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

Scott Eric Gliddenview full entry

Reference: Offered on eBay UK, 31 August 2015: signed E.G.S., dated 27' for 1927
Eric Glidden Scott; Australian-American, 1893-1978, Printmaker, draughtsman and artist. Eric worked in Australia (NSW), France and the USA. Exhibited at the Brooklyn Society of Etchers in 1927. the image size measuring approximately 19 cms. x 16 cms. (7½ x 6½ ins.) within a fine but evident platemark and impression, on a medium wove paper sheet size of 25 cms. x 25 cms. (10 x 10 ins.) with deckle edges. Signed with Scott's monogram with kangaroo, and dated in the image.

Macky Constance Lillian Jenkins 1883 - 1961view full entry

Reference: Offered by Destert West Auction Service, sept 20, 2015, lot 1513 [3870 North Highway 35 , PO Box 77, Mimbres, NM 88049, United States,]
Antique Original Oil Japanese Woman by Constance Lillian Jenkins Macky (1883 - 1961), some cracking in painting, framed and on canvas. Artist Bio: ''Constance Lillian Jenkins Macky was born in Melbourne, Australia of Scottish parents on June 29, 1883. At 17 Constance began studying art in her native city at the National Gallery School where she met artist Spencer Macky. Mrs. Macky died in San Francisco on Nov. 17, 1961.

Ashton Julianview full entry

Reference: see Christie’s, London, ‘Australian Art’, 24 September, 2015. Lot 1, ‘A Short Cut’, 1876, with research relating to this work including reproduction of the related engraving by Ashton.

Abrahams Louisview full entry

Reference: see Christie’s, London, ‘Australian Art’, 24 September, 2015. Lots 3 - 6, four works from the collection of Louis Abrahams. (2 by Tom Roberts, 1 Streeton and 1 Julian Ashton). Essay on Abrahams and his associates.

Roberts Tomview full entry

Reference: see Christie’s, London, ‘Australian Art’, 24 September, 2015. Lot 3, ‘A Spanish Beauty’ 1883-4, with brief essay

Streeton Arthurview full entry

Reference: see Christie’s, London, ‘Australian Art’, 24 September, 2015. Lot 5, ‘Greaves’s Farm, Heidelberg, 1889’ with brief essay

Russell John Peterview full entry

Reference: see Christie’s, London, ‘Australian Art’, 24 September, 2015. Lots 8-12, with essay: Australia’s lost Impressionist
Influenced and tutored by Claude Monet and a friend to Rodin, van Gogh and others, John Peter Russell’s dramatic seascapes from the clifftops of Belle-Ile capture nature in its purest hues

Following the death of his father and the closure of the family-run engineering business, John Peter Russell left Sydney for London to pursue a new career. With a considerable inheritance, he was able to concentrate on his artistic interests and in 1881 he enrolled at the Slade School of Art. Russell later furthered his studies at Cormon's atelier in Paris training alongside Emile Bernard, Toulouse Lautrec, and Vincent van Gogh.
Van Gogh, who arrived at the atelier in 1886 would become a close friend of Russell’s, and the two artists met up and corresponded until van Gogh’s death in 1890. Whilst at the atelier, Russell sketched and subsequently painted his friend, the oil portrait now hanging in the Van Gogh Museum in Amsterdam.
Russell loved the sea and was eager to escape the distractions of Paris life. In 1886, he discovered Belle-Ile, a small island off the south coast of Brittany. In 1888, following his marriage to Marianna Mattiocco, a former muse for Auguste Rodin who immortalized her beauty in Minerve sans Casque, Russell and his family made Belle-Ile their permanent home.
It was during his first visit to the island, however, that Russell met Claude Monet, an artist whom he greatly admired and whose influence was decisive.
PULL QUOTE

Russell became the only Australian artist to be directly in touch with Monet and the mainstream French impressionists in the late 19th century

END
Monet was on a three-month working sojourn to Belle-Ile. 'He came and hovered around me yesterday while I was working and finally asked whether I was Claude Monet (the prince of Impressionists),’ Monet wrote in a letter to Alice Hoschedé in September of 1886. ‘It was a great delight for him. He was nice and we went on a walk together, and this evening I am having dinner with him at his house.’
Monet appears to have tutored the inquisitive 28-year-old in the rudiments of his technique, and inspired by the Impressionist master, Russell became the only Australian artist to be directly in touch with Monet and the mainstream French impressionists in the late 19th century.
IMAGE FROM LOTFINDER

John Peter Russell (1858-1930), Coucher de Soleil sur Morestil. Inscribed ‘100/80 coucher Soleil sur MORESTIL / 38’ on the stretcher oil on hessian. 31 ¾ x 39 1/2 in. (80.6 x 100.3 cm.) Estimate: £350,000-450,000. This work is offered in the Australian Art auction on 24 September at Christie’s London

END
Belle-Ile, with its rustic, rugged and temperamental backdrop, inspired Russell to rethink the ideas that had been ingrained in him during his studies. He began instead to concentrate on the primary importance of light and colour, capturing the motif of nature in its purest and brightest hues.
‘He was intrigued by the changing qualities of its marine light, the eternal motion of the sea and the spectacular storms that battered the island, painting some of his most improvisatory, summary and expressive works in response to the unleashed forces of its tempests,’ writes Ursula Prunster in Belle-Île Monet, Russell & Matisse in Brittany.
In 1897 and 1898 Henri Matisse visited Belle Ile, and Russell is said to have introduced the artist to the work of his friend, Vincent van Gogh. Matisse’s style changed visibly after his time on the island and he is said to have credited Russell with his new understanding of colour theory.
PULL QUOTE

None of these studies are signed and dated and it would seem that Russell was never finally satisfied with them

END
Russell went on to paint numerous paysages maritimes during the 20 years he lived on the Breton isle. In early 1903, in a letter to his friend Rodin, he spoke of the same spot he returned to again and again: ‘Our surroundings are particularly terrible at the moment because of the fury of the sea,’ wrote Russell. ‘I have taken advantage of this to study, having found after 15 years a sheltered spot quite close to the swell [of the waves]. It’s not without danger, certainly — and the diabolical noise is extraordinary.’
Although many of Russell’s most celebrated works from Bell-Ile were painted from this spot on the clifftops just beyond Port Goulphar, they were, explains Prunster, produced ‘under conditions of varying intensity, whereby the colours of the ocean, rocks and sky mutate from warm to cold, bright to dark, from hot pink and turquoise to leaden purples and grey-greens.’
IMAGE FROM LOTFINDER

Details of Coucher de Soleil sur Morestil which show the colours and the varied brushstrokes used by Russell in his clifftop paintings on the Breton isle

END END
Prunster also points out how Russell ‘varied the brushstrokes; some were applied in short, stabbing motions using the hand flexed from the wrist, others straight-armed in long, sweeping arcs, moving from the shoulder in broad swathes.’
‘It is as if Russell were seeking an elusive pictorial formula,’ offers Ann Galbally in her 1977 book, The Art of John Peter Russell. ‘None of these studies are signed and dated and it would seem that Russell was never finally satisfied with them … The view is always taken along the right hand side of the canvas, with the wild foaming sea breaking onto the rocks from the left. …’
Coucher de Soleil sur Morestil, offered in Christie’s upcoming Australian Art sale, is one of the works of the series of canvases painted at Belle-Île. It is a dramatic painting, capturing the fury of the sea and the waves breaking on the rocks through his use of thick impasto and lively brushstrokes and palette knife. The heightened colours Prunster mentions is clearly evident here with the shades of pink in the sky, and the purples, turquoise, greens, golds and blues coming through in the rocks.
In 1908, Russell’s beloved wife Marianna died. They had six children. Russell buried her next to his home and was so overcome with grief that he destroyed 400 of his oils and watercolours. In a letter to his friend, Rodin wrote, ‘Your works will live, I am certain. One day you will be placed on the same level with our friends Monet, Renior, and Van Gogh.’
Russell decided to return to Sydney in 1921. Nine years later, he suffered a heart attack and died. The significant part of his career having been spent overseas, none of Russell’s radical painting reached his contemporaries in Australia, and his work was largely ignored by the Australian art establishment until the 1970s.

Bunny Rupertview full entry

Reference: see Christie’s, London, ‘Australian Art’, 24 September, 2015. Lot 13 The Drought, c1895, with essay.

