full entry
Reference: see 50 Australian artists. Vol. 1. Has "Directory of artists" with artists’ addresses and the galleries at which they exhibit. There is a biography of each artist, a photographic portrait and at least one colour illustration of a work by each artist
Publishing details: Artists Ink, Australia, c1994 
1 v. (unpaged) : chiefly col. ill., ports.
Farley Philipview full entry
Reference: see 50 Australian artists. Vol. 1. Has "Directory of artists" with artists’ addresses and the galleries at which they exhibit. There is a biography of each artist, a photographic portrait and at least one colour illustration of a work by each artist
Publishing details: Artists Ink, Australia, c1994 
1 v. (unpaged) : chiefly col. ill., ports.
Fletcher R Russellview full entry
Reference: see 50 Australian artists. Vol. 1. Has "Directory of artists" with artists’ addresses and the galleries at which they exhibit. There is a biography of each artist, a photographic portrait and at least one colour illustration of a work by each artist
Publishing details: Artists Ink, Australia, c1994 
1 v. (unpaged) : chiefly col. ill., ports.
Fuller Warwickview full entry
Reference: see 50 Australian artists. Vol. 1. Has "Directory of artists" with artists’ addresses and the galleries at which they exhibit. There is a biography of each artist, a photographic portrait and at least one colour illustration of a work by each artist
Publishing details: Artists Ink, Australia, c1994 
1 v. (unpaged) : chiefly col. ill., ports.
Gorman-Mellady Lynview full entry
Reference: see 50 Australian artists. Vol. 1. Has "Directory of artists" with artists’ addresses and the galleries at which they exhibit. There is a biography of each artist, a photographic portrait and at least one colour illustration of a work by each artist
Publishing details: Artists Ink, Australia, c1994 
1 v. (unpaged) : chiefly col. ill., ports.
House Sandraview full entry
Reference: see 50 Australian artists. Vol. 1. Has "Directory of artists" with artists’ addresses and the galleries at which they exhibit. There is a biography of each artist, a photographic portrait and at least one colour illustration of a work by each artist
Publishing details: Artists Ink, Australia, c1994 
1 v. (unpaged) : chiefly col. ill., ports.
Hunt Royview full entry
Reference: see 50 Australian artists. Vol. 1. Has "Directory of artists" with artists’ addresses and the galleries at which they exhibit. There is a biography of each artist, a photographic portrait and at least one colour illustration of a work by each artist
Publishing details: Artists Ink, Australia, c1994 
1 v. (unpaged) : chiefly col. ill., ports.
Jansons Andrisview full entry
Reference: see 50 Australian artists. Vol. 1. Has "Directory of artists" with artists’ addresses and the galleries at which they exhibit. There is a biography of each artist, a photographic portrait and at least one colour illustration of a work by each artist
Publishing details: Artists Ink, Australia, c1994 
1 v. (unpaged) : chiefly col. ill., ports.
Kelly Anneeview full entry
Reference: see 50 Australian artists. Vol. 1. Has "Directory of artists" with artists’ addresses and the galleries at which they exhibit. There is a biography of each artist, a photographic portrait and at least one colour illustration of a work by each artist
Publishing details: Artists Ink, Australia, c1994 
1 v. (unpaged) : chiefly col. ill., ports.
King Diview full entry
Reference: see 50 Australian artists. Vol. 1. Has "Directory of artists" with artists’ addresses and the galleries at which they exhibit. There is a biography of each artist, a photographic portrait and at least one colour illustration of a work by each artist
Publishing details: Artists Ink, Australia, c1994 
1 v. (unpaged) : chiefly col. ill., ports.
King Myrie Juliaview full entry
Reference: see 50 Australian artists. Vol. 1. Has "Directory of artists" with artists’ addresses and the galleries at which they exhibit. There is a biography of each artist, a photographic portrait and at least one colour illustration of a work by each artist
Publishing details: Artists Ink, Australia, c1994 
1 v. (unpaged) : chiefly col. ill., ports.
Larnach-Jones Maryview full entry
Reference: see 50 Australian artists. Vol. 1. Has "Directory of artists" with artists’ addresses and the galleries at which they exhibit. There is a biography of each artist, a photographic portrait and at least one colour illustration of a work by each artist
Publishing details: Artists Ink, Australia, c1994 
1 v. (unpaged) : chiefly col. ill., ports.
Long Janview full entry
Reference: see 50 Australian artists. Vol. 1. Has "Directory of artists" with artists’ addresses and the galleries at which they exhibit. There is a biography of each artist, a photographic portrait and at least one colour illustration of a work by each artist
Publishing details: Artists Ink, Australia, c1994 
1 v. (unpaged) : chiefly col. ill., ports.
Lovell Nadeenview full entry
Reference: see 50 Australian artists. Vol. 1. Has "Directory of artists" with artists’ addresses and the galleries at which they exhibit. There is a biography of each artist, a photographic portrait and at least one colour illustration of a work by each artist
Publishing details: Artists Ink, Australia, c1994 
1 v. (unpaged) : chiefly col. ill., ports.
Magilton Walterview full entry
Reference: see 50 Australian artists. Vol. 1. Has "Directory of artists" with artists’ addresses and the galleries at which they exhibit. There is a biography of each artist, a photographic portrait and at least one colour illustration of a work by each artist
Publishing details: Artists Ink, Australia, c1994 
1 v. (unpaged) : chiefly col. ill., ports.
Matthews Janetview full entry
Reference: see 50 Australian artists. Vol. 1. Has "Directory of artists" with artists’ addresses and the galleries at which they exhibit. There is a biography of each artist, a photographic portrait and at least one colour illustration of a work by each artist
Publishing details: Artists Ink, Australia, c1994 
1 v. (unpaged) : chiefly col. ill., ports.
McManus Barbaraview full entry
Reference: see 50 Australian artists. Vol. 1. Has "Directory of artists" with artists’ addresses and the galleries at which they exhibit. There is a biography of each artist, a photographic portrait and at least one colour illustration of a work by each artist
Publishing details: Artists Ink, Australia, c1994 
1 v. (unpaged) : chiefly col. ill., ports.
Miles Garyview full entry
Reference: see 50 Australian artists. Vol. 1. Has "Directory of artists" with artists’ addresses and the galleries at which they exhibit. There is a biography of each artist, a photographic portrait and at least one colour illustration of a work by each artist
Publishing details: Artists Ink, Australia, c1994 
1 v. (unpaged) : chiefly col. ill., ports.
Milton Caroleview full entry
Reference: see 50 Australian artists. Vol. 1. Has "Directory of artists" with artists’ addresses and the galleries at which they exhibit. There is a biography of each artist, a photographic portrait and at least one colour illustration of a work by each artist
Publishing details: Artists Ink, Australia, c1994 
1 v. (unpaged) : chiefly col. ill., ports.
Mutsaers Johnview full entry
Reference: see 50 Australian artists. Vol. 1. Has "Directory of artists" with artists’ addresses and the galleries at which they exhibit. There is a biography of each artist, a photographic portrait and at least one colour illustration of a work by each artist
Publishing details: Artists Ink, Australia, c1994 
1 v. (unpaged) : chiefly col. ill., ports.
Morvell Steveview full entry
Reference: see 50 Australian artists. Vol. 1. Has "Directory of artists" with artists’ addresses and the galleries at which they exhibit. There is a biography of each artist, a photographic portrait and at least one colour illustration of a work by each artist
Publishing details: Artists Ink, Australia, c1994 
1 v. (unpaged) : chiefly col. ill., ports.
Noble Doview full entry
Reference: see 50 Australian artists. Vol. 1. Has "Directory of artists" with artists’ addresses and the galleries at which they exhibit. There is a biography of each artist, a photographic portrait and at least one colour illustration of a work by each artist
Publishing details: Artists Ink, Australia, c1994 
1 v. (unpaged) : chiefly col. ill., ports.
O’Bryan Mardieview full entry
Reference: see 50 Australian artists. Vol. 1. Has "Directory of artists" with artists’ addresses and the galleries at which they exhibit. There is a biography of each artist, a photographic portrait and at least one colour illustration of a work by each artist
Publishing details: Artists Ink, Australia, c1994 
1 v. (unpaged) : chiefly col. ill., ports.
Otton Peterview full entry
Reference: see 50 Australian artists. Vol. 1. Has "Directory of artists" with artists’ addresses and the galleries at which they exhibit. There is a biography of each artist, a photographic portrait and at least one colour illustration of a work by each artist
Publishing details: Artists Ink, Australia, c1994 
1 v. (unpaged) : chiefly col. ill., ports.
Pekel Hermanview full entry
Reference: see 50 Australian artists. Vol. 1. Has "Directory of artists" with artists’ addresses and the galleries at which they exhibit. There is a biography of each artist, a photographic portrait and at least one colour illustration of a work by each artist
Publishing details: Artists Ink, Australia, c1994 
1 v. (unpaged) : chiefly col. ill., ports.
Pelchen Bobview full entry
Reference: see 50 Australian artists. Vol. 1. Has "Directory of artists" with artists’ addresses and the galleries at which they exhibit. There is a biography of each artist, a photographic portrait and at least one colour illustration of a work by each artist
Publishing details: Artists Ink, Australia, c1994 
1 v. (unpaged) : chiefly col. ill., ports.
Robbins Jackview full entry
Reference: see 50 Australian artists. Vol. 1. Has "Directory of artists" with artists’ addresses and the galleries at which they exhibit. There is a biography of each artist, a photographic portrait and at least one colour illustration of a work by each artist
Publishing details: Artists Ink, Australia, c1994 
1 v. (unpaged) : chiefly col. ill., ports.
Seberry Jo-Anneview full entry
Reference: see 50 Australian artists. Vol. 1. Has "Directory of artists" with artists’ addresses and the galleries at which they exhibit. There is a biography of each artist, a photographic portrait and at least one colour illustration of a work by each artist
Publishing details: Artists Ink, Australia, c1994 
1 v. (unpaged) : chiefly col. ill., ports.
Shalless Jillview full entry
Reference: see 50 Australian artists. Vol. 1. Has "Directory of artists" with artists’ addresses and the galleries at which they exhibit. There is a biography of each artist, a photographic portrait and at least one colour illustration of a work by each artist
Publishing details: Artists Ink, Australia, c1994 
1 v. (unpaged) : chiefly col. ill., ports.
Shepard Lynetteview full entry
Reference: see 50 Australian artists. Vol. 1. Has "Directory of artists" with artists’ addresses and the galleries at which they exhibit. There is a biography of each artist, a photographic portrait and at least one colour illustration of a work by each artist
Publishing details: Artists Ink, Australia, c1994 
1 v. (unpaged) : chiefly col. ill., ports.
Shingler Laura E (Bet)view full entry
Reference: see 50 Australian artists. Vol. 1. Has "Directory of artists" with artists’ addresses and the galleries at which they exhibit. There is a biography of each artist, a photographic portrait and at least one colour illustration of a work by each artist
Publishing details: Artists Ink, Australia, c1994 
1 v. (unpaged) : chiefly col. ill., ports.
Siemens Richardview full entry
Reference: see 50 Australian artists. Vol. 1. Has "Directory of artists" with artists’ addresses and the galleries at which they exhibit. There is a biography of each artist, a photographic portrait and at least one colour illustration of a work by each artist
Publishing details: Artists Ink, Australia, c1994 
1 v. (unpaged) : chiefly col. ill., ports.
Stannard Ronview full entry
Reference: see 50 Australian artists. Vol. 1. Has "Directory of artists" with artists’ addresses and the galleries at which they exhibit. There is a biography of each artist, a photographic portrait and at least one colour illustration of a work by each artist
Publishing details: Artists Ink, Australia, c1994 
1 v. (unpaged) : chiefly col. ill., ports.
Trebilcock Stephenview full entry
Reference: see 50 Australian artists. Vol. 1. Has "Directory of artists" with artists’ addresses and the galleries at which they exhibit. There is a biography of each artist, a photographic portrait and at least one colour illustration of a work by each artist
Publishing details: Artists Ink, Australia, c1994 
1 v. (unpaged) : chiefly col. ill., ports.
Trembath Emview full entry
Reference: see 50 Australian artists. Vol. 1. Has "Directory of artists" with artists’ addresses and the galleries at which they exhibit. There is a biography of each artist, a photographic portrait and at least one colour illustration of a work by each artist
Publishing details: Artists Ink, Australia, c1994 
1 v. (unpaged) : chiefly col. ill., ports.
Walker Connieview full entry
Reference: see 50 Australian artists. Vol. 1. Has "Directory of artists" with artists’ addresses and the galleries at which they exhibit. There is a biography of each artist, a photographic portrait and at least one colour illustration of a work by each artist
Publishing details: Artists Ink, Australia, c1994 
1 v. (unpaged) : chiefly col. ill., ports.
Wilson Johnview full entry
Reference: see 50 Australian artists. Vol. 1. Has "Directory of artists" with artists’ addresses and the galleries at which they exhibit. There is a biography of each artist, a photographic portrait and at least one colour illustration of a work by each artist
Publishing details: Artists Ink, Australia, c1994 
1 v. (unpaged) : chiefly col. ill., ports.
Wise Glendaview full entry
Reference: see 50 Australian artists. Vol. 1. Has "Directory of artists" with artists’ addresses and the galleries at which they exhibit. There is a biography of each artist, a photographic portrait and at least one colour illustration of a work by each artist
Publishing details: Artists Ink, Australia, c1994 
1 v. (unpaged) : chiefly col. ill., ports.
Woodhead Margaretview full entry
Reference: see 50 Australian artists. Vol. 1. Has "Directory of artists" with artists’ addresses and the galleries at which they exhibit. There is a biography of each artist, a photographic portrait and at least one colour illustration of a work by each artist
Publishing details: Artists Ink, Australia, c1994 
1 v. (unpaged) : chiefly col. ill., ports.
Zhao Hongbinview full entry
Reference: see 50 Australian artists. Vol. 1. Has "Directory of artists" with artists’ addresses and the galleries at which they exhibit. There is a biography of each artist, a photographic portrait and at least one colour illustration of a work by each artist
Publishing details: Artists Ink, Australia, c1994 
1 v. (unpaged) : chiefly col. ill., ports.
Bedwell Edward Parker 1791-1854 view full entry
Reference: At Amanda Addams Auction, 6:30pm Mon November 4, 2013.
Bedwell, Edward Parker. 1791-1854

Lady Parry and Her Daughter A$1,638 Watercolour, signed and dated 1838 lower left, 61.5 x 45 cm

Provenance: Bedwell Family, then onto Wass family by descent .

Historic painting sets auction tone
Author: Richard Brewster | Posted: 1st November, 2013
An historic painting of Lady Isabella Louisa Parry (wife of admiral, Arctic explorer and hydrographer Sir William Parry) and two of her children Isabella and Lucy will be a highlight of Amanda Addams Auctions sale on from 6.30pm Monday at 344 High Street Kew.
Edward Parker Bedwell, who had served with Parry aboard HMS La Hogue during enemy naval actions in America in 1814, painted the watercolour in 1838 – the year before Lady Parry died two days after the last of her 10 children (twin boys) were still born. Born in 1791, from the age of 16 Bedwell was a career seaman who rose to the rank of lieutenant before retiring on half pay in 1815. In later life, he became a proficient artist and in 1846 sketched and then painted Queen Victoria’s reception at the Island of Jersey (where he lived) in which his son Frederick and wife Harriet Drew, lady in waiting to the queen, appear.

Publishing details: 2013
Mosman - a Historyview full entry
Reference: Mosman - a History by Gavin Souter, ‘This book begins with the Borogegal, the area's traditional owners, convict farming, wharfage, residential subdivision, quarrying, suburbanisation and ends with the centenary celebrations of Mosman Council. It is a case study of the 'widely-spread but sparcely documented social class of which Mosman is a microcosm'.
Publishing details: Melbourne University Press, Melbourne, 1994, 24.0 x 16.0cms, 378pp, b/w illusts, fine hardcover & dustwrapper
Ref: 1000
Woolloomoolooview full entry
Reference: Sydney’s Little World of Woolloomooloo - by Isadore Brodsky
Publishing details: Sydney Free Press, Sydney, 1966, 144 pp., acknowledgements and illustrations, references, bibliography and index. Illustrated endpapers, one side been an early illustration of the Butler Stairs and the other a map of Woolloomooloo. Within the text there are 2 coloured plates, numerous black and white text illustrations, black and white photography and maps.
Ref: 1000
The Rocksview full entry
Reference: The Heart of the Rocks of Old Sydney - by Isadore Brodsky
Publishing details: International Publishing, 1967. 147 pp, b/w and colour illustrations
Ref: 1000
Sydneyview full entry
Reference: The Streets of Sydney - by Isadore Brodsky
Publishing details: Old Sydney Free Press, 1962 Neutral Bay 1962 First Edition Cloth & Gilt lettering Spine. Very Good/Very Good. First Edition. 8v0 - 22.4x14.3cm. 224pp.
Ref: 1000
Williams Rhys (illustrator)view full entry
Reference: Atalantic Picture Pageant of Australian History, a collection of collectible cards pated in to oprinted album. Cards illustrated by Rhys Williams. Includes many portraits of the famous and scenes of historical interest. Aproximately 60 images.
Publishing details: Sydney: Simmons: no date [c1959]
Sydney Photographedview full entry
Reference: Sydney Photographed. Book to accompany exhibition 21 December 1994 to 13 February 1995. Curated by Linda Michael [to be indexed]
Publishing details: Museum of Contemporary Art, 1994, 71pp
Ref: 1000
Jack Kennethview full entry
Reference: Ten Paintings of Western Australia. Folio of 10 reproductions
Publishing details: Australian Artist Editions, date?
Ref: 1008
Ropwntree Kennethview full entry
Reference: Kenneth Rowntree (1915-1997), LEAF FROM AN AUSTRALIAN SKETCHBOOK Watercolour and pencil on paper, signed and inscribed with colour notes in pencil, dated 1985 28 x 41cm As a young married man, Rowntree lived in Great Bardfield where he was a friend and neighbour of Bawden and Ravilious, Tirzah Ravilious having found him a house to rent there. Provenance: Studio sale, Anderson and Garland, Newcastle, 2009, lot 299. *Artist's Resale Right may apply to this lot. Auction House
Sworders Fine Art Auctioneers
Auction Title
DAY ONE - Lots 1-499
Auction Date
July 29, 2014, 10:00 AM GMT
Bonnell Warrenview full entry
Reference: see Curwen Gallery
Curwen Gallery UK - Timed Auction Lot 89 – Warren Bonnell,Warren Bonnell,
Pterosaur on Clifftop,
screenprint,
edition: 9 of 50,
framed,
signed,
64 x 49 cm (framed size),
On show at the Curwen Gallery.
Directors Comments:
Warren visited us a great deal while he was studying here and we showed some of his work. My late husband John & I bought this work as a reminder of all the good laughs we had had together before he returned to Australia.
Leslie-Stoneham Leslieview full entry
Reference: in Scheding collection, as at 2014 - Howard Leslie-Stoneham
Gosford Station, 1970s
oil on board
38.5 x 49 cm
signed lower right.
Provenance: a Lawson’s Friday sale, c1984.

At first glance the painting appears to be a good example of the work of an artist associated with the New English Art Club or the Camden Town Group. Reminiscent of artists such as Harold Gilman, Charles Ginner and the lesser-knowns, Robert Bevan, Malcolm Drummond and William Ratcliffe who were working around London in the early 20th century.

Leslie-Stoneham Leslieview full entry
Reference: Willingham Auctions, UK, 19 Jul 2014 10am ‘Good Quality Modern, Furniture for Restoration, Clocks Fine Antique Furniture, Paintings and Rugs’

Lot 763 – Leslie Stoneham - Australian 20th oil on canvas - Miners Houses - Old Gulgong - Ins. verso - 13" x 17"
Berzins Baibaview full entry
Reference: The Coming of The Strangers - Life in Australia 1788 to 1822, by Baiba Berzins. Illustrates and discusses numerous works in the SLNSW. [Works in SLNSW photographed by John Delacour].

‘The Coming of The Strangers challenges our ideas about the European settlement of Australia.  Through a selection of the many documents, paintings and engravings held in the Mitchell and Dixson collections of the State Library of New South Wales, a picture of life in Australia is reconstructed - spanning the arrival of the First Fleet in 1788 to 1822 when the first generation of white Australians had accepted the continent as their home.’
Publishing details: HarperCollins Publishers (Australia) Pty Ltd. 1988, Paperback
Australian women artists and art marketview full entry
Reference: Flowers still bloom in it, but Emily is queen of the closing gender gap
By Terry Ingram, on 13-Jul-2014
The Women's liberation movement beginning in the 1960s is finally having a knock-on effect in the Saleroom.

Figures compiled by the Australian Art Sales Digest (AASD) show that since 1973 gender equality has increased substantially at Australian auctions, the major pointers to the resale market in art in Australia, writes by Terry Ingram.

Figures compiled by the Australian Art Sales Digest show that since 1973 gender equality has increased substantially at Australian art auctions, the major pointers to the resale art market in Australia. The value of art by women artists as a percentage of the total value of art sold at auction has grown from 2 per cent in 1973 to 14 per cent in 2013, assisted by a big contribution from another section of the community that has been the victim of a different social equality bias – Aboriginal art.
Figures compiled by the Australian Art Sales Digest show that since 1973 gender equality has increased substantially at Australian art auctions, the major pointers to the resale art market in Australia. The value of art by women artists as a percentage of the total value of art sold at auction has grown from 2 per cent in 1973 to 14 per cent in 2013, assisted by a big contribution from another section of the community that has been the victim of a different social equality bias – Aboriginal art.
Thanks also to a big contribution from another section of the community that has been the victim of a different social equality bias – Aboriginal art - the value of art by women artists as a percentage of the total value of art sold at auction in Australia has grown from 2 per cent in 1973 to 14 per cent in 2013.

The gap still has a long way to go but, the Cormack sale in Sydney on July 5 and 6 showed that Australian women artists work is being drawn into the saleroom because more women artists have been produced in the contemporary period than any other period and we are now reaching the period where these works are being passed to the next generation, via the resale market.

The decade showing the strongest increase in sales of women's art work was in the last 10 years when the value of art by women artists as a percentage of the total value of art sold at auction in Australia increased 5 percentage points.

The biggest new contributor over the 40 years was the Aboriginal artist Emily Kngwarreye who was not even active when the AASD records commenced.

She contributed $22.076 million to the total value of women's art sold at auction over that period. She also greatly narrowed the gap between the record prices paid for women versus men artists' work.

In 1973 record price was $60,000 for William Dobell's The Dead Landlord. The highest price paid for a woman's work in that year was $1300 for a Carrick Fox.

By the end of 2013, the auction record for a male Australian artist was $5.4 million for Sidney Nolan's First Class Marksman 1946 sold by Menzies Art Brands on 25 March 2007, and for any woman's work, $1,056,000 for Emily Kngwarreye's Earth's Creation, 1995 sold by Lawson-Menzies on 23 May 2007.

Maggie Watson Napangardi was the ninth best selling woman artist on the 50 year list at $2,711,542.

Aboriginal women artists contributed $3.3 million or 24 per cent of the total sales of $13.7 million of women's art at auction in 2013 despite the parlous state of the market in contemporary Aboriginal art.

While Emily's and Maggie's contributions give a more daring subject trend to the women's work, the rise of contributions from other top selling non-indigenous women have helped swing Australian art collecting in the direction of art that is “easy to live” with – flower paintings in particular.

Margaret Olley who is number two at $11.2 million in total sales value from 1973 to 2013, and Grace Cossington Smith at $8.27 million, were flower or comfortable interior painters. By and large Carrick Fox painted flower markets.

Australian collectors might pay more for an Olley than for a work by Fantin-Latour, one of last century's great French flower painters.

But the only overseas artist on the 40 year list is a woman – at number 15 with $2.29 million.

That is the British artist Bridget Riley, her position due entirely to buying by a Sydney decorator, the late Lex Aitken from whose estate they were all sold and returned to British buyers at a Sydney auction.

Overseas appreciation of more challenging women's work occurred this month with the sale at Christie's in London of Tracey Emin's My Bed for £2.5 million.

But fellow British artist Damien Hirst's (Shark Tank) – a similarly challenging installation - made between $US8 million and $US12 million on the dealer market in 2004 according to which account you accept.

Tracey Moffatt puts tougher women's art into the Australian equation with her appearance at 10th place with $2.41 million, but she is closely followed by 11th placed Elizabeth Durack's more easily read subjects at $2.31 million.

It was another woman who took up art, like Emily, in her advanced maturity, and took it in a new direction with her art of lettered packing case planks that gives an edgy touch to the top 10 women.

New Zealand born (1917-1999) Rosalie Gascoigne with toal sales of $10.3 placed her at number 3, despite her not readily accepted medium of knocked together packing case planks.

Attractive as they are, and neglected as she may be, Clarice Beckitt's work is still easy to live with and it is no surprise that she is there at number 7.

Her asking prices lately have been taken to Whistlerian heights on the dealer market, where some of the market has taken shelter in the uncertain financial climate, by Niagara Gallery.

Intrepid artist Mary Ellis Rowan who tramped the New Guinea jungles in her 80s and was a tough price negotiator with the Australian Government for her work, is placed at 16th.

For women to make sculpture may have been more scandalous than painting oils, so Bronwyn Oliver is the only sculptor to make the top 20 list at number 13.

Janet Cumbrae-Stewart is number 18th but would have been much higher if the list were compiled in the 1980s when Dana Rogowski and a different school of dealers were promoting her.

Support for women's art in Australia may have begun from a low base because Australia was always seen as a man's country.

Older Australians will remember the near segregation of men and women in pubs (and certainly the voluntary segregation of men and women at social gatherings) - and abysmally they will note the lingering segregation or isolation of Aborigines in the same situations.

Gender equality may never be complete here because of the limited number of 19th century women artists in Australia.

Women were kept out of mischief by being encouraged to knock off a watercolour in an hour or two when they were not busy with their needlework.

There was a small band who broke the “canvass ceiling” because they were good, believed in themselves and intrepid in pursuit of subjects and patrons.

Adelaide Ironside achieved some international esteem particularly in Rome with her religious paintings but there are not enough of these to offset the much larger output of men's art in the 19th century.

Paradoxically equality may be more approachable in Australia where locally produced art dominates the market because from the Renaissance women were very much in the minority as artists overseas.

Judith Leyster is one of the few who rose to the surface “albeit” with flower paintings.

Artemesia Gentileschi has been the subject of a lot of interest in recent times, but her brutal portrayals of the death of John the Baptist were not comfortably identified with a woman artist by past generations of taste-makers.

The recent growth also reflects the big expansion of women studying art both as practitioners, dealers and researchers.

In the 1970s the then director of the National Gallery of Australia began adding the work of Australia's 1930s printmakers to the gallery's collection.

A batch of works by another elderly lady, the little known 101 year old Helen Baldwin alerted many saleroom buyers to her talent ]when appearing at aucion in July 2014].

Market pressures resulted in the work of many “overlooked” women artists coming to the fore with the "dug up" movement of the 1980s.

Women were edited out of art history, it has been argued, because art history has been written by men.

Australian women's art enjoyed the very focussed attention of Professor Joan Kerr whose Heritage: The National Women's Art Book appeared in 1988 with a painting by Mary Edwards on the cover.

Germaine Greer wrote her book The Boy in 2003 adding to the limited stock of literature on Australian art written from a woman's viewpoint.

Many other books on individual or groups of Australian women artists were published over this period.

The sheer demand for fresh works in the 1980s drew out many forgotten women artists.

The disadvantaged woman artist is brought up nearly every time a gallery has an exhibition of the work of woman artists, who often asked big prices initially.

In 1919 Hilda Rix Nicholas was asking 1000 guineas for the painting Desolation.

In hard times women suffered with men, if not more so, as the role of the male as a breadwinner then came seriously into play.

A writer to the Sydney Morning Herald (November 20, 1930) who signed herself an “unemployed lady artist” said that a lot had been heard of public bodies helping the unemployed in the trade and the professions but nothing about helping the artist.

A friend of hers had advertised for an unemployed lady artist and had over 200 replies. The answer, she suggested, might be an exhibition of works for Christmas presents.


About The Author
Terry Ingram inaugurated the Australian Financial Review's Saleroom section covering the Australian art auction market in 1969.

Kinnane Aaronview full entry
Reference: Aaron Kinnane - Sunset Studies. Short essay on artist by Julian Beaumont OAM. 4 illustrations
Publishing details: Arthouse Gallery, 2014, 6-page folding card,
Ref: 221
Bancks J C (Jimmy)view full entry
Reference: The ‘Ginger Meggs Annual, Xmas’ by Jimmy Bancks were published each year in the 1950s (certainly between 1953-57. [’run’ unknown]). Subtitled ‘Colour Comic Adventures of Ginger Meggs’.
Publishing details: each published by Consolidated Press, approx 30pp each
Ref: 1000
Bancks J C (Jimmy)view full entry
Reference: More Adventures of Ginger Meggs by Jimmy Bancks
Publishing details: Sunbeam Book Series 24, Associated Newspapers, c1940-s, 30pp
Ref: 1000
Cross Stanview full entry
Reference: Wally and the Major, by Stan Cross
Publishing details: Melb. Herald and Weekly Times, c1950s, 48pp, 16th Edition
Ref: 1000
Dixon Lesview full entry
Reference: Bluey and Curley Annual by Les Dixon [’run’ unknown]
Publishing details: Brisbane Courier Mail, c1950s, 24pp
Ref: 1000
Jolliffe Ericview full entry
Reference: Saltbush Bill - Australian Fun on the Farm
Publishing details: Sangravure, c1945, 160pp
Ref: 1000
Russell Jimview full entry
Reference: The Potts Annual [’run’ unknown]
Publishing details: Brisbane Courier Mail, c1950s, 24pp
Ref: 1000
White Unkview full entry
Reference: Bendigo and Eastern Goldfields Sketchbook, drawings by Unk White, text by John Bechervaise
Publishing details: Rigby, 1970, 64pp
Ref: 1000
Australian Sportview full entry
Reference: ONE HUNDRED YEARS OF AUSTRALIAN SPORT by DALY, M.T. A History of the New South Wales Sports Club. Traces the first 100 years of organised sport in Australia.
Publishing details: Syd. NSW Sports Club Ltd. 1996. Oblong 4to. Col.ill.bds. 230pp. Profusely illustrated in b/w. 1st ed.
Ref: 1000
Art Deco in Australiaview full entry
Reference: GROW, Robin. MELBOURNE ART DECO by Robin Grow. Photography by David Thompson.

Publishing details: Collingwood. Ripe off the Press. 2009. 4to. Col.Ill.
wrapps. 140pp. Profusely illustrated, mostly in colour.
Ref: 1000
Picture Postcards of Yesteryear: Sydney Harbour Bridgeview full entry
Reference: PICTURE POSTCARDS OF YESTERYEAR: SYDNEY HARBOUR BRIDGE. 24 Ready-to-Mail Views.
Publishing details: Syd. View Productions Pty Ltd. n.d. Col.Ill.wrapps. unpag. b/w ills. Some foxing, else Near Fine copy. Perforated pages of postcards in book, easy to remove and use. Postcards span the construction of the Bridge though to its opening.
Ref: 1000
Art Gallery Society of New South Walesview full entry
Reference: see WHITE, Judith. ART LOVERS. The Story of the Art Gallery Society of New South Wales 1953-2013. . A celebration of 60 years of the Art Gallery Society of NSW.
Publishing details: Syd. Art Gallery Soc. of NSW. 2013. Or.dec.bds. 328pp. Coloured page edges. Profusely illustrated in b/w and colour.
Bramley-Moore Mview full entry
Reference: Mossgreen Gallery catalogue invitation with 4 colour illustrations
Publishing details: Mossgreen, 2014, 4pp
Ref: 8
Fitzjames Michaelview full entry
Reference: Michael Fitzjames - New Works. Australian Galleries catalogue, 10 colour illustrations (although majority of works are in monochrome)
Publishing details: Australian Galleries, 2003, 6-page folding card
Ref: 41
Delacour John photographerview full entry
Reference: see Berzins Baiba - The Coming of The Strangers - Life in Australia 1788 to 1822, by Baiba Berzins. Illustrates and discusses numerous works in the SLNSW. [Works in SLNSW photographed by John Delacour].
.
‘The Coming of The Strangers challenges our ideas about the European settlement of Australia.  Through a selection of the many documents, paintings and engravings held in the Mitchell and Dixson collections of the State Library of New South Wales, a picture of life in Australia is reconstructed - spanning the arrival of the First Fleet in 1788 to 1822 when the first generation of white Australians had accepted the continent as their home.’
Publishing details: HarperCollins Publishers (Australia) Pty Ltd. 1988, Paperback
First Fleet Journals - by William Bradley, James Scott, George Worgan, John Easty, Ralph Clark, Philip Gidley King, Arthur Bowes Smithview full entry
Reference: see Berzins Baiba - The Coming of The Strangers - Life in Australia 1788 to 1822, by Baiba Berzins. Illustrates and discusses numerous works in the SLNSW. [Works in SLNSW photographed by John Delacour].
.
‘The Coming of The Strangers challenges our ideas about the European settlement of Australia.  Through a selection of the many documents, paintings and engravings held in the Mitchell and Dixson collections of the State Library of New South Wales, a picture of life in Australia is reconstructed - spanning the arrival of the First Fleet in 1788 to 1822 when the first generation of white Australians had accepted the continent as their home.’
Publishing details: HarperCollins Publishers (Australia) Pty Ltd. 1988, Paperback
Hunter John Journal frontispiece view full entry
Reference: see Berzins Baiba - The Coming of The Strangers - Life in Australia 1788 to 1822, by Baiba Berzins. Illustrates and discusses numerous works in the SLNSW. [Works in SLNSW photographed by John Delacour].
.
‘The Coming of The Strangers challenges our ideas about the European settlement of Australia.  Through a selection of the many documents, paintings and engravings held in the Mitchell and Dixson collections of the State Library of New South Wales, a picture of life in Australia is reconstructed - spanning the arrival of the First Fleet in 1788 to 1822 when the first generation of white Australians had accepted the continent as their home.’
Publishing details: HarperCollins Publishers (Australia) Pty Ltd. 1988, Paperback
Kuyper J 1804view full entry
Reference: see Berzins Baiba - The Coming of The Strangers - Life in Australia 1788 to 1822, by Baiba Berzins. Illustrates and discusses numerous works in the SLNSW. [Works in SLNSW photographed by John Delacour].
.
‘The Coming of The Strangers challenges our ideas about the European settlement of Australia.  Through a selection of the many documents, paintings and engravings held in the Mitchell and Dixson collections of the State Library of New South Wales, a picture of life in Australia is reconstructed - spanning the arrival of the First Fleet in 1788 to 1822 when the first generation of white Australians had accepted the continent as their home.’
Publishing details: HarperCollins Publishers (Australia) Pty Ltd. 1988, Paperback
King Philip Gidleyview full entry
Reference: see Berzins Baiba - The Coming of The Strangers - Life in Australia 1788 to 1822, by Baiba Berzins. Illustrates and discusses numerous works in the SLNSW. [Works in SLNSW photographed by John Delacour].
.
‘The Coming of The Strangers challenges our ideas about the European settlement of Australia.  Through a selection of the many documents, paintings and engravings held in the Mitchell and Dixson collections of the State Library of New South Wales, a picture of life in Australia is reconstructed - spanning the arrival of the First Fleet in 1788 to 1822 when the first generation of white Australians had accepted the continent as their home.’
Publishing details: HarperCollins Publishers (Australia) Pty Ltd. 1988, Paperback
King Philip Parkerview full entry
Reference: see Berzins Baiba - The Coming of The Strangers - Life in Australia 1788 to 1822, by Baiba Berzins. Illustrates and discusses numerous works in the SLNSW. [Works in SLNSW photographed by John Delacour].
.
‘The Coming of The Strangers challenges our ideas about the European settlement of Australia.  Through a selection of the many documents, paintings and engravings held in the Mitchell and Dixson collections of the State Library of New South Wales, a picture of life in Australia is reconstructed - spanning the arrival of the First Fleet in 1788 to 1822 when the first generation of white Australians had accepted the continent as their home.’
Publishing details: HarperCollins Publishers (Australia) Pty Ltd. 1988, Paperback
Tobin Georgeview full entry
Reference: see Berzins Baiba - The Coming of The Strangers - Life in Australia 1788 to 1822, by Baiba Berzins. Illustrates and discusses numerous works in the SLNSW. [Works in SLNSW photographed by John Delacour].
.
‘The Coming of The Strangers challenges our ideas about the European settlement of Australia.  Through a selection of the many documents, paintings and engravings held in the Mitchell and Dixson collections of the State Library of New South Wales, a picture of life in Australia is reconstructed - spanning the arrival of the First Fleet in 1788 to 1822 when the first generation of white Australians had accepted the continent as their home.’
Publishing details: HarperCollins Publishers (Australia) Pty Ltd. 1988, Paperback
Ravenet Juanview full entry
Reference: see Berzins Baiba - The Coming of The Strangers - Life in Australia 1788 to 1822, by Baiba Berzins. Illustrates and discusses numerous works in the SLNSW. [Works in SLNSW photographed by John Delacour].
.
‘The Coming of The Strangers challenges our ideas about the European settlement of Australia.  Through a selection of the many documents, paintings and engravings held in the Mitchell and Dixson collections of the State Library of New South Wales, a picture of life in Australia is reconstructed - spanning the arrival of the First Fleet in 1788 to 1822 when the first generation of white Australians had accepted the continent as their home.’
Publishing details: HarperCollins Publishers (Australia) Pty Ltd. 1988, Paperback
Harris G P 1806view full entry
Reference: see Berzins Baiba - The Coming of The Strangers - Life in Australia 1788 to 1822, by Baiba Berzins. Illustrates and discusses numerous works in the SLNSW. [Works in SLNSW photographed by John Delacour].
.
‘The Coming of The Strangers challenges our ideas about the European settlement of Australia.  Through a selection of the many documents, paintings and engravings held in the Mitchell and Dixson collections of the State Library of New South Wales, a picture of life in Australia is reconstructed - spanning the arrival of the First Fleet in 1788 to 1822 when the first generation of white Australians had accepted the continent as their home.’
Publishing details: HarperCollins Publishers (Australia) Pty Ltd. 1988, Paperback
Lewin John Williamview full entry
Reference: see Berzins Baiba - The Coming of The Strangers - Life in Australia 1788 to 1822, by Baiba Berzins. Illustrates and discusses numerous works in the SLNSW. [Works in SLNSW photographed by John Delacour].
.
‘The Coming of The Strangers challenges our ideas about the European settlement of Australia.  Through a selection of the many documents, paintings and engravings held in the Mitchell and Dixson collections of the State Library of New South Wales, a picture of life in Australia is reconstructed - spanning the arrival of the First Fleet in 1788 to 1822 when the first generation of white Australians had accepted the continent as their home.’
Publishing details: HarperCollins Publishers (Australia) Pty Ltd. 1988, Paperback
Arago Jacquesview full entry
Reference: see Berzins Baiba - The Coming of The Strangers - Life in Australia 1788 to 1822, by Baiba Berzins. Illustrates and discusses numerous works in the SLNSW. [Works in SLNSW photographed by John Delacour].
.
‘The Coming of The Strangers challenges our ideas about the European settlement of Australia.  Through a selection of the many documents, paintings and engravings held in the Mitchell and Dixson collections of the State Library of New South Wales, a picture of life in Australia is reconstructed - spanning the arrival of the First Fleet in 1788 to 1822 when the first generation of white Australians had accepted the continent as their home.’
Publishing details: HarperCollins Publishers (Australia) Pty Ltd. 1988, Paperback
Lesueur C Aview full entry
Reference: see Berzins Baiba - The Coming of The Strangers - Life in Australia 1788 to 1822, by Baiba Berzins. Illustrates and discusses numerous works in the SLNSW. [Works in SLNSW photographed by John Delacour].
.
‘The Coming of The Strangers challenges our ideas about the European settlement of Australia.  Through a selection of the many documents, paintings and engravings held in the Mitchell and Dixson collections of the State Library of New South Wales, a picture of life in Australia is reconstructed - spanning the arrival of the First Fleet in 1788 to 1822 when the first generation of white Australians had accepted the continent as their home.’
Publishing details: HarperCollins Publishers (Australia) Pty Ltd. 1988, Paperback
Bellingshausen Thaddeus 1820view full entry
Reference: see Berzins Baiba - The Coming of The Strangers - Life in Australia 1788 to 1822, by Baiba Berzins. Illustrates and discusses numerous works in the SLNSW. [Works in SLNSW photographed by John Delacour].
.
‘The Coming of The Strangers challenges our ideas about the European settlement of Australia.  Through a selection of the many documents, paintings and engravings held in the Mitchell and Dixson collections of the State Library of New South Wales, a picture of life in Australia is reconstructed - spanning the arrival of the First Fleet in 1788 to 1822 when the first generation of white Australians had accepted the continent as their home.’
Publishing details: HarperCollins Publishers (Australia) Pty Ltd. 1988, Paperback
Watling Thomasview full entry
Reference: see Berzins Baiba - The Coming of The Strangers - Life in Australia 1788 to 1822, by Baiba Berzins. Illustrates and discusses numerous works in the SLNSW. [Works in SLNSW photographed by John Delacour].
.
‘The Coming of The Strangers challenges our ideas about the European settlement of Australia.  Through a selection of the many documents, paintings and engravings held in the Mitchell and Dixson collections of the State Library of New South Wales, a picture of life in Australia is reconstructed - spanning the arrival of the First Fleet in 1788 to 1822 when the first generation of white Australians had accepted the continent as their home.’
Publishing details: HarperCollins Publishers (Australia) Pty Ltd. 1988, Paperback
Laurillardview full entry
Reference: see Berzins Baiba - The Coming of The Strangers - Life in Australia 1788 to 1822, by Baiba Berzins. Illustrates and discusses numerous works in the SLNSW. [Works in SLNSW photographed by John Delacour].
.
‘The Coming of The Strangers challenges our ideas about the European settlement of Australia.  Through a selection of the many documents, paintings and engravings held in the Mitchell and Dixson collections of the State Library of New South Wales, a picture of life in Australia is reconstructed - spanning the arrival of the First Fleet in 1788 to 1822 when the first generation of white Australians had accepted the continent as their home.’
Publishing details: HarperCollins Publishers (Australia) Pty Ltd. 1988, Paperback
Stone Sarahview full entry
Reference: see Berzins Baiba - The Coming of The Strangers - Life in Australia 1788 to 1822, by Baiba Berzins. Illustrates and discusses numerous works in the SLNSW. [Works in SLNSW photographed by John Delacour].
.
‘The Coming of The Strangers challenges our ideas about the European settlement of Australia.  Through a selection of the many documents, paintings and engravings held in the Mitchell and Dixson collections of the State Library of New South Wales, a picture of life in Australia is reconstructed - spanning the arrival of the First Fleet in 1788 to 1822 when the first generation of white Australians had accepted the continent as their home.’
Publishing details: HarperCollins Publishers (Australia) Pty Ltd. 1988, Paperback
vignette of Malmaison with kangaroosview full entry
Reference: see Berzins Baiba - The Coming of The Strangers - Life in Australia 1788 to 1822, by Baiba Berzins. Illustrates and discusses numerous works in the SLNSW. [Works in SLNSW photographed by John Delacour].
.
‘The Coming of The Strangers challenges our ideas about the European settlement of Australia.  Through a selection of the many documents, paintings and engravings held in the Mitchell and Dixson collections of the State Library of New South Wales, a picture of life in Australia is reconstructed - spanning the arrival of the First Fleet in 1788 to 1822 when the first generation of white Australians had accepted the continent as their home.’
Publishing details: HarperCollins Publishers (Australia) Pty Ltd. 1988, Paperback
Hunter John portrait of him by William Mineard Bennettview full entry
Reference: see Berzins Baiba - The Coming of The Strangers - Life in Australia 1788 to 1822, by Baiba Berzins. Illustrates and discusses numerous works in the SLNSW. [Works in SLNSW photographed by John Delacour].
.
‘The Coming of The Strangers challenges our ideas about the European settlement of Australia.  Through a selection of the many documents, paintings and engravings held in the Mitchell and Dixson collections of the State Library of New South Wales, a picture of life in Australia is reconstructed - spanning the arrival of the First Fleet in 1788 to 1822 when the first generation of white Australians had accepted the continent as their home.’
Publishing details: HarperCollins Publishers (Australia) Pty Ltd. 1988, Paperback
Lycett Josephview full entry
Reference: see Berzins Baiba - The Coming of The Strangers - Life in Australia 1788 to 1822, by Baiba Berzins. Illustrates and discusses numerous works in the SLNSW. [Works in SLNSW photographed by John Delacour].
.
‘The Coming of The Strangers challenges our ideas about the European settlement of Australia.  Through a selection of the many documents, paintings and engravings held in the Mitchell and Dixson collections of the State Library of New South Wales, a picture of life in Australia is reconstructed - spanning the arrival of the First Fleet in 1788 to 1822 when the first generation of white Australians had accepted the continent as their home.’
Publishing details: HarperCollins Publishers (Australia) Pty Ltd. 1988, Paperback
miniature paintings of Macquarie family (8)view full entry
Reference: see Berzins Baiba - The Coming of The Strangers - Life in Australia 1788 to 1822, by Baiba Berzins. Illustrates and discusses numerous works in the SLNSW. [Works in SLNSW photographed by John Delacour].
.
‘The Coming of The Strangers challenges our ideas about the European settlement of Australia.  Through a selection of the many documents, paintings and engravings held in the Mitchell and Dixson collections of the State Library of New South Wales, a picture of life in Australia is reconstructed - spanning the arrival of the First Fleet in 1788 to 1822 when the first generation of white Australians had accepted the continent as their home.’
Publishing details: HarperCollins Publishers (Australia) Pty Ltd. 1988, Paperback
Wedgwood Medallion - Sydney Cove 1789view full entry
Reference: see Berzins Baiba - The Coming of The Strangers - Life in Australia 1788 to 1822, by Baiba Berzins. Illustrates and discusses numerous works in the SLNSW. [Works in SLNSW photographed by John Delacour].
.
‘The Coming of The Strangers challenges our ideas about the European settlement of Australia.  Through a selection of the many documents, paintings and engravings held in the Mitchell and Dixson collections of the State Library of New South Wales, a picture of life in Australia is reconstructed - spanning the arrival of the First Fleet in 1788 to 1822 when the first generation of white Australians had accepted the continent as their home.’
Publishing details: HarperCollins Publishers (Australia) Pty Ltd. 1988, Paperback
Raper Georgeview full entry
Reference: see Berzins Baiba - The Coming of The Strangers - Life in Australia 1788 to 1822, by Baiba Berzins. Illustrates and discusses numerous works in the SLNSW. [Works in SLNSW photographed by John Delacour].
.
‘The Coming of The Strangers challenges our ideas about the European settlement of Australia.  Through a selection of the many documents, paintings and engravings held in the Mitchell and Dixson collections of the State Library of New South Wales, a picture of life in Australia is reconstructed - spanning the arrival of the First Fleet in 1788 to 1822 when the first generation of white Australians had accepted the continent as their home.’
Publishing details: HarperCollins Publishers (Australia) Pty Ltd. 1988, Paperback
Mason Edward ‘Cowpasture Road’ 1821-3view full entry
Reference: see Berzins Baiba - The Coming of The Strangers - Life in Australia 1788 to 1822, by Baiba Berzins. Illustrates and discusses numerous works in the SLNSW. [Works in SLNSW photographed by John Delacour].
.
‘The Coming of The Strangers challenges our ideas about the European settlement of Australia.  Through a selection of the many documents, paintings and engravings held in the Mitchell and Dixson collections of the State Library of New South Wales, a picture of life in Australia is reconstructed - spanning the arrival of the First Fleet in 1788 to 1822 when the first generation of white Australians had accepted the continent as their home.’
Publishing details: HarperCollins Publishers (Australia) Pty Ltd. 1988, Paperback
Gregory Mary sampler 1809view full entry
Reference: see Berzins Baiba - The Coming of The Strangers - Life in Australia 1788 to 1822, by Baiba Berzins. Illustrates and discusses numerous works in the SLNSW. [Works in SLNSW photographed by John Delacour].
.
‘The Coming of The Strangers challenges our ideas about the European settlement of Australia.  Through a selection of the many documents, paintings and engravings held in the Mitchell and Dixson collections of the State Library of New South Wales, a picture of life in Australia is reconstructed - spanning the arrival of the First Fleet in 1788 to 1822 when the first generation of white Australians had accepted the continent as their home.’
Publishing details: HarperCollins Publishers (Australia) Pty Ltd. 1988, Paperback
Bradley William 1788 ‘Cape Horn’ wcview full entry
Reference: see Berzins Baiba - The Coming of The Strangers - Life in Australia 1788 to 1822, by Baiba Berzins. Illustrates and discusses numerous works in the SLNSW. [Works in SLNSW photographed by John Delacour].
.
‘The Coming of The Strangers challenges our ideas about the European settlement of Australia.  Through a selection of the many documents, paintings and engravings held in the Mitchell and Dixson collections of the State Library of New South Wales, a picture of life in Australia is reconstructed - spanning the arrival of the First Fleet in 1788 to 1822 when the first generation of white Australians had accepted the continent as their home.’
Publishing details: HarperCollins Publishers (Australia) Pty Ltd. 1988, Paperback
Taylor Major Jamesview full entry
Reference: see Berzins Baiba - The Coming of The Strangers - Life in Australia 1788 to 1822, by Baiba Berzins. Illustrates and discusses numerous works in the SLNSW. [Works in SLNSW photographed by John Delacour].
.
‘The Coming of The Strangers challenges our ideas about the European settlement of Australia.  Through a selection of the many documents, paintings and engravings held in the Mitchell and Dixson collections of the State Library of New South Wales, a picture of life in Australia is reconstructed - spanning the arrival of the First Fleet in 1788 to 1822 when the first generation of white Australians had accepted the continent as their home.’
Publishing details: HarperCollins Publishers (Australia) Pty Ltd. 1988, Paperback
Browne T R 1813 engraving of Newcastleview full entry
Reference: see Berzins Baiba - The Coming of The Strangers - Life in Australia 1788 to 1822, by Baiba Berzins. Illustrates and discusses numerous works in the SLNSW. [Works in SLNSW photographed by John Delacour].
.
‘The Coming of The Strangers challenges our ideas about the European settlement of Australia.  Through a selection of the many documents, paintings and engravings held in the Mitchell and Dixson collections of the State Library of New South Wales, a picture of life in Australia is reconstructed - spanning the arrival of the First Fleet in 1788 to 1822 when the first generation of white Australians had accepted the continent as their home.’
Publishing details: HarperCollins Publishers (Australia) Pty Ltd. 1988, Paperback
Eyre Johnview full entry
Reference: see Berzins Baiba - The Coming of The Strangers - Life in Australia 1788 to 1822, by Baiba Berzins. Illustrates and discusses numerous works in the SLNSW. [Works in SLNSW photographed by John Delacour].
.
‘The Coming of The Strangers challenges our ideas about the European settlement of Australia.  Through a selection of the many documents, paintings and engravings held in the Mitchell and Dixson collections of the State Library of New South Wales, a picture of life in Australia is reconstructed - spanning the arrival of the First Fleet in 1788 to 1822 when the first generation of white Australians had accepted the continent as their home.’
Publishing details: HarperCollins Publishers (Australia) Pty Ltd. 1988, Paperback
Clarke J Aview full entry
Reference: A fine example is in the Queensland Art Gallery.
Rumney Winifredview full entry
Reference: A fine example is in the Queensland Art Gallery.
Fletcher Marjorie sculptorview full entry
Reference: A fine example (a bronze torso) is in the Queensland Art Gallery. See examples in the Art Gallery of South Australia, A Fijian Family. .
Webb Maryview full entry
Reference: A fine example is in the Queensland Art Gallery.
Rayment Robert Sview full entry
Reference: A fine example is in the Queensland Art Gallery.
Neville-Rolfe Harriet Jameview full entry
Reference: A number of examples are in the Queensland Art Gallery.
Hirst C G Sview full entry
Reference: represented in the Queensland Art Gallery.
Owen George Seymourview full entry
Reference: represented in the Queensland Art Gallery.
Yirrkala Drawingsview full entry
Reference: Yirrkala drawings / edited by Cara Pinchbeck with essays by Andrew Blake, Howard Morphy and John Stanton

Publishing details: Sydney : Art Gallery of New South Wales in association with the University of Western Australia, [2013]
Ref: 1000
Aboriginal Artview full entry
Reference: see Yirrkala drawings / edited by Cara Pinchbeck with essays by Andrew Blake, Howard Morphy and John Stanton

Publishing details: Sydney : Art Gallery of New South Wales in association with the University of Western Australia, [2013]
Bedford Paddyview full entry
Reference: Bedford, Paddy. Curator: Russell Storer.
"First published on the occasion of the exhibition Paddy Bedford, Museum of Contemporary Art, Sydney, 9 December 2006-15 April 2007, Art Gallery of Western Australia, Perth, 12 May-22 July 2007, Bendigo Art Gallery, 11 August-16 September 2007, University Art Museum, University of Queensland, Brisbane, 16 November 2007-1 March 2008"
Publishing details: Sydney : Museum of Contemporary Art, 2006 , 184 p. : col. ill., maps, ports.
Includes index.
Ref: 1000
Bedford Paddyview full entry
Reference: Bedford, Paddy 

Summary: ‘Bedford's work transcends the levels of the local and the culturally determined in a surprising and convincing way. In 2006, Paddy Bedford's oeuvre was honoured with a grand retrospective in the Museum of Contemporary Art in Sydney. This book was published for the occasion of his first solo exhibition outside Australia, in the AAMU Museum of contemporary Aboriginal art in Utrecht, the Netherlands’.
Publishing details: Gent : Utrecht : Snoeck; AAMU, [2010?] 
95 p. : col. ill., ports. ;
Ref: 1000
Sub-terrain : Paddy Bedford, Julie Dowling, Derek Kreckler, Matthew Ngui and Juha Tolonenview full entry
Reference: Sub-terrain : Paddy Bedford, Julie Dowling, Derek Kreckler, Matthew Ngui and Juha Tolonen


Publishing details: Perth, W.A. : PICApress, 2006 
1 folded sheet (4 p.) : col. ill. ; 30 cm. 
ISBN 1875387013
Notes Curated by Hannah Mathews.
Catalogue of an exhibition held at the Perth Institute of Contemporary Arts, 9 February - 19 March, 2006.
Ref: 1000
Burrup rock art view full entry
Reference: Burrup rock art : ancient Aboriginal rock art of Burrup Peninsula and Dampier Archipelago Western Australia / Mike Donaldson
Publishing details: Mount Lawley, W.A. : Wildrocks Publications, c2009 
516 p. : col. ill., maps, ports. ; 28 x 28 cm. 
Ref: 1000
Aboriginal rock art view full entry
Reference: see Burrup rock art : ancient Aboriginal rock art of Burrup Peninsula and Dampier Archipelago Western Australia / Mike Donaldson
Publishing details: Mount Lawley, W.A. : Wildrocks Publications, c2009 
516 p. : col. ill., maps, ports. ; 28 x 28 cm. 
Artists of the Western Desertview full entry
Reference: Artists of the Western Desert : 2006-2011 / portraits by Greg Weight and Ken McGregor ; text by Ken McGregor

Summary This is essentially a book of portrait studies of more than 80 senior artists of the Western Desert art movement. Each stunning full-page portrait, reproduced in duotone, is accompanied on its opposite page by an example of the artist's work.
Publishing details: Macmillan Art Publishing, 2011 
199 p. : col. ill., ports. ; 27 cm. 

Ref: 1000
Aboriginal artview full entry
Reference: see Artists of the Western Desert : 2006-2011 / portraits by Greg Weight and Ken McGregor ; text by Ken McGregor

Summary This is essentially a book of portrait studies of more than 80 senior artists of the Western Desert art movement. Each stunning full-page portrait, reproduced in duotone, is accompanied on its opposite page by an example of the artist's work.
Publishing details: Macmillan Art Publishing, 2011 
199 p. : col. ill., ports. ; 27 cm. 

First Australians : an illustrated historyview full entry
Reference: First Australians : an illustrated history / edited by Rachel Perkins and Marcia Langton ; with Wayne Atkinson ... [et al.]

Notes " ... with Wayne Atkinson, James Boyce, RG Kimber, Steve Kinnane, Noel Loos and Bruce Pascoe".
"Companion to the award-winning landmark series on SBS TV"--
Includes index.
Publishing details: Miegunyah Press, 2010, c2008 
xxix, 393 p. : ill. (some col.), 1 col. map, ports.
Ref: 1000
Johnson Timview full entry
Reference: Third Drawer Down/Two Phoenix
Publishing details: Limited Edition, ‘Domestic Art Product’, 2009
Ref: 1000
Nurreegooview full entry
Reference: see Nurreegoo : the art and life of Ron Hurley 1946-2002

Notes Exhibitions held at the Gallery of Modern Art, Brisbane 8 Augrst - 25 October 2009. Includes bibliographical references p. 72.
[’Ron Hurley was born in 1946 into the Gooreng Gooreng and Mununjali peoples of south-east Queensland. He began using his formal Western art education to create art works that highlighted a contemporary Aboriginal existence and politics, and led the development of the urban Indigenous art movement with contemporaries such as Trevor Nickolls and Lin Onus. This exhibition will highlight Hurley's distinguished career as one of the early leaders of the urban political movement in Aboriginal art. Hurley was not only a visual artist; he was also an entertainer. Nurreegoo (pronounced nar-ree-goo) is a Gooreng Gooreng word used for corroboree, entertainment and dance, and encompasses all areas practised within the arts. Ron Hurley’s work and vast knowledge of the arts, history and culture spans many media and art practices.’]

Publishing details: Queensland Art Gallery, 2009 
76 p. : ill. (some col.), facsims., ports. (some col.) ; 28 cm. 
ISBN 9781921503061
Smith Heideview full entry
Reference: Portrait of a people : the Tiwi of northern Australia / Heide Smith ; [text and design, Brian Smith]




Publishing details: Narooma, N.S.W. : Hobbs Point Publishing, c2008 
v, 220 p. : ill.(chiefly col.), maps, ports. ; 31 cm. 
ISBN 9780646487816
Ref: 1000
Edwards McLeanview full entry
Reference: McLean Edwards - Local Heroes. 12 large oil paintings on canvas. Includes biographical details.
Publishing details: Martin Browne Contemporary, 2014, 28pp, price list and invitation inserted.
Ref: 221
Cooley Peterview full entry
Reference: Peter Cooley at the Melbourne Art Fair 2014. 2 works illustrated with prices.
Publishing details: Martin Browne Contemporary, 2014, 4pp folding card.
Ref: 221
Grogan Lucasview full entry
Reference: Lucas Grogan - Wizdom. 5 works illustrated with prices
Publishing details: Martin Browne Contemporary, 2014, 6pp folding card.
Ref: 221
portraits of famous Australiansview full entry
Reference: see Williams Rhys (illustrator) - Atalantic Picture Pageant of Australian History, a collection of collectible cards pated in to oprinted album. Cards illustrated by Rhys Williams. Includes many portraits of the famous and scenes of historical interest. Aproximately 60 images.
Publishing details: Sydney: Simmons: no date [c1959]
Australian historical scenesview full entry
Reference: see Williams Rhys (illustrator) - Atalantic Picture Pageant of Australian History, a collection of collectible cards pated in to oprinted album. Cards illustrated by Rhys Williams. Includes many portraits of the famous and scenes of historical interest. Aproximately 60 images.
Publishing details: Sydney: Simmons: no date [c1959]
Noonan David view full entry
Reference: Exhumed II / [curator David Noonan ; catalogue design Jane Barney and David Noonan]

Notes Exhibition held at Canberra Contemporary Art Space, 13 August - 11 September 1999.
Publishing details: CCAS, [1999] 
[16] p. : col. ill.
Ref: 1000
Noonan David view full entry
Reference: David Noonan : films and paintings 2001-2005
Notes "Monash University Museum of Art, 7 April-11 June 2005."
Publishing details: Monash University Museum of Art, 2005 
85 p. : ill. (some col.) ;
Ref: 1000
Noonan David view full entry
Reference: David Noonan / [edited by Lionel Bovier ; texts: Michael Bracewell, Jennifer Higgie, Dominic Molon]The truth of masks : the art of David Noonan / Michael Bracewell
Time travel / Jennifer Higgie, David Noonan / interviewed by Dominic Molon, Biography, List of works.
 
Notes Includes bibliographical references.
Publishing details: Zurich, Switzerland : JRP/Ringier, ©2012 
159 p. : chiefly ill. (some col.), ports. (some col.)
Ref: 1000
Hjorth Noelaview full entry
Reference: Fantasy of flight / Noela Hjorth 1940-  

Notes "A portfolio of 20 etchings by Noela Hjorth. To accompany selected verses from 37 poems with an introduction by John Olsen"--Leaf [1]
Limited ed. of 5 copies fully bound in leather, with slip case.
Etchings printed on Velin d'arches creme signed by the artist.
Extracts from poems printed on folders of Fabriano-Roma Guido Reni.
Portfolio hand-bound by Charles Zammit.
Accompanied by pen and ink sketch signed by the artist.
Publishing details: [Wagga Wagga, N.S.W. : N. Hjorth, 1981?] Deluxe ed. 
1 portfolio : ill. ; 51 cm. 
Ref: 1000
Deacon Destiny 1957-  view full entry
Reference: Destiny Deacon: walk & don't look blak

Notes Catalogue of an exhibition to be held at the Museum of Contemporary Art, Sydney, from 26 November 2004 to 6 February 2005.
Includes bibliographical references.
Publishing details: Museum of Contemporary Art, 2004 
134 p. : col. ill., ports.
Ref: 1000
Self portraits of NZ artistsview full entry
Reference: This thing in the mirror : self portraits by New Zealand artists / Claire Finlayson

Full contents

• Rita Angus
• Leo Bensemann
• Nigel Brown
• Philip Clairmont
• Jenny Dolezel
• Jacqueline Fahey
• Tony Fomison
• Dick Frizzell
• Rudolf Gopas
• Jeffrey Harris
• Frances Hodgkins
• Michael Illingworth
• Nicola Jackson
• Doris Lusk
• Colin McCahon
• Mary McIntyre
• Peter McIntyre
• Raymond McIntyre
• Richard McWhannell
• J.S. Parker
• Alan Pearson
• Simon Richardson
• Michael Shepherd
• Michael Smither
• Olivia Spencer Bower
• W.A. Sutton
• Grahame Sydney
• Philip Trusttum
• Hariata Ropata Tangahoe
• Michel Tuffery
• Petrus van der Velden
• Robin White
• Lois White.
Publishing details: Craig Potton Publishing, 2004 
132 p. : col. ill., ports. ; 27 x 29 cm. 
ISBN 1877333182
Ref: 1000
Tuffery Michelview full entry
Reference: Michael Tuffery by Siamani Samoa
Publishing details: ?
Ref: 1000
McKenna Noelview full entry
Reference: Noel McKenna : travel notes 2

Notes Published to coincide with the exhibition of the same name, 3 April - 28 April 2012.

Publishing details: Fortitude Valley, Qld. : Heiser Gallery, 2012 
16 p. : col. ill ; 21 cm. 
ISBN 9780646573601
0646573608

Edition: 1500 copies.
Noel McKenna,- Travel notes 2
Ref: 1000
Vesterberg Katarinaview full entry
Reference: Bodies without Surface. Exhibition catalogue.
Publishing details: Brisbane: Andrew Baker Art Dealer, 2012. [36] pages, colour illustrations. Illustrated wrappers.


Ref: 1000
Vesterberg Katarinaview full entry
Reference: Katarina Vesterberg : reverie

Notes Catalogue of an exhibition held in Brisbane at Andrew Baker Art Dealer, 21 March-14 April 2007
Publishing details: Bib ID 4573922
Format Book
Author Vesterberg, Katarina  
Description Bowen Hills, Qld. : Andrew Baker Art Dealer, c2007 
1 v. (unpaged) : col. ill. ; 21 cm. 
Ref: 1000
Vesterberg Katarinaview full entry
Reference: catalogues include: Katarina Vesterberg : seaborne
by Vesterberg, Katarina
Bowen Hills, Qld : Andrew Baker Art Dealer, c2005

 
Katarina Vesterberg : homelands
by Vesterberg, Katarina
Bowen Hills, Qld. : Andrew Baker Art Dealer Pty Ltd. , c2008

 
Katarina Vesterberg : estuary
by Vesterberg, Katarina
Bowen Hills, Qld. : Andrew Baker Art Dealer, ©2010

 
A stranger's beach / Katarina Vesterberg
by Vesterberg, Katarina
Brisbane, Qld. : Andrew Baker Art Dealer, c2003
Publishing details: various
Ref: 1000
Hawkes Gayview full entry
Reference: Dunalley Calico Museum : an installation exhibition of art specimens, naturalia, artificialia, exotica, mirabilia / by Gay Hawkes

Notes "Sponsored by the Dunalley Opera Company and the Dunalley Children's Chair Factory and presented by Ten Days on the Island, 2011"
Exhibition dates: 27 March - 18 April, 2011.
Includes: A strange garden by Jenny Long.
Publishing details: Hobart, Tas. : Ten Days on the Island, 2011] 
24 p. : col. ill., port. ; 15 cm. 
Ref: 1000
Twenty Artistsview full entry
Reference: Twenty Artists - Twenty years of the Churchie Emerging Art Exhibition
Publishing details: ?
Ref: 1000
Churchie emerging art exhibitionview full entry
Reference: see Twenty Artists - Twenty years of the Churchie Emerging Art Exhibition
Publishing details: ?
Bullock Sam 1979-  view full entry
Reference: Sam Bullock : global perspective


Publishing details: Bowen Hills, Qld : Andrew Baker Art Dealer, c2008 
1 vol. (unpaged) : col. ill. ; 21 cm. 
Ref: 1000
Bullock Sam 1979-  view full entry
Reference: Sam Bullock : world reflections

Catalogue of an exhibition held in Brisbane at Andrew Baker Art Dealer, 22 August-15 September 2007.

Publishing details: Brisbane, Qld. : Andrew Baker Art Dealer, 2007 
[14] p. : col. ill. ; 21 cm. 

Ref: 1000
Bullock Sam 1979-  view full entry
Reference: Sam Bullock : revolution in motion
by Bullock, Sam, 1979-
Bowen Hills, Qld. : Andrew Baker Art Dealer, ©2009

 and

Sam Bullock : through the mind's eye
by Bullock, Sam
Bowen Hills, Qld : Andrew Baker Art Dealer, 2005

Publishing details: various
Ref: 1000
Austin Lincolnview full entry
Reference: Lincoln Austin : Field of Vision / [Lincoln Austin talks to Robert Leonard]
 
Notes Catalogue of an exhibition held at the Institute of Modern Art 2 May - 27 June 2009.
Publishing details: Fortitude Valley, Qld. : Institute of Modern Art, c2009 
1 sheet (folds to [4] p.) : ill. ; 21 cm.
Ref: 1000
Austin Lincolnview full entry
Reference: Exhibitions:

Lincoln Austin
by Austin, Lincoln, 1974-
Woollahra, NSW : Rex Irwin Art Dealer, 2010

Lincoln Austin : wayward
by Austin, Lincoln, 1974-
Bowen Hills, Qld. : Andrew Baker Art Dealer, ©2011

 
Lincoln Austin : still moving
by Austin, Lincoln, 1974-
Fortitude Valley, Qld. : Andrew Baker Art Dealer, 2007

 
Lincoln Austin : as far as I can see
by Austin, Lincoln, 1974-
Bowen Hills, Qld. : Andrew Baker Art Dealer, 2009

Publishing details: various
Ref: 1000
Yang Williamview full entry
Reference: William Yang : my uncle's murder

Exhibition catalogue. Essay by: Jacqueline Lo. Includes bibliographical references.
Publishing details: Andrew Baker Art Dealer, 2009 
[18] p. : ill., ports.
Ref: 1000
Westcott Kimview full entry
Reference: Anabranch
Publishing details: Andrew Baker Art Dealer, 2003 
1 vol. (unpaged) : chiefly col. ill. ; 21 cm. 
Notes Title from cover.
Catalogue of an exhibition held in Brisbane at Andrew Baker Art Dealer, 22 August-13 September 2003.
Ref: 1000
Porter Christineview full entry
Reference: Christine Porter : ten years : one thousand paintings / [author/contributors Christine Porter, Kathryn Brimblecombe-Fox, Frederic Bates]

Notes Retrospective exhibition of paintings by Christine Porter, examining her first ten years as a professional artist.
Exhibited at Goondiwindi Waggamba Community Cultural Centre October 12-13 2001, Lismore Regional Art Gallery October 24-Nov 25 2001.
"01 October 2001"--T.p. verso.
Includes two fold out pages of illustrations.
Publishing details: Lismore Heights, N.S.W. : Full Moon Publications, 2001 
47 p. : col. ill. ; 21 x 29 cm. 
ISBN 0957954603
Ref: 1000
Celebrating Aboriginal rights?view full entry
Reference: Celebrating Aboriginal rights? : 16 July - 7 September 2007 / design, Kathie Mason

Summary The art works represent the contemporary Indigenous art movement from a variety of regions whilst the selection of documents, archival material and historical essay represent the rich historical subtext to the long movement for Aboriginal rights--From the foreword.
Art of Tony Albert, Bronwyn Bancroft, Mervyn Bishop, Kevin Butler, Robert Campbell Jnr, Brenda L. Croft, Destiny Deacon, Julie Dowling, Fiona Foley, Juno Gemes, Les Griggs, Alice Hinton Bateup, Jonathon Jones and Ruark Lewis, Leah King-Smith, Clinton Nain, Albert Namatjira, Elaine Russell, and Gordon Syron.
Full contents, Foreword
Celebrating Aboriginal rights? / by Alison Holland
News wrap-up: reportage on the 1967 referendum / by Kiralynne Hill
Stirring up a storm! / by Rhonda Davis
List of artworks
Archival documents.
Publishing details: Macquarie University, 2007 
59 p. : col. ill., ports. ; 18 cm. 
ISBN 9781741382600
Ref: 1000
Artworksview full entry
Reference: Artworks - curated by Tony Jones
Publishing details: Department of Productivity and Labour Relatiuons
Ref: 1000
Celeste-Allen Helenview full entry
Reference: Not for voyeurs : work on paper / Helen Celeste-Allen
Essay by: Jane Magon.
Includes bibliographical references.
Publishing details: Studialaluna Publication, 2008 
[21] p. : col. ill. ; 23 cm. 
ISBN 9780646501635
Notes Catalogue of the exhibition held 25 Sept.-16 Nov., 2008, at the Tweed River Art Gallery in Murwillumbah, N.S.W.
Ref: 1000
Wally Bardaview full entry
Reference: Pictures 1996 / Wally Barda

• Happy valley
• Near phos - poplars choice
• Mangrove pouring
• Smoky-smoky epiphania
• A soul of dove-light Memoria cupressus doxa
• A thicket elektra
• Cleave and plunge
• My bright reaper, positioning.
 
Notes "Exhibited 17 April until 4 May, 1996, Watters Gallery" --Back Cover.
Publishing details: Watters Gallery, 1996 
[10] p. : col. ill. ; 30 cm. 
Ref: 1000
Henderson Glenview full entry
Reference: Shimmer by Glen Henderson

Notes "A special exhibition to aid Howard Florey Institute in association with Brain Awareness Week, Shimmer - MARS (Melbourne Art Rooms) 27 February - 18 March, 2007"--P. [13].
Bibliography: p. [12].
Publishing details: G. Henderson], c2007 
[14] p. : col. ill. ; 23 cm. 
ISBN 9780646471600
Ref: 1000
Henderson Glenview full entry
Reference: Glen Henderson : selected projects 1995-2005 / Glen Henderson

Publishing details: G. Henderson, c2005 
56 p. : col. ill. ; 26 cm. 
ISBN 0646446614

Ref: 1000
Twice on Sundaysview full entry
Reference: Twice on Sundays : [Anthony Lister / Yenda Carson, Anthony Lister, Laura Lombardi, authors ; Michael Fox, editor ; Jon Linkins, Graham Baring, photographs]

Notes Catalogue of an exhibition held at Fox Galleries, Fortitude Valley, in 2005.
Publishing details: Fox Galleries, 2005 
32 p. : col. ill. ; 21 cm. 
ISBN 0958177783
Ref: 1000
Q Space + Q Space Annex view full entry
Reference: Q space + Q space annex, 1980 + 1981 / curator Peter Cripps
Publishing details: Brisbane : Institute of Modern Art, 1986
Ref: 1000
Tabacco Wilmaview full entry
Reference: Wilma Tabacco: Slipstream: 4-29 May 2004 [’An exhibition of works by Wilma Tabacco which continue her exploration of colour and the repeated stripe and abstract bars resembling architectural structures in order to create spatial incongruities.’]
Publishing details: Niagara Galleries Pty Ltd (Paperback, 2004)
Ref: 1000
Figure Itview full entry
Reference: Figure It - Recent works by Julie Rrap, Sally Smart, Brigita Ozolins, Justine Cooper, Mary Scott. Exhibition held Plimsoll Gallery, Tasmanian School of Art, Hunter Street, Hobart, 10 August - 2nd September, 2001.
Exhibition curator: Jonathan Holmes. Includes biographies of the artists.
Publishing details: Plimsoll Gallery, University of Tasmania, 2001 
24 p. : col. ill. ; 13 cm. 
ISBN 0859019608
Ref: 133
Smart Sallyview full entry
Reference: Exhibitions, etc:

Sally Smart
by Smart, Sally, 1960-
Kent Town, S. Aust. : Greenaway Art Gallery, 2004
 
Sally Smart : the unhomely body series ; femmage, shadows and symptoms series
by Smart, Sally, 1960-
Melbourne, Vic. : The Author, c1999, c2000
 
Shadow farm / Sally Smart
by Smart, Sally, 1960-
Bendigo, Vic. : Bendigo Art Gallery, 2001
 
Where I come from the birds sing a pretty song / exhibition by Sally Smart
by Smart, Sally, 1960-
Geelong : Geelong Art Gallery, 1993
 
[Biographical cuttings on Sally Smart, artist, containing one or more cuttings from newspapers or journals]

 
X-ray vanitas, Sally Smart : April 12-April 29, 1989, The Art Gallery, 142 Greville St., Prahran
Prahran, Vic. : The Gallery, 1989
Publishing details: various
Ref: 1000
Lempriere Helenview full entry
Reference: The Helen Lempriere National Sculpture Prize, 2004 catalogue of finalists [to be indexed]
Publishing details: 2004
Ref: 1000
Cress Fredview full entry
Reference: Fred Cress : paintings 1988-1995 / Anthony Bond. Published in conjunction with a Survey Exhibition at the Art Gallery of New South Wales, September 1995. Bibliography.
Publishing details: Art Gallery of New South Wales, 1995, pb,
80 p. : ill. (some col.)
Leunig Michaelview full entry
Reference: Artworks - Holy Fool by Michael Leunig. Summary In Holy Fool more than 240 of Michael Leunig's art works, ranging from paintings and sculpture to prints and drawings, are collected together for the first time.
Publishing details: Allen & Unwin, 2013 
©2013 
255 pages : colour illustrations . Ex library copy (Centennial Park School)

Gertrude Contemporary Art Spaces [Gertrude Street Gallery]view full entry
Reference: A short ride in a fast machine : Gertrude Contemporary Art Spaces 1985-2005 / edited by Charlotte Day [Charlotte Day is Director of Monash University Museum of Art, Melbourne. Day has curated a range of significant exhibitions including 2010 Adelaide Biennial of Australian Art: Before and After Science and 2008 TarraWarra Biennial Lost and Found: An Archaeology of the Present. In 2013 she curated The Space Between Us, Art Gallery of New South Wales, and Monika Sosnowska: Regional Modernities at the Australian Centre for Contemporary Art, Melbourne. To be indexed.

"...documents a journey of extraordinary artistic activity generated in and around the studios and galleries of Gertrude Contemporary Art Spaces between 1985 and 2004."--Foreword. [’2005 marked Gertrude Contemporary’s 20th anniversary, and the organisation celebrated with a major exhibition and publication.
The exhibition component of A Short Ride in a Fast Machine ran from 22 July - 27 August 2005.
For the first time in 200 Gertrude Street's 20-year history, the entire building was engaged by a dynamic and multi-faceted exhibition which looked over Gertrude's 20-year history and also towards its future, by presenting exciting works which continued Gertrude's commitment to presenting the latest innovations in exploratory, critically-engaged contemporary art practice. As well as Gertrude's 3 gallery spaces, visitors had the opportunity to explore 200 Gertrude Street's corridors, studios and stairwells through a myriad of works installed throughout the building. The Gertrude studios housed collaborations between past and present Gertrude studio artists; and a digital archive of exhibitions, studios, openings and events held at Gertrude over the past 20 years was presented in the back room, alongside a comprehensive collection of catalogues, journals, publications and other significant texts which have influenced and expanded Australia's visual culture.
‘]
Publishing details: Black Inc, 2005, vi, 228 p. : ill. (chiefly col.), ports. (chiefly col.), facsims. ; 30 cm. 