Roberts Tomview full entry

Reference: see Christie’s, London, ‘Australian Art’, 24 September, 2015. Lot 16, ‘A Norfolk Barn’ 1909, with essay

Roberts Tomview full entry

Reference: see Christie’s, London, ‘Australian Art’, 24 September, 2015. Lot 117, ‘Winter Landscape’, with essay

Webb Archibald Bertramview full entry

Reference: see Christie’s, London, ‘Australian Art’, 24 September, 2015. Lots 28-39, with essay

Wakelin Rolandview full entry

Reference: see Christie’s, London, ‘Australian Art’, 24 September, 2015. Lots 41-46, with essay. All lots from 1920s.

Lewis Alettaview full entry

Reference: see Christie’s, London, ‘Australian Art’, 24 September, 2015. Lot 48, ‘Hot Night’ 1927, with essay. Article by Terry Ingram on AASD: Shades of Hades in Christie's London sale. By Terry Ingram, on 07-Sep-2015.

In 1927, Sydney was a little like San Francisco in the 1950s if a painting in the Christie's Australian art sale in London on September 24 is anything to go by. The painting, by Aletta Lewis, shows a lot of naked bodies on a Sydney roof top.
Instead of marking the emergence of a progressive society devoted to free love, however, or even the first appearance of backpackers to Kings Cross, the painting called Hot Night, showed that Australia was 20 years behind the times.
This happened when the painting and other works of its kind by the same artist and her minions were bitterly condemned by the art establishment of the day.

In 1927, Sydney was a little like San Francisco in the 1950s if a painting in the Christie's Australian art sale in London on September 24 is anything to go by. The painting, by Aletta Lewis, shows a lot of naked bodies on a Sydney roof top.
A review by The Evening News's art critic George Galway was even headed Aletta Lewis, A Complete waste of Talent.
Nick Lambourn, head of Christie's travel department has had to work hard to come up with sufficient paintings to make his sale economic in a climate extremely hostile to Australian buyers. UK vendors are reluctant sellers in the face of a low Australian dollar.
But inclusion of the 71 by 76 cm work on canvas which had been damned by the critics is no mark of desperation.
It emerges as one of the most exciting finds. It was done at a time that produced universal Australian infatuation by Australia collectors with gum trees and sheep. The painting was repeatedly described as sensational - but not usually with flattering intent.
The painting, estimated at £8000 to £10,000 which would make it a record - way past any existing prices for the artist's work.
Still, it is very large compared with the painting holding the previous record. It is also arguably an important document in Australian art. Like some of her other pictures it is not clear what actually is going on in it.
Of the 11 works listed by the Australian Art Sales Digest as having gone through auction, the highest price was $5500 paid for the oil on plywood Factories on the Yarra, 1928 at Sotheby's, Fine Australian Paintings, Sydney, on 29 November 1991.
Hot Night which is signed by the artist, came to light seven years ago when a puzzled London buyer chanced up on it, and decided to do some homework. Prompted by the label on the rear he narrowed it down to the British- Australian artist Lewis who came to Australia in 1927. The label was that of S A Parker 219 George Street (Near Circular Quay).
A search of Trove, the National Library's digital newspaper archive showed extensive if not very supportive press coverage.
Looking at the picture and the titles of works mentioned it was clear that the painting was one of her much maligned works – and possibly a chef d'oeuvre as it appears to be with the Hot Night – which created a sensation when shown at the Society of Artists in Sydney in 1927.
The Sydney Morning Herald was very balanced calling it “distinctly modern in style.”
Table Talk , said it was an example of the determination of a section of the Society of Artists to be modern and contemporary at all costs. It was among some “exceedingly eccentric works – a type notorious in certain European galleries but rejected by the sane society.”
“It looks hot, in fact it might have been painted from the roof of a traditional Hades where ugly misshapen humans and devils sprawl around in colourful and “cubey” profusion or else it is a nightmare induced by a violent attack of 'flu.”
“A new-comer has appeared in the person of Aletta Lewis, who had studied at the Slade School before she settled in Sydney. One of her paintings, "Hot Night," and some of the pictures by Roi de Mestre, are provoking much discussion, Table Talk continued.
"Some complain that the modern movement is bringing Australian art to ruin, while others contend that it is lifting it out of the rut of monotony."
Lewis was described as the High Priestess of this order.
At a one woman exhibition at the Macquarie Galleries a year later Galway asked: “If a clever violinist were to devote his talent to strumming Chinese music on a fiddle, what would people thing of him?” The answer was given in the headline. He loved her beautiful drawings of however.
At a mixed artists show at Sydney's Grosvenor Gallery in November Lewis showed a seated portrait of a little girl in red shoes. The Sydney Morning Herald critic thought the drawing and tone “effective.”
The critic was not so kind about a painting called Judgment. “In her ventures to the more modern field Miss Lewis has not been as successful. Its meaning is not clear. The 12 seated figures ranged the presiding judge are stiff and ungainly and the elderly judge like them is clad in shirt and his feet like theirs, are bare.”
In 1929 the Sydney Morning Herald said of an exhibition at Macquarie Galleries of work she brought back from Samoa she had allies modernity of style with a sincere grasp of character...whatever criticism may be offered of her broadly vigorous results it must be agreed that she perceives her subjects from a fresh point of view and imparts to them undoubted animation.
It praised the courage of a white woman “even sleeping among the natives in villages where she was the only white woman” “Rosemarie” said that 18 months earlier Lewis had brought down the wrath of the critics. The problem was they had not met her. She was attractive, tall in a beautifully cut ensemble and wearing a cubist pattern scarf.
The “cube” as in cubism was the image modem that the battle of modernism was being fought in Australia. Most art pundits could not accept what Picasso and his confreres had done to art in the first decades of the century,
A portrait of Professor Ratcliffe Brown was a "more sober work painted in the modern manner", according to another review.
Lewis was born in 1904 at Orpington, a progressively peopled commuting town outside London and showed with the New English Art Club, a breakaway movement from the Royal Academy rooms where Australian artists had sought to made their mark for more than three decades by conforming. She died in 1956 at the age of 52.
Lewis came to Australia at the age of 23 in 1927 and may not have intended to stay. For she left in 1930 -and who can blame her? She seems not to have been overcome by the reviews for ill health and the birth of a child in 1942 are credited with being responsible for her turning away from art.
The discovery of the work and publication of a book which includes a study of the life of another with -it woman of the 1930s Clarice Zander, highlights the clash that occurred between traditional and contemporary art in the 1930s. The book is Awakening Four Lives in Art by Eileen Chanin and Steven Miller.
The clashes between the contemporary and the old brigade were largely won by the former when Zander brought back from Britain works mostly by modern contemporary British artists which were exhibited for sale in Australia in 1933. Only a quarter were sold.
Christie's 76 lot sale on will hopefully do a little better than this. Apart from its flint stone figures in the painting which are squared rather than cubed, the offering represents a broad spread of Impressionist and more conventional modern art, the main absence being any colonial works.
Buyer can hope for changes in the value of the dollar or adjustments in the estimates in Sterling – either to reach the same effect.
Sale Referenced: Australian Art, Christies, London, 24/09/2015

Boyd Arthurview full entry

Reference: see Christie’s, London, ‘Australian Art’, 24 September, 2015. Lot 56,’Red Nebuchadnezzar’ with essay.

Boyd Arthurview full entry

Reference: see Christie’s, London, ‘Australian Art’, 24 September, 2015. Lot 57,Narcissus, set of 25 etchings with aquatint.