Ref: 1000
Blanchflower Brianview full entry
Reference: Brian Blanchflower from the generative eye paintings 1990-2001 / [Essays by Chris Malcolm, Anthony Bond and Ted Snell]

Notes This publication is a record of the exhibition Brian Blanchflower from the generative eye paintings 1990-2001, John Curtin Gallery, 4 April -26 May, 2002.
Publishing details: John Curtin Gallery, 2009 
91 p. (some folded) : ill., port.
Ref: 1006
Blakebrough Lesview full entry
Reference: Les Blakebrough : a Bett Gallery monograph / Patsy Hely and Grace Cochrane

Notes Includes bibliographical references.
Publishing details: Bib ID 4969196
Format Book
Author Hely, Patsy  
Description North Hobart, Tas. : Bett Gallery, 2010 
63 p. : chiefly col. ill. ; 24 cm. 
ISBN 9780977569731
Ref: 1000
Blakebrough Lesview full entry
Reference: Les Blakebrough, Carl McConnell : two potters, three decades, Hyde Park Barracks, Queens Square, Macquarie Street, Sydney 14 June-24 July 1989
Bib ID 2592498
Format Book

Notes Includes bibliographical references.
Publishing details: Description [Haymarket, N.S.W.] : Trustees of the Museum of Applied Arts and Sciences, 1989 
20 p. : ports. ; 30 cm. 
Ref: 1000
McConnell Carl view full entry
Reference: see Les Blakebrough, Carl McConnell : two potters, three decades, Hyde Park Barracks, Queens Square, Macquarie Street, Sydney 14 June-24 July 1989
Bib ID 2592498
Format Book

Notes Includes bibliographical references.
Publishing details: Description [Haymarket, N.S.W.] : Trustees of the Museum of Applied Arts and Sciences, 1989 
20 p. : ports. ; 30 cm. 
Brilliant - Australian gold and silverview full entry
Reference: Brilliant : Australian gold and silver 1851-1950 / [Kenneth Cavill, Eva Czernis-Ryl] ; edited by Eva Czernis-Ryl

Summary "Brilliant celebrates an astonishing century of gold and silversmithing and jewellery making in colonial and post-Federation Australia. ...Part one, 1851-1900, authored by Powerhouse curator Eva Czernis-Ryl, revisits the story of gold and silversmithing in goldrush Australia. ...Part two, 1901-1950, co-authored by Dr Kenneth Cavill and Eva Czernis-Ryl, provides the long awaited overview of the 'in between' epoch that bridged colonial practices with those of the crafts movement of the second part of the 20th century. ... Brilliant showcases the Powerhouse Museum's renowned collection alongside some of the rarest survivors from public and private holdings across Australia."--Powerhouse Museum website.
Publishing details: Powerhouse Publishing, 2011 
136 p. : ill. (chefly col.), ports. ; 28 cm. 
ISBN 9781863171335
Ref: 1009
Borgelt Marionview full entry
Reference: Marion Borgelt. With essay by Felicity Fenner, interview by Candice Bruce.
Publishing details: Borgelt, Marion,  
Potts Point, N.S.W. : 21C, 2000 
74 p. : chiefly col. ill., ports.
Borgelt Marionview full entry
Reference: Marion Borgelt : mind & matter : a 15 year survey

Includes bibliographical references (p. 40-42)
Publishing details: ANU Drill Hall Gallery, [2010] 
48 p. : chiefly col. ill. ; 23 x 25 cm. 
ISBN 9780980804409
Notes Catalog of an exhibition held at ANU Drill Hall Gallery, Canberra, 27 May - 4 July 2010.
Ref: 1000
Borgelt Marionview full entry
Reference: Marion Borgelt : flux & permanence : 17 August - 8 September 2007 : Sherman Galleries

Includes bibliographical references.
Publishing details: Sherman Galleries, [2007] 
1 folded sheet (6 p.) : col. ill. ; 30 cm. 
Notes Cover title.
Exhibition catalogue. Essay by: Rod Pattenden.
Ref: 1000
Bowen Deanview full entry
Reference: Argy-bargy : Dean Bowen by Sheridan Palmer

Notes Includes bibliography (p. 210) and index.
Publishing details: Macmillan Art Publishing, c2009 
[228] p. : col. ill., ports. ; 32 cm. 
ISBN 9781921394225
Ref: 1000
Bowen Deanview full entry
Reference: A song for Lorkie / art by Dean Bowen ; words by Jennifer Castles

Summary Lorkie was a roofbird. His best friend was Brian, and they had been friends since they were eggs. They lived in the Valley of Roofs, where every bird had a song to sing - except Lorkie. That is, until he found his home in the middle of the Argy Bargy roundabout.
Publishing details: Allen & Unwin, 2011 
[30] p. : col. ill. ; 25 x 28 cm. 
ISBN 9781742377186
Ref: 1000
Brown Leonardview full entry
Reference: Three four sixteen eighty and a hundred / Leonard Brown

Catalogue of an exhibition held at Andrew Baker Art Dealer, Bowen Hills, Brisbane, 25 June-19 July 2008.

Publishing details: Andrew Baker Art Dealer c2008 
[23] p. : col. ill., port. ; 21 cm. 
Notes Cover title.
Ref: 1000
Brown Leonardview full entry
Reference: Leonard Brown - Ikonodule, Catalogue includes biographical information and commentary in each work.
Publishing details: Andrew Baker Art Dealer c2008, 40pp

Ref: 135
Davila Juanview full entry
Reference: Juan Davila : the moral meaning of wilderness. Catalogue of an exhibition held at ANU Drill Hall Gallery, Canberra, 8 July - 15 August 2010, Griffith University Art Gallery, Brisbane, 30 April - 19 June 2011, and Monash University Museum of Art, Melbourne, 2011. Essays by Dr. Kate Briggs. Includes bibliographical references (p. 66-67)

Publishing details: Description Canberra : ANU Drill Drill Hall Gallery, [2010] 
[vii], 71 p. : chiefly col. ill., ports. ; 23 x 24 cm. 
Ref: 1004
A different temporalityview full entry
Reference: A different temporality : aspects of Australian feminist art practice 1975-1985 / Micky Allen, ... [et al.]. ; curator : Dr Kyla McfarlaneNotes 13 October – 17 December 2011.
Includes bibliographical references.
Publishing details: Monash University Museum of Art, 2011 
83 p. : ill., port. ; 20 cm. 
ISBN 9780987113948

Ref: 1000
Australian feminist artview full entry
Reference: see A different temporality : aspects of Australian feminist art practice 1975-1985 / Micky Allen, ... [et al.]. ; curator : Dr Kyla McfarlaneNotes 13 October – 17 December 2011.
Includes bibliographical references.
Publishing details: Monash University Museum of Art, 2011 
83 p. : ill., port. ; 20 cm. 
ISBN 9780987113948

Fairweather Ianview full entry
Reference: Orienting - Ian Fairweather in Western Australian Collections. With or without you [ORIENTing: Ian Fairweather in Western Australian Collections
Curated by Ted Snell and Sally Quin
ORIENTing: Ian Fairweather in Western Australian Collections gathers together for the first time a series of significant early works by Ian Fairweather in Western Australian collections, focusing on the influence of Asian art and culture on the artist’s practice.
A major artist of the twentieth century, Fairweather was Scottish born, though spent periods of his life in China, Bali, the Philippines, India and Australia. He was particularly fascinated by Chinese culture and this is reflected in the subject matter and style of his works, which indicate a strong fascination with calligraphy.
The exhibition focuses on Fairweather’s early paintings from the 1930s and 1940s, which recall his experiences of travel.

ORIENTing: With or Without You
Curated by Aaron Seeto and Toby Chapman
ORIENTing: With or Without You is an exhibition of contemporary art by Australian artists which touches on similar themes, considering the significance of place, identity and landscape in a variety of art forms.
Artists include Newell Harry, Tom Nicholson, Phaptawan Suwannakudt, Roy Wiggan, Tintin Wulia, and John Young. While some artists respond directly to Ian Fairweather’s paintings, others reflect on the broader themes of cross-cultural engagement and interaction.
The exhibitions enable us to look at the past to provide an understanding of the present, and also to act as a lens onto the future by exploring our cultural relationship to our geographic region over a broad time span.
Publishing details: Lawrence Wilson Art Gallery, 2013.
Ref: 1009
From river banks to shearing shedsview full entry
Reference: From river banks to shearing sheds : 30 years with Flying Arts / by Marilyn England

Notes "The story of one man's dream to give people living in outback Queensland the same opportunity to study fine art as people living in the city - helping them to overcome the mental isolation of life in the bush."
Includes bibliographical references (p. 113) and index.
Publishing details: Susan Wickenden, 2009 
iii, 113 p. : ill. (some col.), ports. ; 21 x 30 cm. 
ISBN 9780980583717
Ref: 1000
Flying Artsview full entry
Reference: see From river banks to shearing sheds : 30 years with Flying Arts / by Marilyn England

Notes "The story of one man's dream to give people living in outback Queensland the same opportunity to study fine art as people living in the city - helping them to overcome the mental isolation of life in the bush."
Includes bibliographical references (p. 113) and index.
Publishing details: Susan Wickenden, 2009 
iii, 113 p. : ill. (some col.), ports. ; 21 x 30 cm. 
ISBN 9780980583717
Hall Fionaview full entry
Reference: Fiona Hall : big game hunting / [curated by Kendrah Morgan, foreword by Jason Smith ; introduction by Kendrah Morgan ; essays by David Hansen, Gregory O'Brien and Manoj Nair]

Heide Museum of Modern Art presents Big Game Hunting, a major exhibition of recent works by one of Australia’s most prominent contemporary artists. The exhibition is the first survey of Fiona Hall’s work in Melbourne since 1994, and also marks the Australian premiere of Fall Prey, an installation that Hall created for the prestigious world art event dOCUMENTA (13) in Kassel, Germany in 2012.

ABOUT THE ARTIST
Fiona Hall was born in Sydney in 1953. She graduated from East Sydney Technical College in 1975 since then has exhibited her work all over the world.
In the last decade, major retrospectives of Hall’s work have been held by Queensland Art Gallery, Brisbane and The Art Gallery of South Australia, Adelaide (both 2005). Fiona Hall: Force Field at the Museum of Contemporary Art, Australia (2008), toured to City Gallery, Wellington, and Christchurch Art Gallery, Christchurch, New Zealand. Hall’s work is represented in all major Australian State museums and she has also completed several important public commissions.
In recent years Hall’s practice has focused on environmental politics.
In 2012 she was selected for dOCUMENTA (13), one of the most prestigious surveys of contemporary art, which takes place every five years in Kassel, Germany.
Publishing details: Heide Museum of Modern Art, [2013] 
88 pages : colour illustrations
Hall Fionaview full entry
Reference: Fiona Hall : force field, by O'Brien, Gregory; Savage, Paula; MacGregor, Elizabeth Ann; Webb, Vivienne.

Summary "Using a remarkably diverse array of materials and techniques, Adelaide-based artist Fiona Hall (born 1953) has, over the past four decades, explored the nexus of nature and culture." -- Flyleaf.
Notes Catalogue of an exhibition held at the Museum of Contemporary Art, Sydney (6th March - 1st June, 2008), City Gallery Wellington (28th June - 19th October, 2008) and Christchurch Art Gallery Te Puna o Waiwhetu (4th December, 2007 - 1st March, 2009).
Introduction by Elizabeth Ann MacGregor and Paula Savage ; essays by Vivienne Webb, Gregory O'Brien ; interview with Fiona Hall by Paula Savage.
Includes bibliographical references.
Publishing details: Museum of Contemporary Art ; City Gallery Wellington, 2007 
96 p. : col. ill., 1 port.


Brimblecombe-Fox Kathrynview full entry
Reference: For Everyone - Words and Paintings
Publishing details: Balboa Press, ©2011 
60 p. : chiefly col. ill. ; 28 cm.
Ref: 1000
Henderson Glenview full entry
Reference: Synapsis Project and book launch, Glen Henderson exhibition at Span Galleries, Melbourne, 2005
Publishing details: Span Galleries, Melbourne, 2005
Ref: 1000
Johnson Michaelview full entry
Reference: Michael Johnson by Barry Pearce ; introduction by Edmund Capon

Notes Bibliography: p. 193-197
Publishing details: The Beagle Press, 2004 
204 p. : col. ill. 30 x 29 cm. 
ISBN 0947349421
Ref: 1000
Liu Rendiview full entry
Reference: Rendi Liu by Jenny Zimmer
:
Publishing details: Macmillan Art Publishing, 2011,
142 pages : illustrations ; 16 cm. 
ISBN 1921394609
9781921394607
Series Macmillan mini-art series ; no. 18.
Ref: 1000
Knight Jasperview full entry
Reference: Jasper Knight : total recall / Jasper Knight

Notes "Sydney, 13 March-1 April 2012"
Essay by Richard Cooke.
Publishing details: Australian Galleries, 2012 
43 p. : ill., port. ; 24 cm. 
ISBN 9780980576559
0980576555
Ref: 1000
Knight Jasperview full entry
Reference: Jasper Knight - The Fast and the Furious. Essay by Mike Mitchell, small biography.
Publishing details: Muk Muk Fine Art, Shady Tree, 2011. Quarto, illustrated wrappers, pp. 22
Ref: 1000
L’Estrange Sallyview full entry
Reference: What Goes On
Publishing details: exhibition catalogue
Ref: 1000
Wolfhagen Philipview full entry
Reference: Philip Wolfhagen by Peter Timms

Publishing details: Craftsman House, 2005 
63 p. (1 folded) : col. ill. Series Tasmanian monograph
Ref: 1000
Wolfhagen Philipview full entry
Reference: Exhibitions:

Philip Wolfhagen : a procession of shadows / Philip Wolfhagen
by Wolfhagen, Philip, 1963-
[Fortitude Valley, Qld. : Philip Bacon Galleries, 2012]

Philip Wolfhagen : out of the garden
by Wolfhagen, Philip, 1963-
Fortitude Valley, [Qld.] : Philip Bacon Galleries, [2009]
 
Philip Wolfhagen : night visions : 24 August -16 September 2006
by Wolfhagen, Philip, 1963-
Paddington, N.S.W. : Sherman Galleries, 2006

Philip Wolfhagen : the inner edge : 29 July7 - 21 August 2004, Sherman Galleries
by Wolfhagen, Philip, 1963-
Paddington, N.S.W. : Sherman Galleries, 2004
Publishing details: various
Ref: 1000
When You think about Artview full entry
Reference: When you think about art : the Ewing and George Paton Galleries, 1971-2008, edited by Helen Vivian. Includes bibliographical references (pages 235-236) and index. [Artists with works illustrated or who have multiple references have been included in the Scheding Index but this book to be indexed fully].
[’Editor: Helen Vivian, Editor; with authors: Judy Annear, Dr Carolyn Barnes, Swinburne University, Sandra Bridie, Dr Janine Burke, Suzanne Davies, Juliana Engberg, Susan Hewitt, Dr Anne Marsh, Matthew Perkins and Elena Galimberti, Denise Robinson, Meredith Rogers, Vivienne Shark Lewitt, and Peter Tyndall.
This richly illustrated history provides an account of one of the most spirited art spaces in Melbourne. As Australia’s first publicly funded avant-garde space, the Ewing and George Paton Gallery was in a unique position. From the early 1970s it has fostered experimentation, encouraged new media and provided a forum for ideas and innovation.
The book details exhibitions and events which influenced the development of the visual arts in Australia. It examines the dramatic changes which took place from the experimentation of the seventies to the impact of Postmodernism in the eighties, through to the greater integration of these disparate forces today. This was a pivotal period in Australian contemporary art.
Over the decades the Gallery has exhibited Australia’s most acclaimed contemporary artists. Rare images of their work, along with early video art, have been recovered from the gallery archive and are reproduced in the book.
The Gallery’s impact extended far beyond its walls. It published widely including the important journals Art Almanac (1974 – 1982 and is continuing privately today), Arts Melbourne (1976-1977), and Agenda Contemporary Art (1988-1990). The Gallery was also a key centre for ideas. It ran an extensive seminar program featuring national and international luminaries, including: Jean Baudrillard, Germano Celant, Umberto Eco, Geeta Kapur, Mary Kelly, Lucy Lippard, Mario Merz, Marina Abramovic, Meaghan Morris, Gayatri Spivak, Bill Viola and many, many more.’]
Publishing details: Macmillan Art, 2008, 240 pages : illustrations (some colour), facsimiles (some colour), portraits (some colour)
Ewing & George Paton Galleries view full entry
Reference: see When You think about Art - The Ewing & George Paton Galleries 1971 - 2008, Helen Vivian
Publishing details: 2008
Tillers Imantsview full entry
Reference: Imants Tillers - The Long Poem
Ref: 1000
Your Moveview full entry
Reference: Your move : Australian artists play chess / Tansy Curtin, Karen Quinlan
Author Curtin, Tansy  
Description
Notes Artists: Benjamin Armstrong, Lionel Bawden, Sebastian Di Mauro, Michael Doolan, Emily Floyd, Claire Healy, Sean Cordeiro, Robert Jacks, Danie Mellor, Kate Rohde, Caroline Rothwell, Sally Smart, Ken Yonetani.
Publishing details: Bendigo, Vic. : Bendigo Art Gallery, 2010 

Ref: 1000
Twigg Tonyview full entry
Reference: Tony Twigg : encountering the object / edited by Gina Fairley.

Publishing details: SLOT Incorporated Association, 2008 
©2008 
93 p. : chiefly colour illustrations ; 24 cm. 
Ref: 1000
Valamanesh Hossein view full entry
Reference: Hossein Valamanesh - out of nothingness by Mary Knights and Ian North.
Publishing details: Wakefield Press, 2011 
175 p. : ill. (chiefly col.) ; 29 cm. 
ISBN 9781743050057
Notes Includes bibliographical references (p. 174-175)
Ref: 1000
Taylor Paulview full entry
Reference: Impresario: Paul Taylor, The Melbourne Years, 1981-1984
Publishing details: Monash University Nuseum of Art, 2013 
xxiv, 375 pages : illustrations (some colour), facsimiles, plates, portraits (some colour)
ISBN 9781922099082 (paperback)
Notes Includes index.
Ref: 1000
Sweatview full entry
Reference: Sweat - the subtropical imaginary, edited by Andrew McNamara
Publishing details: Institute of Modern Art, 2011 
198 p. : ill. (some col.), plans, 
ISBN 9781875792726
Notes Includes bibliographical references.
Ref: 1000
Sourris The James C Souris Collectionview full entry
Reference: The James C Souris Collection - Selected Works
Publishing details: Brisbane Club Collectors Series
Ref: 1000
Smile of the Buddhaview full entry
Reference: Smile of the Buddha : image of enlightenment

Notes Catalogue of an exhibition held: 1 November - 16 December 2007 at Drill Hall Gallery. Curated by: Tony Oates & Edie Young.
Artists exhibited: Tim Johnson, Lindy Lee, Phaptawan Suwannakudt, Savanhdary Vongpoothorn, Lachlan Warner, Karma Phuntsok, Nava Chapman, Brendan Smith.
Includes bibliographic references.
Publishing details: Canberra : Drill Hall Gallery, 2007 
58 p. : col. ill. ; 23 x 25 cm. 
ISBN 0958156085
Ref: 1000
Shead Garryview full entry
Reference: News : fast flowers-long journeys-cold funerals / Rudi Krausmann ; drawings by Garry Shead
Bib ID 3799785

Publishing details: Macmillan Art Publishing, c2006 
121 p. : ill. ; 21 cm. 
ISBN 1876832479
Notes Text in English and German.
Ref: 1000
Shead Garryview full entry
Reference: The journey and other poems / by Rudi Krausmann ; drawings by Garry Shead

Publishing details: Strawberry Hills, N.S.W. : Rudi Krausmann and Garry Shead, 1999 
56 p. : ill. ; 30 cm. 
ISBN 1740180240
Notes Limited ed. of 200 copies.

Ref: 1000
Savvas Nikeview full entry
Reference: Full of love, full of wonder / Nike Savvas ; [text by Rachel Kent, Patricia Ellis, Stephen Little]
Publishing details: Black Dog Pub., c2012 
175 p. : chiefly ill. (chiefly col.) 
ISBN 9781907317835
Ref: 1000
Romeo Johnny view full entry
Reference: Cop Killer Johnny Romeo [’Muk Muk Fine Art will host solo exhibitions for emerging Sydney based pop artist Johnny Romeo. This is the first time Romeo has exhibited in the Northern Territory and marks the beginning of an exciting exhibition calendar for Muk Muk Fine Art. For Romeo the aim of this exhibition ‘Cop Killer’ is to question the popular romanticised view of Ned Kelly. Ned Kelly today remains one of the most prominent and fascinating fixtures of the Australian psyche. From outlaw and lone bushranger, to Aussie battler and courageous folk hero, the symbol of Ned Kelly continues to be revered, and means many things to many people.
Notes Cover title.
"Muk Muk Fine Art."
The exhibition will be held at Muk Muk Fine Art in Alice Springs opening 6pm Thursday 8th March, 2012 showing until March 17th before moving to Darwin.
Includes bibliographical references (p. [50])’]
Publishing details: Shady Tree, 2012 
49, [1], p. : chiefly col. ill., col. ports. ; 25 cm. 
Ref: 1000
Robinson Williamview full entry
Reference: William Robinson - The Farmyard
Publishing details: QUT William Robinson Gallery, [2013]
Ref: 1000
Robinson Williamview full entry
Reference: Hinterland - The Rainforest Works of William Robinson
Publishing details: ?
Ref: 1000
Robinson Williamview full entry
Reference: Realms of Vision - The Art of William Robinson. Notes. Published in association with the official opening of the William Robinson Gallery, QUT, Brisbane on 26 August 2009.
Publishing details: William Robinson Gallery, c2009 
70 p. : ill. (some col.), ports. ; 25 cm. 
ISBN 9781741072723
Includes bibliographical references (p. 66-69)

Robinson Williamview full entry
Reference: William Robinson - Paintings 2009

Publishing details: Philip Bacon Galleries, 2009
Ref: 1000
Robinson Williamview full entry
Reference: William Robinson - Paintings and Pastels 2006

Publishing details: Philip Bacon Galleries, 2006
Ref: 1000
Redgate Jackyview full entry
Reference: Jacky Redgate 1980-2003 / essay by Michael Desmond. "Contemporary Visual Art Projects SA 2004 Project 7."
Includes bibliographical references. [’Jacky Redgate's elegant and considered works demonstrate a sustained analysis of form and structure within the disciplines of photography and sculpture. The spatial dimensions of the photographic image has been extended by the artist into sculptural works that investigate perception, colour, volume and mass.’ by Elizabeth Ann Macgregor.]


Publishing details: Contemporary Art Centre of South Australia, c2005 
120 p. : ill. (chiefly col.), ports.
Quilty Benview full entry
Reference: Ben Quilty - Trigger Happy by Michael Desmond, Terence Maloon
Publishing details: Drill Hall Gallery, ACT (?)
Ref: 1000
Parr Mikeview full entry
Reference: Mike Parr : edelweiss / Kunsthalle Wien ; [editors, Kunsthalle Wien, Synne Genzmer ; texts, Anne Marsh, Synne Genzmer, Gregory L. Wilding]
Notes Exhibition catalog.
On the occasion of an exhibition held at Kunsthalle Wien, Wien, November 7, 2012 - February 24, 2013.
Includes bibliographical references.
Publishing details: Nürnberg : New York : Verlag für Moderne Kunst ; Distribution outside Europe, D.A.P./Distributed Art Publishers, c2012 
212 p. : ill. (some col.) ; 28 cm. 
ISBN 3869843926
9783869843926
Ref: 1000
Olley Margaretview full entry
Reference: Home - MARGARET OLLEY: DUXFORD STREET INTERIORS. [’The re-creation of Margaret Olley’s Duxford Street home studio continues to fascinate and intrigue visitors to the Margaret Olley Art Centre. The interiors of her Victorian terrace and the adjoining Hat Factory were subject matter for her paintings for over four decades. Olley allowed a select few artist friends to also work in 48 Duxford Street – Justin O’Brien, Cressida Campbell and Nicholas Harding. This exhibition brings together Duxford Street interiors by each of these artists, alongside Olley’s own’]
Publishing details: Tweed Regional Gallery & Margaret Olley Art Centre, 2017, pb, 49pp
Newman Elizabethview full entry
Reference: Elizabeth Newman : more than what there is / edited by Fayen d'Evie and Elizabeth Newman ; design by Warren Taylor

Texts by Damiano Bertoli, Kate Briggs, Juan Davila, Michael Graf, Geoff Lowe (with Jacqueline Riva), Elizabeth Newman, Chris Sharp and Eve Sullivan.
Publishing details: Melbourne : 3-ply, 2013 
185 pages : colour illustrations, photographs and portraits ; 29 cm 
ISBN 9780987355515
Notes Edition of 1000.
Ref: 1000
Mee Simonview full entry
Reference: A pilgrim's regress : from this world to another one : delivered under the similitude of a dream / by Simon Mee ; introduction by Frank McBride

Publishing details: Redback Art Gallery, 1999 
32 p. : chiefly ill. ; 34 cm. + 8 15 x 11 cm. postcards of the drawings. 
ISBN 0646372971
Ref: 1000
McKenna Noelview full entry
Reference: Noel McKenna - Sheltered Life, Noel McKenna; Gregory O'Brien; Anne Loxley;Lizzie Bisley. [’Noel McKenna’s naive-looking paintings have been shown widely throughout Australia, and, in recent years, in New Zealand. The Sydney-based artist has had three solo shows in Wellington and was included in our 2003 show Parihaka.
Including paintings, sculptures, and ceramics from the past fifteen years, Sheltered Life is imbued with the connotations of 'home'. The paintings Caravan at Beach (1999), Woman Writing (1999), and Boy’s Room (2004) involve a common subject—the shelter, protection, and the intimacy of interiors. However, their execution is characteristically detached, even laconic. The sculptures House (1990) and Appliance Heaven (2004) are doll houses lit by home-job wiring.
McKenna's suite of seven cylindrical vases refer to Colin McCahon and feature words from Wellington poet Jenny Bornholdt referring to Victoria University’s controversial 2003 sale of McCahon’s painting Storm Warning.
McKenna plays on the space between between interior and exterior, the sheltered life and the exposed one. Many of the works refer to artificial lighting and its effects. In the gallery, he dims the lights to mimic twilight or sunset.
In the catalogue, curator Gregory O’Brien explains: 'While Noel McKenna is a teller of home truths, he also remains a purveyor of mysteries—an archaeologist of undercurrents in the urban/suburban environment.'’]
[’An artist with a growing reputation on both sides of the Tasman, Sydney-based Noel McKenna has, since the early 1980s, been preoccupied with various kinds of shelter; house, caravan, dog kennel, the members' stand at the racecourse.This publication - and the City Gallery Wellington exhibition project it accompanies - tracks McKenna's ongoing fascination with ideas of 'home' and 'the interior life'. Noel McKenna - Sheltered Life features twenty-three colour plates and over thirty black and white illustrations, complemented with essays by City Gallery Wellington curator Gregory O'Brien and Australian writer and curator Anne Loxley. ‘]
Publishing details: City Gallery, Wellington, 2005, 40pp, pb, signed and also inscribed on title page bt Noel McKenna.
McCahon Colinview full entry
Reference: Dark night : walking with McCahon / Martin Edmond

Summary "In 1984, in the palm grove in Sydney's Botanic Gardens, the artist Colin McCahon went missing. He was found by police early next morning in Centennial Park ... Martin Edmond walks in Colin McCahon's footsteps, past pubs and monuments, art galleries and churches, barracks and parks: to accompany him some way into the darkness of his end"--Back cover.
Notes Includes bibliographical references (p.191-198).
Publishing details: Auckland University Press, 2011 
198 p. ; 21 cm. 
ISBN 9781869404833
Ref: 1000
Sculpture is everythingview full entry
Reference: Sculpture is everything
by Gallery of Modern Art (Brisbane, Qld.)

Publishing details: Queensland Art Gallery / Gallery of Modern Art, ©2012
Ref: 1000
Zavros Michaelview full entry
Reference: A Private Collection - Artist’s Choice, Michael Zavros
Publishing details: Queensland Art Gallery, 2013, 32 pages, colour illustrations. Illustrated saddle-stapled french fold wrappers.
Ref: 1000
Zavros Michaelview full entry
Reference: The prince : Michael Zavros / foreword by Tracy Cooper-Lavery ; essays by Diana Warnes [and] Camille Serisier

Notes Exhibition held at the Rockhampton Art Gallery, Queensland, 16 February - 7 April 2013.
Publishing details: Rockhampton, Queensland : Rockhampton Art Gallery, [2013] 
©2013 
41 pages : chiefly colour illustrations ; 25 cm 
ISBN 9780958638364 (paperback)
Ref: 1000
Finch Spencerview full entry
Reference: As if the Sea Should Part/ And show a further sea
Ref: 1000
Stringer Richardview full entry
Reference: Pleasure of Place / photographs by Richard Stringer

Notes Includes bibliographical references of Photographs by Richard Stringer.
[’Pleasure of Place: Photographs by Richard Stringer explores over 40 years of image-making by photographer Richard Stringer. In the tradition of Australian documentary photographers Harold Cazneaux and Max Dupain, Stringer’s beautiful images capture the structure, light and detail of architecture, industrial archaeology and the Australian landscape. Coming to photography through his training and practice as an architect, he displays a proficiency for composition and lighting and an abiding interest in both the modern and historical built environment, particularly in Queensland. Through a selection of evocative images and perceptive artist portraits, Pleasure of Place explores the distinguished and influential career of a renowned Queensland photographer.

Featuring essays by QAGOMA curators Michael Hawker and Sally Foster, as well as technical commentary by the photographer himself, this catalogue is published in association with the exhibition ‘Pleasure of Place: Photographs by Richard Stringer’, Queensland Art Gallery, 26 October 2013 to 16 March 2014
‘]
Publishing details: Queensland Art Gallery, 2013 
61 pages : illustrations ; 27 cm 
ISBN 9781921503573
Ref: 1000
Sourris James Cview full entry
Reference: Ten Years of Contemporary Art - The James C. Souris AM Collection
Publishing details: ?
Ref: 1000
21st Centuryview full entry
Reference: 21st century : art in the first decade / edited by Miranda Wallace

Notes: Exhibition held at the Gallery of Modern Art, Brisbane 18 December 2010 - 26 April 2011.
Includes bibliographical references.
Publishing details: Queensland Art Gallery, 2010 
296 p. : ill., port., plates ; 26 cm. 
ISBN 9781921503177
Ref: 1000
Kaldor Johnview full entry
Reference: Move the Exhibition - Kaldor Public Art Projects
Publishing details: ?
Ref: 1000
Asia-Pacific Triennial of Contemporary Artview full entry
Reference: First, Second, Third, Fourth, Fifth
Publishing details: QAG, 1993 -
Ref: 1000
Fletcher Grahamview full entry
Reference: Lounge Room Tribalism
Publishing details: ?
Ref: 1000
Furlonger Joeview full entry
Reference: The Balonne Breakouts
Publishing details: Ray Hughes Gallery
Ref: 1000
Romeo Johnny view full entry
Reference: Balloons and airships by Johnny Romeo
 
Edition Limited ed. 
Description Rozelle, N.S.W. : Black Falcon Press, 2009 
[26] p. : chiefly col. ill. ; 21 cm. 
ISBN 9780980638509
Notes N copy is no. 53 of 250 copies.
Publishing details: Edition Limited ed. 
Description Rozelle, N.S.W. : Black Falcon Press, 2009 
[26] p. : chiefly col. ill. ; 21 cm. 
ISBN 9780980638509

Ref: 1000
Kaldor Johnview full entry
Reference: 40 years : Kaldor public art projects / editor, Sophie Forbat.
Summary: The Art Gallery of New South Wales is celebrating four decades of John Kaldor's public art in an exhibition containing archival material, photographs and unique television footage.
Incomplete contents • Foreword / Edmund Capon
• Preface / John Kaldor
• An Australian odyssey: connecting to international contemporary art / Anthony Bond
• Coasts, beaches and shorelines: the experimental practice of art / Carolyn Christov-Bakargiev
• Reminiscing / Daniel Thomas
• The artist as model / John Kaldor in coversaiton with Nicholas Baume
• projects 1969-2009 / Sophie Forbat
• 1969 / Christo and Jeanne-Claude
• 1971 / Harald Szeemann
• 1973 / Gilbert & George
• 1973 / Miralda
• 1976 / Charlotte Moorman and Nam June Paik
• 1977 / Sol LeWitt
• 1977 / Richard Long
• 1984 / An Australian accent: Mike Parr, Imants Tillers, Ken Unsworth
• 1990 / Christo & Jeanne-Claude
• 1995 / Jeff Koons
• 1998 / Sol LeWitt
• 1999 / Vanessa Beecroft
• 2003 / Ugo Rondinone
• 2004 / Barry McGee
• 2007 / Urs Fischer
• 2007 / Gregor Schneider
• 2008 /
• Bill Viola
• 2008 / Martin Boyce
• 2009 / Tatzu Nishi
• MOVE / video art in schools / Adam Free
• Bibliography
• Index.
Publishing details: Kaldor Public Art Projects, 2009 
295 p. : ill. (some col.), facsims., ports.
Rayner Hewitt Henry (1902-1957) view full entry
Reference: An Australian Artist in London The Untold Story of Hewitt Henry Rayner (1902-1957) and His Friendshi by Roger Staton. [’As well as telling for the first time the story of Hewitt Henry Rayner - probably the 20th century's most prolific drypoint etcher - this biography also provides fresh insights into the personality of Walter Sickert, observed during a friendship that lasted almost a decade. Matthew Sturgis, noted Sickert expert, has contributed the Foreword to this biography. He commented: This book adds many things to the record of Sickert s life, his working practices, his teaching methods, his work-spaces, and his character. It will be a useful and enduring addition to the story of early Twentieth Century British art. Australian-born Hewitt Henry Rayner came to England in 1923 at the age of 21 to study art, fell in love with London (and Chelsea in particular), and stayed for the rest of his life. He won a place at the Royal Academy Schools in 1925, where Sickert was a visiting teacher. The two struck up a friendship and saw each other regularly at Sickert s homes and studios, in cafes and restaurants, and sometimes sketching together in London locations. Sickert was a generous friend and mentor to Rayner, who assiduously ted down the things his master did and said. These first-hand reminiscences form a significant strand of the book. Other figures from London s artistic and literary worlds of the 1920s and 1930s who appear in the Rayner story include Augustus John, Nina Hamnett, Ethel Mannin, Yoshio Marki, Charles Sims, Dame Ethel Walker and Philip Wilson Steer. Unusually, and against Sickert s advice, Rayner chose drypoint etching as his principal medium, and from 1926 on adopted Henry Rayner as his professional name. Between 1926 and 1945 he produced what is quite probably the largest body of original drypoint etchings by any 20th century artist. Over 500 plates are kwn, most in his distinctive Impressionistic style. Most of the plates have survived. Although Rayner has been largely forgotten since his death in 1957, there are numerous institutions that hold examples of his drypoints. These include the V&A, the British Museum, the National Portrait Gallery and the Royal Collection at Windsor, as well as many regional galleries in Britain and major galleries in Australia and New Zealand. This biography charts Rayner s struggle to earn a living as an artist in the face of an ecomic depression, ill health, serious war injuries and - as he saw it - cold-shouldering by the British art establishment. It is rich in detail, thanks in part to a large archive of the artist s unpublished autobiographical manuscripts, tebooks, essays and correspondence, discovered recently. Some 95 examples of Rayner s work are reproduced in the book, together with 70 photographs, making it an important reference work on this neglected artist.’]
Publishing details: Pegasus Press Ltd, 2013, ISBN 9780955816017, Paperback,
Burton M Eview full entry
Reference: see Elder Fine Art (Adelaide) Collectable 
Australian Paintings, Sunday 27th July, 1pm
Lot: 40
M. E. BURTON

”The River Yarra near Kew”
19th c. Oil on Canvas
40x50cm
Signed Lower Left
Estimate: $1,200-1,800
Pulleine Robertview full entry
Reference: see Elder Fine Art (Adelaide) Collectable 
Australian Paintings, Sunday 27th July, 1pm
Lot: 152
ROBERT PULLEINE

“Still Life – Daisies and Oriental Lilies in Vase”
Oil on Canvas
64x59cm
Signed Lower Right
Estimate: $600-800
Lot: 153
ROBERT PULLEINE

“White Camellias in Footed Vase”
Oil on Board
37x29cm
Signed Lower Left
Estimate: $500-800
Lot: 154
ROBERT PULLEINE

“Still Life at Window”
Oil on Board
32x25cm
Unsigned
Estimate: $300-500
White Judithview full entry
Reference: Art Lovers - The Story of the Art Gallery Society of New South Wales 1953-2013
written by Judith White. Includes chronological list of paintings acquired for the AGNSW funded by the Art Gallery Society. Includes a list of Presidents and members of Council of the Art Gallery Society 1953-2013.


[’Judith White’s Art lovers: the story of the Art Gallery Society of New South Wales 1953–2013 is an often amusing, always engrossing account of the membership organisation of one of Australia’s great cultural institutions. From its origins as an exclusive club, the Society has grown to include 31,000 art-loving members from all walks of life who actively support and engage with the Art Gallery of New South Wales. Its history provides fascinating insights into six decades of social and cultural change.
Judith White is a former executive director of the Society and a former editor of its magazine, Look. She holds two degrees from Oxford University and worked in publishing and journalism for 30 years.’]
Publishing details: Art Gallery of NSW,
Hardback, no dw as issued, 325 pages. With Index.

Art Gallery Society of New South Wales 1953-2013 view full entry
Reference: see White Judith - Art Lovers - The Story of the Art Gallery Society of New South Wales 1953-2013 written by Judith White. Includes chronological list of paintings acquired for the AGNSW funded by the Art Gallery Society. Includes a list of Presidents and members of Council of the Art Gallery Society 1953-2013.


[’Judith White’s Art lovers: the story of the Art Gallery Society of New South Wales 1953–2013 is an often amusing, always engrossing account of the membership organisation of one of Australia’s great cultural institutions. From its origins as an exclusive club, the Society has grown to include 31,000 art-loving members from all walks of life who actively support and engage with the Art Gallery of New South Wales. Its history provides fascinating insights into six decades of social and cultural change.
Judith White is a former executive director of the Society and a former editor of its magazine, Look. She holds two degrees from Oxford University and worked in publishing and journalism for 30 years.’]
Publishing details: Art Gallery of NSW,
Hardback, no dw as issued, 325 pages. With Index.

Roberts Tom (after?)view full entry
Reference: The following appeared at 2014 SUMMER FEATURE AUCTION , DAY 2
by Thomaston Place Auction Galleries
August 24, 2014, 11:00 AM EST.
Thomaston, ME, USA

Lot 946 - AUGUSTE LOUIS GENSOLLEN, POSS. - Australian Street Scene with Carriages, oil on canvas, signed "A. L. Gensollen" and dated '12. Possibly Auguste Louis, son of painter Louis Gensollen (1834-1907). In veneer panel frame with gilt and linen liner. OS: 32 1/2" x 37 1/2". SS: 24 1/2" x 29 1/2". Good condition. The work is a copy of Tom Roberts, ‘Allegro Con Brio, Bourke Street West’. Since it is apparently dated 1912 the artist may have been in Australia
Gensollen A Lview full entry
Reference: see Roberts Tom (after?) The following appeared at 2014 SUMMER FEATURE AUCTION , DAY 2
by Thomaston Place Auction Galleries
August 24, 2014, 11:00 AM EST.
Thomaston, ME, USA

Lot 946 - AUGUSTE LOUIS GENSOLLEN, POSS. - Australian Street Scene with Carriages, oil on canvas, signed "A. L. Gensollen" and dated '12. Possibly Auguste Louis, son of painter Louis Gensollen (1834-1907). In veneer panel frame with gilt and linen liner. OS: 32 1/2" x 37 1/2". SS: 24 1/2" x 29 1/2". Good condition. The work is a copy of Tom Roberts, ‘Allegro Con Brio, Bourke Street West’. Since it is apparently dated 1912 the artist may have been in Australia.
Callas Peterview full entry
Reference: Initialising History -
Peter Callas is one of Australia’s most distinguished and influential electronic media artists and curators. Callas’s work is critically engaged with diverse cultural influences and, as a senior electronic media artist, he has worked within a rapidly evolving techno-scape. Accordingly, his work offers a fascinating insight into the range of technologies that have influenced artistic expression.

Publishing details: ACCA, Dallas Brooks Drive, The Domain, Adelaide, 20 MARCH – 11 APRIL 1999, 79 pages paperback colour illustrations

Ref: 1000
Lane 1780sview full entry
Reference: Captain Cook Going out on his Second Voyage. Engraving. A copy is in the AGNSW
Publishing details: London, c 1780
Young Johnview full entry
Reference: John Young: Silhouettes and Polychromes, 1979-1992, by John Young, Graham Forsyth, Graham Coulter-Smith, Christina Davidson. ['The work of John Young is exceptional in its engagement with a world of images, ranging from painting to photography and including the eccentricities of mechanically reproduced images, while at the same time being solidly based on his study of philosophy and contemporary theory of the visual arts. This book addresses fifteen years of his artistic practice, which has developed during a period of profound artistic and intellectual shifts, both in Australia and in art centres throughout the world. A major essay by Graham Coulter-Smith, together with complementary essays by Graham Forsyth, Christina Davidson and a selection of John Young's own writings, give us an appropriately multi-faceted study of an artist whose work mirrors some of the complexities and contradictions of contemporary cultural practice, and traverses traditional cultural and geographic boundaries.' - Leon Paroissien]
Publishing details: SCHWARTZ CITY, 1993, Quarto hardcover, 146pp., colour and monochrome illustrations.
Ref: 1000
Ingpen Robertview full entry
Reference: Marking Time - Australia’s Abandoned Buildings by Robert Ingpen
Publishing details: Adelaide : Rigby, 1979.
Physical Description
128p. : col. ill. ; 32 cm.
Ref: 1000
Mid Century Modernview full entry
Reference: Mid Century Modern - Australian Furniture Design [This dynamic exhibition presents a rare chance to enjoy the art of mid-century Australian furniture design and is part of our renewed focus on modern and contemporary design at the NGV.

Innovative furniture design took hold in Australia following World War Two, prompted in part by the availability of new materials (and sometimes the shortages of others), the development of new production techniques and the influx of European immigrants who were skilled in the traditions of fine furniture making. Taking their cue from international trends in furniture, local designers adopted the pared-back language of modernism to create stylish sculptural furniture that was functional and flexible and which found the ideal setting in the modernist architecture of the period.

From Grant Featherston’s iconic plywood Contour range and Clement Meadmore’s welded steel corded chairs, so distinctive of the 1950s, to Gordon Andrews’ elegant 1960s designs for home and office, mid-century modern furniture design turned its back on the overstuffed and ornate examples of previous decades and in doing so, revolutionised the contemporary interior.

The exhibition will focus on the work of figures including Grant Featherston, Clement Meadmore, Douglas Snelling, Gordon Andrews, Fred Lowen, Lester Bunbury and Schulim Krimper. It will also encompass designs by visual artists such as Robert Klippel and Janet Dawson who occasionally adapted their creative skills to the production of furniture, and examples of do-it-yourself Patterncraft furniture designed by Fred Ward.

The important relationship between contemporary architecture and furniture design will be highlighted through the ‘recreation’ of modern interior vignettes and the 1971 Marion Hall Best interior designed for Joan and Richard Crebbin’s Castlecrag home comprising Gordon Andrews’ Rondo chairs, a Mona Hessing shag-pile rug and Jack Meyers’ sound/wall sculpture (NGV). Contextual material including working drawings, textiles of the period and photographs of contemporary architecture will also be included, building a rich picture of this relatively little known aspect of Australia’s design history.]
Publishing details: NGV, 2014, 202pp
Ref: 1000
Australian Modern Designview full entry
Reference: Mid 20th Century Architecture and Design [Australian Modern Design is a unique publication providing an insight into Australian mid-20th century architecture, design, and cultural history.
Featuring contributions from local architects, writers, collectors and designers, Australian Modern Design celebrates the diversity of ideas in post-war Australia.
Discover mid-20th century architecture, design, art, fashion, furniture, caravans, and more in this eclectic journey into Australian design.  ]
Publishing details: Chris Osborne Publishing
2013, (hardcover)
Format: 160 Pages, A4 Landscape 
Print Run: Limited Edition, 1000 Numbered Copies
Ref: 1000
How Aborigines Invented the Idea of Contemporary Artview full entry
Reference: How Aborigines Invented the Idea of Contemporary Art, edited and introduced by Ian McLean [This is the first anthology to chronicle the global critical reception of Aboriginal art since the early 1980s, when the art world began to understand it as contemporary art. Featuring 96 authors—including art critics and historians, curators, art centre co-ordinators and managers, artists, anthropologists, sociologists, philosophers and novelists—it conveys a diversity of thinking and approaches. Together with editor Ian McLean’s important introductory essay and epilogue, the anthology argues for a re-evaluation of Aboriginal art’s critical intervention into contemporary art since its seduction of the art world a quarter-century ago.
Ian McLean is a well-known commentator on Aboriginal and non-Aboriginal Australian art and the intersection of Indigenous and settler cultures. He has published extensively in Australia and overseas. His books include The Art of Gordon Bennett and White Aborigines: Identity Politics in Australian Art. He is Professor of Australian Art History at the University of Western Australia and the University of Wollongong, and serves on the advisory boards of the journals Third Text, World Art and National Identities.
To buy a copy directly from us, please use the following link. Trade and international purchases should be made via our distributors.
How Aborigines invented the idea of contemporary art: Writings on Aboriginal contemporary art is part of the four-book series Australian Studies in Art and Art Theory and is published with the assistance of the Australia Council for the Arts, the Getty Foundation and the Nelson Meers Foundation. ]
Publishing details: Sydney University and Institute of Modern Art, 2011, 359 pages, 59 full colour illustrations + map and index
Ref: 1000
King Ingeview full entry
Reference: Constellation
Publishing details: Melbourne, Victoria : National Gallery of Victoria, 2014. Quarto, illustrated wrappers, pp. viii, 13, illustrated.
Ref: 1000
Treasuresview full entry
Reference: Highlights of the Cultural Collection of the University of Melbourne, edited by Chris McCauliffe and Peter Yule
Publishing details: Miegunyah Press
Ref: 1009
Aboriginal Artview full entry
Reference: see McLean Ian - How Aborigines Invented the Idea of Contemporary Art - edited and introduced by Ian McLean [This is the first anthology to chronicle the global critical reception of Aboriginal art since the early 1980s, when the art world began to understand it as contemporary art. Featuring 96 authors—including art critics and historians, curators, art centre co-ordinators and managers, artists, anthropologists, sociologists, philosophers and novelists—it conveys a diversity of thinking and approaches. Together with editor Ian McLean’s important introductory essay and epilogue, the anthology argues for a re-evaluation of Aboriginal art’s critical intervention into contemporary art since its seduction of the art world a quarter-century ago.
Ian McLean is a well-known commentator on Aboriginal and non-Aboriginal Australian art and the intersection of Indigenous and settler cultures. He has published extensively in Australia and overseas. His books include The Art of Gordon Bennett and White Aborigines: Identity Politics in Australian Art. He is Professor of Australian Art History at the University of Western Australia and the University of Wollongong, and serves on the advisory boards of the journals Third Text, World Art and National Identities.
To buy a copy directly from us, please use the following link. Trade and international purchases should be made via our distributors.
How Aborigines invented the idea of contemporary art: Writings on Aboriginal contemporary art is part of the four-book series Australian Studies in Art and Art Theory and is published with the assistance of the Australia Council for the Arts, the Getty Foundation and the Nelson Meers Foundation. ]
Publishing details: Sydney University and Institute of Modern Art, 2011, 359 pages, 59 full colour illustrations + map and index
Scottish artists in Australiaview full entry
Reference: ‘For Auld Lang Syne - Images of Scottish Australia from First Fleet to Federation’, catalogue for Ballarat Art Gallery exhibition, curated by Alison Inglis and Patricia Tryon Macdonald. Introduction by Gordon Morrison (Director). Contains 23 essays by various writers. [If an artist’s work has been illustrated in the book then the artist’s name is included here. Biographical information may also be included].
Publishing details: Art Gallery of Ballarat, 2014, hb, 335 pp.
Cotton John (attributed to TO JOHN COTTON, ESQUIRE OF DOOGALLOOK (1802-49)view full entry
Reference: see ‘69 John Street’, Annandale, Sydney, exhibition August 20914 (art dealer: Andrew Crawford). The Goulburn Ranges, Doogallook
ink on paper
26.0 x 37.0 cm
inscribed lower centre: The Goulburn Ranges, Doogallook
Provenance
John Cotton, Esq. of Doogallook
Thence by descent thereafter, Charles Ryan and Marian Cotton Sir Charles Snodgrass Ryan
The collection of Lady Maie Casey
The collection of Jane McGowan 
$18,000.00
contemporary Australian art 1966-2006 from the Queensland Art Gallery collectionview full entry
Reference: see Brought to Light II - contemporary Australian art 1966-2006 from the Queensland Art Gallery collection, edited by Lynne Seear and Julie Ewington. [’Featuring focused essays with broad scope and appeal, this book will include over 60 essays on key works and artists represented in the Queensland Art Gallery's contemporary Australian art collection’]

CONTENTS:
Centre Five revisited / Ken Scarlett -- The field: art, context and the historical moment / Carolyn Barnes -- Patterns of experience: Sydney abstraction / Linda van Nunen -- Robert Klippel and the language of form / Samantha Littley -- The evocation of distance: Fred Williams and the Australian landscape / Sebastian Smee -- 'Otherwhereish creatures': Sam Fullbrook's portrait of Ernestine Hill / John Murphy -- Table dancing: George Baldessin's 'Small Banquet' 1971-72 / David Hansen -- Tony Tuckson's hot licks: Pink lines (vertical) on red and purple 1970-73 / Julie Ewington -- Mick Namarari Tjapaltjarri: shimmer and screen / John Kean -- Imants Tillers and conceptual art: Moments of intertia: Still life 1; 141-144 1973 / Abigail Fitzgibbons -- 'It's OK if you weren't there': Mike Parr and performance documentation as remediation / Edward Scheer -- Australian mavericks: the provocative art of Richard Larter and Gareth Sansom / Deborah Clark -- Col Levy's big subject / Peter Timms -- DIY defiance: political posters during the Bjelke-Petersen era (1968-87) / Lynette Finch -- 'Beautiful on day, perfect the next': documentary photography in Queensland in the 1980s / Claire Gobe -- Reprise: Juan Davila's 'Miss Sigmund' 1981 / Shaune Lakin -- Articulating the unspeakable: the feminist photography of Julie Rrap and Anne Ferran / Jacqueline Millner -- Klaus Moje: 'swimming above the water' / Margot Osborne -- Cast-offs and found objects: Tom Risley's mark-making / Michael Hawker -- Thanakupi: full circle / Simon Wright -- Clifford Possum Tjapaltjarri: beneath clouds / Vivien Johnson -- The symbolic space of Tim Johnson / Wayne Tunnicliffe -- Outstation art: Emily Kngwarreye and Utopia Awelye Batik / Sally Butler -- Gordon Bennett: reading pictures / Susan Lowish -- Judy Watson: sacred ground beating heart 1989 / Ruth McDougall -- Rosalie Gascoigne's lyrical derailments / Mary Eagle --Dale Frank: 'strung out in heaven's high' / Sarah Stutchbury -- John Nixon: revision and renewal / Nicholas Chambers --Howard Arkley and 'Popism' / John Gregory -- Aleks Danko: what time is it? / David Burnett -- Robert Foster: the ghost in the machine / Paul McGillick -- Michael Riley: common sense / Hetti Perkins -- A complicated edge: Bea Maddock's 'TERRA SPIRITUS ... with a darker shade of pale' 1993-98 / Kate Ravenswood -- Imaging and abstracting country: Queenie McKenzie, Rover Thomas and the Warmun school / Judith Ryan -- William Robinson: depicting invisible distance / Rex Butler -- Poetry every day: Robert MacPherson's 'Mayfair: (Swamp rats) Ninety-seven signs for C.P., J.P., B.W., G.W. & R.W.' 1994-95 / Julie Ewington -- Peter Tyndall: the act of looking / Christopher Chapman -- Multiple meanings: the allusive objects of Susan Cohn / Anne Brennan -- The story of Guan Wei / Karen Smith -- Hermannsburg women potters / Bruce McLean -- Tracey Moffatt's visual pleasures / Miranda Wallace -- Ken Thaiday: to dance is to remember / Maud Page -- New waves from the old: Torres Strait Islander printmakers / Nonie Sharp -- Michael Boiyool Anning and the rainforest tradition / Noel Loos -- There goes the neighborhood: the works of Vernon Ah Kee and Richard Bell / Avril Quaill -- Scott Redford: paradise now / Jason Smith -- Being in the world: two responses to the art of Judith Wright / Ruth McDougall and Suhanya Raffel -- Other side of the rainbow: the sad and bad art of Destiny Deacon / Hannah Fink -- Rosemary Laing: pure transit / Kelley Gellatly -- Gwyn Hanssen Pigott / Sarah Tiffin -- Expressing identity: creativity in Yolngu art / Howard Morphy -- Arnhem Land fibre art: Lena Yarinkura, sculptor; Regina Wilson, painter / Diane Moon -- Weaving visions of country / Lilly Kelly Napangardi and Mitjili Napurrula / Christine Watson -- The balmarra of Alan Griffith's BaliBali balga / Dominique Sweeney -- To dance in the theatre of absence: some remarks about Aurukun carvings / John von Sturmer -- Memory and memorial: William Yang's 'About my mother' 2003 / Alison Lee -- In a fortune garden: Fiona Hall's 'Tender' 2003-06 / Suhanya Raffel -- Peter Booth and subtleties in the epic / Melissa Miles -- Susan Norrie: 'it's a small world after all' / Julie Ewington -- Scott Chaseling and Jessica Loughlin: personal narratives and minimal beauty / Ian Were -- The continuity of Tiwi art: Kitty Kantilla, Pedro Wonaeamirri and Maria Josette Orsto / Suzanne Spunner -- Anne Wallace: shadows of desire / Emma Muhlberger.
Publishing details: QAG, 2006, hc, dw, 491 pp, 400 colour illus
Centre Five revisited, by Ken Scarlett view full entry
Reference: see Brought to Light II - contemporary Australian art 1966-2006 from the Queensland Art Gallery collection, edited by Lynne Seear and Julie Ewington. [’Featuring focused essays with broad scope and appeal, this book will include over 60 essays on key works and artists represented in the Queensland Art Gallery's contemporary Australian art collection’]

CONTENTS:
Centre Five revisited / Ken Scarlett -- The field: art, context and the historical moment / Carolyn Barnes -- Patterns of experience: Sydney abstraction / Linda van Nunen -- Robert Klippel and the language of form / Samantha Littley -- The evocation of distance: Fred Williams and the Australian landscape / Sebastian Smee -- 'Otherwhereish creatures': Sam Fullbrook's portrait of Ernestine Hill / John Murphy -- Table dancing: George Baldessin's 'Small Banquet' 1971-72 / David Hansen -- Tony Tuckson's hot licks: Pink lines (vertical) on red and purple 1970-73 / Julie Ewington -- Mick Namarari Tjapaltjarri: shimmer and screen / John Kean -- Imants Tillers and conceptual art: Moments of intertia: Still life 1; 141-144 1973 / Abigail Fitzgibbons -- 'It's OK if you weren't there': Mike Parr and performance documentation as remediation / Edward Scheer -- Australian mavericks: the provocative art of Richard Larter and Gareth Sansom / Deborah Clark -- Col Levy's big subject / Peter Timms -- DIY defiance: political posters during the Bjelke-Petersen era (1968-87) / Lynette Finch -- 'Beautiful on day, perfect the next': documentary photography in Queensland in the 1980s / Claire Gobe -- Reprise: Juan Davila's 'Miss Sigmund' 1981 / Shaune Lakin -- Articulating the unspeakable: the feminist photography of Julie Rrap and Anne Ferran / Jacqueline Millner -- Klaus Moje: 'swimming above the water' / Margot Osborne -- Cast-offs and found objects: Tom Risley's mark-making / Michael Hawker -- Thanakupi: full circle / Simon Wright -- Clifford Possum Tjapaltjarri: beneath clouds / Vivien Johnson -- The symbolic space of Tim Johnson / Wayne Tunnicliffe -- Outstation art: Emily Kngwarreye and Utopia Awelye Batik / Sally Butler -- Gordon Bennett: reading pictures / Susan Lowish -- Judy Watson: sacred ground beating heart 1989 / Ruth McDougall -- Rosalie Gascoigne's lyrical derailments / Mary Eagle --Dale Frank: 'strung out in heaven's high' / Sarah Stutchbury -- John Nixon: revision and renewal / Nicholas Chambers --Howard Arkley and 'Popism' / John Gregory -- Aleks Danko: what time is it? / David Burnett -- Robert Foster: the ghost in the machine / Paul McGillick -- Michael Riley: common sense / Hetti Perkins -- A complicated edge: Bea Maddock's 'TERRA SPIRITUS ... with a darker shade of pale' 1993-98 / Kate Ravenswood -- Imaging and abstracting country: Queenie McKenzie, Rover Thomas and the Warmun school / Judith Ryan -- William Robinson: depicting invisible distance / Rex Butler -- Poetry every day: Robert MacPherson's 'Mayfair: (Swamp rats) Ninety-seven signs for C.P., J.P., B.W., G.W. & R.W.' 1994-95 / Julie Ewington -- Peter Tyndall: the act of looking / Christopher Chapman -- Multiple meanings: the allusive objects of Susan Cohn / Anne Brennan -- The story of Guan Wei / Karen Smith -- Hermannsburg women potters / Bruce McLean -- Tracey Moffatt's visual pleasures / Miranda Wallace -- Ken Thaiday: to dance is to remember / Maud Page -- New waves from the old: Torres Strait Islander printmakers / Nonie Sharp -- Michael Boiyool Anning and the rainforest tradition / Noel Loos -- There goes the neighborhood: the works of Vernon Ah Kee and Richard Bell / Avril Quaill -- Scott Redford: paradise now / Jason Smith -- Being in the world: two responses to the art of Judith Wright / Ruth McDougall and Suhanya Raffel -- Other side of the rainbow: the sad and bad art of Destiny Deacon / Hannah Fink -- Rosemary Laing: pure transit / Kelley Gellatly -- Gwyn Hanssen Pigott / Sarah Tiffin -- Expressing identity: creativity in Yolngu art / Howard Morphy -- Arnhem Land fibre art: Lena Yarinkura, sculptor; Regina Wilson, painter / Diane Moon -- Weaving visions of country / Lilly Kelly Napangardi and Mitjili Napurrula / Christine Watson -- The balmarra of Alan Griffith's BaliBali balga / Dominique Sweeney -- To dance in the theatre of absence: some remarks about Aurukun carvings / John von Sturmer -- Memory and memorial: William Yang's 'About my mother' 2003 / Alison Lee -- In a fortune garden: Fiona Hall's 'Tender' 2003-06 / Suhanya Raffel -- Peter Booth and subtleties in the epic / Melissa Miles -- Susan Norrie: 'it's a small world after all' / Julie Ewington -- Scott Chaseling and Jessica Loughlin: personal narratives and minimal beauty / Ian Were -- The continuity of Tiwi art: Kitty Kantilla, Pedro Wonaeamirri and Maria Josette Orsto / Suzanne Spunner -- Anne Wallace: shadows of desire / Emma Muhlberger.
Publishing details: QAG, 2006, hc, dw, 491 pp, 400 colour illus
The field: art, context and the historical moment / Carolyn Barnes view full entry
Reference: see Brought to Light II - contemporary Australian art 1966-2006 from the Queensland Art Gallery collection, edited by Lynne Seear and Julie Ewington. [’Featuring focused essays with broad scope and appeal, this book will include over 60 essays on key works and artists represented in the Queensland Art Gallery's contemporary Australian art collection’]

CONTENTS:
Centre Five revisited / Ken Scarlett -- The field: art, context and the historical moment / Carolyn Barnes -- Patterns of experience: Sydney abstraction / Linda van Nunen -- Robert Klippel and the language of form / Samantha Littley -- The evocation of distance: Fred Williams and the Australian landscape / Sebastian Smee -- 'Otherwhereish creatures': Sam Fullbrook's portrait of Ernestine Hill / John Murphy -- Table dancing: George Baldessin's 'Small Banquet' 1971-72 / David Hansen -- Tony Tuckson's hot licks: Pink lines (vertical) on red and purple 1970-73 / Julie Ewington -- Mick Namarari Tjapaltjarri: shimmer and screen / John Kean -- Imants Tillers and conceptual art: Moments of intertia: Still life 1; 141-144 1973 / Abigail Fitzgibbons -- 'It's OK if you weren't there': Mike Parr and performance documentation as remediation / Edward Scheer -- Australian mavericks: the provocative art of Richard Larter and Gareth Sansom / Deborah Clark -- Col Levy's big subject / Peter Timms -- DIY defiance: political posters during the Bjelke-Petersen era (1968-87) / Lynette Finch -- 'Beautiful on day, perfect the next': documentary photography in Queensland in the 1980s / Claire Gobe -- Reprise: Juan Davila's 'Miss Sigmund' 1981 / Shaune Lakin -- Articulating the unspeakable: the feminist photography of Julie Rrap and Anne Ferran / Jacqueline Millner -- Klaus Moje: 'swimming above the water' / Margot Osborne -- Cast-offs and found objects: Tom Risley's mark-making / Michael Hawker -- Thanakupi: full circle / Simon Wright -- Clifford Possum Tjapaltjarri: beneath clouds / Vivien Johnson -- The symbolic space of Tim Johnson / Wayne Tunnicliffe -- Outstation art: Emily Kngwarreye and Utopia Awelye Batik / Sally Butler -- Gordon Bennett: reading pictures / Susan Lowish -- Judy Watson: sacred ground beating heart 1989 / Ruth McDougall -- Rosalie Gascoigne's lyrical derailments / Mary Eagle --Dale Frank: 'strung out in heaven's high' / Sarah Stutchbury -- John Nixon: revision and renewal / Nicholas Chambers --Howard Arkley and 'Popism' / John Gregory -- Aleks Danko: what time is it? / David Burnett -- Robert Foster: the ghost in the machine / Paul McGillick -- Michael Riley: common sense / Hetti Perkins -- A complicated edge: Bea Maddock's 'TERRA SPIRITUS ... with a darker shade of pale' 1993-98 / Kate Ravenswood -- Imaging and abstracting country: Queenie McKenzie, Rover Thomas and the Warmun school / Judith Ryan -- William Robinson: depicting invisible distance / Rex Butler -- Poetry every day: Robert MacPherson's 'Mayfair: (Swamp rats) Ninety-seven signs for C.P., J.P., B.W., G.W. & R.W.' 1994-95 / Julie Ewington -- Peter Tyndall: the act of looking / Christopher Chapman -- Multiple meanings: the allusive objects of Susan Cohn / Anne Brennan -- The story of Guan Wei / Karen Smith -- Hermannsburg women potters / Bruce McLean -- Tracey Moffatt's visual pleasures / Miranda Wallace -- Ken Thaiday: to dance is to remember / Maud Page -- New waves from the old: Torres Strait Islander printmakers / Nonie Sharp -- Michael Boiyool Anning and the rainforest tradition / Noel Loos -- There goes the neighborhood: the works of Vernon Ah Kee and Richard Bell / Avril Quaill -- Scott Redford: paradise now / Jason Smith -- Being in the world: two responses to the art of Judith Wright / Ruth McDougall and Suhanya Raffel -- Other side of the rainbow: the sad and bad art of Destiny Deacon / Hannah Fink -- Rosemary Laing: pure transit / Kelley Gellatly -- Gwyn Hanssen Pigott / Sarah Tiffin -- Expressing identity: creativity in Yolngu art / Howard Morphy -- Arnhem Land fibre art: Lena Yarinkura, sculptor; Regina Wilson, painter / Diane Moon -- Weaving visions of country / Lilly Kelly Napangardi and Mitjili Napurrula / Christine Watson -- The balmarra of Alan Griffith's BaliBali balga / Dominique Sweeney -- To dance in the theatre of absence: some remarks about Aurukun carvings / John von Sturmer -- Memory and memorial: William Yang's 'About my mother' 2003 / Alison Lee -- In a fortune garden: Fiona Hall's 'Tender' 2003-06 / Suhanya Raffel -- Peter Booth and subtleties in the epic / Melissa Miles -- Susan Norrie: 'it's a small world after all' / Julie Ewington -- Scott Chaseling and Jessica Loughlin: personal narratives and minimal beauty / Ian Were -- The continuity of Tiwi art: Kitty Kantilla, Pedro Wonaeamirri and Maria Josette Orsto / Suzanne Spunner -- Anne Wallace: shadows of desire / Emma Muhlberger.
Publishing details: QAG, 2006, hc, dw, 491 pp, 400 colour illus
Sydney abstraction / Linda van Nunen view full entry
Reference: see Brought to Light II - contemporary Australian art 1966-2006 from the Queensland Art Gallery collection, edited by Lynne Seear and Julie Ewington. [’Featuring focused essays with broad scope and appeal, this book will include over 60 essays on key works and artists represented in the Queensland Art Gallery's contemporary Australian art collection’]

CONTENTS:
Centre Five revisited / Ken Scarlett -- The field: art, context and the historical moment / Carolyn Barnes -- Patterns of experience: Sydney abstraction / Linda van Nunen -- Robert Klippel and the language of form / Samantha Littley -- The evocation of distance: Fred Williams and the Australian landscape / Sebastian Smee -- 'Otherwhereish creatures': Sam Fullbrook's portrait of Ernestine Hill / John Murphy -- Table dancing: George Baldessin's 'Small Banquet' 1971-72 / David Hansen -- Tony Tuckson's hot licks: Pink lines (vertical) on red and purple 1970-73 / Julie Ewington -- Mick Namarari Tjapaltjarri: shimmer and screen / John Kean -- Imants Tillers and conceptual art: Moments of intertia: Still life 1; 141-144 1973 / Abigail Fitzgibbons -- 'It's OK if you weren't there': Mike Parr and performance documentation as remediation / Edward Scheer -- Australian mavericks: the provocative art of Richard Larter and Gareth Sansom / Deborah Clark -- Col Levy's big subject / Peter Timms -- DIY defiance: political posters during the Bjelke-Petersen era (1968-87) / Lynette Finch -- 'Beautiful on day, perfect the next': documentary photography in Queensland in the 1980s / Claire Gobe -- Reprise: Juan Davila's 'Miss Sigmund' 1981 / Shaune Lakin -- Articulating the unspeakable: the feminist photography of Julie Rrap and Anne Ferran / Jacqueline Millner -- Klaus Moje: 'swimming above the water' / Margot Osborne -- Cast-offs and found objects: Tom Risley's mark-making / Michael Hawker -- Thanakupi: full circle / Simon Wright -- Clifford Possum Tjapaltjarri: beneath clouds / Vivien Johnson -- The symbolic space of Tim Johnson / Wayne Tunnicliffe -- Outstation art: Emily Kngwarreye and Utopia Awelye Batik / Sally Butler -- Gordon Bennett: reading pictures / Susan Lowish -- Judy Watson: sacred ground beating heart 1989 / Ruth McDougall -- Rosalie Gascoigne's lyrical derailments / Mary Eagle --Dale Frank: 'strung out in heaven's high' / Sarah Stutchbury -- John Nixon: revision and renewal / Nicholas Chambers --Howard Arkley and 'Popism' / John Gregory -- Aleks Danko: what time is it? / David Burnett -- Robert Foster: the ghost in the machine / Paul McGillick -- Michael Riley: common sense / Hetti Perkins -- A complicated edge: Bea Maddock's 'TERRA SPIRITUS ... with a darker shade of pale' 1993-98 / Kate Ravenswood -- Imaging and abstracting country: Queenie McKenzie, Rover Thomas and the Warmun school / Judith Ryan -- William Robinson: depicting invisible distance / Rex Butler -- Poetry every day: Robert MacPherson's 'Mayfair: (Swamp rats) Ninety-seven signs for C.P., J.P., B.W., G.W. & R.W.' 1994-95 / Julie Ewington -- Peter Tyndall: the act of looking / Christopher Chapman -- Multiple meanings: the allusive objects of Susan Cohn / Anne Brennan -- The story of Guan Wei / Karen Smith -- Hermannsburg women potters / Bruce McLean -- Tracey Moffatt's visual pleasures / Miranda Wallace -- Ken Thaiday: to dance is to remember / Maud Page -- New waves from the old: Torres Strait Islander printmakers / Nonie Sharp -- Michael Boiyool Anning and the rainforest tradition / Noel Loos -- There goes the neighborhood: the works of Vernon Ah Kee and Richard Bell / Avril Quaill -- Scott Redford: paradise now / Jason Smith -- Being in the world: two responses to the art of Judith Wright / Ruth McDougall and Suhanya Raffel -- Other side of the rainbow: the sad and bad art of Destiny Deacon / Hannah Fink -- Rosemary Laing: pure transit / Kelley Gellatly -- Gwyn Hanssen Pigott / Sarah Tiffin -- Expressing identity: creativity in Yolngu art / Howard Morphy -- Arnhem Land fibre art: Lena Yarinkura, sculptor; Regina Wilson, painter / Diane Moon -- Weaving visions of country / Lilly Kelly Napangardi and Mitjili Napurrula / Christine Watson -- The balmarra of Alan Griffith's BaliBali balga / Dominique Sweeney -- To dance in the theatre of absence: some remarks about Aurukun carvings / John von Sturmer -- Memory and memorial: William Yang's 'About my mother' 2003 / Alison Lee -- In a fortune garden: Fiona Hall's 'Tender' 2003-06 / Suhanya Raffel -- Peter Booth and subtleties in the epic / Melissa Miles -- Susan Norrie: 'it's a small world after all' / Julie Ewington -- Scott Chaseling and Jessica Loughlin: personal narratives and minimal beauty / Ian Were -- The continuity of Tiwi art: Kitty Kantilla, Pedro Wonaeamirri and Maria Josette Orsto / Suzanne Spunner -- Anne Wallace: shadows of desire / Emma Muhlberger.
Publishing details: QAG, 2006, hc, dw, 491 pp, 400 colour illus
Klippel Robert and the language of form / Samantha Littley view full entry
Reference: see Brought to Light II - contemporary Australian art 1966-2006 from the Queensland Art Gallery collection, edited by Lynne Seear and Julie Ewington. [’Featuring focused essays with broad scope and appeal, this book will include over 60 essays on key works and artists represented in the Queensland Art Gallery's contemporary Australian art collection’]

CONTENTS:
Centre Five revisited / Ken Scarlett -- The field: art, context and the historical moment / Carolyn Barnes -- Patterns of experience: Sydney abstraction / Linda van Nunen -- Robert Klippel and the language of form / Samantha Littley -- The evocation of distance: Fred Williams and the Australian landscape / Sebastian Smee -- 'Otherwhereish creatures': Sam Fullbrook's portrait of Ernestine Hill / John Murphy -- Table dancing: George Baldessin's 'Small Banquet' 1971-72 / David Hansen -- Tony Tuckson's hot licks: Pink lines (vertical) on red and purple 1970-73 / Julie Ewington -- Mick Namarari Tjapaltjarri: shimmer and screen / John Kean -- Imants Tillers and conceptual art: Moments of intertia: Still life 1; 141-144 1973 / Abigail Fitzgibbons -- 'It's OK if you weren't there': Mike Parr and performance documentation as remediation / Edward Scheer -- Australian mavericks: the provocative art of Richard Larter and Gareth Sansom / Deborah Clark -- Col Levy's big subject / Peter Timms -- DIY defiance: political posters during the Bjelke-Petersen era (1968-87) / Lynette Finch -- 'Beautiful on day, perfect the next': documentary photography in Queensland in the 1980s / Claire Gobe -- Reprise: Juan Davila's 'Miss Sigmund' 1981 / Shaune Lakin -- Articulating the unspeakable: the feminist photography of Julie Rrap and Anne Ferran / Jacqueline Millner -- Klaus Moje: 'swimming above the water' / Margot Osborne -- Cast-offs and found objects: Tom Risley's mark-making / Michael Hawker -- Thanakupi: full circle / Simon Wright -- Clifford Possum Tjapaltjarri: beneath clouds / Vivien Johnson -- The symbolic space of Tim Johnson / Wayne Tunnicliffe -- Outstation art: Emily Kngwarreye and Utopia Awelye Batik / Sally Butler -- Gordon Bennett: reading pictures / Susan Lowish -- Judy Watson: sacred ground beating heart 1989 / Ruth McDougall -- Rosalie Gascoigne's lyrical derailments / Mary Eagle --Dale Frank: 'strung out in heaven's high' / Sarah Stutchbury -- John Nixon: revision and renewal / Nicholas Chambers --Howard Arkley and 'Popism' / John Gregory -- Aleks Danko: what time is it? / David Burnett -- Robert Foster: the ghost in the machine / Paul McGillick -- Michael Riley: common sense / Hetti Perkins -- A complicated edge: Bea Maddock's 'TERRA SPIRITUS ... with a darker shade of pale' 1993-98 / Kate Ravenswood -- Imaging and abstracting country: Queenie McKenzie, Rover Thomas and the Warmun school / Judith Ryan -- William Robinson: depicting invisible distance / Rex Butler -- Poetry every day: Robert MacPherson's 'Mayfair: (Swamp rats) Ninety-seven signs for C.P., J.P., B.W., G.W. & R.W.' 1994-95 / Julie Ewington -- Peter Tyndall: the act of looking / Christopher Chapman -- Multiple meanings: the allusive objects of Susan Cohn / Anne Brennan -- The story of Guan Wei / Karen Smith -- Hermannsburg women potters / Bruce McLean -- Tracey Moffatt's visual pleasures / Miranda Wallace -- Ken Thaiday: to dance is to remember / Maud Page -- New waves from the old: Torres Strait Islander printmakers / Nonie Sharp -- Michael Boiyool Anning and the rainforest tradition / Noel Loos -- There goes the neighborhood: the works of Vernon Ah Kee and Richard Bell / Avril Quaill -- Scott Redford: paradise now / Jason Smith -- Being in the world: two responses to the art of Judith Wright / Ruth McDougall and Suhanya Raffel -- Other side of the rainbow: the sad and bad art of Destiny Deacon / Hannah Fink -- Rosemary Laing: pure transit / Kelley Gellatly -- Gwyn Hanssen Pigott / Sarah Tiffin -- Expressing identity: creativity in Yolngu art / Howard Morphy -- Arnhem Land fibre art: Lena Yarinkura, sculptor; Regina Wilson, painter / Diane Moon -- Weaving visions of country / Lilly Kelly Napangardi and Mitjili Napurrula / Christine Watson -- The balmarra of Alan Griffith's BaliBali balga / Dominique Sweeney -- To dance in the theatre of absence: some remarks about Aurukun carvings / John von Sturmer -- Memory and memorial: William Yang's 'About my mother' 2003 / Alison Lee -- In a fortune garden: Fiona Hall's 'Tender' 2003-06 / Suhanya Raffel -- Peter Booth and subtleties in the epic / Melissa Miles -- Susan Norrie: 'it's a small world after all' / Julie Ewington -- Scott Chaseling and Jessica Loughlin: personal narratives and minimal beauty / Ian Were -- The continuity of Tiwi art: Kitty Kantilla, Pedro Wonaeamirri and Maria Josette Orsto / Suzanne Spunner -- Anne Wallace: shadows of desire / Emma Muhlberger.
Publishing details: QAG, 2006, hc, dw, 491 pp, 400 colour illus
Williams Fred - and the Australian landscape / Sebastian Smee view full entry
Reference: see Brought to Light II - contemporary Australian art 1966-2006 from the Queensland Art Gallery collection, edited by Lynne Seear and Julie Ewington. [’Featuring focused essays with broad scope and appeal, this book will include over 60 essays on key works and artists represented in the Queensland Art Gallery's contemporary Australian art collection’]