Nolan Sidneyview full entry

Reference: see Christie’s, London, ‘Australian Art’, 24 September, 2015. Lots 61-66,

Davenport Joview full entry

Reference: Jo Davenport - Surface Tension. Exhibition invite with 4 colour illustrations and brief essay.
Publishing details: Arthouse Gallery, 2015, 6pp folding card
Ref: 222

Fox Belindaview full entry

Reference: Belinda Fox - Balancing the World, exhibition invite with brief essay and one colour illustration.
Publishing details: Arthouse Gallery, 2015, 2pp card
Ref: 222

Piperides Phillipview full entry

Reference: see Menzies Auction 24 September, 2015: PHILLIP PIPERIDES
Lot: 57
Sensuous Nude
Cypriot-born sculptor Phillip Piperides describes his practice with a succinctness which belies the inspiration, craftsmanship and sheer toil required to create works such as Sensuous Nude 2003.
‘I have forever been intrigued with the human form. More than naturalistic representations, my work is about capturing moments which occupy a space in time.’1
As a teenager living in suburban Brisbane, Piperides began experimenting with clay moulds under the guidance of his father who was a commercial potter. After studying initially with the Russian-born sculptor, George Virine, Piperides travelled to Greece and then Pietrasanta in Northern Tuscany to hone his skills in the distinct, but equally demanding disciplines of sculpting and casting. In recognition of his achievements with both bronze and clay, Piperides was awarded the Churchill Fellowship for sculpture in 1990 and travelled to Canada, the U.S.A. and England to further his knowledge and appreciation of monumental castings.
Though Piperides is both renowned and revered for his life-sized interpretations of sylphlike nudes created and editioned in bronze, the current sculpture is entirely unique. Carved from marble sourced at the famed quarries of Carrara, Italy, Sensuous Nude is the finest example of just a handful of works which the artist has created in this exquisite, but costly and unforgiving medium.
Phillip Piperides’ body of work owes much to the tradition of classical European sculpture, indeed, the present example was inspired by Auguste Rodin’s (1840-1917) Danaïd which was cast in bronze in 1889 and carved in white marble by Jean Escoula (1851-1911) the following year. Danaïd references the mythological narrative of the daughters of Danaos, who were made to fill a bottomless barrel with water as punishment for killing their husbands on their wedding night. Purchased initially by the Musée du Luxembourg, Paris, this sublime marble is now housed in the permanent collection of the Musée Rodin.
Though his subject choice is less dramatic, Piperides, like Rodin, seeks to construct a feminine landscape by highlighting the curves and undulations in the neck, shoulders, décolletage, mid-section and lower torso of the model. Piperides’ enduring motivation, much like that of Rodin and the Impressionist painters of his era, is to capture moments in time which strike a resonance with the viewer and invoke a profound emotional response. The unique marble carving, Sensuous Nude, achieves all of this with aplomb – presenting collectors with the opportunity to acquire an irreplaceable object which represents the confluence of the best in Australian and European sculptural tradition.
Footnotes
1. Piperides, P., quoted in www.antheapolsonart.com.au/exhibition-media-release.php?exhibitionID=25&...
Cameron Menzies

Forrest Haughtonview full entry

Reference: see Menzies Auction 24 September, 2015:
lot 58
HAUGHTON FORREST

By Caroline Jones BA, MA (Art Admin.)

Untitled (View of Mount Pelion West from Frog Flats, Tasmania)
Mount Pelion, the third highest mountain in Tasmania, is located in the central highlands and is part of the Pelion range within the Cradle Mountain-Lake St Clair National Park. On the northern side of the mountain, Forth River flows down towards Frog Flats. The present work, View of Mount Pelion West from Frog Flats, Tasmania, depicts the view from the northern side of Mount Pelion, across Frog Flats, in some of Tasmania’s most well-preserved and unique wilderness.
The trail which passes through this isolated area of Tasmania is called the Overland Track, a famous sixty five kilometre trek which begins at Cradle Mountain and terminates at Lake St Clair. Even today with the modern conveniences which are available along the track, the journey is an arduous one. Due to the difficulty in accessing these remarkable pockets of Tasmania, Haughton Forrest would often refer to the photographic work of James Watt Beattie (1845-1930) who trekked into the Tasmanian wilderness to photograph the spectacular natural environment. These photographs assisted Forrest to portray a level of detail in his own work and to create images of Tasmania that were unfamiliar to the general public.
Haughton Forrest arrived in Tasmania at the age of fifty after a lifetime of travelling the world, first with his parents and later with his own family. He was born in France in 1826 and later travelled throughout France and Germany before returning to the family home in Berkshire, England. Soon after, the Forrest family spent time in Jamaica where his father owned sugar plantations and from there, the artist went on to attend military college in Wiesbaden, Germany. Forrest went on to the 31st Royal Monmouth Light Infantry where he earnt the rank of Captain. In 1858 he married his wife, Susan, and settled in southern England after time spent living on the Isle of Wight. Forrest moved to southern Brazil in 1875 to take up a grant of sixty acres but found the conditions difficult and returned to London. The following year he boarded the James McDuff with his family and set sail for Tasmania where he remained until his death in 1925.
Forrest is most well-known as a marine painter however his photo-realist landscapes of Tasmania arguably represent his best work. His painting is characterised by the extraordinary detail and precise brushwork together with the subtle treatment of light which permeates his compositions. View of Mount Pelion West from Frog Flats, Tasmania possesses an almost photographic quality in its finely painted detail – the trees and shrubs around the waterline are depicted with such accuracy that they take on a life-like quality upon the canvas. Forrest’s ability to capture the light of early morning/early evening is testament to his skill as a landscape painter. The depiction of light is crucial to the success of landscape painting and the present work demonstrates the artist’s great capability in this regard.
Caroline Jones MA (Art Admin.)

Southview full entry

Reference: SOUTH - AUSTRALIA/MEXICO/SOUTH AFRICA by David Corbet. [’The catalogue accompanies South which featured paintings, works on paper, installation, video and photomedia by artists from 3 countries across 3 southern regions: Oceania, Africa and Latin America.

There are many 'Souths' on our planet - the geographical, a state of mind, a way of being, a sense of difference. Located in Sydney's South, Hazelhurst is a fitting venue to explore this concept through the work of fourteen leading contemporary artists. These Australian, Mexican, and South African artists all push the boundaries of contemporary practice yet create accessible and engaging works relevant to audiences of all ages.’]. Artists:
ERIC BRIDGEMAN
MARIA FERNANDA CARDOSO
DESTINY DEACON & VIRGINA FRASER
HASAN & HUSAIN ESSOP
MICHAEL GOLDBERG
NEWELL HARRY
ARCHIE MOORE
ZANELE MUHOLI
DIEGO RAMIREZ
BETSABEÉ ROMERO
JOAN ROSS
Publishing details: HAZELHURST REGIONAL GALLERY AND ARTS CENTRE, 2014. pb, 95pp.

Ref: 1000

Ferran Anneview full entry

Reference: Shadow Land. written by Susan Best, Thierry De Duve. [’With a stellar career spanning over 30 years, Anne Ferran is widely recognised as one of Australia’s most significant photo-media artists. Her survey exhibition ‘Shadow Land’ was staged this year with great success as part of the Perth International Arts Festival and is now set to tour the eastern states, starting with the Australian Centre for Photography in Sydney.
The accompanying publication Anne Ferran: Shadow Land is a comprehensive and lavishly illustrated presentation of her photographic, textile, installation, video and text-based practice. With substantial contributions from internationally renowned writer Thierry de Duve and Sydney-based women’s art expert Susan Best, the writing is just as thoughtful and evocative as the work.
From her famous rayograph dress images to sombre landscapes and the haunting histories of institutions such as Old Fremantle Prison and abandoned asylums, Ferran’s body of work delicately traces lost stories that can no longer be told.’]

Publishing details: Power Publications,
Paperback – 120 pages
Ref: 1000

Philjames Phil Jamesview full entry

Reference: Philjames [’The book opens with an informative note by Andrews-Day and an introduction by ALASKA’s director Sebastian Goldspink, whose unhurried words describe Philjames primarily as the cool, endearing and well-liked personality he is known to be in the art world he occupies. Curiously, the introduction has a title, ‘A New Hope’,obviously referring to the fourth Star Wars franchise but also to Goldspink’s personal belief in the artist, with whom he collaborates, staging Philjames’s exhibitions with ALASKA.
The book comprises 118 pages with 100exquisite reproductions of Philjames’s paintings and sculptures produced since the artist’s solo exhibition career kicked off in 2009. It was printed in Australia by Peachy Print and designed by Arnel Rodríguez, who is best known for his work on MCA Publications. There are also two essays, one by the Sydney Morning Herald art critic John McDonald and the other by the Guardian Australia art critic Dr Andrew Frost, both of which make encouraging reading. Every three or so pages, the book’s flow is punctuated by glossy yellow pages with red text seducing the reader to open a fold-out page onto a generously proportioned image of a landscape work or three-dimensional installation.
To commence, John McDonald proposes that art audiences could look at thousands of paintings from history, of people wearing wigs, without seeing anything of meaning. Whereas, within Philjames’ work, the jarring presence of an alien or superhero stuns the viewer. He expains: “Philjames has realised that the chief way we relate to history today is as one big Hollywood costume drama” and so it is acceptable to look and laugh out loud.
McDonald discusses the eerily familiar and obscure Hollywood and B-Movie references which also intrigue Dr Andrew Frost in his discussion, and assimilates Philjames’s personal experiences within a broader discussion of contemporary American street artists. McDonald then tempts the reader with Philjames’s personal history in the art world.
McDonald glances at Philjames’s brief association with The Hughes Gallery, lasting one solo exhibition, closely followed by his early departure from commercial galleries.
Shortly after this Philjames’s series titled Art is a Cunt appeared, with works depicting Warhol-inspired Campbell’s Soup tins and the continuation of his street-art antics affixing artworks to public walls or simply giving his works away. These are moments of frustration and disappointment which are sometimes untold in monographs but seem appropriate for an artist who has not, thus far, fitted into the commercial gallery mould as have his contemporaries Guy Maestri, Giles Alexander and James Drinkwater.
Frost places Philjames’s work into a context broadly within international art. Starting with British then American Pop artists, Frost eruditely acknowledges how Philjames’s work draws from a framework established by these artists, as well as shared sources of imagery from the science fiction of the Pulp Age (the 1920s) and the Golden Age (1937 to the late 1940s).
As with Frost’s recent ABC Television series Conquest of Space (2014)and the exhibition of the same title at UNSW Galleries (UNSW Art & Design, Sydney) in 2014, Frost also positions Philjames within his contemporary context in the genre of Australian neo-Pop. Familiar names including Johnny Romeo and Anthony Lister are mentioned because their iconographies remark upon a sourer, more kitsch science fiction, unlike Philjames’s, which is genuinely adoring. What Frost does not mention is that Romeo and Lister, who are more internationally profiled, have adopted and repeated stylised techniques which are unquestionably more ubiquitous than those of Philjames. The same might be argued about Philjames’s less generic choices of cultural iconography. Perhaps this could be Frost’s subtext?
If readers of Philjames previously failed to understand what Goldspink suggests to be self-explanatory imagery, or believed they simply could not identify with it, McDonald’s essay will deliver much needed context. If Frost fails to validate the imagery’s valuable commentary, the subtleties of Philjames’s humour may be wasted on the viewer. Rebel Scum 2014, depicting the Virgin Mary with a ray gun and Star Wars’ rebel flight helmet may not suit everyone’s taste but as Frost describes it “this is where Philjames’s paintings find their true and most lasting effect – the apparently joking but deadly serious restaging of archetypes in a cartoonish setting”.’]
Publishing details: Sarsaparilla Press. 2015, Philjames is a limited edition of 500 books
Ref: 1000

Juniper Robertview full entry

Reference: Robert Juniper by Gavin Fry, Introduction Lou Klepac. [’Robert Juniper, along with his exact contemporaries Fred Williams and John Olsen, belongs to a generation of artists who created a new and contemporary vision of Australia in the second half of the twentieth century.
During a career spanning almost six decades, Juniper has established himself as one of the most original and lyrical interpreters of the Australian landscape, especially that of Western Australia which has been his main inspiration.
Born in Merredin, Western Australia in 1929, Juniper spent the war years in England where he studied art and established his direction as a painter. He was fortunate to have some exceptional teachers at the Beckenham School of Art, who not only introduced the students to the work of some of the great names in modern art, but brought original works to the school by Klee, Soutine and other masters for the students to study.
After returning to Western Australia in 1949, Juniper began to paint in his spare time while working at a commercial art firm, where the art director, a practising artist himself, took an interest in Juniper s work. He encouraged him to exhibit his first oil painting in the annual Perth Society of Artists exhibition in 1951. With the vivid memories of his childhood spent in the Merredin district, where his father was employed in mending the Kalgoorlie pipeline, Juniper slowly evolved his unique personal style which, never entirely figurative, endeavoured through colour and texture to capture his personal experience and deep feeling for the landscape of Western Australia, in which figures often appear to drift through the works as if through a dream.
Winner of numerous prizes, including the prestigious Wynne Prize twice, Juniper's paintings and sculpture are to be found in all major public and private collections. His work has been included in major exhibitions such as the Whitechapel Gallery (1961) the Tate Gallery (1963) and other important travelling exhibitions. Although there have been three previous books on Juniper s work, this is the most comprehensive study to date, with more than 150 colour plates and more than 30 photographs.
The insightful text by Gavin Fry follows the fascinating life of this artist and explores how Juniper s work has developed to the point where he is acknowledged as one of Australia s leading artists.’]
Publishing details: Beagle Press, 2009, hc
Ref: 1009

Jones Nolaview full entry

Reference: The Sculpture of Nola Jones, Author: Linda Candy and Jonathan Goodman. [’With unassuming elegance this book subtly guides the reader on Nola Jones’ impressive artistic journey over four decades, from weaving with fibre and copper wire to her abstract geometric and totemic sculptures.
The plenitude of artworks allows for the readers to investigate and assess for themselves Jones’ experimental development in different mediums, all characteristically linked to the tactile and the sensual. Complementing the colour plate display is a discussion of Jones’ conceptual process and her influence on the changing nature of sculpture in contemporary art. Personal insights by long-time friend of Jones’, Art Director Joe Eisenberg in the foreword are balanced by acclaimed American critic Jonathon Goodman’s critical essay.
Look forward to an intimate profile of Nola Jones and her lifetime of knowledge in an interview with Linda Candy. It is a sensitive retrospective of Jones’ impressive career, a unique practice that is iconic for its rich earthy tones and emotive organic forms.’]

Publishing details: Publisher: Marnling Press, 2014. 152 pages : chiefly colour illustrations

Johns Gregview full entry

Reference: Greg Johns - Horizon, Sculptures 1977-2002 by John Neylon [’Few Australian artists have sculptures in collections as far-flung as Asia, the USA and Europe - particularly when their work is fabricated in steel and of monumental scale. Artist Greg Johns has been making sculptures for accessible public spaces since 1978. In doing so he has provided vast sectors of the Australian and overseas public with opportunities to experience those feelings of excitement, awe and wonderment that accompany the perception of powerful forms inter-relating with space.
Horizon: Greg Johns, Sculptures 1970-2002 traces the ideas and career of the Adelaide-based artist from his first commission in the late 1970s through to participation in recent exhibitions in New York and Bahrain. The story is told by noted Adelaide writer and art critic, John Neylon of the Art Gallery of South Australia. His text examines all aspects of the artist's development as a creator of large-scale public sculptures and explains the philosophy that has shaped the work. The reader is led through a rich array of ideas and images relating to the use of sculptural form as a language in which the works serve as metaphors for the human psyche and the natural/cosmic systems that define our world.
A number of key sculptures are examined in detail - as are issues surrounding public art and its reception within the community. The processes of commissioning, creating and installing the sculptures are described along with intimate glimpses into the creation of each work as it proceeds from the artist's studio, to the engineering works where it is fabricated, and then on to its intended site.
If anyone is mystified as to why public sculptures have been commissioned from times immemorial until now, what motivates sculptors to make them, and what - in Greg Johns' case - the sculptures may mean, this generously illustrated book provides many of the answers. It is an intriguing study of a life lived creatively and the benefits artists can bring to a public which is increasingly aware of its cultural environment.’]
Publishing details: MS&E Australia
Cased Hardback, MACMILLAN ART, 2002
Ref: 1000

Jackson Roy 1944–2013 view full entry

Reference: Roy Jackson - Hands On, Texts by Maggie Bassendine, Elisabeth Cummings, Sioux Garside, David Hawkes, Ildiko Kovacs, John McDonald, Terence Maloon, Barbara Neil, John Peart, Mick Roony RA, Paul Selwood
[’This major monograph, which was begun before Jackson's death in 2013, reveals
the exhilarating breadth of Roy Jackson's painting as critics, curators and fellow artists share their experiences and insights with regard to his life and work.
The monograph includes over 160 colour illustrations and six gatefolds plus selections from the artist's diaries and writings, photographs and detailed biographical notes.’]
Essay by Terence Maloon
with contributions by:
Maggie Bassendine Elisabeth Cummings Sioux Garside
David Hawkes
Ildiko Kovacs John McDonald Barbara Neil John Peart
Mick Rooney RA Paul Selwood
Publishing details: Published by Published by DHG Publishing: Drill Hall Gallery Publishing, ANU, Canberra, 2015 Hardback, 224 pp, over 160 colour illustrations,
Ref: 1009

Healy Claire & Sean Cordiero view full entry

Reference: Claire Healy & Sean Cordiero 2012
Text by Elizabeth Ann Macgregor, Anna Davis and Hou Hanru  
Publishing details: Museum of Contemporary Art , 2012
Ref: 1000