CONTENTS:
Centre Five revisited / Ken Scarlett -- The field: art, context and the historical moment / Carolyn Barnes -- Patterns of experience: Sydney abstraction / Linda van Nunen -- Robert Klippel and the language of form / Samantha Littley -- The evocation of distance: Fred Williams and the Australian landscape / Sebastian Smee -- 'Otherwhereish creatures': Sam Fullbrook's portrait of Ernestine Hill / John Murphy -- Table dancing: George Baldessin's 'Small Banquet' 1971-72 / David Hansen -- Tony Tuckson's hot licks: Pink lines (vertical) on red and purple 1970-73 / Julie Ewington -- Mick Namarari Tjapaltjarri: shimmer and screen / John Kean -- Imants Tillers and conceptual art: Moments of intertia: Still life 1; 141-144 1973 / Abigail Fitzgibbons -- 'It's OK if you weren't there': Mike Parr and performance documentation as remediation / Edward Scheer -- Australian mavericks: the provocative art of Richard Larter and Gareth Sansom / Deborah Clark -- Col Levy's big subject / Peter Timms -- DIY defiance: political posters during the Bjelke-Petersen era (1968-87) / Lynette Finch -- 'Beautiful on day, perfect the next': documentary photography in Queensland in the 1980s / Claire Gobe -- Reprise: Juan Davila's 'Miss Sigmund' 1981 / Shaune Lakin -- Articulating the unspeakable: the feminist photography of Julie Rrap and Anne Ferran / Jacqueline Millner -- Klaus Moje: 'swimming above the water' / Margot Osborne -- Cast-offs and found objects: Tom Risley's mark-making / Michael Hawker -- Thanakupi: full circle / Simon Wright -- Clifford Possum Tjapaltjarri: beneath clouds / Vivien Johnson -- The symbolic space of Tim Johnson / Wayne Tunnicliffe -- Outstation art: Emily Kngwarreye and Utopia Awelye Batik / Sally Butler -- Gordon Bennett: reading pictures / Susan Lowish -- Judy Watson: sacred ground beating heart 1989 / Ruth McDougall -- Rosalie Gascoigne's lyrical derailments / Mary Eagle --Dale Frank: 'strung out in heaven's high' / Sarah Stutchbury -- John Nixon: revision and renewal / Nicholas Chambers --Howard Arkley and 'Popism' / John Gregory -- Aleks Danko: what time is it? / David Burnett -- Robert Foster: the ghost in the machine / Paul McGillick -- Michael Riley: common sense / Hetti Perkins -- A complicated edge: Bea Maddock's 'TERRA SPIRITUS ... with a darker shade of pale' 1993-98 / Kate Ravenswood -- Imaging and abstracting country: Queenie McKenzie, Rover Thomas and the Warmun school / Judith Ryan -- William Robinson: depicting invisible distance / Rex Butler -- Poetry every day: Robert MacPherson's 'Mayfair: (Swamp rats) Ninety-seven signs for C.P., J.P., B.W., G.W. & R.W.' 1994-95 / Julie Ewington -- Peter Tyndall: the act of looking / Christopher Chapman -- Multiple meanings: the allusive objects of Susan Cohn / Anne Brennan -- The story of Guan Wei / Karen Smith -- Hermannsburg women potters / Bruce McLean -- Tracey Moffatt's visual pleasures / Miranda Wallace -- Ken Thaiday: to dance is to remember / Maud Page -- New waves from the old: Torres Strait Islander printmakers / Nonie Sharp -- Michael Boiyool Anning and the rainforest tradition / Noel Loos -- There goes the neighborhood: the works of Vernon Ah Kee and Richard Bell / Avril Quaill -- Scott Redford: paradise now / Jason Smith -- Being in the world: two responses to the art of Judith Wright / Ruth McDougall and Suhanya Raffel -- Other side of the rainbow: the sad and bad art of Destiny Deacon / Hannah Fink -- Rosemary Laing: pure transit / Kelley Gellatly -- Gwyn Hanssen Pigott / Sarah Tiffin -- Expressing identity: creativity in Yolngu art / Howard Morphy -- Arnhem Land fibre art: Lena Yarinkura, sculptor; Regina Wilson, painter / Diane Moon -- Weaving visions of country / Lilly Kelly Napangardi and Mitjili Napurrula / Christine Watson -- The balmarra of Alan Griffith's BaliBali balga / Dominique Sweeney -- To dance in the theatre of absence: some remarks about Aurukun carvings / John von Sturmer -- Memory and memorial: William Yang's 'About my mother' 2003 / Alison Lee -- In a fortune garden: Fiona Hall's 'Tender' 2003-06 / Suhanya Raffel -- Peter Booth and subtleties in the epic / Melissa Miles -- Susan Norrie: 'it's a small world after all' / Julie Ewington -- Scott Chaseling and Jessica Loughlin: personal narratives and minimal beauty / Ian Were -- The continuity of Tiwi art: Kitty Kantilla, Pedro Wonaeamirri and Maria Josette Orsto / Suzanne Spunner -- Anne Wallace: shadows of desire / Emma Muhlberger.
Publishing details: QAG, 2006, hc, dw, 491 pp, 400 colour illus
Baldessin George - 'Small Banquet' 1971-72 / David Hansen view full entry
Reference: see Brought to Light II - contemporary Australian art 1966-2006 from the Queensland Art Gallery collection, edited by Lynne Seear and Julie Ewington. [’Featuring focused essays with broad scope and appeal, this book will include over 60 essays on key works and artists represented in the Queensland Art Gallery's contemporary Australian art collection’]

CONTENTS:
Centre Five revisited / Ken Scarlett -- The field: art, context and the historical moment / Carolyn Barnes -- Patterns of experience: Sydney abstraction / Linda van Nunen -- Robert Klippel and the language of form / Samantha Littley -- The evocation of distance: Fred Williams and the Australian landscape / Sebastian Smee -- 'Otherwhereish creatures': Sam Fullbrook's portrait of Ernestine Hill / John Murphy -- Table dancing: George Baldessin's 'Small Banquet' 1971-72 / David Hansen -- Tony Tuckson's hot licks: Pink lines (vertical) on red and purple 1970-73 / Julie Ewington -- Mick Namarari Tjapaltjarri: shimmer and screen / John Kean -- Imants Tillers and conceptual art: Moments of intertia: Still life 1; 141-144 1973 / Abigail Fitzgibbons -- 'It's OK if you weren't there': Mike Parr and performance documentation as remediation / Edward Scheer -- Australian mavericks: the provocative art of Richard Larter and Gareth Sansom / Deborah Clark -- Col Levy's big subject / Peter Timms -- DIY defiance: political posters during the Bjelke-Petersen era (1968-87) / Lynette Finch -- 'Beautiful on day, perfect the next': documentary photography in Queensland in the 1980s / Claire Gobe -- Reprise: Juan Davila's 'Miss Sigmund' 1981 / Shaune Lakin -- Articulating the unspeakable: the feminist photography of Julie Rrap and Anne Ferran / Jacqueline Millner -- Klaus Moje: 'swimming above the water' / Margot Osborne -- Cast-offs and found objects: Tom Risley's mark-making / Michael Hawker -- Thanakupi: full circle / Simon Wright -- Clifford Possum Tjapaltjarri: beneath clouds / Vivien Johnson -- The symbolic space of Tim Johnson / Wayne Tunnicliffe -- Outstation art: Emily Kngwarreye and Utopia Awelye Batik / Sally Butler -- Gordon Bennett: reading pictures / Susan Lowish -- Judy Watson: sacred ground beating heart 1989 / Ruth McDougall -- Rosalie Gascoigne's lyrical derailments / Mary Eagle --Dale Frank: 'strung out in heaven's high' / Sarah Stutchbury -- John Nixon: revision and renewal / Nicholas Chambers --Howard Arkley and 'Popism' / John Gregory -- Aleks Danko: what time is it? / David Burnett -- Robert Foster: the ghost in the machine / Paul McGillick -- Michael Riley: common sense / Hetti Perkins -- A complicated edge: Bea Maddock's 'TERRA SPIRITUS ... with a darker shade of pale' 1993-98 / Kate Ravenswood -- Imaging and abstracting country: Queenie McKenzie, Rover Thomas and the Warmun school / Judith Ryan -- William Robinson: depicting invisible distance / Rex Butler -- Poetry every day: Robert MacPherson's 'Mayfair: (Swamp rats) Ninety-seven signs for C.P., J.P., B.W., G.W. & R.W.' 1994-95 / Julie Ewington -- Peter Tyndall: the act of looking / Christopher Chapman -- Multiple meanings: the allusive objects of Susan Cohn / Anne Brennan -- The story of Guan Wei / Karen Smith -- Hermannsburg women potters / Bruce McLean -- Tracey Moffatt's visual pleasures / Miranda Wallace -- Ken Thaiday: to dance is to remember / Maud Page -- New waves from the old: Torres Strait Islander printmakers / Nonie Sharp -- Michael Boiyool Anning and the rainforest tradition / Noel Loos -- There goes the neighborhood: the works of Vernon Ah Kee and Richard Bell / Avril Quaill -- Scott Redford: paradise now / Jason Smith -- Being in the world: two responses to the art of Judith Wright / Ruth McDougall and Suhanya Raffel -- Other side of the rainbow: the sad and bad art of Destiny Deacon / Hannah Fink -- Rosemary Laing: pure transit / Kelley Gellatly -- Gwyn Hanssen Pigott / Sarah Tiffin -- Expressing identity: creativity in Yolngu art / Howard Morphy -- Arnhem Land fibre art: Lena Yarinkura, sculptor; Regina Wilson, painter / Diane Moon -- Weaving visions of country / Lilly Kelly Napangardi and Mitjili Napurrula / Christine Watson -- The balmarra of Alan Griffith's BaliBali balga / Dominique Sweeney -- To dance in the theatre of absence: some remarks about Aurukun carvings / John von Sturmer -- Memory and memorial: William Yang's 'About my mother' 2003 / Alison Lee -- In a fortune garden: Fiona Hall's 'Tender' 2003-06 / Suhanya Raffel -- Peter Booth and subtleties in the epic / Melissa Miles -- Susan Norrie: 'it's a small world after all' / Julie Ewington -- Scott Chaseling and Jessica Loughlin: personal narratives and minimal beauty / Ian Were -- The continuity of Tiwi art: Kitty Kantilla, Pedro Wonaeamirri and Maria Josette Orsto / Suzanne Spunner -- Anne Wallace: shadows of desire / Emma Muhlberger.
Publishing details: QAG, 2006, hc, dw, 491 pp, 400 colour illus
Fullbrook Sam portrait of Ernestine Hill / John Murphy view full entry
Reference: see Brought to Light II - contemporary Australian art 1966-2006 from the Queensland Art Gallery collection, edited by Lynne Seear and Julie Ewington. [’Featuring focused essays with broad scope and appeal, this book will include over 60 essays on key works and artists represented in the Queensland Art Gallery's contemporary Australian art collection’]

CONTENTS:
Centre Five revisited / Ken Scarlett -- The field: art, context and the historical moment / Carolyn Barnes -- Patterns of experience: Sydney abstraction / Linda van Nunen -- Robert Klippel and the language of form / Samantha Littley -- The evocation of distance: Fred Williams and the Australian landscape / Sebastian Smee -- 'Otherwhereish creatures': Sam Fullbrook's portrait of Ernestine Hill / John Murphy -- Table dancing: George Baldessin's 'Small Banquet' 1971-72 / David Hansen -- Tony Tuckson's hot licks: Pink lines (vertical) on red and purple 1970-73 / Julie Ewington -- Mick Namarari Tjapaltjarri: shimmer and screen / John Kean -- Imants Tillers and conceptual art: Moments of intertia: Still life 1; 141-144 1973 / Abigail Fitzgibbons -- 'It's OK if you weren't there': Mike Parr and performance documentation as remediation / Edward Scheer -- Australian mavericks: the provocative art of Richard Larter and Gareth Sansom / Deborah Clark -- Col Levy's big subject / Peter Timms -- DIY defiance: political posters during the Bjelke-Petersen era (1968-87) / Lynette Finch -- 'Beautiful on day, perfect the next': documentary photography in Queensland in the 1980s / Claire Gobe -- Reprise: Juan Davila's 'Miss Sigmund' 1981 / Shaune Lakin -- Articulating the unspeakable: the feminist photography of Julie Rrap and Anne Ferran / Jacqueline Millner -- Klaus Moje: 'swimming above the water' / Margot Osborne -- Cast-offs and found objects: Tom Risley's mark-making / Michael Hawker -- Thanakupi: full circle / Simon Wright -- Clifford Possum Tjapaltjarri: beneath clouds / Vivien Johnson -- The symbolic space of Tim Johnson / Wayne Tunnicliffe -- Outstation art: Emily Kngwarreye and Utopia Awelye Batik / Sally Butler -- Gordon Bennett: reading pictures / Susan Lowish -- Judy Watson: sacred ground beating heart 1989 / Ruth McDougall -- Rosalie Gascoigne's lyrical derailments / Mary Eagle --Dale Frank: 'strung out in heaven's high' / Sarah Stutchbury -- John Nixon: revision and renewal / Nicholas Chambers --Howard Arkley and 'Popism' / John Gregory -- Aleks Danko: what time is it? / David Burnett -- Robert Foster: the ghost in the machine / Paul McGillick -- Michael Riley: common sense / Hetti Perkins -- A complicated edge: Bea Maddock's 'TERRA SPIRITUS ... with a darker shade of pale' 1993-98 / Kate Ravenswood -- Imaging and abstracting country: Queenie McKenzie, Rover Thomas and the Warmun school / Judith Ryan -- William Robinson: depicting invisible distance / Rex Butler -- Poetry every day: Robert MacPherson's 'Mayfair: (Swamp rats) Ninety-seven signs for C.P., J.P., B.W., G.W. & R.W.' 1994-95 / Julie Ewington -- Peter Tyndall: the act of looking / Christopher Chapman -- Multiple meanings: the allusive objects of Susan Cohn / Anne Brennan -- The story of Guan Wei / Karen Smith -- Hermannsburg women potters / Bruce McLean -- Tracey Moffatt's visual pleasures / Miranda Wallace -- Ken Thaiday: to dance is to remember / Maud Page -- New waves from the old: Torres Strait Islander printmakers / Nonie Sharp -- Michael Boiyool Anning and the rainforest tradition / Noel Loos -- There goes the neighborhood: the works of Vernon Ah Kee and Richard Bell / Avril Quaill -- Scott Redford: paradise now / Jason Smith -- Being in the world: two responses to the art of Judith Wright / Ruth McDougall and Suhanya Raffel -- Other side of the rainbow: the sad and bad art of Destiny Deacon / Hannah Fink -- Rosemary Laing: pure transit / Kelley Gellatly -- Gwyn Hanssen Pigott / Sarah Tiffin -- Expressing identity: creativity in Yolngu art / Howard Morphy -- Arnhem Land fibre art: Lena Yarinkura, sculptor; Regina Wilson, painter / Diane Moon -- Weaving visions of country / Lilly Kelly Napangardi and Mitjili Napurrula / Christine Watson -- The balmarra of Alan Griffith's BaliBali balga / Dominique Sweeney -- To dance in the theatre of absence: some remarks about Aurukun carvings / John von Sturmer -- Memory and memorial: William Yang's 'About my mother' 2003 / Alison Lee -- In a fortune garden: Fiona Hall's 'Tender' 2003-06 / Suhanya Raffel -- Peter Booth and subtleties in the epic / Melissa Miles -- Susan Norrie: 'it's a small world after all' / Julie Ewington -- Scott Chaseling and Jessica Loughlin: personal narratives and minimal beauty / Ian Were -- The continuity of Tiwi art: Kitty Kantilla, Pedro Wonaeamirri and Maria Josette Orsto / Suzanne Spunner -- Anne Wallace: shadows of desire / Emma Muhlberger.
Publishing details: QAG, 2006, hc, dw, 491 pp, 400 colour illus
Tuckson Tony - hot licks: Pink lines (vertical) on red and purple 1970-73 / Julie Ewington / John Murphy view full entry
Reference: see Brought to Light II - contemporary Australian art 1966-2006 from the Queensland Art Gallery collection, edited by Lynne Seear and Julie Ewington. [’Featuring focused essays with broad scope and appeal, this book will include over 60 essays on key works and artists represented in the Queensland Art Gallery's contemporary Australian art collection’]

CONTENTS:
Centre Five revisited / Ken Scarlett -- The field: art, context and the historical moment / Carolyn Barnes -- Patterns of experience: Sydney abstraction / Linda van Nunen -- Robert Klippel and the language of form / Samantha Littley -- The evocation of distance: Fred Williams and the Australian landscape / Sebastian Smee -- 'Otherwhereish creatures': Sam Fullbrook's portrait of Ernestine Hill / John Murphy -- Table dancing: George Baldessin's 'Small Banquet' 1971-72 / David Hansen -- Tony Tuckson's hot licks: Pink lines (vertical) on red and purple 1970-73 / Julie Ewington -- Mick Namarari Tjapaltjarri: shimmer and screen / John Kean -- Imants Tillers and conceptual art: Moments of intertia: Still life 1; 141-144 1973 / Abigail Fitzgibbons -- 'It's OK if you weren't there': Mike Parr and performance documentation as remediation / Edward Scheer -- Australian mavericks: the provocative art of Richard Larter and Gareth Sansom / Deborah Clark -- Col Levy's big subject / Peter Timms -- DIY defiance: political posters during the Bjelke-Petersen era (1968-87) / Lynette Finch -- 'Beautiful on day, perfect the next': documentary photography in Queensland in the 1980s / Claire Gobe -- Reprise: Juan Davila's 'Miss Sigmund' 1981 / Shaune Lakin -- Articulating the unspeakable: the feminist photography of Julie Rrap and Anne Ferran / Jacqueline Millner -- Klaus Moje: 'swimming above the water' / Margot Osborne -- Cast-offs and found objects: Tom Risley's mark-making / Michael Hawker -- Thanakupi: full circle / Simon Wright -- Clifford Possum Tjapaltjarri: beneath clouds / Vivien Johnson -- The symbolic space of Tim Johnson / Wayne Tunnicliffe -- Outstation art: Emily Kngwarreye and Utopia Awelye Batik / Sally Butler -- Gordon Bennett: reading pictures / Susan Lowish -- Judy Watson: sacred ground beating heart 1989 / Ruth McDougall -- Rosalie Gascoigne's lyrical derailments / Mary Eagle --Dale Frank: 'strung out in heaven's high' / Sarah Stutchbury -- John Nixon: revision and renewal / Nicholas Chambers --Howard Arkley and 'Popism' / John Gregory -- Aleks Danko: what time is it? / David Burnett -- Robert Foster: the ghost in the machine / Paul McGillick -- Michael Riley: common sense / Hetti Perkins -- A complicated edge: Bea Maddock's 'TERRA SPIRITUS ... with a darker shade of pale' 1993-98 / Kate Ravenswood -- Imaging and abstracting country: Queenie McKenzie, Rover Thomas and the Warmun school / Judith Ryan -- William Robinson: depicting invisible distance / Rex Butler -- Poetry every day: Robert MacPherson's 'Mayfair: (Swamp rats) Ninety-seven signs for C.P., J.P., B.W., G.W. & R.W.' 1994-95 / Julie Ewington -- Peter Tyndall: the act of looking / Christopher Chapman -- Multiple meanings: the allusive objects of Susan Cohn / Anne Brennan -- The story of Guan Wei / Karen Smith -- Hermannsburg women potters / Bruce McLean -- Tracey Moffatt's visual pleasures / Miranda Wallace -- Ken Thaiday: to dance is to remember / Maud Page -- New waves from the old: Torres Strait Islander printmakers / Nonie Sharp -- Michael Boiyool Anning and the rainforest tradition / Noel Loos -- There goes the neighborhood: the works of Vernon Ah Kee and Richard Bell / Avril Quaill -- Scott Redford: paradise now / Jason Smith -- Being in the world: two responses to the art of Judith Wright / Ruth McDougall and Suhanya Raffel -- Other side of the rainbow: the sad and bad art of Destiny Deacon / Hannah Fink -- Rosemary Laing: pure transit / Kelley Gellatly -- Gwyn Hanssen Pigott / Sarah Tiffin -- Expressing identity: creativity in Yolngu art / Howard Morphy -- Arnhem Land fibre art: Lena Yarinkura, sculptor; Regina Wilson, painter / Diane Moon -- Weaving visions of country / Lilly Kelly Napangardi and Mitjili Napurrula / Christine Watson -- The balmarra of Alan Griffith's BaliBali balga / Dominique Sweeney -- To dance in the theatre of absence: some remarks about Aurukun carvings / John von Sturmer -- Memory and memorial: William Yang's 'About my mother' 2003 / Alison Lee -- In a fortune garden: Fiona Hall's 'Tender' 2003-06 / Suhanya Raffel -- Peter Booth and subtleties in the epic / Melissa Miles -- Susan Norrie: 'it's a small world after all' / Julie Ewington -- Scott Chaseling and Jessica Loughlin: personal narratives and minimal beauty / Ian Were -- The continuity of Tiwi art: Kitty Kantilla, Pedro Wonaeamirri and Maria Josette Orsto / Suzanne Spunner -- Anne Wallace: shadows of desire / Emma Muhlberger.
Publishing details: QAG, 2006, hc, dw, 491 pp, 400 colour illus
Namarari Tjapaltjarri Mick : shimmer and screen / John Kean view full entry
Reference: see Brought to Light II - contemporary Australian art 1966-2006 from the Queensland Art Gallery collection, edited by Lynne Seear and Julie Ewington. [’Featuring focused essays with broad scope and appeal, this book will include over 60 essays on key works and artists represented in the Queensland Art Gallery's contemporary Australian art collection’]

CONTENTS:
Centre Five revisited / Ken Scarlett -- The field: art, context and the historical moment / Carolyn Barnes -- Patterns of experience: Sydney abstraction / Linda van Nunen -- Robert Klippel and the language of form / Samantha Littley -- The evocation of distance: Fred Williams and the Australian landscape / Sebastian Smee -- 'Otherwhereish creatures': Sam Fullbrook's portrait of Ernestine Hill / John Murphy -- Table dancing: George Baldessin's 'Small Banquet' 1971-72 / David Hansen -- Tony Tuckson's hot licks: Pink lines (vertical) on red and purple 1970-73 / Julie Ewington -- Mick Namarari Tjapaltjarri: shimmer and screen / John Kean -- Imants Tillers and conceptual art: Moments of intertia: Still life 1; 141-144 1973 / Abigail Fitzgibbons -- 'It's OK if you weren't there': Mike Parr and performance documentation as remediation / Edward Scheer -- Australian mavericks: the provocative art of Richard Larter and Gareth Sansom / Deborah Clark -- Col Levy's big subject / Peter Timms -- DIY defiance: political posters during the Bjelke-Petersen era (1968-87) / Lynette Finch -- 'Beautiful on day, perfect the next': documentary photography in Queensland in the 1980s / Claire Gobe -- Reprise: Juan Davila's 'Miss Sigmund' 1981 / Shaune Lakin -- Articulating the unspeakable: the feminist photography of Julie Rrap and Anne Ferran / Jacqueline Millner -- Klaus Moje: 'swimming above the water' / Margot Osborne -- Cast-offs and found objects: Tom Risley's mark-making / Michael Hawker -- Thanakupi: full circle / Simon Wright -- Clifford Possum Tjapaltjarri: beneath clouds / Vivien Johnson -- The symbolic space of Tim Johnson / Wayne Tunnicliffe -- Outstation art: Emily Kngwarreye and Utopia Awelye Batik / Sally Butler -- Gordon Bennett: reading pictures / Susan Lowish -- Judy Watson: sacred ground beating heart 1989 / Ruth McDougall -- Rosalie Gascoigne's lyrical derailments / Mary Eagle --Dale Frank: 'strung out in heaven's high' / Sarah Stutchbury -- John Nixon: revision and renewal / Nicholas Chambers --Howard Arkley and 'Popism' / John Gregory -- Aleks Danko: what time is it? / David Burnett -- Robert Foster: the ghost in the machine / Paul McGillick -- Michael Riley: common sense / Hetti Perkins -- A complicated edge: Bea Maddock's 'TERRA SPIRITUS ... with a darker shade of pale' 1993-98 / Kate Ravenswood -- Imaging and abstracting country: Queenie McKenzie, Rover Thomas and the Warmun school / Judith Ryan -- William Robinson: depicting invisible distance / Rex Butler -- Poetry every day: Robert MacPherson's 'Mayfair: (Swamp rats) Ninety-seven signs for C.P., J.P., B.W., G.W. & R.W.' 1994-95 / Julie Ewington -- Peter Tyndall: the act of looking / Christopher Chapman -- Multiple meanings: the allusive objects of Susan Cohn / Anne Brennan -- The story of Guan Wei / Karen Smith -- Hermannsburg women potters / Bruce McLean -- Tracey Moffatt's visual pleasures / Miranda Wallace -- Ken Thaiday: to dance is to remember / Maud Page -- New waves from the old: Torres Strait Islander printmakers / Nonie Sharp -- Michael Boiyool Anning and the rainforest tradition / Noel Loos -- There goes the neighborhood: the works of Vernon Ah Kee and Richard Bell / Avril Quaill -- Scott Redford: paradise now / Jason Smith -- Being in the world: two responses to the art of Judith Wright / Ruth McDougall and Suhanya Raffel -- Other side of the rainbow: the sad and bad art of Destiny Deacon / Hannah Fink -- Rosemary Laing: pure transit / Kelley Gellatly -- Gwyn Hanssen Pigott / Sarah Tiffin -- Expressing identity: creativity in Yolngu art / Howard Morphy -- Arnhem Land fibre art: Lena Yarinkura, sculptor; Regina Wilson, painter / Diane Moon -- Weaving visions of country / Lilly Kelly Napangardi and Mitjili Napurrula / Christine Watson -- The balmarra of Alan Griffith's BaliBali balga / Dominique Sweeney -- To dance in the theatre of absence: some remarks about Aurukun carvings / John von Sturmer -- Memory and memorial: William Yang's 'About my mother' 2003 / Alison Lee -- In a fortune garden: Fiona Hall's 'Tender' 2003-06 / Suhanya Raffel -- Peter Booth and subtleties in the epic / Melissa Miles -- Susan Norrie: 'it's a small world after all' / Julie Ewington -- Scott Chaseling and Jessica Loughlin: personal narratives and minimal beauty / Ian Were -- The continuity of Tiwi art: Kitty Kantilla, Pedro Wonaeamirri and Maria Josette Orsto / Suzanne Spunner -- Anne Wallace: shadows of desire / Emma Muhlberger.
Publishing details: QAG, 2006, hc, dw, 491 pp, 400 colour illus
Tillers Imants by Abigail Fitzgibbonsview full entry
Reference: see Brought to Light II - contemporary Australian art 1966-2006 from the Queensland Art Gallery collection, edited by Lynne Seear and Julie Ewington. [’Featuring focused essays with broad scope and appeal, this book will include over 60 essays on key works and artists represented in the Queensland Art Gallery's contemporary Australian art collection’]

CONTENTS:
Centre Five revisited / Ken Scarlett -- The field: art, context and the historical moment / Carolyn Barnes -- Patterns of experience: Sydney abstraction / Linda van Nunen -- Robert Klippel and the language of form / Samantha Littley -- The evocation of distance: Fred Williams and the Australian landscape / Sebastian Smee -- 'Otherwhereish creatures': Sam Fullbrook's portrait of Ernestine Hill / John Murphy -- Table dancing: George Baldessin's 'Small Banquet' 1971-72 / David Hansen -- Tony Tuckson's hot licks: Pink lines (vertical) on red and purple 1970-73 / Julie Ewington -- Mick Namarari Tjapaltjarri: shimmer and screen / John Kean -- Imants Tillers and conceptual art: Moments of intertia: Still life 1; 141-144 1973 / Abigail Fitzgibbons -- 'It's OK if you weren't there': Mike Parr and performance documentation as remediation / Edward Scheer -- Australian mavericks: the provocative art of Richard Larter and Gareth Sansom / Deborah Clark -- Col Levy's big subject / Peter Timms -- DIY defiance: political posters during the Bjelke-Petersen era (1968-87) / Lynette Finch -- 'Beautiful on day, perfect the next': documentary photography in Queensland in the 1980s / Claire Gobe -- Reprise: Juan Davila's 'Miss Sigmund' 1981 / Shaune Lakin -- Articulating the unspeakable: the feminist photography of Julie Rrap and Anne Ferran / Jacqueline Millner -- Klaus Moje: 'swimming above the water' / Margot Osborne -- Cast-offs and found objects: Tom Risley's mark-making / Michael Hawker -- Thanakupi: full circle / Simon Wright -- Clifford Possum Tjapaltjarri: beneath clouds / Vivien Johnson -- The symbolic space of Tim Johnson / Wayne Tunnicliffe -- Outstation art: Emily Kngwarreye and Utopia Awelye Batik / Sally Butler -- Gordon Bennett: reading pictures / Susan Lowish -- Judy Watson: sacred ground beating heart 1989 / Ruth McDougall -- Rosalie Gascoigne's lyrical derailments / Mary Eagle --Dale Frank: 'strung out in heaven's high' / Sarah Stutchbury -- John Nixon: revision and renewal / Nicholas Chambers --Howard Arkley and 'Popism' / John Gregory -- Aleks Danko: what time is it? / David Burnett -- Robert Foster: the ghost in the machine / Paul McGillick -- Michael Riley: common sense / Hetti Perkins -- A complicated edge: Bea Maddock's 'TERRA SPIRITUS ... with a darker shade of pale' 1993-98 / Kate Ravenswood -- Imaging and abstracting country: Queenie McKenzie, Rover Thomas and the Warmun school / Judith Ryan -- William Robinson: depicting invisible distance / Rex Butler -- Poetry every day: Robert MacPherson's 'Mayfair: (Swamp rats) Ninety-seven signs for C.P., J.P., B.W., G.W. & R.W.' 1994-95 / Julie Ewington -- Peter Tyndall: the act of looking / Christopher Chapman -- Multiple meanings: the allusive objects of Susan Cohn / Anne Brennan -- The story of Guan Wei / Karen Smith -- Hermannsburg women potters / Bruce McLean -- Tracey Moffatt's visual pleasures / Miranda Wallace -- Ken Thaiday: to dance is to remember / Maud Page -- New waves from the old: Torres Strait Islander printmakers / Nonie Sharp -- Michael Boiyool Anning and the rainforest tradition / Noel Loos -- There goes the neighborhood: the works of Vernon Ah Kee and Richard Bell / Avril Quaill -- Scott Redford: paradise now / Jason Smith -- Being in the world: two responses to the art of Judith Wright / Ruth McDougall and Suhanya Raffel -- Other side of the rainbow: the sad and bad art of Destiny Deacon / Hannah Fink -- Rosemary Laing: pure transit / Kelley Gellatly -- Gwyn Hanssen Pigott / Sarah Tiffin -- Expressing identity: creativity in Yolngu art / Howard Morphy -- Arnhem Land fibre art: Lena Yarinkura, sculptor; Regina Wilson, painter / Diane Moon -- Weaving visions of country / Lilly Kelly Napangardi and Mitjili Napurrula / Christine Watson -- The balmarra of Alan Griffith's BaliBali balga / Dominique Sweeney -- To dance in the theatre of absence: some remarks about Aurukun carvings / John von Sturmer -- Memory and memorial: William Yang's 'About my mother' 2003 / Alison Lee -- In a fortune garden: Fiona Hall's 'Tender' 2003-06 / Suhanya Raffel -- Peter Booth and subtleties in the epic / Melissa Miles -- Susan Norrie: 'it's a small world after all' / Julie Ewington -- Scott Chaseling and Jessica Loughlin: personal narratives and minimal beauty / Ian Were -- The continuity of Tiwi art: Kitty Kantilla, Pedro Wonaeamirri and Maria Josette Orsto / Suzanne Spunner -- Anne Wallace: shadows of desire / Emma Muhlberger.
Publishing details: QAG, 2006, hc, dw, 491 pp, 400 colour illus
Parr Mike - and performance documentation as remediation / Edward Scheerview full entry
Reference: see Brought to Light II - contemporary Australian art 1966-2006 from the Queensland Art Gallery collection, edited by Lynne Seear and Julie Ewington. [’Featuring focused essays with broad scope and appeal, this book will include over 60 essays on key works and artists represented in the Queensland Art Gallery's contemporary Australian art collection’]

CONTENTS:
Centre Five revisited / Ken Scarlett -- The field: art, context and the historical moment / Carolyn Barnes -- Patterns of experience: Sydney abstraction / Linda van Nunen -- Robert Klippel and the language of form / Samantha Littley -- The evocation of distance: Fred Williams and the Australian landscape / Sebastian Smee -- 'Otherwhereish creatures': Sam Fullbrook's portrait of Ernestine Hill / John Murphy -- Table dancing: George Baldessin's 'Small Banquet' 1971-72 / David Hansen -- Tony Tuckson's hot licks: Pink lines (vertical) on red and purple 1970-73 / Julie Ewington -- Mick Namarari Tjapaltjarri: shimmer and screen / John Kean -- Imants Tillers and conceptual art: Moments of intertia: Still life 1; 141-144 1973 / Abigail Fitzgibbons -- 'It's OK if you weren't there': Mike Parr and performance documentation as remediation / Edward Scheer -- Australian mavericks: the provocative art of Richard Larter and Gareth Sansom / Deborah Clark -- Col Levy's big subject / Peter Timms -- DIY defiance: political posters during the Bjelke-Petersen era (1968-87) / Lynette Finch -- 'Beautiful on day, perfect the next': documentary photography in Queensland in the 1980s / Claire Gobe -- Reprise: Juan Davila's 'Miss Sigmund' 1981 / Shaune Lakin -- Articulating the unspeakable: the feminist photography of Julie Rrap and Anne Ferran / Jacqueline Millner -- Klaus Moje: 'swimming above the water' / Margot Osborne -- Cast-offs and found objects: Tom Risley's mark-making / Michael Hawker -- Thanakupi: full circle / Simon Wright -- Clifford Possum Tjapaltjarri: beneath clouds / Vivien Johnson -- The symbolic space of Tim Johnson / Wayne Tunnicliffe -- Outstation art: Emily Kngwarreye and Utopia Awelye Batik / Sally Butler -- Gordon Bennett: reading pictures / Susan Lowish -- Judy Watson: sacred ground beating heart 1989 / Ruth McDougall -- Rosalie Gascoigne's lyrical derailments / Mary Eagle --Dale Frank: 'strung out in heaven's high' / Sarah Stutchbury -- John Nixon: revision and renewal / Nicholas Chambers --Howard Arkley and 'Popism' / John Gregory -- Aleks Danko: what time is it? / David Burnett -- Robert Foster: the ghost in the machine / Paul McGillick -- Michael Riley: common sense / Hetti Perkins -- A complicated edge: Bea Maddock's 'TERRA SPIRITUS ... with a darker shade of pale' 1993-98 / Kate Ravenswood -- Imaging and abstracting country: Queenie McKenzie, Rover Thomas and the Warmun school / Judith Ryan -- William Robinson: depicting invisible distance / Rex Butler -- Poetry every day: Robert MacPherson's 'Mayfair: (Swamp rats) Ninety-seven signs for C.P., J.P., B.W., G.W. & R.W.' 1994-95 / Julie Ewington -- Peter Tyndall: the act of looking / Christopher Chapman -- Multiple meanings: the allusive objects of Susan Cohn / Anne Brennan -- The story of Guan Wei / Karen Smith -- Hermannsburg women potters / Bruce McLean -- Tracey Moffatt's visual pleasures / Miranda Wallace -- Ken Thaiday: to dance is to remember / Maud Page -- New waves from the old: Torres Strait Islander printmakers / Nonie Sharp -- Michael Boiyool Anning and the rainforest tradition / Noel Loos -- There goes the neighborhood: the works of Vernon Ah Kee and Richard Bell / Avril Quaill -- Scott Redford: paradise now / Jason Smith -- Being in the world: two responses to the art of Judith Wright / Ruth McDougall and Suhanya Raffel -- Other side of the rainbow: the sad and bad art of Destiny Deacon / Hannah Fink -- Rosemary Laing: pure transit / Kelley Gellatly -- Gwyn Hanssen Pigott / Sarah Tiffin -- Expressing identity: creativity in Yolngu art / Howard Morphy -- Arnhem Land fibre art: Lena Yarinkura, sculptor; Regina Wilson, painter / Diane Moon -- Weaving visions of country / Lilly Kelly Napangardi and Mitjili Napurrula / Christine Watson -- The balmarra of Alan Griffith's BaliBali balga / Dominique Sweeney -- To dance in the theatre of absence: some remarks about Aurukun carvings / John von Sturmer -- Memory and memorial: William Yang's 'About my mother' 2003 / Alison Lee -- In a fortune garden: Fiona Hall's 'Tender' 2003-06 / Suhanya Raffel -- Peter Booth and subtleties in the epic / Melissa Miles -- Susan Norrie: 'it's a small world after all' / Julie Ewington -- Scott Chaseling and Jessica Loughlin: personal narratives and minimal beauty / Ian Were -- The continuity of Tiwi art: Kitty Kantilla, Pedro Wonaeamirri and Maria Josette Orsto / Suzanne Spunner -- Anne Wallace: shadows of desire / Emma Muhlberger.
Publishing details: QAG, 2006, hc, dw, 491 pp, 400 colour illus
Richard Larter and Gareth Sansom - Australian mavericks: the provocative art of... by Deborah Clark view full entry
Reference: see Brought to Light II - contemporary Australian art 1966-2006 from the Queensland Art Gallery collection, edited by Lynne Seear and Julie Ewington. [’Featuring focused essays with broad scope and appeal, this book will include over 60 essays on key works and artists represented in the Queensland Art Gallery's contemporary Australian art collection’]