Hannaford Robertview full entry

Reference: Robert Hannaford - Natural Eye by John Neylon [’Robert Hannaford is one of Australia's foremost portrait artists, but this is only one aspect of his work. Robert Hannaford: Natural eye, the first book to be published on this acclaimed artist, reveals a richer, fuller story: of an artist who deliberately places representation over abstraction, producing art that celebrates the visual world in all its variety while interrogating its place in the human imagination. Hannaford has been a finalist in every Archibald Prize exhibition since 1991, and winner of the Archibald People's Choice Prize on three occasions. His subjects include Dame Joan Sutherland, Sir Donald Bradman, Sir Edward Woodwards, Hon. Paul Keating, Jean Blackburn, Hon. Bob Hawke, Sir Gerard Brennen, Professor Rolf Prince and Hugh Stretton.’]
Publishing details: Wakefield Press, Paperback, 104 pages
Ref: 1007

McDiarmid Davidview full entry

Reference: David McDiarmid - When You See This Remember Me. Author
Sally Gray, Simon Maidment & Ted Gott [’I never saw art as being a safe thing. I know that exists but that’s not something that involves me.
David McDiarmid, 1993
The vibrant, provocative and pioneering work of leading Australian artist, designer and gay activist David McDiarmid will be presented in a retrospective exhibition at the National Gallery of Victoria. Defying classification, McDiarmid’s work encompasses the complex and interconnected histories of art, craft, fashion, music, sex, gay liberation and identity politics.
David McDiarmid: When This You See Remember Me will bring together more than 200 works, including the artist’s early gay liberation work; New York graffiti and disco quilts; fashion collaborations with Linda Jackson; his pioneering Rainbow aphorisms and Gothic aphorisms digital work; material he produced as Sydney Mardi Gras Artistic Director; posters created for the AIDS Council of NSW; and, his significant and highly influential international campaigns developed in the context of AIDS, sexual politics and safe sex in the 1990s.
Tony Ellwood, Director, NGV, said, “The NGV is pleased to be staging this retrospective of an artist whose work had enormous impact on both the gay liberation movement and the international dialogue around AIDS, and whose clear messages of liberation, equality and emancipation continue to resonate today. David McDiarmid: When This You See Remember Me explores the social history, as well as political and art historical context, that informed McDiarmid’s work, which inspires through its courage, poetry, exuberance and cultural impact.”
At once kaleidoscopic, celebratory and darkly humorous in tone, the artist’s idiosyncratic, highly personal and, at times, confessional work highlights the redefinition and deconstruction of identities – “from camp to gay to queer” – drawing on the experiences of a life intensely lived in Melbourne, Sydney and New York. Charting the shifts in politics and individual and community expression that unfolded across the decades of the 1970s, 80s and 90s, this exhibition also reveals McDiarmid’s artistic and grassroots political response to the impact of HIV/AIDS during the 1980s and beyond, for which he is best known internationally.
Recognising the cultural climate in which the artist worked, including the burgeoning of the gay rights movement, and a decade later, the advent of the AIDS crisis, the playful and provocative nature of McDiarmid’s work was critically related to changes that were occurring throughout this time to sexual identity and politics in Australia.
Dr Sally Gray, Guest Curator, said, “McDiarmid’s work speaks so eloquently of its time yet its importance and relevance endures today. David McDiarmid: When This You See Remember Me is the first exhibition in which the full scope of McDiarmid’s creative oeuvre is on display and is the culmination of painstaking research, with the support of many of his collaborators, friends and fans.”
David McDiarmid: When This You See Remember Me will coincide with the 20th International AIDS Conference in Melbourne in July 2014.
An extensive publication has been produced to coincide with the exhibition, involving 12 Australian and international authors as well as a number of McDiarmid’s friends and collaborators. Available from the NGV Shop for RRP$39.95.
The exhibition will be accompanied by public programs including talks, screenings, performances and panels. An opening weekend program will include the symposium The Spirit and Spark of David McDiarmid, with speakers including Dr Sally Gray, Guest Curator David McDiarmid: When This You See Remember Me and Executor of the David McDiarmid estate; Simon Maidment, Curator, Contemporary Art, NGV, and co-curator David McDiarmid: When This You See Remember Me; Dr Ted Gott, Senior Curator, International Art, NGV; Stephen Allkins, DJ and dance pioneer; Dr Anne Marsh, Professor, Art and Theory, Monash University; Dan Rule, writer, editor, publisher and critic; and, Dr Nikos Pantazopoulos, artist and Lecturer, RMIT University. Visit ngv.vic.gov.au for further details.
David McDiarmid: When This You See Remember Me will be on display at The Ian Potter Centre: NGV Australia from 9 May to 31 August 2014. ‘]
Publishing details: NGV, 2014
Hardcover
Pages: 204
Ref: 1000

Morton Callumview full entry

Reference: Callum Morton: Grotto [’Following in his father’s footsteps Morton (Montreal, 1965) first studied architecture and then moved to the visual arts. Architecture plays a prominent role in his oeuvre, but is not the actual theme of his work. Morton first became known for his fabrication of two-dimensional plans of archetypical forms of modernist architecture, which he transforms into models, giving the buildings a completely new, banal function. For example, he changed (at least on paper), the Rietveld Schröder House in Utrecht into a branch of Toys’R’Us, made Casa Malaparte in Capri into a Spizzico fast-food restaurant and turned Farnsworth House in Illinois into a 7/11. In Tilburg Morton was commissioned to redesign a pavilion for De Oude Warande park which was originally built in 1712 by the German prince Wilhelm von Hessen-Kassel. If the Baroque design of the garden was to be respected, it had to be at the central point of the park, the only spot from where the star-shaped pattern of the paths can be seen. Morton designed an invisible pavilion. The exterior is not immediately apparent because it is a mirror. Grotto is a Baroque folly, a screen, a cave, a grave and a functional pavilion. It will remain open until 2014.’]
Publishing details: Publisher Fundament,
40 p, ills colour, 23 x 27 cm, hb, Dutch/English

Ref: 1000

Williamson Lizview full entry

Reference: Liz Williamson - Textiles by ‪Grace Cochrane‪‬
[’Liz Williamson grew up on a farm
in Central Victoria; a place that continues to play an important influence on her work. The landscape and the life in rural australia are expressed in the importance that Williamson places on making and repairing everyday clothes and
tools. after completing a degree in economics, Williamson left australia, travelling for some months through asia. after four years away she returned home through Greece, Turkey, iran, afghanistan, india and sri Lanka bringing samples of textiles with her. During the 1960s and 1970s many people became interested in traditional textile techniques such as tie-dying, batik and embroidery.
in 1977 Williamson enrolled in a two month introductory weaving course and found that she was fascinated by the logical and technical aspects of weaving. Between 1978 and 1980 she enrolled in a studio textiles course
at the melbourne College of Textiles and in 1980 took a tapestry weaving course. Between 1981 and 1983 she enrolled in a Bachelor of arts (Textile Design) at RmiT.
Williamson initially worked as a freelance designer designing wool upholstery fabrics, however her interest in making woven textiles to be worn became a major concern. Creating one-off wraps and scarves allowed her the freedom to explore ways of integrating design, techniques and ideas.
From 1997 Williamson was making textiles to be worn but she was
also interested in the appearance and history of cloth that had been changed through wearing. Repair through the process of darning, the role of memory and the passing on of skills informed her practice. at the same time she renewed her interest in jacquard weaving and began weaving photographic images of darns into the cloth.
in the early 2000s Williamson developed new relationships with communities in asia such as the milanangan Group, a weaver’s cooperative in East Bengal, india
and the Craft Resource Centre in Calcutta. Williamson contracted them to weave scarves for her.
Her latest works involve new forms such as loops and sacs that express ideas about protection and containment.
in the book that accompanies this exhibition Grace Cochrane concludes, Liz Williamson continues to
evolve intelligent variations of her contemporary weaving processes, while researching thoughtfully into past practices and traditions that inform
her work. She presents us with new ways of understanding and enjoying the many meanings and associations that woven textiles can bring with them.’]
Publishing details: Thames & Hudson Australia Pty, Limited, 2008‬
Ref: 1000

Ngui Matthewview full entry

Reference: Matthew Ngui - Points of View
Museum of Contemporary Art Australia (MCA) 04 Jun 2007 to 12 Aug 2007
CURATOR: RUSSELL STORER’]
Publishing details: MCA, 2007
Ref: 1000