CONTENTS:
Centre Five revisited / Ken Scarlett -- The field: art, context and the historical moment / Carolyn Barnes -- Patterns of experience: Sydney abstraction / Linda van Nunen -- Robert Klippel and the language of form / Samantha Littley -- The evocation of distance: Fred Williams and the Australian landscape / Sebastian Smee -- 'Otherwhereish creatures': Sam Fullbrook's portrait of Ernestine Hill / John Murphy -- Table dancing: George Baldessin's 'Small Banquet' 1971-72 / David Hansen -- Tony Tuckson's hot licks: Pink lines (vertical) on red and purple 1970-73 / Julie Ewington -- Mick Namarari Tjapaltjarri: shimmer and screen / John Kean -- Imants Tillers and conceptual art: Moments of intertia: Still life 1; 141-144 1973 / Abigail Fitzgibbons -- 'It's OK if you weren't there': Mike Parr and performance documentation as remediation / Edward Scheer -- Australian mavericks: the provocative art of Richard Larter and Gareth Sansom / Deborah Clark -- Col Levy's big subject / Peter Timms -- DIY defiance: political posters during the Bjelke-Petersen era (1968-87) / Lynette Finch -- 'Beautiful on day, perfect the next': documentary photography in Queensland in the 1980s / Claire Gobe -- Reprise: Juan Davila's 'Miss Sigmund' 1981 / Shaune Lakin -- Articulating the unspeakable: the feminist photography of Julie Rrap and Anne Ferran / Jacqueline Millner -- Klaus Moje: 'swimming above the water' / Margot Osborne -- Cast-offs and found objects: Tom Risley's mark-making / Michael Hawker -- Thanakupi: full circle / Simon Wright -- Clifford Possum Tjapaltjarri: beneath clouds / Vivien Johnson -- The symbolic space of Tim Johnson / Wayne Tunnicliffe -- Outstation art: Emily Kngwarreye and Utopia Awelye Batik / Sally Butler -- Gordon Bennett: reading pictures / Susan Lowish -- Judy Watson: sacred ground beating heart 1989 / Ruth McDougall -- Rosalie Gascoigne's lyrical derailments / Mary Eagle --Dale Frank: 'strung out in heaven's high' / Sarah Stutchbury -- John Nixon: revision and renewal / Nicholas Chambers --Howard Arkley and 'Popism' / John Gregory -- Aleks Danko: what time is it? / David Burnett -- Robert Foster: the ghost in the machine / Paul McGillick -- Michael Riley: common sense / Hetti Perkins -- A complicated edge: Bea Maddock's 'TERRA SPIRITUS ... with a darker shade of pale' 1993-98 / Kate Ravenswood -- Imaging and abstracting country: Queenie McKenzie, Rover Thomas and the Warmun school / Judith Ryan -- William Robinson: depicting invisible distance / Rex Butler -- Poetry every day: Robert MacPherson's 'Mayfair: (Swamp rats) Ninety-seven signs for C.P., J.P., B.W., G.W. & R.W.' 1994-95 / Julie Ewington -- Peter Tyndall: the act of looking / Christopher Chapman -- Multiple meanings: the allusive objects of Susan Cohn / Anne Brennan -- The story of Guan Wei / Karen Smith -- Hermannsburg women potters / Bruce McLean -- Tracey Moffatt's visual pleasures / Miranda Wallace -- Ken Thaiday: to dance is to remember / Maud Page -- New waves from the old: Torres Strait Islander printmakers / Nonie Sharp -- Michael Boiyool Anning and the rainforest tradition / Noel Loos -- There goes the neighborhood: the works of Vernon Ah Kee and Richard Bell / Avril Quaill -- Scott Redford: paradise now / Jason Smith -- Being in the world: two responses to the art of Judith Wright / Ruth McDougall and Suhanya Raffel -- Other side of the rainbow: the sad and bad art of Destiny Deacon / Hannah Fink -- Rosemary Laing: pure transit / Kelley Gellatly -- Gwyn Hanssen Pigott / Sarah Tiffin -- Expressing identity: creativity in Yolngu art / Howard Morphy -- Arnhem Land fibre art: Lena Yarinkura, sculptor; Regina Wilson, painter / Diane Moon -- Weaving visions of country / Lilly Kelly Napangardi and Mitjili Napurrula / Christine Watson -- The balmarra of Alan Griffith's BaliBali balga / Dominique Sweeney -- To dance in the theatre of absence: some remarks about Aurukun carvings / John von Sturmer -- Memory and memorial: William Yang's 'About my mother' 2003 / Alison Lee -- In a fortune garden: Fiona Hall's 'Tender' 2003-06 / Suhanya Raffel -- Peter Booth and subtleties in the epic / Melissa Miles -- Susan Norrie: 'it's a small world after all' / Julie Ewington -- Scott Chaseling and Jessica Loughlin: personal narratives and minimal beauty / Ian Were -- The continuity of Tiwi art: Kitty Kantilla, Pedro Wonaeamirri and Maria Josette Orsto / Suzanne Spunner -- Anne Wallace: shadows of desire / Emma Muhlberger.
Publishing details: QAG, 2006, hc, dw, 491 pp, 400 colour illus
Sansom Gareth - Australian mavericks: the provocative art of... by Deborah Clark view full entry
Reference: see Brought to Light II - contemporary Australian art 1966-2006 from the Queensland Art Gallery collection, edited by Lynne Seear and Julie Ewington. [’Featuring focused essays with broad scope and appeal, this book will include over 60 essays on key works and artists represented in the Queensland Art Gallery's contemporary Australian art collection’]

CONTENTS:
Centre Five revisited / Ken Scarlett -- The field: art, context and the historical moment / Carolyn Barnes -- Patterns of experience: Sydney abstraction / Linda van Nunen -- Robert Klippel and the language of form / Samantha Littley -- The evocation of distance: Fred Williams and the Australian landscape / Sebastian Smee -- 'Otherwhereish creatures': Sam Fullbrook's portrait of Ernestine Hill / John Murphy -- Table dancing: George Baldessin's 'Small Banquet' 1971-72 / David Hansen -- Tony Tuckson's hot licks: Pink lines (vertical) on red and purple 1970-73 / Julie Ewington -- Mick Namarari Tjapaltjarri: shimmer and screen / John Kean -- Imants Tillers and conceptual art: Moments of intertia: Still life 1; 141-144 1973 / Abigail Fitzgibbons -- 'It's OK if you weren't there': Mike Parr and performance documentation as remediation / Edward Scheer -- Australian mavericks: the provocative art of Richard Larter and Gareth Sansom / Deborah Clark -- Col Levy's big subject / Peter Timms -- DIY defiance: political posters during the Bjelke-Petersen era (1968-87) / Lynette Finch -- 'Beautiful on day, perfect the next': documentary photography in Queensland in the 1980s / Claire Gobe -- Reprise: Juan Davila's 'Miss Sigmund' 1981 / Shaune Lakin -- Articulating the unspeakable: the feminist photography of Julie Rrap and Anne Ferran / Jacqueline Millner -- Klaus Moje: 'swimming above the water' / Margot Osborne -- Cast-offs and found objects: Tom Risley's mark-making / Michael Hawker -- Thanakupi: full circle / Simon Wright -- Clifford Possum Tjapaltjarri: beneath clouds / Vivien Johnson -- The symbolic space of Tim Johnson / Wayne Tunnicliffe -- Outstation art: Emily Kngwarreye and Utopia Awelye Batik / Sally Butler -- Gordon Bennett: reading pictures / Susan Lowish -- Judy Watson: sacred ground beating heart 1989 / Ruth McDougall -- Rosalie Gascoigne's lyrical derailments / Mary Eagle --Dale Frank: 'strung out in heaven's high' / Sarah Stutchbury -- John Nixon: revision and renewal / Nicholas Chambers --Howard Arkley and 'Popism' / John Gregory -- Aleks Danko: what time is it? / David Burnett -- Robert Foster: the ghost in the machine / Paul McGillick -- Michael Riley: common sense / Hetti Perkins -- A complicated edge: Bea Maddock's 'TERRA SPIRITUS ... with a darker shade of pale' 1993-98 / Kate Ravenswood -- Imaging and abstracting country: Queenie McKenzie, Rover Thomas and the Warmun school / Judith Ryan -- William Robinson: depicting invisible distance / Rex Butler -- Poetry every day: Robert MacPherson's 'Mayfair: (Swamp rats) Ninety-seven signs for C.P., J.P., B.W., G.W. & R.W.' 1994-95 / Julie Ewington -- Peter Tyndall: the act of looking / Christopher Chapman -- Multiple meanings: the allusive objects of Susan Cohn / Anne Brennan -- The story of Guan Wei / Karen Smith -- Hermannsburg women potters / Bruce McLean -- Tracey Moffatt's visual pleasures / Miranda Wallace -- Ken Thaiday: to dance is to remember / Maud Page -- New waves from the old: Torres Strait Islander printmakers / Nonie Sharp -- Michael Boiyool Anning and the rainforest tradition / Noel Loos -- There goes the neighborhood: the works of Vernon Ah Kee and Richard Bell / Avril Quaill -- Scott Redford: paradise now / Jason Smith -- Being in the world: two responses to the art of Judith Wright / Ruth McDougall and Suhanya Raffel -- Other side of the rainbow: the sad and bad art of Destiny Deacon / Hannah Fink -- Rosemary Laing: pure transit / Kelley Gellatly -- Gwyn Hanssen Pigott / Sarah Tiffin -- Expressing identity: creativity in Yolngu art / Howard Morphy -- Arnhem Land fibre art: Lena Yarinkura, sculptor; Regina Wilson, painter / Diane Moon -- Weaving visions of country / Lilly Kelly Napangardi and Mitjili Napurrula / Christine Watson -- The balmarra of Alan Griffith's BaliBali balga / Dominique Sweeney -- To dance in the theatre of absence: some remarks about Aurukun carvings / John von Sturmer -- Memory and memorial: William Yang's 'About my mother' 2003 / Alison Lee -- In a fortune garden: Fiona Hall's 'Tender' 2003-06 / Suhanya Raffel -- Peter Booth and subtleties in the epic / Melissa Miles -- Susan Norrie: 'it's a small world after all' / Julie Ewington -- Scott Chaseling and Jessica Loughlin: personal narratives and minimal beauty / Ian Were -- The continuity of Tiwi art: Kitty Kantilla, Pedro Wonaeamirri and Maria Josette Orsto / Suzanne Spunner -- Anne Wallace: shadows of desire / Emma Muhlberger.
Publishing details: QAG, 2006, hc, dw, 491 pp, 400 colour illus
Levy Col - big subject / Peter Timms view full entry
Reference: see Brought to Light II - contemporary Australian art 1966-2006 from the Queensland Art Gallery collection, edited by Lynne Seear and Julie Ewington. [’Featuring focused essays with broad scope and appeal, this book will include over 60 essays on key works and artists represented in the Queensland Art Gallery's contemporary Australian art collection’]

CONTENTS:
Centre Five revisited / Ken Scarlett -- The field: art, context and the historical moment / Carolyn Barnes -- Patterns of experience: Sydney abstraction / Linda van Nunen -- Robert Klippel and the language of form / Samantha Littley -- The evocation of distance: Fred Williams and the Australian landscape / Sebastian Smee -- 'Otherwhereish creatures': Sam Fullbrook's portrait of Ernestine Hill / John Murphy -- Table dancing: George Baldessin's 'Small Banquet' 1971-72 / David Hansen -- Tony Tuckson's hot licks: Pink lines (vertical) on red and purple 1970-73 / Julie Ewington -- Mick Namarari Tjapaltjarri: shimmer and screen / John Kean -- Imants Tillers and conceptual art: Moments of intertia: Still life 1; 141-144 1973 / Abigail Fitzgibbons -- 'It's OK if you weren't there': Mike Parr and performance documentation as remediation / Edward Scheer -- Australian mavericks: the provocative art of Richard Larter and Gareth Sansom / Deborah Clark -- Col Levy's big subject / Peter Timms -- DIY defiance: political posters during the Bjelke-Petersen era (1968-87) / Lynette Finch -- 'Beautiful on day, perfect the next': documentary photography in Queensland in the 1980s / Claire Gobe -- Reprise: Juan Davila's 'Miss Sigmund' 1981 / Shaune Lakin -- Articulating the unspeakable: the feminist photography of Julie Rrap and Anne Ferran / Jacqueline Millner -- Klaus Moje: 'swimming above the water' / Margot Osborne -- Cast-offs and found objects: Tom Risley's mark-making / Michael Hawker -- Thanakupi: full circle / Simon Wright -- Clifford Possum Tjapaltjarri: beneath clouds / Vivien Johnson -- The symbolic space of Tim Johnson / Wayne Tunnicliffe -- Outstation art: Emily Kngwarreye and Utopia Awelye Batik / Sally Butler -- Gordon Bennett: reading pictures / Susan Lowish -- Judy Watson: sacred ground beating heart 1989 / Ruth McDougall -- Rosalie Gascoigne's lyrical derailments / Mary Eagle --Dale Frank: 'strung out in heaven's high' / Sarah Stutchbury -- John Nixon: revision and renewal / Nicholas Chambers --Howard Arkley and 'Popism' / John Gregory -- Aleks Danko: what time is it? / David Burnett -- Robert Foster: the ghost in the machine / Paul McGillick -- Michael Riley: common sense / Hetti Perkins -- A complicated edge: Bea Maddock's 'TERRA SPIRITUS ... with a darker shade of pale' 1993-98 / Kate Ravenswood -- Imaging and abstracting country: Queenie McKenzie, Rover Thomas and the Warmun school / Judith Ryan -- William Robinson: depicting invisible distance / Rex Butler -- Poetry every day: Robert MacPherson's 'Mayfair: (Swamp rats) Ninety-seven signs for C.P., J.P., B.W., G.W. & R.W.' 1994-95 / Julie Ewington -- Peter Tyndall: the act of looking / Christopher Chapman -- Multiple meanings: the allusive objects of Susan Cohn / Anne Brennan -- The story of Guan Wei / Karen Smith -- Hermannsburg women potters / Bruce McLean -- Tracey Moffatt's visual pleasures / Miranda Wallace -- Ken Thaiday: to dance is to remember / Maud Page -- New waves from the old: Torres Strait Islander printmakers / Nonie Sharp -- Michael Boiyool Anning and the rainforest tradition / Noel Loos -- There goes the neighborhood: the works of Vernon Ah Kee and Richard Bell / Avril Quaill -- Scott Redford: paradise now / Jason Smith -- Being in the world: two responses to the art of Judith Wright / Ruth McDougall and Suhanya Raffel -- Other side of the rainbow: the sad and bad art of Destiny Deacon / Hannah Fink -- Rosemary Laing: pure transit / Kelley Gellatly -- Gwyn Hanssen Pigott / Sarah Tiffin -- Expressing identity: creativity in Yolngu art / Howard Morphy -- Arnhem Land fibre art: Lena Yarinkura, sculptor; Regina Wilson, painter / Diane Moon -- Weaving visions of country / Lilly Kelly Napangardi and Mitjili Napurrula / Christine Watson -- The balmarra of Alan Griffith's BaliBali balga / Dominique Sweeney -- To dance in the theatre of absence: some remarks about Aurukun carvings / John von Sturmer -- Memory and memorial: William Yang's 'About my mother' 2003 / Alison Lee -- In a fortune garden: Fiona Hall's 'Tender' 2003-06 / Suhanya Raffel -- Peter Booth and subtleties in the epic / Melissa Miles -- Susan Norrie: 'it's a small world after all' / Julie Ewington -- Scott Chaseling and Jessica Loughlin: personal narratives and minimal beauty / Ian Were -- The continuity of Tiwi art: Kitty Kantilla, Pedro Wonaeamirri and Maria Josette Orsto / Suzanne Spunner -- Anne Wallace: shadows of desire / Emma Muhlberger.
Publishing details: QAG, 2006, hc, dw, 491 pp, 400 colour illus
DIY defiance: political posters during the Bjelke-Petersen era (1968-87) / Lynette Finch view full entry
Reference: see Brought to Light II - contemporary Australian art 1966-2006 from the Queensland Art Gallery collection, edited by Lynne Seear and Julie Ewington. [’Featuring focused essays with broad scope and appeal, this book will include over 60 essays on key works and artists represented in the Queensland Art Gallery's contemporary Australian art collection’]

CONTENTS:
Centre Five revisited / Ken Scarlett -- The field: art, context and the historical moment / Carolyn Barnes -- Patterns of experience: Sydney abstraction / Linda van Nunen -- Robert Klippel and the language of form / Samantha Littley -- The evocation of distance: Fred Williams and the Australian landscape / Sebastian Smee -- 'Otherwhereish creatures': Sam Fullbrook's portrait of Ernestine Hill / John Murphy -- Table dancing: George Baldessin's 'Small Banquet' 1971-72 / David Hansen -- Tony Tuckson's hot licks: Pink lines (vertical) on red and purple 1970-73 / Julie Ewington -- Mick Namarari Tjapaltjarri: shimmer and screen / John Kean -- Imants Tillers and conceptual art: Moments of intertia: Still life 1; 141-144 1973 / Abigail Fitzgibbons -- 'It's OK if you weren't there': Mike Parr and performance documentation as remediation / Edward Scheer -- Australian mavericks: the provocative art of Richard Larter and Gareth Sansom / Deborah Clark -- Col Levy's big subject / Peter Timms -- DIY defiance: political posters during the Bjelke-Petersen era (1968-87) / Lynette Finch -- 'Beautiful on day, perfect the next': documentary photography in Queensland in the 1980s / Claire Gobe -- Reprise: Juan Davila's 'Miss Sigmund' 1981 / Shaune Lakin -- Articulating the unspeakable: the feminist photography of Julie Rrap and Anne Ferran / Jacqueline Millner -- Klaus Moje: 'swimming above the water' / Margot Osborne -- Cast-offs and found objects: Tom Risley's mark-making / Michael Hawker -- Thanakupi: full circle / Simon Wright -- Clifford Possum Tjapaltjarri: beneath clouds / Vivien Johnson -- The symbolic space of Tim Johnson / Wayne Tunnicliffe -- Outstation art: Emily Kngwarreye and Utopia Awelye Batik / Sally Butler -- Gordon Bennett: reading pictures / Susan Lowish -- Judy Watson: sacred ground beating heart 1989 / Ruth McDougall -- Rosalie Gascoigne's lyrical derailments / Mary Eagle --Dale Frank: 'strung out in heaven's high' / Sarah Stutchbury -- John Nixon: revision and renewal / Nicholas Chambers --Howard Arkley and 'Popism' / John Gregory -- Aleks Danko: what time is it? / David Burnett -- Robert Foster: the ghost in the machine / Paul McGillick -- Michael Riley: common sense / Hetti Perkins -- A complicated edge: Bea Maddock's 'TERRA SPIRITUS ... with a darker shade of pale' 1993-98 / Kate Ravenswood -- Imaging and abstracting country: Queenie McKenzie, Rover Thomas and the Warmun school / Judith Ryan -- William Robinson: depicting invisible distance / Rex Butler -- Poetry every day: Robert MacPherson's 'Mayfair: (Swamp rats) Ninety-seven signs for C.P., J.P., B.W., G.W. & R.W.' 1994-95 / Julie Ewington -- Peter Tyndall: the act of looking / Christopher Chapman -- Multiple meanings: the allusive objects of Susan Cohn / Anne Brennan -- The story of Guan Wei / Karen Smith -- Hermannsburg women potters / Bruce McLean -- Tracey Moffatt's visual pleasures / Miranda Wallace -- Ken Thaiday: to dance is to remember / Maud Page -- New waves from the old: Torres Strait Islander printmakers / Nonie Sharp -- Michael Boiyool Anning and the rainforest tradition / Noel Loos -- There goes the neighborhood: the works of Vernon Ah Kee and Richard Bell / Avril Quaill -- Scott Redford: paradise now / Jason Smith -- Being in the world: two responses to the art of Judith Wright / Ruth McDougall and Suhanya Raffel -- Other side of the rainbow: the sad and bad art of Destiny Deacon / Hannah Fink -- Rosemary Laing: pure transit / Kelley Gellatly -- Gwyn Hanssen Pigott / Sarah Tiffin -- Expressing identity: creativity in Yolngu art / Howard Morphy -- Arnhem Land fibre art: Lena Yarinkura, sculptor; Regina Wilson, painter / Diane Moon -- Weaving visions of country / Lilly Kelly Napangardi and Mitjili Napurrula / Christine Watson -- The balmarra of Alan Griffith's BaliBali balga / Dominique Sweeney -- To dance in the theatre of absence: some remarks about Aurukun carvings / John von Sturmer -- Memory and memorial: William Yang's 'About my mother' 2003 / Alison Lee -- In a fortune garden: Fiona Hall's 'Tender' 2003-06 / Suhanya Raffel -- Peter Booth and subtleties in the epic / Melissa Miles -- Susan Norrie: 'it's a small world after all' / Julie Ewington -- Scott Chaseling and Jessica Loughlin: personal narratives and minimal beauty / Ian Were -- The continuity of Tiwi art: Kitty Kantilla, Pedro Wonaeamirri and Maria Josette Orsto / Suzanne Spunner -- Anne Wallace: shadows of desire / Emma Muhlberger.
Publishing details: QAG, 2006, hc, dw, 491 pp, 400 colour illus
documentary photography in Queensland in the 1980s / Claire Gobeview full entry
Reference: see Brought to Light II - contemporary Australian art 1966-2006 from the Queensland Art Gallery collection, edited by Lynne Seear and Julie Ewington. [’Featuring focused essays with broad scope and appeal, this book will include over 60 essays on key works and artists represented in the Queensland Art Gallery's contemporary Australian art collection’]

CONTENTS:
Centre Five revisited / Ken Scarlett -- The field: art, context and the historical moment / Carolyn Barnes -- Patterns of experience: Sydney abstraction / Linda van Nunen -- Robert Klippel and the language of form / Samantha Littley -- The evocation of distance: Fred Williams and the Australian landscape / Sebastian Smee -- 'Otherwhereish creatures': Sam Fullbrook's portrait of Ernestine Hill / John Murphy -- Table dancing: George Baldessin's 'Small Banquet' 1971-72 / David Hansen -- Tony Tuckson's hot licks: Pink lines (vertical) on red and purple 1970-73 / Julie Ewington -- Mick Namarari Tjapaltjarri: shimmer and screen / John Kean -- Imants Tillers and conceptual art: Moments of intertia: Still life 1; 141-144 1973 / Abigail Fitzgibbons -- 'It's OK if you weren't there': Mike Parr and performance documentation as remediation / Edward Scheer -- Australian mavericks: the provocative art of Richard Larter and Gareth Sansom / Deborah Clark -- Col Levy's big subject / Peter Timms -- DIY defiance: political posters during the Bjelke-Petersen era (1968-87) / Lynette Finch -- 'Beautiful on day, perfect the next': documentary photography in Queensland in the 1980s / Claire Gobe -- Reprise: Juan Davila's 'Miss Sigmund' 1981 / Shaune Lakin -- Articulating the unspeakable: the feminist photography of Julie Rrap and Anne Ferran / Jacqueline Millner -- Klaus Moje: 'swimming above the water' / Margot Osborne -- Cast-offs and found objects: Tom Risley's mark-making / Michael Hawker -- Thanakupi: full circle / Simon Wright -- Clifford Possum Tjapaltjarri: beneath clouds / Vivien Johnson -- The symbolic space of Tim Johnson / Wayne Tunnicliffe -- Outstation art: Emily Kngwarreye and Utopia Awelye Batik / Sally Butler -- Gordon Bennett: reading pictures / Susan Lowish -- Judy Watson: sacred ground beating heart 1989 / Ruth McDougall -- Rosalie Gascoigne's lyrical derailments / Mary Eagle --Dale Frank: 'strung out in heaven's high' / Sarah Stutchbury -- John Nixon: revision and renewal / Nicholas Chambers --Howard Arkley and 'Popism' / John Gregory -- Aleks Danko: what time is it? / David Burnett -- Robert Foster: the ghost in the machine / Paul McGillick -- Michael Riley: common sense / Hetti Perkins -- A complicated edge: Bea Maddock's 'TERRA SPIRITUS ... with a darker shade of pale' 1993-98 / Kate Ravenswood -- Imaging and abstracting country: Queenie McKenzie, Rover Thomas and the Warmun school / Judith Ryan -- William Robinson: depicting invisible distance / Rex Butler -- Poetry every day: Robert MacPherson's 'Mayfair: (Swamp rats) Ninety-seven signs for C.P., J.P., B.W., G.W. & R.W.' 1994-95 / Julie Ewington -- Peter Tyndall: the act of looking / Christopher Chapman -- Multiple meanings: the allusive objects of Susan Cohn / Anne Brennan -- The story of Guan Wei / Karen Smith -- Hermannsburg women potters / Bruce McLean -- Tracey Moffatt's visual pleasures / Miranda Wallace -- Ken Thaiday: to dance is to remember / Maud Page -- New waves from the old: Torres Strait Islander printmakers / Nonie Sharp -- Michael Boiyool Anning and the rainforest tradition / Noel Loos -- There goes the neighborhood: the works of Vernon Ah Kee and Richard Bell / Avril Quaill -- Scott Redford: paradise now / Jason Smith -- Being in the world: two responses to the art of Judith Wright / Ruth McDougall and Suhanya Raffel -- Other side of the rainbow: the sad and bad art of Destiny Deacon / Hannah Fink -- Rosemary Laing: pure transit / Kelley Gellatly -- Gwyn Hanssen Pigott / Sarah Tiffin -- Expressing identity: creativity in Yolngu art / Howard Morphy -- Arnhem Land fibre art: Lena Yarinkura, sculptor; Regina Wilson, painter / Diane Moon -- Weaving visions of country / Lilly Kelly Napangardi and Mitjili Napurrula / Christine Watson -- The balmarra of Alan Griffith's BaliBali balga / Dominique Sweeney -- To dance in the theatre of absence: some remarks about Aurukun carvings / John von Sturmer -- Memory and memorial: William Yang's 'About my mother' 2003 / Alison Lee -- In a fortune garden: Fiona Hall's 'Tender' 2003-06 / Suhanya Raffel -- Peter Booth and subtleties in the epic / Melissa Miles -- Susan Norrie: 'it's a small world after all' / Julie Ewington -- Scott Chaseling and Jessica Loughlin: personal narratives and minimal beauty / Ian Were -- The continuity of Tiwi art: Kitty Kantilla, Pedro Wonaeamirri and Maria Josette Orsto / Suzanne Spunner -- Anne Wallace: shadows of desire / Emma Muhlberger.
Publishing details: QAG, 2006, hc, dw, 491 pp, 400 colour illus
Davila Juan - 'Miss Sigmund' 1981 / Shaune Lakin view full entry
Reference: see Brought to Light II - contemporary Australian art 1966-2006 from the Queensland Art Gallery collection, edited by Lynne Seear and Julie Ewington. [’Featuring focused essays with broad scope and appeal, this book will include over 60 essays on key works and artists represented in the Queensland Art Gallery's contemporary Australian art collection’]

CONTENTS:
Centre Five revisited / Ken Scarlett -- The field: art, context and the historical moment / Carolyn Barnes -- Patterns of experience: Sydney abstraction / Linda van Nunen -- Robert Klippel and the language of form / Samantha Littley -- The evocation of distance: Fred Williams and the Australian landscape / Sebastian Smee -- 'Otherwhereish creatures': Sam Fullbrook's portrait of Ernestine Hill / John Murphy -- Table dancing: George Baldessin's 'Small Banquet' 1971-72 / David Hansen -- Tony Tuckson's hot licks: Pink lines (vertical) on red and purple 1970-73 / Julie Ewington -- Mick Namarari Tjapaltjarri: shimmer and screen / John Kean -- Imants Tillers and conceptual art: Moments of intertia: Still life 1; 141-144 1973 / Abigail Fitzgibbons -- 'It's OK if you weren't there': Mike Parr and performance documentation as remediation / Edward Scheer -- Australian mavericks: the provocative art of Richard Larter and Gareth Sansom / Deborah Clark -- Col Levy's big subject / Peter Timms -- DIY defiance: political posters during the Bjelke-Petersen era (1968-87) / Lynette Finch -- 'Beautiful on day, perfect the next': documentary photography in Queensland in the 1980s / Claire Gobe -- Reprise: Juan Davila's 'Miss Sigmund' 1981 / Shaune Lakin -- Articulating the unspeakable: the feminist photography of Julie Rrap and Anne Ferran / Jacqueline Millner -- Klaus Moje: 'swimming above the water' / Margot Osborne -- Cast-offs and found objects: Tom Risley's mark-making / Michael Hawker -- Thanakupi: full circle / Simon Wright -- Clifford Possum Tjapaltjarri: beneath clouds / Vivien Johnson -- The symbolic space of Tim Johnson / Wayne Tunnicliffe -- Outstation art: Emily Kngwarreye and Utopia Awelye Batik / Sally Butler -- Gordon Bennett: reading pictures / Susan Lowish -- Judy Watson: sacred ground beating heart 1989 / Ruth McDougall -- Rosalie Gascoigne's lyrical derailments / Mary Eagle --Dale Frank: 'strung out in heaven's high' / Sarah Stutchbury -- John Nixon: revision and renewal / Nicholas Chambers --Howard Arkley and 'Popism' / John Gregory -- Aleks Danko: what time is it? / David Burnett -- Robert Foster: the ghost in the machine / Paul McGillick -- Michael Riley: common sense / Hetti Perkins -- A complicated edge: Bea Maddock's 'TERRA SPIRITUS ... with a darker shade of pale' 1993-98 / Kate Ravenswood -- Imaging and abstracting country: Queenie McKenzie, Rover Thomas and the Warmun school / Judith Ryan -- William Robinson: depicting invisible distance / Rex Butler -- Poetry every day: Robert MacPherson's 'Mayfair: (Swamp rats) Ninety-seven signs for C.P., J.P., B.W., G.W. & R.W.' 1994-95 / Julie Ewington -- Peter Tyndall: the act of looking / Christopher Chapman -- Multiple meanings: the allusive objects of Susan Cohn / Anne Brennan -- The story of Guan Wei / Karen Smith -- Hermannsburg women potters / Bruce McLean -- Tracey Moffatt's visual pleasures / Miranda Wallace -- Ken Thaiday: to dance is to remember / Maud Page -- New waves from the old: Torres Strait Islander printmakers / Nonie Sharp -- Michael Boiyool Anning and the rainforest tradition / Noel Loos -- There goes the neighborhood: the works of Vernon Ah Kee and Richard Bell / Avril Quaill -- Scott Redford: paradise now / Jason Smith -- Being in the world: two responses to the art of Judith Wright / Ruth McDougall and Suhanya Raffel -- Other side of the rainbow: the sad and bad art of Destiny Deacon / Hannah Fink -- Rosemary Laing: pure transit / Kelley Gellatly -- Gwyn Hanssen Pigott / Sarah Tiffin -- Expressing identity: creativity in Yolngu art / Howard Morphy -- Arnhem Land fibre art: Lena Yarinkura, sculptor; Regina Wilson, painter / Diane Moon -- Weaving visions of country / Lilly Kelly Napangardi and Mitjili Napurrula / Christine Watson -- The balmarra of Alan Griffith's BaliBali balga / Dominique Sweeney -- To dance in the theatre of absence: some remarks about Aurukun carvings / John von Sturmer -- Memory and memorial: William Yang's 'About my mother' 2003 / Alison Lee -- In a fortune garden: Fiona Hall's 'Tender' 2003-06 / Suhanya Raffel -- Peter Booth and subtleties in the epic / Melissa Miles -- Susan Norrie: 'it's a small world after all' / Julie Ewington -- Scott Chaseling and Jessica Loughlin: personal narratives and minimal beauty / Ian Were -- The continuity of Tiwi art: Kitty Kantilla, Pedro Wonaeamirri and Maria Josette Orsto / Suzanne Spunner -- Anne Wallace: shadows of desire / Emma Muhlberger.
Publishing details: QAG, 2006, hc, dw, 491 pp, 400 colour illus
feminist photography of Julie Rrap and Anne Ferran / Jacqueline Millner view full entry
Reference: see Brought to Light II - contemporary Australian art 1966-2006 from the Queensland Art Gallery collection, edited by Lynne Seear and Julie Ewington. [’Featuring focused essays with broad scope and appeal, this book will include over 60 essays on key works and artists represented in the Queensland Art Gallery's contemporary Australian art collection’]

CONTENTS:
Centre Five revisited / Ken Scarlett -- The field: art, context and the historical moment / Carolyn Barnes -- Patterns of experience: Sydney abstraction / Linda van Nunen -- Robert Klippel and the language of form / Samantha Littley -- The evocation of distance: Fred Williams and the Australian landscape / Sebastian Smee -- 'Otherwhereish creatures': Sam Fullbrook's portrait of Ernestine Hill / John Murphy -- Table dancing: George Baldessin's 'Small Banquet' 1971-72 / David Hansen -- Tony Tuckson's hot licks: Pink lines (vertical) on red and purple 1970-73 / Julie Ewington -- Mick Namarari Tjapaltjarri: shimmer and screen / John Kean -- Imants Tillers and conceptual art: Moments of intertia: Still life 1; 141-144 1973 / Abigail Fitzgibbons -- 'It's OK if you weren't there': Mike Parr and performance documentation as remediation / Edward Scheer -- Australian mavericks: the provocative art of Richard Larter and Gareth Sansom / Deborah Clark -- Col Levy's big subject / Peter Timms -- DIY defiance: political posters during the Bjelke-Petersen era (1968-87) / Lynette Finch -- 'Beautiful on day, perfect the next': documentary photography in Queensland in the 1980s / Claire Gobe -- Reprise: Juan Davila's 'Miss Sigmund' 1981 / Shaune Lakin -- Articulating the unspeakable: the feminist photography of Julie Rrap and Anne Ferran / Jacqueline Millner -- Klaus Moje: 'swimming above the water' / Margot Osborne -- Cast-offs and found objects: Tom Risley's mark-making / Michael Hawker -- Thanakupi: full circle / Simon Wright -- Clifford Possum Tjapaltjarri: beneath clouds / Vivien Johnson -- The symbolic space of Tim Johnson / Wayne Tunnicliffe -- Outstation art: Emily Kngwarreye and Utopia Awelye Batik / Sally Butler -- Gordon Bennett: reading pictures / Susan Lowish -- Judy Watson: sacred ground beating heart 1989 / Ruth McDougall -- Rosalie Gascoigne's lyrical derailments / Mary Eagle --Dale Frank: 'strung out in heaven's high' / Sarah Stutchbury -- John Nixon: revision and renewal / Nicholas Chambers --Howard Arkley and 'Popism' / John Gregory -- Aleks Danko: what time is it? / David Burnett -- Robert Foster: the ghost in the machine / Paul McGillick -- Michael Riley: common sense / Hetti Perkins -- A complicated edge: Bea Maddock's 'TERRA SPIRITUS ... with a darker shade of pale' 1993-98 / Kate Ravenswood -- Imaging and abstracting country: Queenie McKenzie, Rover Thomas and the Warmun school / Judith Ryan -- William Robinson: depicting invisible distance / Rex Butler -- Poetry every day: Robert MacPherson's 'Mayfair: (Swamp rats) Ninety-seven signs for C.P., J.P., B.W., G.W. & R.W.' 1994-95 / Julie Ewington -- Peter Tyndall: the act of looking / Christopher Chapman -- Multiple meanings: the allusive objects of Susan Cohn / Anne Brennan -- The story of Guan Wei / Karen Smith -- Hermannsburg women potters / Bruce McLean -- Tracey Moffatt's visual pleasures / Miranda Wallace -- Ken Thaiday: to dance is to remember / Maud Page -- New waves from the old: Torres Strait Islander printmakers / Nonie Sharp -- Michael Boiyool Anning and the rainforest tradition / Noel Loos -- There goes the neighborhood: the works of Vernon Ah Kee and Richard Bell / Avril Quaill -- Scott Redford: paradise now / Jason Smith -- Being in the world: two responses to the art of Judith Wright / Ruth McDougall and Suhanya Raffel -- Other side of the rainbow: the sad and bad art of Destiny Deacon / Hannah Fink -- Rosemary Laing: pure transit / Kelley Gellatly -- Gwyn Hanssen Pigott / Sarah Tiffin -- Expressing identity: creativity in Yolngu art / Howard Morphy -- Arnhem Land fibre art: Lena Yarinkura, sculptor; Regina Wilson, painter / Diane Moon -- Weaving visions of country / Lilly Kelly Napangardi and Mitjili Napurrula / Christine Watson -- The balmarra of Alan Griffith's BaliBali balga / Dominique Sweeney -- To dance in the theatre of absence: some remarks about Aurukun carvings / John von Sturmer -- Memory and memorial: William Yang's 'About my mother' 2003 / Alison Lee -- In a fortune garden: Fiona Hall's 'Tender' 2003-06 / Suhanya Raffel -- Peter Booth and subtleties in the epic / Melissa Miles -- Susan Norrie: 'it's a small world after all' / Julie Ewington -- Scott Chaseling and Jessica Loughlin: personal narratives and minimal beauty / Ian Were -- The continuity of Tiwi art: Kitty Kantilla, Pedro Wonaeamirri and Maria Josette Orsto / Suzanne Spunner -- Anne Wallace: shadows of desire / Emma Muhlberger.
Publishing details: QAG, 2006, hc, dw, 491 pp, 400 colour illus
Rrap Julie - feminist photography Anne Ferran / Jacqueline Millner view full entry
Reference: see Brought to Light II - contemporary Australian art 1966-2006 from the Queensland Art Gallery collection, edited by Lynne Seear and Julie Ewington. [’Featuring focused essays with broad scope and appeal, this book will include over 60 essays on key works and artists represented in the Queensland Art Gallery's contemporary Australian art collection’]

CONTENTS:
Centre Five revisited / Ken Scarlett -- The field: art, context and the historical moment / Carolyn Barnes -- Patterns of experience: Sydney abstraction / Linda van Nunen -- Robert Klippel and the language of form / Samantha Littley -- The evocation of distance: Fred Williams and the Australian landscape / Sebastian Smee -- 'Otherwhereish creatures': Sam Fullbrook's portrait of Ernestine Hill / John Murphy -- Table dancing: George Baldessin's 'Small Banquet' 1971-72 / David Hansen -- Tony Tuckson's hot licks: Pink lines (vertical) on red and purple 1970-73 / Julie Ewington -- Mick Namarari Tjapaltjarri: shimmer and screen / John Kean -- Imants Tillers and conceptual art: Moments of intertia: Still life 1; 141-144 1973 / Abigail Fitzgibbons -- 'It's OK if you weren't there': Mike Parr and performance documentation as remediation / Edward Scheer -- Australian mavericks: the provocative art of Richard Larter and Gareth Sansom / Deborah Clark -- Col Levy's big subject / Peter Timms -- DIY defiance: political posters during the Bjelke-Petersen era (1968-87) / Lynette Finch -- 'Beautiful on day, perfect the next': documentary photography in Queensland in the 1980s / Claire Gobe -- Reprise: Juan Davila's 'Miss Sigmund' 1981 / Shaune Lakin -- Articulating the unspeakable: the feminist photography of Julie Rrap and Anne Ferran / Jacqueline Millner -- Klaus Moje: 'swimming above the water' / Margot Osborne -- Cast-offs and found objects: Tom Risley's mark-making / Michael Hawker -- Thanakupi: full circle / Simon Wright -- Clifford Possum Tjapaltjarri: beneath clouds / Vivien Johnson -- The symbolic space of Tim Johnson / Wayne Tunnicliffe -- Outstation art: Emily Kngwarreye and Utopia Awelye Batik / Sally Butler -- Gordon Bennett: reading pictures / Susan Lowish -- Judy Watson: sacred ground beating heart 1989 / Ruth McDougall -- Rosalie Gascoigne's lyrical derailments / Mary Eagle --Dale Frank: 'strung out in heaven's high' / Sarah Stutchbury -- John Nixon: revision and renewal / Nicholas Chambers --Howard Arkley and 'Popism' / John Gregory -- Aleks Danko: what time is it? / David Burnett -- Robert Foster: the ghost in the machine / Paul McGillick -- Michael Riley: common sense / Hetti Perkins -- A complicated edge: Bea Maddock's 'TERRA SPIRITUS ... with a darker shade of pale' 1993-98 / Kate Ravenswood -- Imaging and abstracting country: Queenie McKenzie, Rover Thomas and the Warmun school / Judith Ryan -- William Robinson: depicting invisible distance / Rex Butler -- Poetry every day: Robert MacPherson's 'Mayfair: (Swamp rats) Ninety-seven signs for C.P., J.P., B.W., G.W. & R.W.' 1994-95 / Julie Ewington -- Peter Tyndall: the act of looking / Christopher Chapman -- Multiple meanings: the allusive objects of Susan Cohn / Anne Brennan -- The story of Guan Wei / Karen Smith -- Hermannsburg women potters / Bruce McLean -- Tracey Moffatt's visual pleasures / Miranda Wallace -- Ken Thaiday: to dance is to remember / Maud Page -- New waves from the old: Torres Strait Islander printmakers / Nonie Sharp -- Michael Boiyool Anning and the rainforest tradition / Noel Loos -- There goes the neighborhood: the works of Vernon Ah Kee and Richard Bell / Avril Quaill -- Scott Redford: paradise now / Jason Smith -- Being in the world: two responses to the art of Judith Wright / Ruth McDougall and Suhanya Raffel -- Other side of the rainbow: the sad and bad art of Destiny Deacon / Hannah Fink -- Rosemary Laing: pure transit / Kelley Gellatly -- Gwyn Hanssen Pigott / Sarah Tiffin -- Expressing identity: creativity in Yolngu art / Howard Morphy -- Arnhem Land fibre art: Lena Yarinkura, sculptor; Regina Wilson, painter / Diane Moon -- Weaving visions of country / Lilly Kelly Napangardi and Mitjili Napurrula / Christine Watson -- The balmarra of Alan Griffith's BaliBali balga / Dominique Sweeney -- To dance in the theatre of absence: some remarks about Aurukun carvings / John von Sturmer -- Memory and memorial: William Yang's 'About my mother' 2003 / Alison Lee -- In a fortune garden: Fiona Hall's 'Tender' 2003-06 / Suhanya Raffel -- Peter Booth and subtleties in the epic / Melissa Miles -- Susan Norrie: 'it's a small world after all' / Julie Ewington -- Scott Chaseling and Jessica Loughlin: personal narratives and minimal beauty / Ian Were -- The continuity of Tiwi art: Kitty Kantilla, Pedro Wonaeamirri and Maria Josette Orsto / Suzanne Spunner -- Anne Wallace: shadows of desire / Emma Muhlberger.
Publishing details: QAG, 2006, hc, dw, 491 pp, 400 colour illus
Ferran Anne by Jacqueline Millner view full entry
Reference: see Brought to Light II - contemporary Australian art 1966-2006 from the Queensland Art Gallery collection, edited by Lynne Seear and Julie Ewington. [’Featuring focused essays with broad scope and appeal, this book will include over 60 essays on key works and artists represented in the Queensland Art Gallery's contemporary Australian art collection’]

CONTENTS:
Centre Five revisited / Ken Scarlett -- The field: art, context and the historical moment / Carolyn Barnes -- Patterns of experience: Sydney abstraction / Linda van Nunen -- Robert Klippel and the language of form / Samantha Littley -- The evocation of distance: Fred Williams and the Australian landscape / Sebastian Smee -- 'Otherwhereish creatures': Sam Fullbrook's portrait of Ernestine Hill / John Murphy -- Table dancing: George Baldessin's 'Small Banquet' 1971-72 / David Hansen -- Tony Tuckson's hot licks: Pink lines (vertical) on red and purple 1970-73 / Julie Ewington -- Mick Namarari Tjapaltjarri: shimmer and screen / John Kean -- Imants Tillers and conceptual art: Moments of intertia: Still life 1; 141-144 1973 / Abigail Fitzgibbons -- 'It's OK if you weren't there': Mike Parr and performance documentation as remediation / Edward Scheer -- Australian mavericks: the provocative art of Richard Larter and Gareth Sansom / Deborah Clark -- Col Levy's big subject / Peter Timms -- DIY defiance: political posters during the Bjelke-Petersen era (1968-87) / Lynette Finch -- 'Beautiful on day, perfect the next': documentary photography in Queensland in the 1980s / Claire Gobe -- Reprise: Juan Davila's 'Miss Sigmund' 1981 / Shaune Lakin -- Articulating the unspeakable: the feminist photography of Julie Rrap and Anne Ferran / Jacqueline Millner -- Klaus Moje: 'swimming above the water' / Margot Osborne -- Cast-offs and found objects: Tom Risley's mark-making / Michael Hawker -- Thanakupi: full circle / Simon Wright -- Clifford Possum Tjapaltjarri: beneath clouds / Vivien Johnson -- The symbolic space of Tim Johnson / Wayne Tunnicliffe -- Outstation art: Emily Kngwarreye and Utopia Awelye Batik / Sally Butler -- Gordon Bennett: reading pictures / Susan Lowish -- Judy Watson: sacred ground beating heart 1989 / Ruth McDougall -- Rosalie Gascoigne's lyrical derailments / Mary Eagle --Dale Frank: 'strung out in heaven's high' / Sarah Stutchbury -- John Nixon: revision and renewal / Nicholas Chambers --Howard Arkley and 'Popism' / John Gregory -- Aleks Danko: what time is it? / David Burnett -- Robert Foster: the ghost in the machine / Paul McGillick -- Michael Riley: common sense / Hetti Perkins -- A complicated edge: Bea Maddock's 'TERRA SPIRITUS ... with a darker shade of pale' 1993-98 / Kate Ravenswood -- Imaging and abstracting country: Queenie McKenzie, Rover Thomas and the Warmun school / Judith Ryan -- William Robinson: depicting invisible distance / Rex Butler -- Poetry every day: Robert MacPherson's 'Mayfair: (Swamp rats) Ninety-seven signs for C.P., J.P., B.W., G.W. & R.W.' 1994-95 / Julie Ewington -- Peter Tyndall: the act of looking / Christopher Chapman -- Multiple meanings: the allusive objects of Susan Cohn / Anne Brennan -- The story of Guan Wei / Karen Smith -- Hermannsburg women potters / Bruce McLean -- Tracey Moffatt's visual pleasures / Miranda Wallace -- Ken Thaiday: to dance is to remember / Maud Page -- New waves from the old: Torres Strait Islander printmakers / Nonie Sharp -- Michael Boiyool Anning and the rainforest tradition / Noel Loos -- There goes the neighborhood: the works of Vernon Ah Kee and Richard Bell / Avril Quaill -- Scott Redford: paradise now / Jason Smith -- Being in the world: two responses to the art of Judith Wright / Ruth McDougall and Suhanya Raffel -- Other side of the rainbow: the sad and bad art of Destiny Deacon / Hannah Fink -- Rosemary Laing: pure transit / Kelley Gellatly -- Gwyn Hanssen Pigott / Sarah Tiffin -- Expressing identity: creativity in Yolngu art / Howard Morphy -- Arnhem Land fibre art: Lena Yarinkura, sculptor; Regina Wilson, painter / Diane Moon -- Weaving visions of country / Lilly Kelly Napangardi and Mitjili Napurrula / Christine Watson -- The balmarra of Alan Griffith's BaliBali balga / Dominique Sweeney -- To dance in the theatre of absence: some remarks about Aurukun carvings / John von Sturmer -- Memory and memorial: William Yang's 'About my mother' 2003 / Alison Lee -- In a fortune garden: Fiona Hall's 'Tender' 2003-06 / Suhanya Raffel -- Peter Booth and subtleties in the epic / Melissa Miles -- Susan Norrie: 'it's a small world after all' / Julie Ewington -- Scott Chaseling and Jessica Loughlin: personal narratives and minimal beauty / Ian Were -- The continuity of Tiwi art: Kitty Kantilla, Pedro Wonaeamirri and Maria Josette Orsto / Suzanne Spunner -- Anne Wallace: shadows of desire / Emma Muhlberger.
Publishing details: QAG, 2006, hc, dw, 491 pp, 400 colour illus
Moje Klaus : 'swimming above the water' / Margot Osborneview full entry
Reference: see Brought to Light II - contemporary Australian art 1966-2006 from the Queensland Art Gallery collection, edited by Lynne Seear and Julie Ewington. [’Featuring focused essays with broad scope and appeal, this book will include over 60 essays on key works and artists represented in the Queensland Art Gallery's contemporary Australian art collection’]

CONTENTS:
Centre Five revisited / Ken Scarlett -- The field: art, context and the historical moment / Carolyn Barnes -- Patterns of experience: Sydney abstraction / Linda van Nunen -- Robert Klippel and the language of form / Samantha Littley -- The evocation of distance: Fred Williams and the Australian landscape / Sebastian Smee -- 'Otherwhereish creatures': Sam Fullbrook's portrait of Ernestine Hill / John Murphy -- Table dancing: George Baldessin's 'Small Banquet' 1971-72 / David Hansen -- Tony Tuckson's hot licks: Pink lines (vertical) on red and purple 1970-73 / Julie Ewington -- Mick Namarari Tjapaltjarri: shimmer and screen / John Kean -- Imants Tillers and conceptual art: Moments of intertia: Still life 1; 141-144 1973 / Abigail Fitzgibbons -- 'It's OK if you weren't there': Mike Parr and performance documentation as remediation / Edward Scheer -- Australian mavericks: the provocative art of Richard Larter and Gareth Sansom / Deborah Clark -- Col Levy's big subject / Peter Timms -- DIY defiance: political posters during the Bjelke-Petersen era (1968-87) / Lynette Finch -- 'Beautiful on day, perfect the next': documentary photography in Queensland in the 1980s / Claire Gobe -- Reprise: Juan Davila's 'Miss Sigmund' 1981 / Shaune Lakin -- Articulating the unspeakable: the feminist photography of Julie Rrap and Anne Ferran / Jacqueline Millner -- Klaus Moje: 'swimming above the water' / Margot Osborne -- Cast-offs and found objects: Tom Risley's mark-making / Michael Hawker -- Thanakupi: full circle / Simon Wright -- Clifford Possum Tjapaltjarri: beneath clouds / Vivien Johnson -- The symbolic space of Tim Johnson / Wayne Tunnicliffe -- Outstation art: Emily Kngwarreye and Utopia Awelye Batik / Sally Butler -- Gordon Bennett: reading pictures / Susan Lowish -- Judy Watson: sacred ground beating heart 1989 / Ruth McDougall -- Rosalie Gascoigne's lyrical derailments / Mary Eagle --Dale Frank: 'strung out in heaven's high' / Sarah Stutchbury -- John Nixon: revision and renewal / Nicholas Chambers --Howard Arkley and 'Popism' / John Gregory -- Aleks Danko: what time is it? / David Burnett -- Robert Foster: the ghost in the machine / Paul McGillick -- Michael Riley: common sense / Hetti Perkins -- A complicated edge: Bea Maddock's 'TERRA SPIRITUS ... with a darker shade of pale' 1993-98 / Kate Ravenswood -- Imaging and abstracting country: Queenie McKenzie, Rover Thomas and the Warmun school / Judith Ryan -- William Robinson: depicting invisible distance / Rex Butler -- Poetry every day: Robert MacPherson's 'Mayfair: (Swamp rats) Ninety-seven signs for C.P., J.P., B.W., G.W. & R.W.' 1994-95 / Julie Ewington -- Peter Tyndall: the act of looking / Christopher Chapman -- Multiple meanings: the allusive objects of Susan Cohn / Anne Brennan -- The story of Guan Wei / Karen Smith -- Hermannsburg women potters / Bruce McLean -- Tracey Moffatt's visual pleasures / Miranda Wallace -- Ken Thaiday: to dance is to remember / Maud Page -- New waves from the old: Torres Strait Islander printmakers / Nonie Sharp -- Michael Boiyool Anning and the rainforest tradition / Noel Loos -- There goes the neighborhood: the works of Vernon Ah Kee and Richard Bell / Avril Quaill -- Scott Redford: paradise now / Jason Smith -- Being in the world: two responses to the art of Judith Wright / Ruth McDougall and Suhanya Raffel -- Other side of the rainbow: the sad and bad art of Destiny Deacon / Hannah Fink -- Rosemary Laing: pure transit / Kelley Gellatly -- Gwyn Hanssen Pigott / Sarah Tiffin -- Expressing identity: creativity in Yolngu art / Howard Morphy -- Arnhem Land fibre art: Lena Yarinkura, sculptor; Regina Wilson, painter / Diane Moon -- Weaving visions of country / Lilly Kelly Napangardi and Mitjili Napurrula / Christine Watson -- The balmarra of Alan Griffith's BaliBali balga / Dominique Sweeney -- To dance in the theatre of absence: some remarks about Aurukun carvings / John von Sturmer -- Memory and memorial: William Yang's 'About my mother' 2003 / Alison Lee -- In a fortune garden: Fiona Hall's 'Tender' 2003-06 / Suhanya Raffel -- Peter Booth and subtleties in the epic / Melissa Miles -- Susan Norrie: 'it's a small world after all' / Julie Ewington -- Scott Chaseling and Jessica Loughlin: personal narratives and minimal beauty / Ian Were -- The continuity of Tiwi art: Kitty Kantilla, Pedro Wonaeamirri and Maria Josette Orsto / Suzanne Spunner -- Anne Wallace: shadows of desire / Emma Muhlberger.
Publishing details: QAG, 2006, hc, dw, 491 pp, 400 colour illus
Risley Tom mark-making / Michael Hawkerview full entry
Reference: see Brought to Light II - contemporary Australian art 1966-2006 from the Queensland Art Gallery collection, edited by Lynne Seear and Julie Ewington. [’Featuring focused essays with broad scope and appeal, this book will include over 60 essays on key works and artists represented in the Queensland Art Gallery's contemporary Australian art collection’]

CONTENTS:
Centre Five revisited / Ken Scarlett -- The field: art, context and the historical moment / Carolyn Barnes -- Patterns of experience: Sydney abstraction / Linda van Nunen -- Robert Klippel and the language of form / Samantha Littley -- The evocation of distance: Fred Williams and the Australian landscape / Sebastian Smee -- 'Otherwhereish creatures': Sam Fullbrook's portrait of Ernestine Hill / John Murphy -- Table dancing: George Baldessin's 'Small Banquet' 1971-72 / David Hansen -- Tony Tuckson's hot licks: Pink lines (vertical) on red and purple 1970-73 / Julie Ewington -- Mick Namarari Tjapaltjarri: shimmer and screen / John Kean -- Imants Tillers and conceptual art: Moments of intertia: Still life 1; 141-144 1973 / Abigail Fitzgibbons -- 'It's OK if you weren't there': Mike Parr and performance documentation as remediation / Edward Scheer -- Australian mavericks: the provocative art of Richard Larter and Gareth Sansom / Deborah Clark -- Col Levy's big subject / Peter Timms -- DIY defiance: political posters during the Bjelke-Petersen era (1968-87) / Lynette Finch -- 'Beautiful on day, perfect the next': documentary photography in Queensland in the 1980s / Claire Gobe -- Reprise: Juan Davila's 'Miss Sigmund' 1981 / Shaune Lakin -- Articulating the unspeakable: the feminist photography of Julie Rrap and Anne Ferran / Jacqueline Millner -- Klaus Moje: 'swimming above the water' / Margot Osborne -- Cast-offs and found objects: Tom Risley's mark-making / Michael Hawker -- Thanakupi: full circle / Simon Wright -- Clifford Possum Tjapaltjarri: beneath clouds / Vivien Johnson -- The symbolic space of Tim Johnson / Wayne Tunnicliffe -- Outstation art: Emily Kngwarreye and Utopia Awelye Batik / Sally Butler -- Gordon Bennett: reading pictures / Susan Lowish -- Judy Watson: sacred ground beating heart 1989 / Ruth McDougall -- Rosalie Gascoigne's lyrical derailments / Mary Eagle --Dale Frank: 'strung out in heaven's high' / Sarah Stutchbury -- John Nixon: revision and renewal / Nicholas Chambers --Howard Arkley and 'Popism' / John Gregory -- Aleks Danko: what time is it? / David Burnett -- Robert Foster: the ghost in the machine / Paul McGillick -- Michael Riley: common sense / Hetti Perkins -- A complicated edge: Bea Maddock's 'TERRA SPIRITUS ... with a darker shade of pale' 1993-98 / Kate Ravenswood -- Imaging and abstracting country: Queenie McKenzie, Rover Thomas and the Warmun school / Judith Ryan -- William Robinson: depicting invisible distance / Rex Butler -- Poetry every day: Robert MacPherson's 'Mayfair: (Swamp rats) Ninety-seven signs for C.P., J.P., B.W., G.W. & R.W.' 1994-95 / Julie Ewington -- Peter Tyndall: the act of looking / Christopher Chapman -- Multiple meanings: the allusive objects of Susan Cohn / Anne Brennan -- The story of Guan Wei / Karen Smith -- Hermannsburg women potters / Bruce McLean -- Tracey Moffatt's visual pleasures / Miranda Wallace -- Ken Thaiday: to dance is to remember / Maud Page -- New waves from the old: Torres Strait Islander printmakers / Nonie Sharp -- Michael Boiyool Anning and the rainforest tradition / Noel Loos -- There goes the neighborhood: the works of Vernon Ah Kee and Richard Bell / Avril Quaill -- Scott Redford: paradise now / Jason Smith -- Being in the world: two responses to the art of Judith Wright / Ruth McDougall and Suhanya Raffel -- Other side of the rainbow: the sad and bad art of Destiny Deacon / Hannah Fink -- Rosemary Laing: pure transit / Kelley Gellatly -- Gwyn Hanssen Pigott / Sarah Tiffin -- Expressing identity: creativity in Yolngu art / Howard Morphy -- Arnhem Land fibre art: Lena Yarinkura, sculptor; Regina Wilson, painter / Diane Moon -- Weaving visions of country / Lilly Kelly Napangardi and Mitjili Napurrula / Christine Watson -- The balmarra of Alan Griffith's BaliBali balga / Dominique Sweeney -- To dance in the theatre of absence: some remarks about Aurukun carvings / John von Sturmer -- Memory and memorial: William Yang's 'About my mother' 2003 / Alison Lee -- In a fortune garden: Fiona Hall's 'Tender' 2003-06 / Suhanya Raffel -- Peter Booth and subtleties in the epic / Melissa Miles -- Susan Norrie: 'it's a small world after all' / Julie Ewington -- Scott Chaseling and Jessica Loughlin: personal narratives and minimal beauty / Ian Were -- The continuity of Tiwi art: Kitty Kantilla, Pedro Wonaeamirri and Maria Josette Orsto / Suzanne Spunner -- Anne Wallace: shadows of desire / Emma Muhlberger.
Publishing details: QAG, 2006, hc, dw, 491 pp, 400 colour illus
Thanakupi: full circle / Simon Wright view full entry
Reference: see Brought to Light II - contemporary Australian art 1966-2006 from the Queensland Art Gallery collection, edited by Lynne Seear and Julie Ewington. [’Featuring focused essays with broad scope and appeal, this book will include over 60 essays on key works and artists represented in the Queensland Art Gallery's contemporary Australian art collection’]

CONTENTS:
Centre Five revisited / Ken Scarlett -- The field: art, context and the historical moment / Carolyn Barnes -- Patterns of experience: Sydney abstraction / Linda van Nunen -- Robert Klippel and the language of form / Samantha Littley -- The evocation of distance: Fred Williams and the Australian landscape / Sebastian Smee -- 'Otherwhereish creatures': Sam Fullbrook's portrait of Ernestine Hill / John Murphy -- Table dancing: George Baldessin's 'Small Banquet' 1971-72 / David Hansen -- Tony Tuckson's hot licks: Pink lines (vertical) on red and purple 1970-73 / Julie Ewington -- Mick Namarari Tjapaltjarri: shimmer and screen / John Kean -- Imants Tillers and conceptual art: Moments of intertia: Still life 1; 141-144 1973 / Abigail Fitzgibbons -- 'It's OK if you weren't there': Mike Parr and performance documentation as remediation / Edward Scheer -- Australian mavericks: the provocative art of Richard Larter and Gareth Sansom / Deborah Clark -- Col Levy's big subject / Peter Timms -- DIY defiance: political posters during the Bjelke-Petersen era (1968-87) / Lynette Finch -- 'Beautiful on day, perfect the next': documentary photography in Queensland in the 1980s / Claire Gobe -- Reprise: Juan Davila's 'Miss Sigmund' 1981 / Shaune Lakin -- Articulating the unspeakable: the feminist photography of Julie Rrap and Anne Ferran / Jacqueline Millner -- Klaus Moje: 'swimming above the water' / Margot Osborne -- Cast-offs and found objects: Tom Risley's mark-making / Michael Hawker -- Thanakupi: full circle / Simon Wright -- Clifford Possum Tjapaltjarri: beneath clouds / Vivien Johnson -- The symbolic space of Tim Johnson / Wayne Tunnicliffe -- Outstation art: Emily Kngwarreye and Utopia Awelye Batik / Sally Butler -- Gordon Bennett: reading pictures / Susan Lowish -- Judy Watson: sacred ground beating heart 1989 / Ruth McDougall -- Rosalie Gascoigne's lyrical derailments / Mary Eagle --Dale Frank: 'strung out in heaven's high' / Sarah Stutchbury -- John Nixon: revision and renewal / Nicholas Chambers --Howard Arkley and 'Popism' / John Gregory -- Aleks Danko: what time is it? / David Burnett -- Robert Foster: the ghost in the machine / Paul McGillick -- Michael Riley: common sense / Hetti Perkins -- A complicated edge: Bea Maddock's 'TERRA SPIRITUS ... with a darker shade of pale' 1993-98 / Kate Ravenswood -- Imaging and abstracting country: Queenie McKenzie, Rover Thomas and the Warmun school / Judith Ryan -- William Robinson: depicting invisible distance / Rex Butler -- Poetry every day: Robert MacPherson's 'Mayfair: (Swamp rats) Ninety-seven signs for C.P., J.P., B.W., G.W. & R.W.' 1994-95 / Julie Ewington -- Peter Tyndall: the act of looking / Christopher Chapman -- Multiple meanings: the allusive objects of Susan Cohn / Anne Brennan -- The story of Guan Wei / Karen Smith -- Hermannsburg women potters / Bruce McLean -- Tracey Moffatt's visual pleasures / Miranda Wallace -- Ken Thaiday: to dance is to remember / Maud Page -- New waves from the old: Torres Strait Islander printmakers / Nonie Sharp -- Michael Boiyool Anning and the rainforest tradition / Noel Loos -- There goes the neighborhood: the works of Vernon Ah Kee and Richard Bell / Avril Quaill -- Scott Redford: paradise now / Jason Smith -- Being in the world: two responses to the art of Judith Wright / Ruth McDougall and Suhanya Raffel -- Other side of the rainbow: the sad and bad art of Destiny Deacon / Hannah Fink -- Rosemary Laing: pure transit / Kelley Gellatly -- Gwyn Hanssen Pigott / Sarah Tiffin -- Expressing identity: creativity in Yolngu art / Howard Morphy -- Arnhem Land fibre art: Lena Yarinkura, sculptor; Regina Wilson, painter / Diane Moon -- Weaving visions of country / Lilly Kelly Napangardi and Mitjili Napurrula / Christine Watson -- The balmarra of Alan Griffith's BaliBali balga / Dominique Sweeney -- To dance in the theatre of absence: some remarks about Aurukun carvings / John von Sturmer -- Memory and memorial: William Yang's 'About my mother' 2003 / Alison Lee -- In a fortune garden: Fiona Hall's 'Tender' 2003-06 / Suhanya Raffel -- Peter Booth and subtleties in the epic / Melissa Miles -- Susan Norrie: 'it's a small world after all' / Julie Ewington -- Scott Chaseling and Jessica Loughlin: personal narratives and minimal beauty / Ian Were -- The continuity of Tiwi art: Kitty Kantilla, Pedro Wonaeamirri and Maria Josette Orsto / Suzanne Spunner -- Anne Wallace: shadows of desire / Emma Muhlberger.
Publishing details: QAG, 2006, hc, dw, 491 pp, 400 colour illus
Tjapaltjarri Clifford Possum: beneath clouds / Vivien Johnson view full entry
Reference: see Brought to Light II - contemporary Australian art 1966-2006 from the Queensland Art Gallery collection, edited by Lynne Seear and Julie Ewington. [’Featuring focused essays with broad scope and appeal, this book will include over 60 essays on key works and artists represented in the Queensland Art Gallery's contemporary Australian art collection’]

CONTENTS:
Centre Five revisited / Ken Scarlett -- The field: art, context and the historical moment / Carolyn Barnes -- Patterns of experience: Sydney abstraction / Linda van Nunen -- Robert Klippel and the language of form / Samantha Littley -- The evocation of distance: Fred Williams and the Australian landscape / Sebastian Smee -- 'Otherwhereish creatures': Sam Fullbrook's portrait of Ernestine Hill / John Murphy -- Table dancing: George Baldessin's 'Small Banquet' 1971-72 / David Hansen -- Tony Tuckson's hot licks: Pink lines (vertical) on red and purple 1970-73 / Julie Ewington -- Mick Namarari Tjapaltjarri: shimmer and screen / John Kean -- Imants Tillers and conceptual art: Moments of intertia: Still life 1; 141-144 1973 / Abigail Fitzgibbons -- 'It's OK if you weren't there': Mike Parr and performance documentation as remediation / Edward Scheer -- Australian mavericks: the provocative art of Richard Larter and Gareth Sansom / Deborah Clark -- Col Levy's big subject / Peter Timms -- DIY defiance: political posters during the Bjelke-Petersen era (1968-87) / Lynette Finch -- 'Beautiful on day, perfect the next': documentary photography in Queensland in the 1980s / Claire Gobe -- Reprise: Juan Davila's 'Miss Sigmund' 1981 / Shaune Lakin -- Articulating the unspeakable: the feminist photography of Julie Rrap and Anne Ferran / Jacqueline Millner -- Klaus Moje: 'swimming above the water' / Margot Osborne -- Cast-offs and found objects: Tom Risley's mark-making / Michael Hawker -- Thanakupi: full circle / Simon Wright -- Clifford Possum Tjapaltjarri: beneath clouds / Vivien Johnson -- The symbolic space of Tim Johnson / Wayne Tunnicliffe -- Outstation art: Emily Kngwarreye and Utopia Awelye Batik / Sally Butler -- Gordon Bennett: reading pictures / Susan Lowish -- Judy Watson: sacred ground beating heart 1989 / Ruth McDougall -- Rosalie Gascoigne's lyrical derailments / Mary Eagle --Dale Frank: 'strung out in heaven's high' / Sarah Stutchbury -- John Nixon: revision and renewal / Nicholas Chambers --Howard Arkley and 'Popism' / John Gregory -- Aleks Danko: what time is it? / David Burnett -- Robert Foster: the ghost in the machine / Paul McGillick -- Michael Riley: common sense / Hetti Perkins -- A complicated edge: Bea Maddock's 'TERRA SPIRITUS ... with a darker shade of pale' 1993-98 / Kate Ravenswood -- Imaging and abstracting country: Queenie McKenzie, Rover Thomas and the Warmun school / Judith Ryan -- William Robinson: depicting invisible distance / Rex Butler -- Poetry every day: Robert MacPherson's 'Mayfair: (Swamp rats) Ninety-seven signs for C.P., J.P., B.W., G.W. & R.W.' 1994-95 / Julie Ewington -- Peter Tyndall: the act of looking / Christopher Chapman -- Multiple meanings: the allusive objects of Susan Cohn / Anne Brennan -- The story of Guan Wei / Karen Smith -- Hermannsburg women potters / Bruce McLean -- Tracey Moffatt's visual pleasures / Miranda Wallace -- Ken Thaiday: to dance is to remember / Maud Page -- New waves from the old: Torres Strait Islander printmakers / Nonie Sharp -- Michael Boiyool Anning and the rainforest tradition / Noel Loos -- There goes the neighborhood: the works of Vernon Ah Kee and Richard Bell / Avril Quaill -- Scott Redford: paradise now / Jason Smith -- Being in the world: two responses to the art of Judith Wright / Ruth McDougall and Suhanya Raffel -- Other side of the rainbow: the sad and bad art of Destiny Deacon / Hannah Fink -- Rosemary Laing: pure transit / Kelley Gellatly -- Gwyn Hanssen Pigott / Sarah Tiffin -- Expressing identity: creativity in Yolngu art / Howard Morphy -- Arnhem Land fibre art: Lena Yarinkura, sculptor; Regina Wilson, painter / Diane Moon -- Weaving visions of country / Lilly Kelly Napangardi and Mitjili Napurrula / Christine Watson -- The balmarra of Alan Griffith's BaliBali balga / Dominique Sweeney -- To dance in the theatre of absence: some remarks about Aurukun carvings / John von Sturmer -- Memory and memorial: William Yang's 'About my mother' 2003 / Alison Lee -- In a fortune garden: Fiona Hall's 'Tender' 2003-06 / Suhanya Raffel -- Peter Booth and subtleties in the epic / Melissa Miles -- Susan Norrie: 'it's a small world after all' / Julie Ewington -- Scott Chaseling and Jessica Loughlin: personal narratives and minimal beauty / Ian Were -- The continuity of Tiwi art: Kitty Kantilla, Pedro Wonaeamirri and Maria Josette Orsto / Suzanne Spunner -- Anne Wallace: shadows of desire / Emma Muhlberger.
Publishing details: QAG, 2006, hc, dw, 491 pp, 400 colour illus
Johnson Tim / Wayne Tunnicliffe view full entry
Reference: see Brought to Light II - contemporary Australian art 1966-2006 from the Queensland Art Gallery collection, edited by Lynne Seear and Julie Ewington. [’Featuring focused essays with broad scope and appeal, this book will include over 60 essays on key works and artists represented in the Queensland Art Gallery's contemporary Australian art collection’]

CONTENTS:
Centre Five revisited / Ken Scarlett -- The field: art, context and the historical moment / Carolyn Barnes -- Patterns of experience: Sydney abstraction / Linda van Nunen -- Robert Klippel and the language of form / Samantha Littley -- The evocation of distance: Fred Williams and the Australian landscape / Sebastian Smee -- 'Otherwhereish creatures': Sam Fullbrook's portrait of Ernestine Hill / John Murphy -- Table dancing: George Baldessin's 'Small Banquet' 1971-72 / David Hansen -- Tony Tuckson's hot licks: Pink lines (vertical) on red and purple 1970-73 / Julie Ewington -- Mick Namarari Tjapaltjarri: shimmer and screen / John Kean -- Imants Tillers and conceptual art: Moments of intertia: Still life 1; 141-144 1973 / Abigail Fitzgibbons -- 'It's OK if you weren't there': Mike Parr and performance documentation as remediation / Edward Scheer -- Australian mavericks: the provocative art of Richard Larter and Gareth Sansom / Deborah Clark -- Col Levy's big subject / Peter Timms -- DIY defiance: political posters during the Bjelke-Petersen era (1968-87) / Lynette Finch -- 'Beautiful on day, perfect the next': documentary photography in Queensland in the 1980s / Claire Gobe -- Reprise: Juan Davila's 'Miss Sigmund' 1981 / Shaune Lakin -- Articulating the unspeakable: the feminist photography of Julie Rrap and Anne Ferran / Jacqueline Millner -- Klaus Moje: 'swimming above the water' / Margot Osborne -- Cast-offs and found objects: Tom Risley's mark-making / Michael Hawker -- Thanakupi: full circle / Simon Wright -- Clifford Possum Tjapaltjarri: beneath clouds / Vivien Johnson -- The symbolic space of Tim Johnson / Wayne Tunnicliffe -- Outstation art: Emily Kngwarreye and Utopia Awelye Batik / Sally Butler -- Gordon Bennett: reading pictures / Susan Lowish -- Judy Watson: sacred ground beating heart 1989 / Ruth McDougall -- Rosalie Gascoigne's lyrical derailments / Mary Eagle --Dale Frank: 'strung out in heaven's high' / Sarah Stutchbury -- John Nixon: revision and renewal / Nicholas Chambers --Howard Arkley and 'Popism' / John Gregory -- Aleks Danko: what time is it? / David Burnett -- Robert Foster: the ghost in the machine / Paul McGillick -- Michael Riley: common sense / Hetti Perkins -- A complicated edge: Bea Maddock's 'TERRA SPIRITUS ... with a darker shade of pale' 1993-98 / Kate Ravenswood -- Imaging and abstracting country: Queenie McKenzie, Rover Thomas and the Warmun school / Judith Ryan -- William Robinson: depicting invisible distance / Rex Butler -- Poetry every day: Robert MacPherson's 'Mayfair: (Swamp rats) Ninety-seven signs for C.P., J.P., B.W., G.W. & R.W.' 1994-95 / Julie Ewington -- Peter Tyndall: the act of looking / Christopher Chapman -- Multiple meanings: the allusive objects of Susan Cohn / Anne Brennan -- The story of Guan Wei / Karen Smith -- Hermannsburg women potters / Bruce McLean -- Tracey Moffatt's visual pleasures / Miranda Wallace -- Ken Thaiday: to dance is to remember / Maud Page -- New waves from the old: Torres Strait Islander printmakers / Nonie Sharp -- Michael Boiyool Anning and the rainforest tradition / Noel Loos -- There goes the neighborhood: the works of Vernon Ah Kee and Richard Bell / Avril Quaill -- Scott Redford: paradise now / Jason Smith -- Being in the world: two responses to the art of Judith Wright / Ruth McDougall and Suhanya Raffel -- Other side of the rainbow: the sad and bad art of Destiny Deacon / Hannah Fink -- Rosemary Laing: pure transit / Kelley Gellatly -- Gwyn Hanssen Pigott / Sarah Tiffin -- Expressing identity: creativity in Yolngu art / Howard Morphy -- Arnhem Land fibre art: Lena Yarinkura, sculptor; Regina Wilson, painter / Diane Moon -- Weaving visions of country / Lilly Kelly Napangardi and Mitjili Napurrula / Christine Watson -- The balmarra of Alan Griffith's BaliBali balga / Dominique Sweeney -- To dance in the theatre of absence: some remarks about Aurukun carvings / John von Sturmer -- Memory and memorial: William Yang's 'About my mother' 2003 / Alison Lee -- In a fortune garden: Fiona Hall's 'Tender' 2003-06 / Suhanya Raffel -- Peter Booth and subtleties in the epic / Melissa Miles -- Susan Norrie: 'it's a small world after all' / Julie Ewington -- Scott Chaseling and Jessica Loughlin: personal narratives and minimal beauty / Ian Were -- The continuity of Tiwi art: Kitty Kantilla, Pedro Wonaeamirri and Maria Josette Orsto / Suzanne Spunner -- Anne Wallace: shadows of desire / Emma Muhlberger.
Publishing details: QAG, 2006, hc, dw, 491 pp, 400 colour illus
Kngwarreye Emily and Utopia Awelye Batik / Sally Butler view full entry
Reference: see Brought to Light II - contemporary Australian art 1966-2006 from the Queensland Art Gallery collection, edited by Lynne Seear and Julie Ewington. [’Featuring focused essays with broad scope and appeal, this book will include over 60 essays on key works and artists represented in the Queensland Art Gallery's contemporary Australian art collection’]

CONTENTS:
Centre Five revisited / Ken Scarlett -- The field: art, context and the historical moment / Carolyn Barnes -- Patterns of experience: Sydney abstraction / Linda van Nunen -- Robert Klippel and the language of form / Samantha Littley -- The evocation of distance: Fred Williams and the Australian landscape / Sebastian Smee -- 'Otherwhereish creatures': Sam Fullbrook's portrait of Ernestine Hill / John Murphy -- Table dancing: George Baldessin's 'Small Banquet' 1971-72 / David Hansen -- Tony Tuckson's hot licks: Pink lines (vertical) on red and purple 1970-73 / Julie Ewington -- Mick Namarari Tjapaltjarri: shimmer and screen / John Kean -- Imants Tillers and conceptual art: Moments of intertia: Still life 1; 141-144 1973 / Abigail Fitzgibbons -- 'It's OK if you weren't there': Mike Parr and performance documentation as remediation / Edward Scheer -- Australian mavericks: the provocative art of Richard Larter and Gareth Sansom / Deborah Clark -- Col Levy's big subject / Peter Timms -- DIY defiance: political posters during the Bjelke-Petersen era (1968-87) / Lynette Finch -- 'Beautiful on day, perfect the next': documentary photography in Queensland in the 1980s / Claire Gobe -- Reprise: Juan Davila's 'Miss Sigmund' 1981 / Shaune Lakin -- Articulating the unspeakable: the feminist photography of Julie Rrap and Anne Ferran / Jacqueline Millner -- Klaus Moje: 'swimming above the water' / Margot Osborne -- Cast-offs and found objects: Tom Risley's mark-making / Michael Hawker -- Thanakupi: full circle / Simon Wright -- Clifford Possum Tjapaltjarri: beneath clouds / Vivien Johnson -- The symbolic space of Tim Johnson / Wayne Tunnicliffe -- Outstation art: Emily Kngwarreye and Utopia Awelye Batik / Sally Butler -- Gordon Bennett: reading pictures / Susan Lowish -- Judy Watson: sacred ground beating heart 1989 / Ruth McDougall -- Rosalie Gascoigne's lyrical derailments / Mary Eagle --Dale Frank: 'strung out in heaven's high' / Sarah Stutchbury -- John Nixon: revision and renewal / Nicholas Chambers --Howard Arkley and 'Popism' / John Gregory -- Aleks Danko: what time is it? / David Burnett -- Robert Foster: the ghost in the machine / Paul McGillick -- Michael Riley: common sense / Hetti Perkins -- A complicated edge: Bea Maddock's 'TERRA SPIRITUS ... with a darker shade of pale' 1993-98 / Kate Ravenswood -- Imaging and abstracting country: Queenie McKenzie, Rover Thomas and the Warmun school / Judith Ryan -- William Robinson: depicting invisible distance / Rex Butler -- Poetry every day: Robert MacPherson's 'Mayfair: (Swamp rats) Ninety-seven signs for C.P., J.P., B.W., G.W. & R.W.' 1994-95 / Julie Ewington -- Peter Tyndall: the act of looking / Christopher Chapman -- Multiple meanings: the allusive objects of Susan Cohn / Anne Brennan -- The story of Guan Wei / Karen Smith -- Hermannsburg women potters / Bruce McLean -- Tracey Moffatt's visual pleasures / Miranda Wallace -- Ken Thaiday: to dance is to remember / Maud Page -- New waves from the old: Torres Strait Islander printmakers / Nonie Sharp -- Michael Boiyool Anning and the rainforest tradition / Noel Loos -- There goes the neighborhood: the works of Vernon Ah Kee and Richard Bell / Avril Quaill -- Scott Redford: paradise now / Jason Smith -- Being in the world: two responses to the art of Judith Wright / Ruth McDougall and Suhanya Raffel -- Other side of the rainbow: the sad and bad art of Destiny Deacon / Hannah Fink -- Rosemary Laing: pure transit / Kelley Gellatly -- Gwyn Hanssen Pigott / Sarah Tiffin -- Expressing identity: creativity in Yolngu art / Howard Morphy -- Arnhem Land fibre art: Lena Yarinkura, sculptor; Regina Wilson, painter / Diane Moon -- Weaving visions of country / Lilly Kelly Napangardi and Mitjili Napurrula / Christine Watson -- The balmarra of Alan Griffith's BaliBali balga / Dominique Sweeney -- To dance in the theatre of absence: some remarks about Aurukun carvings / John von Sturmer -- Memory and memorial: William Yang's 'About my mother' 2003 / Alison Lee -- In a fortune garden: Fiona Hall's 'Tender' 2003-06 / Suhanya Raffel -- Peter Booth and subtleties in the epic / Melissa Miles -- Susan Norrie: 'it's a small world after all' / Julie Ewington -- Scott Chaseling and Jessica Loughlin: personal narratives and minimal beauty / Ian Were -- The continuity of Tiwi art: Kitty Kantilla, Pedro Wonaeamirri and Maria Josette Orsto / Suzanne Spunner -- Anne Wallace: shadows of desire / Emma Muhlberger.
Publishing details: QAG, 2006, hc, dw, 491 pp, 400 colour illus
Bennett Gordon reading -pictures / Susan Lowish view full entry
Reference: see Brought to Light II - contemporary Australian art 1966-2006 from the Queensland Art Gallery collection, edited by Lynne Seear and Julie Ewington. [’Featuring focused essays with broad scope and appeal, this book will include over 60 essays on key works and artists represented in the Queensland Art Gallery's contemporary Australian art collection’]