Younger Jayview full entry

Reference: Jay Younger - Glare. Jay Younger, Author:Younger, Jay; Engberg, Juliana; Jackson, Beth. Editor Sarah Follent

Publishing details: Brisbane: University Art Museum, The University of Queensland, 2002, N/A pp. 1-72
Ref: 1000

Robinson Peterview full entry

Reference: Peter Robinson - Snow Ball Bling Time ]’Peter Robinson: Snow Ball Blind Time is a companion to the landmark exhibition of the same name, presented at the Gallery in 2008. More than an exhibition catalogue, Snow Ball Blind Time traces Robinson's exploration of materials and ideas through the eight major projects since his formative ACK installation at Artspace Auckland. ACK was widely perceived as a pivotal change of direction in his art-making practice.
The hard-back publication features critical essays by Allan Smith (Senior Lecturer, Elam School of Fine Arts, University of Auckland), Rachel Kent (Senior Curator, Museum of Contemporary Art, Sydney) and Rhana Devenport (Director, Govett-Brewster Art Gallery). Also included are associated drawings by Robinson, a walkthrough DVD of the exhibition, and extensive exhibition photography by Bryan James.
Exhibition Curator & Publication Editor: Rhana Devenport.’]
Publishing details: Govett-Brewster Art Gallery, 2010
Pages: 80
Ref: 1000

Tan Fionaview full entry

Reference: Fiona Tan - Coming Home. Catalogue published in conjunction with the exhibition project 'Fiona Tan: Coming Home' comprising separate film installations shown at two Sydney venues: Disorient (2009) at Sherman Contemporary Art Foundation, Paddington and A Lapse of Memory (2007) at the National Art School Gallery, Darlinghurst. With essay by Juliana Engberg. Artist biography and bibliography included.
Publishing details: Sherman Contemporary Art Foundation
National Art School, 2010
Ref: 1000

MCA - New Acquisitions in Contextview full entry

Reference: MCA - New Acquisitions in Context [’works by over 28 emerging and established artists from across the country in this vibrant exhibition showing recently acquired pieces in dialogue with artworks from the JW Power and MCA Collections.
Celebrating the diversity of art making in Australia, New Acquisitions in Context 2013 features a range of media from painting and photography through to installation and the moving image and draws together multiple themes and ideas through a collection of very different artworks.
Investigate dream states, nightmares and the influence of Surrealism with works by Nicholas Folland, Peter Booth and Louise Weaver. Explore landscape in its various forms, real and imagined, sacred and suburban in works by Tracey Moffatt, Judith Wright, Imants Tillers, Simryn Gill, Fiona Lowry and Shaun Gladwell and see works about light by artists Stephen Birch and Emma White.’]
Publishing details: MCA, 2013
Ref: 1000

Staunton Madonnaview full entry

Reference: Madonna Staunton - Out of a clear Blue Sky [’The multi-faceted art of Madonna Staunton is profiled in this superb publication. From paintings to collages of clothing, empty paint tubes, coloured paper, and old train tickets, Staunton’s art is a mesmerising collection of found objects layered together in exquisite compositions. Also included is a chronology, exhibition list and bibliography, making this a great resource on this unique artist.’]
Publishing details: 72 pages paperback colour illustrations

Ref: 1000

Rrap Julieview full entry

Reference: Julie Rrap: fleshstones / [by Adrian Parr]
by Rrap, Julie

Publishing details: Melbourne, Vic.: Arc One Gallery, 2003
Ref: 1000

Primavera 2015view full entry

Reference: Exhibition by Young Australian Artists [’Featuring the work of seven artists drawn from South West, South Central and South East Australia, Primavera 2015 opens to the public on 22 September. The artists in this year’s Primavera extract earth materials, work with sound, video and installation and create assemblages reflecting strategies of survival and the revival of forms of cultural production. The exhibition is curated by Sydney-based Aboriginal artist Nicole Foreshew, 2015 MCA Curatorial Fellow.
Primavera is the MCA’s annual exhibition of young Australian artists aged 35 and under. Since 1992, the Primavera series has showcased the works of artists and curators in the early stages of their career, many of whom have gone on to exhibit nationally and internationally. In 2015, Primavera celebrates its 24th edition.
Hailing from four states and territories across Australia, the young artists in this year’s exhibition are: Abdul Abdullah (born in 1986, Perth, WA, lives and works in Sydney, NSW), Heather Douglas (born in 1994, Titjikala, NT, where she still lives and works), Taloi Havini (born in 1981, Arawa, autonomous region of Bougainville, migrated to Australia in 1990, lives and works in Melbourne, VIC), brothers Vincent & Vaughan O’Connor (both born in 1985, Sydney, NSW, where they still live and work), Steaphan Paton (born in 1985, Mildura, VIC, lives and works in Melbourne, VIC) and Lucy Simpson (born in 1981, Sydney, NSW, where she still lives and works).
Primavera 2015 curator Nicole Foreshew explains: 'The practices foregrounded in this exhibition, and the cultures and conditions of life, work and history that they emerge from, are situated within a broader experience of a resurgent ‘Global South’, within which peoples belonging to a diversity of cultures question received ideas of identity, culture and power.’
Foreshew adds: 'The importance of this extends to Aboriginal art-making in the ‘South’ or South Eastern region of Australia. There is a commonly held perception that cultural practices and activities have ceased, or have changed too much to have any value or visible relevance to broad audiences. Yet as the work of artists in this year’s Primavera demonstrates, Aboriginal art practices emerging from the wreckage of first contact and generations of colonial impacts are assuming an increasingly important role in the continuation of our nation’s cultural strength.’’]
Publishing details: MCA, 2015
Ref: 1000

Artworkview full entry

Reference: Artwork- Art, Books, Museums & Life by Gavin Fry
Publishing details: Edmund & Alexander
Ref: 1000

Outer Siteview full entry

Reference: Outer Site - Intercultural projects[’This book details the development of public art throughout the world and extensively documents through text and images, the evolution of many projects over extended periods from conception to completion.’]
Publishing details: McCulloch & McCulloch Australian Art Books, 2010
Ref: 1000

visions of colonial grandeurview full entry

Reference: Visions of Colonial Grandeur: John Twycross at the Melbourne International Exhibitions by Charlotte Smith, Benjamin Thomas. [’Visions of Colonial Grandeur explores Melbourne’s international exhibitions through the art collection of 19th-century businessman John Twycross. John Twycross, also known as Top Hat, was a merchant and art collector who lived and worked in ‘Marvellous Melbourne’. In this boom period of the 1880s, a confident Melbourne hosted two international exhibitions and the best and latest in trade and culture was seen by millions in the newly-built (Royal) Exhibition Building. Twycross was an enthusiastic participant in the growing Melbourne art market and, during his frequent visits to the international exhibitions, purchased hundreds of exquisite fine art objects and paintings, building a collection that was treasured by four generations of the Twycross family and is now part of the Museum Victoria collection.
This unique book features both archival photographs and colour images of some of the beautiful and significant art works in the Twycross collection. It is also an insightful study of the development of a collection, exploring the world of the international exhibitions and the thriving art trade in 19th-century Melbourne.’]
Publishing details: Museum Victoria, Paperback, 2014, 168pp

Space3view full entry

Reference: SPACE3 : an Australian independent creative network 2000 - 2005 / [designed, produced and edited by James Hancock].
Publishing details: Sydney : SPACE3 Gallery, c2005. 171 p. : ill. (chiefly col.), map ; 26 cm.
Published

Ref: 1000

Situationview full entry

Reference: Situation - Collaborations, Collectives, and artist networks from Sydney Singapore Berlin
Publishing details: Museum of Contemporary Art
Ref: 1000

Edge of Elsewhereview full entry

Reference: Edge of Elsewhere [’BROOK ANDREW, ARAHMAIANI, RICHARD BELL, DACCHI DANG, NEWELL HARRY, FX HARSONO, SHIGEYUKI KIHARA, JUN NGUYEN-HATSUSHIBA, LISA REIHANA, KHALED SABSABI, PHAPTAWAN SUWANNAKUDT, MICHEL TUFFERY AND YOUNG-HAE CHANG HEAVY INDUSTRIES
14 JANUARY – 3 MARCH 2012’]
Publishing details: 4A Centre for Contemporary Asian Art
14 January – 3 March 2012
Ref: 1000

Before and After Artview full entry

Reference: Before and After Art - 2010 Adelaide Biennial
Publishing details: AGSA, 2010
Ref: 1000