CONTENTS:
Centre Five revisited / Ken Scarlett -- The field: art, context and the historical moment / Carolyn Barnes -- Patterns of experience: Sydney abstraction / Linda van Nunen -- Robert Klippel and the language of form / Samantha Littley -- The evocation of distance: Fred Williams and the Australian landscape / Sebastian Smee -- 'Otherwhereish creatures': Sam Fullbrook's portrait of Ernestine Hill / John Murphy -- Table dancing: George Baldessin's 'Small Banquet' 1971-72 / David Hansen -- Tony Tuckson's hot licks: Pink lines (vertical) on red and purple 1970-73 / Julie Ewington -- Mick Namarari Tjapaltjarri: shimmer and screen / John Kean -- Imants Tillers and conceptual art: Moments of intertia: Still life 1; 141-144 1973 / Abigail Fitzgibbons -- 'It's OK if you weren't there': Mike Parr and performance documentation as remediation / Edward Scheer -- Australian mavericks: the provocative art of Richard Larter and Gareth Sansom / Deborah Clark -- Col Levy's big subject / Peter Timms -- DIY defiance: political posters during the Bjelke-Petersen era (1968-87) / Lynette Finch -- 'Beautiful on day, perfect the next': documentary photography in Queensland in the 1980s / Claire Gobe -- Reprise: Juan Davila's 'Miss Sigmund' 1981 / Shaune Lakin -- Articulating the unspeakable: the feminist photography of Julie Rrap and Anne Ferran / Jacqueline Millner -- Klaus Moje: 'swimming above the water' / Margot Osborne -- Cast-offs and found objects: Tom Risley's mark-making / Michael Hawker -- Thanakupi: full circle / Simon Wright -- Clifford Possum Tjapaltjarri: beneath clouds / Vivien Johnson -- The symbolic space of Tim Johnson / Wayne Tunnicliffe -- Outstation art: Emily Kngwarreye and Utopia Awelye Batik / Sally Butler -- Gordon Bennett: reading pictures / Susan Lowish -- Judy Watson: sacred ground beating heart 1989 / Ruth McDougall -- Rosalie Gascoigne's lyrical derailments / Mary Eagle --Dale Frank: 'strung out in heaven's high' / Sarah Stutchbury -- John Nixon: revision and renewal / Nicholas Chambers --Howard Arkley and 'Popism' / John Gregory -- Aleks Danko: what time is it? / David Burnett -- Robert Foster: the ghost in the machine / Paul McGillick -- Michael Riley: common sense / Hetti Perkins -- A complicated edge: Bea Maddock's 'TERRA SPIRITUS ... with a darker shade of pale' 1993-98 / Kate Ravenswood -- Imaging and abstracting country: Queenie McKenzie, Rover Thomas and the Warmun school / Judith Ryan -- William Robinson: depicting invisible distance / Rex Butler -- Poetry every day: Robert MacPherson's 'Mayfair: (Swamp rats) Ninety-seven signs for C.P., J.P., B.W., G.W. & R.W.' 1994-95 / Julie Ewington -- Peter Tyndall: the act of looking / Christopher Chapman -- Multiple meanings: the allusive objects of Susan Cohn / Anne Brennan -- The story of Guan Wei / Karen Smith -- Hermannsburg women potters / Bruce McLean -- Tracey Moffatt's visual pleasures / Miranda Wallace -- Ken Thaiday: to dance is to remember / Maud Page -- New waves from the old: Torres Strait Islander printmakers / Nonie Sharp -- Michael Boiyool Anning and the rainforest tradition / Noel Loos -- There goes the neighborhood: the works of Vernon Ah Kee and Richard Bell / Avril Quaill -- Scott Redford: paradise now / Jason Smith -- Being in the world: two responses to the art of Judith Wright / Ruth McDougall and Suhanya Raffel -- Other side of the rainbow: the sad and bad art of Destiny Deacon / Hannah Fink -- Rosemary Laing: pure transit / Kelley Gellatly -- Gwyn Hanssen Pigott / Sarah Tiffin -- Expressing identity: creativity in Yolngu art / Howard Morphy -- Arnhem Land fibre art: Lena Yarinkura, sculptor; Regina Wilson, painter / Diane Moon -- Weaving visions of country / Lilly Kelly Napangardi and Mitjili Napurrula / Christine Watson -- The balmarra of Alan Griffith's BaliBali balga / Dominique Sweeney -- To dance in the theatre of absence: some remarks about Aurukun carvings / John von Sturmer -- Memory and memorial: William Yang's 'About my mother' 2003 / Alison Lee -- In a fortune garden: Fiona Hall's 'Tender' 2003-06 / Suhanya Raffel -- Peter Booth and subtleties in the epic / Melissa Miles -- Susan Norrie: 'it's a small world after all' / Julie Ewington -- Scott Chaseling and Jessica Loughlin: personal narratives and minimal beauty / Ian Were -- The continuity of Tiwi art: Kitty Kantilla, Pedro Wonaeamirri and Maria Josette Orsto / Suzanne Spunner -- Anne Wallace: shadows of desire / Emma Muhlberger.
Publishing details: QAG, 2006, hc, dw, 491 pp, 400 colour illus
Watson Judy: sacred ground beating heart 1989 / Ruth McDougall view full entry
Reference: see Brought to Light II - contemporary Australian art 1966-2006 from the Queensland Art Gallery collection, edited by Lynne Seear and Julie Ewington. [’Featuring focused essays with broad scope and appeal, this book will include over 60 essays on key works and artists represented in the Queensland Art Gallery's contemporary Australian art collection’]

CONTENTS:
Centre Five revisited / Ken Scarlett -- The field: art, context and the historical moment / Carolyn Barnes -- Patterns of experience: Sydney abstraction / Linda van Nunen -- Robert Klippel and the language of form / Samantha Littley -- The evocation of distance: Fred Williams and the Australian landscape / Sebastian Smee -- 'Otherwhereish creatures': Sam Fullbrook's portrait of Ernestine Hill / John Murphy -- Table dancing: George Baldessin's 'Small Banquet' 1971-72 / David Hansen -- Tony Tuckson's hot licks: Pink lines (vertical) on red and purple 1970-73 / Julie Ewington -- Mick Namarari Tjapaltjarri: shimmer and screen / John Kean -- Imants Tillers and conceptual art: Moments of intertia: Still life 1; 141-144 1973 / Abigail Fitzgibbons -- 'It's OK if you weren't there': Mike Parr and performance documentation as remediation / Edward Scheer -- Australian mavericks: the provocative art of Richard Larter and Gareth Sansom / Deborah Clark -- Col Levy's big subject / Peter Timms -- DIY defiance: political posters during the Bjelke-Petersen era (1968-87) / Lynette Finch -- 'Beautiful on day, perfect the next': documentary photography in Queensland in the 1980s / Claire Gobe -- Reprise: Juan Davila's 'Miss Sigmund' 1981 / Shaune Lakin -- Articulating the unspeakable: the feminist photography of Julie Rrap and Anne Ferran / Jacqueline Millner -- Klaus Moje: 'swimming above the water' / Margot Osborne -- Cast-offs and found objects: Tom Risley's mark-making / Michael Hawker -- Thanakupi: full circle / Simon Wright -- Clifford Possum Tjapaltjarri: beneath clouds / Vivien Johnson -- The symbolic space of Tim Johnson / Wayne Tunnicliffe -- Outstation art: Emily Kngwarreye and Utopia Awelye Batik / Sally Butler -- Gordon Bennett: reading pictures / Susan Lowish -- Judy Watson: sacred ground beating heart 1989 / Ruth McDougall -- Rosalie Gascoigne's lyrical derailments / Mary Eagle --Dale Frank: 'strung out in heaven's high' / Sarah Stutchbury -- John Nixon: revision and renewal / Nicholas Chambers --Howard Arkley and 'Popism' / John Gregory -- Aleks Danko: what time is it? / David Burnett -- Robert Foster: the ghost in the machine / Paul McGillick -- Michael Riley: common sense / Hetti Perkins -- A complicated edge: Bea Maddock's 'TERRA SPIRITUS ... with a darker shade of pale' 1993-98 / Kate Ravenswood -- Imaging and abstracting country: Queenie McKenzie, Rover Thomas and the Warmun school / Judith Ryan -- William Robinson: depicting invisible distance / Rex Butler -- Poetry every day: Robert MacPherson's 'Mayfair: (Swamp rats) Ninety-seven signs for C.P., J.P., B.W., G.W. & R.W.' 1994-95 / Julie Ewington -- Peter Tyndall: the act of looking / Christopher Chapman -- Multiple meanings: the allusive objects of Susan Cohn / Anne Brennan -- The story of Guan Wei / Karen Smith -- Hermannsburg women potters / Bruce McLean -- Tracey Moffatt's visual pleasures / Miranda Wallace -- Ken Thaiday: to dance is to remember / Maud Page -- New waves from the old: Torres Strait Islander printmakers / Nonie Sharp -- Michael Boiyool Anning and the rainforest tradition / Noel Loos -- There goes the neighborhood: the works of Vernon Ah Kee and Richard Bell / Avril Quaill -- Scott Redford: paradise now / Jason Smith -- Being in the world: two responses to the art of Judith Wright / Ruth McDougall and Suhanya Raffel -- Other side of the rainbow: the sad and bad art of Destiny Deacon / Hannah Fink -- Rosemary Laing: pure transit / Kelley Gellatly -- Gwyn Hanssen Pigott / Sarah Tiffin -- Expressing identity: creativity in Yolngu art / Howard Morphy -- Arnhem Land fibre art: Lena Yarinkura, sculptor; Regina Wilson, painter / Diane Moon -- Weaving visions of country / Lilly Kelly Napangardi and Mitjili Napurrula / Christine Watson -- The balmarra of Alan Griffith's BaliBali balga / Dominique Sweeney -- To dance in the theatre of absence: some remarks about Aurukun carvings / John von Sturmer -- Memory and memorial: William Yang's 'About my mother' 2003 / Alison Lee -- In a fortune garden: Fiona Hall's 'Tender' 2003-06 / Suhanya Raffel -- Peter Booth and subtleties in the epic / Melissa Miles -- Susan Norrie: 'it's a small world after all' / Julie Ewington -- Scott Chaseling and Jessica Loughlin: personal narratives and minimal beauty / Ian Were -- The continuity of Tiwi art: Kitty Kantilla, Pedro Wonaeamirri and Maria Josette Orsto / Suzanne Spunner -- Anne Wallace: shadows of desire / Emma Muhlberger.
Publishing details: QAG, 2006, hc, dw, 491 pp, 400 colour illus
Gascoigne Rosalie - lyrical derailments / Mary Eagle view full entry
Reference: see Brought to Light II - contemporary Australian art 1966-2006 from the Queensland Art Gallery collection, edited by Lynne Seear and Julie Ewington. [’Featuring focused essays with broad scope and appeal, this book will include over 60 essays on key works and artists represented in the Queensland Art Gallery's contemporary Australian art collection’]

CONTENTS:
Centre Five revisited / Ken Scarlett -- The field: art, context and the historical moment / Carolyn Barnes -- Patterns of experience: Sydney abstraction / Linda van Nunen -- Robert Klippel and the language of form / Samantha Littley -- The evocation of distance: Fred Williams and the Australian landscape / Sebastian Smee -- 'Otherwhereish creatures': Sam Fullbrook's portrait of Ernestine Hill / John Murphy -- Table dancing: George Baldessin's 'Small Banquet' 1971-72 / David Hansen -- Tony Tuckson's hot licks: Pink lines (vertical) on red and purple 1970-73 / Julie Ewington -- Mick Namarari Tjapaltjarri: shimmer and screen / John Kean -- Imants Tillers and conceptual art: Moments of intertia: Still life 1; 141-144 1973 / Abigail Fitzgibbons -- 'It's OK if you weren't there': Mike Parr and performance documentation as remediation / Edward Scheer -- Australian mavericks: the provocative art of Richard Larter and Gareth Sansom / Deborah Clark -- Col Levy's big subject / Peter Timms -- DIY defiance: political posters during the Bjelke-Petersen era (1968-87) / Lynette Finch -- 'Beautiful on day, perfect the next': documentary photography in Queensland in the 1980s / Claire Gobe -- Reprise: Juan Davila's 'Miss Sigmund' 1981 / Shaune Lakin -- Articulating the unspeakable: the feminist photography of Julie Rrap and Anne Ferran / Jacqueline Millner -- Klaus Moje: 'swimming above the water' / Margot Osborne -- Cast-offs and found objects: Tom Risley's mark-making / Michael Hawker -- Thanakupi: full circle / Simon Wright -- Clifford Possum Tjapaltjarri: beneath clouds / Vivien Johnson -- The symbolic space of Tim Johnson / Wayne Tunnicliffe -- Outstation art: Emily Kngwarreye and Utopia Awelye Batik / Sally Butler -- Gordon Bennett: reading pictures / Susan Lowish -- Judy Watson: sacred ground beating heart 1989 / Ruth McDougall -- Rosalie Gascoigne's lyrical derailments / Mary Eagle --Dale Frank: 'strung out in heaven's high' / Sarah Stutchbury -- John Nixon: revision and renewal / Nicholas Chambers --Howard Arkley and 'Popism' / John Gregory -- Aleks Danko: what time is it? / David Burnett -- Robert Foster: the ghost in the machine / Paul McGillick -- Michael Riley: common sense / Hetti Perkins -- A complicated edge: Bea Maddock's 'TERRA SPIRITUS ... with a darker shade of pale' 1993-98 / Kate Ravenswood -- Imaging and abstracting country: Queenie McKenzie, Rover Thomas and the Warmun school / Judith Ryan -- William Robinson: depicting invisible distance / Rex Butler -- Poetry every day: Robert MacPherson's 'Mayfair: (Swamp rats) Ninety-seven signs for C.P., J.P., B.W., G.W. & R.W.' 1994-95 / Julie Ewington -- Peter Tyndall: the act of looking / Christopher Chapman -- Multiple meanings: the allusive objects of Susan Cohn / Anne Brennan -- The story of Guan Wei / Karen Smith -- Hermannsburg women potters / Bruce McLean -- Tracey Moffatt's visual pleasures / Miranda Wallace -- Ken Thaiday: to dance is to remember / Maud Page -- New waves from the old: Torres Strait Islander printmakers / Nonie Sharp -- Michael Boiyool Anning and the rainforest tradition / Noel Loos -- There goes the neighborhood: the works of Vernon Ah Kee and Richard Bell / Avril Quaill -- Scott Redford: paradise now / Jason Smith -- Being in the world: two responses to the art of Judith Wright / Ruth McDougall and Suhanya Raffel -- Other side of the rainbow: the sad and bad art of Destiny Deacon / Hannah Fink -- Rosemary Laing: pure transit / Kelley Gellatly -- Gwyn Hanssen Pigott / Sarah Tiffin -- Expressing identity: creativity in Yolngu art / Howard Morphy -- Arnhem Land fibre art: Lena Yarinkura, sculptor; Regina Wilson, painter / Diane Moon -- Weaving visions of country / Lilly Kelly Napangardi and Mitjili Napurrula / Christine Watson -- The balmarra of Alan Griffith's BaliBali balga / Dominique Sweeney -- To dance in the theatre of absence: some remarks about Aurukun carvings / John von Sturmer -- Memory and memorial: William Yang's 'About my mother' 2003 / Alison Lee -- In a fortune garden: Fiona Hall's 'Tender' 2003-06 / Suhanya Raffel -- Peter Booth and subtleties in the epic / Melissa Miles -- Susan Norrie: 'it's a small world after all' / Julie Ewington -- Scott Chaseling and Jessica Loughlin: personal narratives and minimal beauty / Ian Were -- The continuity of Tiwi art: Kitty Kantilla, Pedro Wonaeamirri and Maria Josette Orsto / Suzanne Spunner -- Anne Wallace: shadows of desire / Emma Muhlberger.
Publishing details: QAG, 2006, hc, dw, 491 pp, 400 colour illus
Frank Dale: 'strung out in heaven's high' / Sarah Stutchbury view full entry
Reference: see Brought to Light II - contemporary Australian art 1966-2006 from the Queensland Art Gallery collection, edited by Lynne Seear and Julie Ewington. [’Featuring focused essays with broad scope and appeal, this book will include over 60 essays on key works and artists represented in the Queensland Art Gallery's contemporary Australian art collection’]

CONTENTS:
Centre Five revisited / Ken Scarlett -- The field: art, context and the historical moment / Carolyn Barnes -- Patterns of experience: Sydney abstraction / Linda van Nunen -- Robert Klippel and the language of form / Samantha Littley -- The evocation of distance: Fred Williams and the Australian landscape / Sebastian Smee -- 'Otherwhereish creatures': Sam Fullbrook's portrait of Ernestine Hill / John Murphy -- Table dancing: George Baldessin's 'Small Banquet' 1971-72 / David Hansen -- Tony Tuckson's hot licks: Pink lines (vertical) on red and purple 1970-73 / Julie Ewington -- Mick Namarari Tjapaltjarri: shimmer and screen / John Kean -- Imants Tillers and conceptual art: Moments of intertia: Still life 1; 141-144 1973 / Abigail Fitzgibbons -- 'It's OK if you weren't there': Mike Parr and performance documentation as remediation / Edward Scheer -- Australian mavericks: the provocative art of Richard Larter and Gareth Sansom / Deborah Clark -- Col Levy's big subject / Peter Timms -- DIY defiance: political posters during the Bjelke-Petersen era (1968-87) / Lynette Finch -- 'Beautiful on day, perfect the next': documentary photography in Queensland in the 1980s / Claire Gobe -- Reprise: Juan Davila's 'Miss Sigmund' 1981 / Shaune Lakin -- Articulating the unspeakable: the feminist photography of Julie Rrap and Anne Ferran / Jacqueline Millner -- Klaus Moje: 'swimming above the water' / Margot Osborne -- Cast-offs and found objects: Tom Risley's mark-making / Michael Hawker -- Thanakupi: full circle / Simon Wright -- Clifford Possum Tjapaltjarri: beneath clouds / Vivien Johnson -- The symbolic space of Tim Johnson / Wayne Tunnicliffe -- Outstation art: Emily Kngwarreye and Utopia Awelye Batik / Sally Butler -- Gordon Bennett: reading pictures / Susan Lowish -- Judy Watson: sacred ground beating heart 1989 / Ruth McDougall -- Rosalie Gascoigne's lyrical derailments / Mary Eagle --Dale Frank: 'strung out in heaven's high' / Sarah Stutchbury -- John Nixon: revision and renewal / Nicholas Chambers --Howard Arkley and 'Popism' / John Gregory -- Aleks Danko: what time is it? / David Burnett -- Robert Foster: the ghost in the machine / Paul McGillick -- Michael Riley: common sense / Hetti Perkins -- A complicated edge: Bea Maddock's 'TERRA SPIRITUS ... with a darker shade of pale' 1993-98 / Kate Ravenswood -- Imaging and abstracting country: Queenie McKenzie, Rover Thomas and the Warmun school / Judith Ryan -- William Robinson: depicting invisible distance / Rex Butler -- Poetry every day: Robert MacPherson's 'Mayfair: (Swamp rats) Ninety-seven signs for C.P., J.P., B.W., G.W. & R.W.' 1994-95 / Julie Ewington -- Peter Tyndall: the act of looking / Christopher Chapman -- Multiple meanings: the allusive objects of Susan Cohn / Anne Brennan -- The story of Guan Wei / Karen Smith -- Hermannsburg women potters / Bruce McLean -- Tracey Moffatt's visual pleasures / Miranda Wallace -- Ken Thaiday: to dance is to remember / Maud Page -- New waves from the old: Torres Strait Islander printmakers / Nonie Sharp -- Michael Boiyool Anning and the rainforest tradition / Noel Loos -- There goes the neighborhood: the works of Vernon Ah Kee and Richard Bell / Avril Quaill -- Scott Redford: paradise now / Jason Smith -- Being in the world: two responses to the art of Judith Wright / Ruth McDougall and Suhanya Raffel -- Other side of the rainbow: the sad and bad art of Destiny Deacon / Hannah Fink -- Rosemary Laing: pure transit / Kelley Gellatly -- Gwyn Hanssen Pigott / Sarah Tiffin -- Expressing identity: creativity in Yolngu art / Howard Morphy -- Arnhem Land fibre art: Lena Yarinkura, sculptor; Regina Wilson, painter / Diane Moon -- Weaving visions of country / Lilly Kelly Napangardi and Mitjili Napurrula / Christine Watson -- The balmarra of Alan Griffith's BaliBali balga / Dominique Sweeney -- To dance in the theatre of absence: some remarks about Aurukun carvings / John von Sturmer -- Memory and memorial: William Yang's 'About my mother' 2003 / Alison Lee -- In a fortune garden: Fiona Hall's 'Tender' 2003-06 / Suhanya Raffel -- Peter Booth and subtleties in the epic / Melissa Miles -- Susan Norrie: 'it's a small world after all' / Julie Ewington -- Scott Chaseling and Jessica Loughlin: personal narratives and minimal beauty / Ian Were -- The continuity of Tiwi art: Kitty Kantilla, Pedro Wonaeamirri and Maria Josette Orsto / Suzanne Spunner -- Anne Wallace: shadows of desire / Emma Muhlberger.
Publishing details: QAG, 2006, hc, dw, 491 pp, 400 colour illus
Nixon John - revision and renewal / Nicholas Chambers view full entry
Reference: see Brought to Light II - contemporary Australian art 1966-2006 from the Queensland Art Gallery collection, edited by Lynne Seear and Julie Ewington. [’Featuring focused essays with broad scope and appeal, this book will include over 60 essays on key works and artists represented in the Queensland Art Gallery's contemporary Australian art collection’]

CONTENTS:
Centre Five revisited / Ken Scarlett -- The field: art, context and the historical moment / Carolyn Barnes -- Patterns of experience: Sydney abstraction / Linda van Nunen -- Robert Klippel and the language of form / Samantha Littley -- The evocation of distance: Fred Williams and the Australian landscape / Sebastian Smee -- 'Otherwhereish creatures': Sam Fullbrook's portrait of Ernestine Hill / John Murphy -- Table dancing: George Baldessin's 'Small Banquet' 1971-72 / David Hansen -- Tony Tuckson's hot licks: Pink lines (vertical) on red and purple 1970-73 / Julie Ewington -- Mick Namarari Tjapaltjarri: shimmer and screen / John Kean -- Imants Tillers and conceptual art: Moments of intertia: Still life 1; 141-144 1973 / Abigail Fitzgibbons -- 'It's OK if you weren't there': Mike Parr and performance documentation as remediation / Edward Scheer -- Australian mavericks: the provocative art of Richard Larter and Gareth Sansom / Deborah Clark -- Col Levy's big subject / Peter Timms -- DIY defiance: political posters during the Bjelke-Petersen era (1968-87) / Lynette Finch -- 'Beautiful on day, perfect the next': documentary photography in Queensland in the 1980s / Claire Gobe -- Reprise: Juan Davila's 'Miss Sigmund' 1981 / Shaune Lakin -- Articulating the unspeakable: the feminist photography of Julie Rrap and Anne Ferran / Jacqueline Millner -- Klaus Moje: 'swimming above the water' / Margot Osborne -- Cast-offs and found objects: Tom Risley's mark-making / Michael Hawker -- Thanakupi: full circle / Simon Wright -- Clifford Possum Tjapaltjarri: beneath clouds / Vivien Johnson -- The symbolic space of Tim Johnson / Wayne Tunnicliffe -- Outstation art: Emily Kngwarreye and Utopia Awelye Batik / Sally Butler -- Gordon Bennett: reading pictures / Susan Lowish -- Judy Watson: sacred ground beating heart 1989 / Ruth McDougall -- Rosalie Gascoigne's lyrical derailments / Mary Eagle --Dale Frank: 'strung out in heaven's high' / Sarah Stutchbury -- John Nixon: revision and renewal / Nicholas Chambers --Howard Arkley and 'Popism' / John Gregory -- Aleks Danko: what time is it? / David Burnett -- Robert Foster: the ghost in the machine / Paul McGillick -- Michael Riley: common sense / Hetti Perkins -- A complicated edge: Bea Maddock's 'TERRA SPIRITUS ... with a darker shade of pale' 1993-98 / Kate Ravenswood -- Imaging and abstracting country: Queenie McKenzie, Rover Thomas and the Warmun school / Judith Ryan -- William Robinson: depicting invisible distance / Rex Butler -- Poetry every day: Robert MacPherson's 'Mayfair: (Swamp rats) Ninety-seven signs for C.P., J.P., B.W., G.W. & R.W.' 1994-95 / Julie Ewington -- Peter Tyndall: the act of looking / Christopher Chapman -- Multiple meanings: the allusive objects of Susan Cohn / Anne Brennan -- The story of Guan Wei / Karen Smith -- Hermannsburg women potters / Bruce McLean -- Tracey Moffatt's visual pleasures / Miranda Wallace -- Ken Thaiday: to dance is to remember / Maud Page -- New waves from the old: Torres Strait Islander printmakers / Nonie Sharp -- Michael Boiyool Anning and the rainforest tradition / Noel Loos -- There goes the neighborhood: the works of Vernon Ah Kee and Richard Bell / Avril Quaill -- Scott Redford: paradise now / Jason Smith -- Being in the world: two responses to the art of Judith Wright / Ruth McDougall and Suhanya Raffel -- Other side of the rainbow: the sad and bad art of Destiny Deacon / Hannah Fink -- Rosemary Laing: pure transit / Kelley Gellatly -- Gwyn Hanssen Pigott / Sarah Tiffin -- Expressing identity: creativity in Yolngu art / Howard Morphy -- Arnhem Land fibre art: Lena Yarinkura, sculptor; Regina Wilson, painter / Diane Moon -- Weaving visions of country / Lilly Kelly Napangardi and Mitjili Napurrula / Christine Watson -- The balmarra of Alan Griffith's BaliBali balga / Dominique Sweeney -- To dance in the theatre of absence: some remarks about Aurukun carvings / John von Sturmer -- Memory and memorial: William Yang's 'About my mother' 2003 / Alison Lee -- In a fortune garden: Fiona Hall's 'Tender' 2003-06 / Suhanya Raffel -- Peter Booth and subtleties in the epic / Melissa Miles -- Susan Norrie: 'it's a small world after all' / Julie Ewington -- Scott Chaseling and Jessica Loughlin: personal narratives and minimal beauty / Ian Were -- The continuity of Tiwi art: Kitty Kantilla, Pedro Wonaeamirri and Maria Josette Orsto / Suzanne Spunner -- Anne Wallace: shadows of desire / Emma Muhlberger.
Publishing details: QAG, 2006, hc, dw, 491 pp, 400 colour illus
Arkley Howard and 'Popism' / John Gregory view full entry
Reference: see Brought to Light II - contemporary Australian art 1966-2006 from the Queensland Art Gallery collection, edited by Lynne Seear and Julie Ewington. [’Featuring focused essays with broad scope and appeal, this book will include over 60 essays on key works and artists represented in the Queensland Art Gallery's contemporary Australian art collection’]

CONTENTS:
Centre Five revisited / Ken Scarlett -- The field: art, context and the historical moment / Carolyn Barnes -- Patterns of experience: Sydney abstraction / Linda van Nunen -- Robert Klippel and the language of form / Samantha Littley -- The evocation of distance: Fred Williams and the Australian landscape / Sebastian Smee -- 'Otherwhereish creatures': Sam Fullbrook's portrait of Ernestine Hill / John Murphy -- Table dancing: George Baldessin's 'Small Banquet' 1971-72 / David Hansen -- Tony Tuckson's hot licks: Pink lines (vertical) on red and purple 1970-73 / Julie Ewington -- Mick Namarari Tjapaltjarri: shimmer and screen / John Kean -- Imants Tillers and conceptual art: Moments of intertia: Still life 1; 141-144 1973 / Abigail Fitzgibbons -- 'It's OK if you weren't there': Mike Parr and performance documentation as remediation / Edward Scheer -- Australian mavericks: the provocative art of Richard Larter and Gareth Sansom / Deborah Clark -- Col Levy's big subject / Peter Timms -- DIY defiance: political posters during the Bjelke-Petersen era (1968-87) / Lynette Finch -- 'Beautiful on day, perfect the next': documentary photography in Queensland in the 1980s / Claire Gobe -- Reprise: Juan Davila's 'Miss Sigmund' 1981 / Shaune Lakin -- Articulating the unspeakable: the feminist photography of Julie Rrap and Anne Ferran / Jacqueline Millner -- Klaus Moje: 'swimming above the water' / Margot Osborne -- Cast-offs and found objects: Tom Risley's mark-making / Michael Hawker -- Thanakupi: full circle / Simon Wright -- Clifford Possum Tjapaltjarri: beneath clouds / Vivien Johnson -- The symbolic space of Tim Johnson / Wayne Tunnicliffe -- Outstation art: Emily Kngwarreye and Utopia Awelye Batik / Sally Butler -- Gordon Bennett: reading pictures / Susan Lowish -- Judy Watson: sacred ground beating heart 1989 / Ruth McDougall -- Rosalie Gascoigne's lyrical derailments / Mary Eagle --Dale Frank: 'strung out in heaven's high' / Sarah Stutchbury -- John Nixon: revision and renewal / Nicholas Chambers --Howard Arkley and 'Popism' / John Gregory -- Aleks Danko: what time is it? / David Burnett -- Robert Foster: the ghost in the machine / Paul McGillick -- Michael Riley: common sense / Hetti Perkins -- A complicated edge: Bea Maddock's 'TERRA SPIRITUS ... with a darker shade of pale' 1993-98 / Kate Ravenswood -- Imaging and abstracting country: Queenie McKenzie, Rover Thomas and the Warmun school / Judith Ryan -- William Robinson: depicting invisible distance / Rex Butler -- Poetry every day: Robert MacPherson's 'Mayfair: (Swamp rats) Ninety-seven signs for C.P., J.P., B.W., G.W. & R.W.' 1994-95 / Julie Ewington -- Peter Tyndall: the act of looking / Christopher Chapman -- Multiple meanings: the allusive objects of Susan Cohn / Anne Brennan -- The story of Guan Wei / Karen Smith -- Hermannsburg women potters / Bruce McLean -- Tracey Moffatt's visual pleasures / Miranda Wallace -- Ken Thaiday: to dance is to remember / Maud Page -- New waves from the old: Torres Strait Islander printmakers / Nonie Sharp -- Michael Boiyool Anning and the rainforest tradition / Noel Loos -- There goes the neighborhood: the works of Vernon Ah Kee and Richard Bell / Avril Quaill -- Scott Redford: paradise now / Jason Smith -- Being in the world: two responses to the art of Judith Wright / Ruth McDougall and Suhanya Raffel -- Other side of the rainbow: the sad and bad art of Destiny Deacon / Hannah Fink -- Rosemary Laing: pure transit / Kelley Gellatly -- Gwyn Hanssen Pigott / Sarah Tiffin -- Expressing identity: creativity in Yolngu art / Howard Morphy -- Arnhem Land fibre art: Lena Yarinkura, sculptor; Regina Wilson, painter / Diane Moon -- Weaving visions of country / Lilly Kelly Napangardi and Mitjili Napurrula / Christine Watson -- The balmarra of Alan Griffith's BaliBali balga / Dominique Sweeney -- To dance in the theatre of absence: some remarks about Aurukun carvings / John von Sturmer -- Memory and memorial: William Yang's 'About my mother' 2003 / Alison Lee -- In a fortune garden: Fiona Hall's 'Tender' 2003-06 / Suhanya Raffel -- Peter Booth and subtleties in the epic / Melissa Miles -- Susan Norrie: 'it's a small world after all' / Julie Ewington -- Scott Chaseling and Jessica Loughlin: personal narratives and minimal beauty / Ian Were -- The continuity of Tiwi art: Kitty Kantilla, Pedro Wonaeamirri and Maria Josette Orsto / Suzanne Spunner -- Anne Wallace: shadows of desire / Emma Muhlberger.
Publishing details: QAG, 2006, hc, dw, 491 pp, 400 colour illus
Danko Aleks: what time is it? / David Burnett view full entry
Reference: see Brought to Light II - contemporary Australian art 1966-2006 from the Queensland Art Gallery collection, edited by Lynne Seear and Julie Ewington. [’Featuring focused essays with broad scope and appeal, this book will include over 60 essays on key works and artists represented in the Queensland Art Gallery's contemporary Australian art collection’]

CONTENTS:
Centre Five revisited / Ken Scarlett -- The field: art, context and the historical moment / Carolyn Barnes -- Patterns of experience: Sydney abstraction / Linda van Nunen -- Robert Klippel and the language of form / Samantha Littley -- The evocation of distance: Fred Williams and the Australian landscape / Sebastian Smee -- 'Otherwhereish creatures': Sam Fullbrook's portrait of Ernestine Hill / John Murphy -- Table dancing: George Baldessin's 'Small Banquet' 1971-72 / David Hansen -- Tony Tuckson's hot licks: Pink lines (vertical) on red and purple 1970-73 / Julie Ewington -- Mick Namarari Tjapaltjarri: shimmer and screen / John Kean -- Imants Tillers and conceptual art: Moments of intertia: Still life 1; 141-144 1973 / Abigail Fitzgibbons -- 'It's OK if you weren't there': Mike Parr and performance documentation as remediation / Edward Scheer -- Australian mavericks: the provocative art of Richard Larter and Gareth Sansom / Deborah Clark -- Col Levy's big subject / Peter Timms -- DIY defiance: political posters during the Bjelke-Petersen era (1968-87) / Lynette Finch -- 'Beautiful on day, perfect the next': documentary photography in Queensland in the 1980s / Claire Gobe -- Reprise: Juan Davila's 'Miss Sigmund' 1981 / Shaune Lakin -- Articulating the unspeakable: the feminist photography of Julie Rrap and Anne Ferran / Jacqueline Millner -- Klaus Moje: 'swimming above the water' / Margot Osborne -- Cast-offs and found objects: Tom Risley's mark-making / Michael Hawker -- Thanakupi: full circle / Simon Wright -- Clifford Possum Tjapaltjarri: beneath clouds / Vivien Johnson -- The symbolic space of Tim Johnson / Wayne Tunnicliffe -- Outstation art: Emily Kngwarreye and Utopia Awelye Batik / Sally Butler -- Gordon Bennett: reading pictures / Susan Lowish -- Judy Watson: sacred ground beating heart 1989 / Ruth McDougall -- Rosalie Gascoigne's lyrical derailments / Mary Eagle --Dale Frank: 'strung out in heaven's high' / Sarah Stutchbury -- John Nixon: revision and renewal / Nicholas Chambers --Howard Arkley and 'Popism' / John Gregory -- Aleks Danko: what time is it? / David Burnett -- Robert Foster: the ghost in the machine / Paul McGillick -- Michael Riley: common sense / Hetti Perkins -- A complicated edge: Bea Maddock's 'TERRA SPIRITUS ... with a darker shade of pale' 1993-98 / Kate Ravenswood -- Imaging and abstracting country: Queenie McKenzie, Rover Thomas and the Warmun school / Judith Ryan -- William Robinson: depicting invisible distance / Rex Butler -- Poetry every day: Robert MacPherson's 'Mayfair: (Swamp rats) Ninety-seven signs for C.P., J.P., B.W., G.W. & R.W.' 1994-95 / Julie Ewington -- Peter Tyndall: the act of looking / Christopher Chapman -- Multiple meanings: the allusive objects of Susan Cohn / Anne Brennan -- The story of Guan Wei / Karen Smith -- Hermannsburg women potters / Bruce McLean -- Tracey Moffatt's visual pleasures / Miranda Wallace -- Ken Thaiday: to dance is to remember / Maud Page -- New waves from the old: Torres Strait Islander printmakers / Nonie Sharp -- Michael Boiyool Anning and the rainforest tradition / Noel Loos -- There goes the neighborhood: the works of Vernon Ah Kee and Richard Bell / Avril Quaill -- Scott Redford: paradise now / Jason Smith -- Being in the world: two responses to the art of Judith Wright / Ruth McDougall and Suhanya Raffel -- Other side of the rainbow: the sad and bad art of Destiny Deacon / Hannah Fink -- Rosemary Laing: pure transit / Kelley Gellatly -- Gwyn Hanssen Pigott / Sarah Tiffin -- Expressing identity: creativity in Yolngu art / Howard Morphy -- Arnhem Land fibre art: Lena Yarinkura, sculptor; Regina Wilson, painter / Diane Moon -- Weaving visions of country / Lilly Kelly Napangardi and Mitjili Napurrula / Christine Watson -- The balmarra of Alan Griffith's BaliBali balga / Dominique Sweeney -- To dance in the theatre of absence: some remarks about Aurukun carvings / John von Sturmer -- Memory and memorial: William Yang's 'About my mother' 2003 / Alison Lee -- In a fortune garden: Fiona Hall's 'Tender' 2003-06 / Suhanya Raffel -- Peter Booth and subtleties in the epic / Melissa Miles -- Susan Norrie: 'it's a small world after all' / Julie Ewington -- Scott Chaseling and Jessica Loughlin: personal narratives and minimal beauty / Ian Were -- The continuity of Tiwi art: Kitty Kantilla, Pedro Wonaeamirri and Maria Josette Orsto / Suzanne Spunner -- Anne Wallace: shadows of desire / Emma Muhlberger.
Publishing details: QAG, 2006, hc, dw, 491 pp, 400 colour illus


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