Sarah Cottier Galleryview full entry

Reference: Sarah Cottier Gallery - Twenty Years, Two Hundred exhibitions 1994 - 2014. To be indexed
Publishing details: Formist Publishers, Australia, 2014. Hardcover
Ref: 1000

Biennale of Sydney 2008view full entry

Reference: Biennale of Sydney 2008
Publishing details: AGNSW, 2008
Ref: 1000

Contemporary Australian Drawing #1view full entry

Reference: Contemporary Australian Drawing #1, Dr Janet McKenzie

Publishing details: 240 pages hardcover colour illustrations
Ref: 1000

Healy Claire & Sean Cordiero view full entry

Reference: Dark Matter 2009
Text by Anthony Bond, David Burrows, Dr Stephen Gapps and Craig Judd 
Publishing details: Gallery Barry Keldoulis, 2009
Ref: 1000

Healy Claire & Sean Cordiero view full entry

Reference: Small Works 2006
Text by Simon Rees and Claudia Wahjudi  
Publishing details: Kuenstlerhaus Bethanien, 2006
Ref: 1000

Healy Claire & Sean Cordiero view full entry

Reference: Claire Healy & Sean Cordeiro 2005
Text by Russel Storer, the artists and David Burrows  
Publishing details: Museum of Contemporary Art, 2005
Ref: 1000

Rrap Julieview full entry

Reference: Snare : Julie Rrap : works 1991-1995
by Rrap, Julie

Publishing details: South Yarra, Vic. : Australian Centre for Contemporary Art, 1995
Ref: 1000

Blau Simonview full entry

Reference: Simon Blau ... , July 16-August 8, 1987

Publishing details: Sydney : Mori Gallery, 1987
Ref: 1000

Williams G H 1878-1964view full entry

Reference: AUSTRALIAN ARTIST GEORGE GILBERT HOTSPOR MURRAY WILLIAMS KNOWN AS G. H. WILLIAMS.

Brady Maryview full entry

Reference: from Ebay UK, 13 Sept 2015: oil on board from the award winning and acclaimed Australian artist Mary Brady, signed and dated '53. She was born in Tamworth in 1922. She was a self-taught portrait and landscape painter, winning the Portia Geach Memorial Award three times, and was a finalist in the Archibald, Wynne and Sulman prizes many times between 1946 and 1966. In 1967 Mary Brady became a Dominican Sister, and went on to teach art in secondary schools. Sister Mary Brady died in December of 2014. Below are links to information about Sister Mary, and to her obituary from the Sydney Morning Herald:
She is more renowned for her portraits but her landscape works have sold at auction for over £350 (equiv)

Corlett Peterview full entry

Reference: The Making of a Statue: Charles Joseph La Trobe. By John Drury. [’One of the most Victorian of cities along with Birmingham, Liverpool and Manchester, Melbourne, Victoria in the south-east of Australia, is endowed with many fine memorials to those forebears who had a lasting influence on the development of a 19th century British colony into what has become one of the most liveable and most cultured modern cities in the world. Surprisingly, no public memorial to the visionary first Lieutenant Governor of Victoria, Charles Joseph La Trobe, who laid the foundations of this modern state, appeared before the La Trobe Society commissioned a larger-than-life bronze sculpture, installed in 2006.
In this superbly designed and beautifully produced volume, the creativity and technical skill of renowned Australian sculptor Peter Corlett are highlighted every step of the way. The complete process of creating a sculpture, from the clay original to the finished, mounted bronze – from studio to foundry - is revealed in fascinating detail.
Of course, for Australians and, more particularly, for Victorians, this book describes in interesting detail the way in which Melbourne’s most recent publicly-commissioned statue of perhaps our most eminent forefather came about, and how its position on the forecourt of Victoria’s State Library was selected.
John Drury’s clear though informative text is eminently accessible, and it is enhanced by the superb photographs of Susan Gordon-Brown, one of Australia’s leading documentary photographers.
This is a beautiful guide to the process of creating a sculpture. It can be heartily recommended to anyone contemplating the commission of a sculpture who would like to know more about the process, to any sculptor who has never been directly involved in casting their own work, to art students everywhere to broaden their knowledge of the sculptural process, especially any artist thinking of becoming a sculptor, and all those interested in the creative arts.’]

Publishing details: Published by the C J La Trobe Society, Melbourne, December 2010.
Fully Illustrated. Hardback. 76pp.
Ref: 1000

la Trobe Charles Josephview full entry

Reference: see Corlett Peter - The Making of a Statue: Charles Joseph La Trobe. By John Drury. [’One of the most Victorian of cities along with Birmingham, Liverpool and Manchester, Melbourne, Victoria in the south-east of Australia, is endowed with many fine memorials to those forebears who had a lasting influence on the development of a 19th century British colony into what has become one of the most liveable and most cultured modern cities in the world. Surprisingly, no public memorial to the visionary first Lieutenant Governor of Victoria, Charles Joseph La Trobe, who laid the foundations of this modern state, appeared before the La Trobe Society commissioned a larger-than-life bronze sculpture, installed in 2006.
In this superbly designed and beautifully produced volume, the creativity and technical skill of renowned Australian sculptor Peter Corlett are highlighted every step of the way. The complete process of creating a sculpture, from the clay original to the finished, mounted bronze – from studio to foundry - is revealed in fascinating detail.
Of course, for Australians and, more particularly, for Victorians, this book describes in interesting detail the way in which Melbourne’s most recent publicly-commissioned statue of perhaps our most eminent forefather came about, and how its position on the forecourt of Victoria’s State Library was selected.
John Drury’s clear though informative text is eminently accessible, and it is enhanced by the superb photographs of Susan Gordon-Brown, one of Australia’s leading documentary photographers.
This is a beautiful guide to the process of creating a sculpture. It can be heartily recommended to anyone contemplating the commission of a sculpture who would like to know more about the process, to any sculptor who has never been directly involved in casting their own work, to art students everywhere to broaden their knowledge of the sculptural process, especially any artist thinking of becoming a sculptor, and all those interested in the creative arts.’]

Publishing details: Published by the C J La Trobe Society, Melbourne, December 2010.
Fully Illustrated. Hardback. 76pp.

Katte Art Collectionview full entry

Reference: Katte Art Collection: Selected Aspects. A short essay on each work, with some biographical information. The collection of Frederick and Margaret Katte. [’Collection of works from the Katte Art Collections featuring Australian artists circa 1945 to 2009. The Katte Art Collection - Selected Aspects cover design featuring a work by Clifton Pugh. The book was over a year in the making and contains works by most of the great post-war Australian painters along with a good section of the Decorative Arts. Included is a forward by Philip Bacon AM and an Essay by Ross Searle. Due for release at the launch by Angela Goddard of Queensland Art Gallery of Modern Art on April 18th this was a major project and has been handled entirely by 3E Innovative.’] [to be indexed]
Publishing details: Publisher 3E Innovative, hb, Published March 2015, Pages: 84

Australian Contemporary artview full entry

Reference: see Katte Art Collection: Selected Aspects [’Collection of works from the Katte Art Collections featuring Australian artists circa 1945 to 2009. The Katte Art Collection - Selected Aspects cover design featuring a work by Clifton Pugh. The book was over a year in the making and contains works by most of the great post-war Australian painters along with a good section of the Decorative Arts. Included is a forward by Philip Bacon AM and an Essay by Ross Searle. Due for release at the launch by Angela Goddard of Queensland Art Gallery of Modern Art on April 18th this was a major project and has been handled entirely by 3E Innovative.’]
Publishing details: Publisher 3E Innovative, hb, Published March 2015, Pages: 84

Walker Thortonview full entry

Reference: Thornton Walker by Thornton Walker with Professor Sasha Grishin, Dr Patrick Hutchings & Guy Abrahams. [’This is a beautifully produced art book by a highly acclaimed Australian artist.
Thornton Walker is a mid-career Melbourne-based artist whose work is represented in collections in the British Museum and Aichi Prefectural Museum of Art, Nagoya, Japan, and throughout Australia, including the National Gallery of Australia, Art Gallery of New South Wales, Art Gallery of Western Australia, QUT Art Museum, Brisbane, Artbank, University of New South Wales, Philip Morris Arts Grant Collection: Parliament House, Canberra, Macquarie Bank, and AXA Australia.

This book, curated by the artist in collaboration with Melbourne Books, chronologically displays a representation of works from 1970 to 2015.

The book includes essays by the prominent art academics and gallerist, Professor Sasha Grishin AM, FAHA, Dr Patrick Hutchings and Guy Abrahams.

Publishing details: Melbourne Books, 2015. LIMITED EDITION of 50 in slip-case with artist etching  also availiable’]
Ref: 1000

Ramsay Christine Wu view full entry

Reference: Captured in Time: Journeys with My Camera by Christine Wu Ramsay [’This book, offering more than three hundred beautiful photographic studies, spans the years 1986-2006. Each image captures a special moment at a certain place in Australasia, Asia, Europe and the Middle East. Each image is unique and can never be re-captured.’]
Publishing details: Macmillan Art, 2010
Pages: 256
Ref: 1000

Davis Jamesview full entry

Reference: The Art of James Davis. Illustrated by James Davis, By Ashley Crawford. ‘[The Art of James Davis is a study of a visionary painter who uses a rich visual language unlike any other in Australian art. James Davis was born in Sydney and studied at The National Art School and Julian Ashton's School of Fine Art.
Davis spent much of his twenties travelling and living in northern Europe, where he leaned towards the abstract expressionist movement. In his early thirties, he abandoned painting, intending to return to art after a year or two—this was not to occur for another fifteen years.
Davis's resurgence was marked by a commitment to figurative, expressionist art and social comment around Fitzroy and Collingwood. In 1993, Davis returned to Europe, producing a new body of work relating primarily to his experiences in Hungary and the Czech Republic.
Now back in Melbourne, Davis continues to paint art that expresses social comment and conscience, as well as garden paintings, now, in a surreal manner.’] [’Ashley Crawford is a freelance cultural critic based in Melbourne. Crawford has been a critic for a number of newspapers and magazines including The Age, The Australian, Art Monthly and Art World and editor and author of works on a number of artists Howard Arkley, Philip Hunter, Stephen Bush. He is also the former editor of World Art, 21.C and Photofile magazines.
‘]
Publishing details: Arcadia, Hardback,
2012, Pages: 212 
Ref: 1000

Derums Adamview full entry

Reference: A Remote Dawn: Adam Derums' Works by
Adam Derums [’For the past twenty years Adam Derums has made artworks that question what is beauty and how we experience it. This book allows us to explore the creative evolution of one of our most significant artists over his substantial career. A Remote Dawn is a fully illustrated account of Derums' work with essays by Julian Goddard, Tony Godfrey, Ric Spencer and a forward by Donal Fitzpatrick. One of only a handful of monographs on local contemporary artists, the book is an opportunity to read about and to understand Derums' work through the eyes of four esteemed contemporary art writers.’]
Publishing details: Fremantle Press,
2012, Pages: 94
Ref: 1000

Boyd Danielview full entry

Reference: Daniel Boyd - The Law Of Closure by Daniel Boyd

[’Sydney-based artist Daniel Boyd’s particular iteration of postcolonial history painting, video, and installation work seems to centre on the deletion of information and history, especially in relation to Boyd’s Aboriginal and Vanuatuan heritage. But there is more to his distinctive pointillist technique, in which he blackens much of the surface, leaving only flashes of perceptual detail that reveal the information beneath, than a simple rumination on erasure. Boyd’s devices are not just about absence, but a kind of psycho-historical ellipsis, and the enshrouding dark matter is as much an element of the image as are the landscapes, portraits, reflections, and refractions of light.’]

Publishing details: Publisher Perimeter Editions, 218 p, ills colour & bw, 21 x 27 cm, pb, English
Ref: 1000

Art of Being Melbourne Theview full entry

Reference: The Art of Being Melbourne. By Maree Coote. Includes short essays on artists with biographical information. [’The Art of Being Melbourne reveals to the reader the very tangible proximity of Melbourne's origins, by enlisting the insights of artists to show us our heritage, our character, our short history and ourselves.

Melbourne's remarkable youth, accelerated development and remote perspective offer a unique insight into the creation and ideation of a city. Each image offers a unique portrait of Melbourne, and reveals the original perspective of both its creator and its moment in history.

The Art of Being Melbourne includes works by Liardet, Russell, Streeton, Roberts, Beckett, Colahan,Tucker, Blackman, Smart, Amor, Senbergs, Shannon, Arkley, Shag, Miso, Luccio and many others.

The Art of Being Melbourne is another very personal tribute to Melbourne from the author of the much-loved The Melbourne Book - A History of Now.’]
Publishing details: Melbourne Style, 2012, Hardback, 212 pages. Includes bibliographical references (pages 207), notes and index.

Shifting Focusview full entry

Reference: Shifting Focus: Colonial Australian Photography 1850-1920 by Maxwell, Anne; Croci, Josephine [’A collection of essays with contributions from twenty-two Australian art historians, anthropologists and curators examining photography’s documentary and artistic role in colonial times, offering rich, new insights into the ways in which photography helped shape modern Australian society in it early and arguably most formative years.’] [to be indexed thoroughly? - mostly indexed]
Publishing details: Australian Scholarly Publishing, 2015

Kluge-Pott Herthaview full entry

Reference: Hertha Kluge-Pott - Printmaker. By: Hilary Maddocks [’This comprehensively illustrated and fully documented volume on the life and works of master printmaker, Hertha Kluge-Pott, has been scrupulously researched by author Hilary Maddocks. Kluge-Pott's personal oeuvre is enormous, some 418 editions all printed by herself and most represented in the National Gallery of Australia, Canberra. Her favoured technique is intaglio, with the rich textural qualities of drypoint explored to the full in her wonderful interpretations of the coastal scenery and vegetation of Cape Bridgewater in South-west Victoria. The subjects of sometimes truly monumental prints range from the minutiae of ants and seedpods to expansive panoramas of the entire Cape. Hilary Maddocks' interviews with the artist document her personal history during the war years and the American Occupation of Berlin and her dramatic 1958 journey to Australia on board the ill-fated Skaubryn, which sank in the Bay of Bengal leaving her with no possessions and only the clothes she was wearing. Maddocks also provides expansive information on the artist's RMIT years from 1978-1994 and her extensive exhibition history. The book is lavishly illustrated, with hundreds of reproductions - particularly those prints of her beloved coastal scenery and its flora and fauna which Hertha Kluge-Pott rendered with great affection and attention to detail from the early 1980s. Hertha Kluge-Pott's prints provide an unique vision of the Australian landscape as well as forming a personal and revelatory diary of an artist's life.’]
Publishing details: Macmillan Art Publishing, 2015
Ref: 1000

Leason Percyview full entry

Reference: L. J BLAKE - Percy Leason: Artist, Cartoonist and Historian
Publishing details: Contained in The Victorian Historical Magazine. Issue 154. Vol. 39, No. 4, November, 1968.
Ref: 1000

Leason Percyview full entry

Reference: Recognition: Percy Leason's Aboriginal Portraits, by Michael D Galimany. Includes essay by Sylvia Kleinert on ‘The Politics of Portraiture’. [’In 1934 Percy Leason (1889-1959) was commissioned by Melbourne University to paint a series of portraits of Australian Aborigines. This catalogue accompanied a major exhibition of these portraits whose objectivity-the way in which the artist sought truth in the faces of his subjects-allowed them to transcend their original context in time and speak to a modern generation.’]
Publishing details: 1999. National Portrait Gallery, Australia. Softback. Profuse colour & b/w plates & illus.

Leason Percyview full entry

Reference: Percy Leason 1889-1959, Centenary Exhibition catalogue, curated by Peter Perry, Director, Castlemaine Art Gallery. Lists 36 works. Illustrated. Biographical information.
Publishing details: Castlemaine Art Gallery (1990) 210x150: (20pp.) black and white illustrations, Illustrated stapled wrappers,
Ref: 40

Hodges Williamview full entry

Reference: Empire, Barbarism and Civilisation Captain Cook, William Hodges and the Return to the Pacific by Harriet Guest [’The artist William Hodges accompanied Captain Cook on his second voyage to the South Pacific in 1772-5. His extraordinarily vivid images, read against the fascinating journals of Cook and his companions, reveal as much about European cultures and historiography as about the peoples they visited. In this lively and original book, Harriet Guest discusses Hodges's dramatic landscapes and portraits alongside written accounts of the voyages and in the context of the theories of civilisation which shaped European perceptions - theories drawn from the works of philosophers of the Scottish enlightenment such as Adam Smith and John Millar. She argues that the voyagers resorted to diverse or incompatible models of progress in successive encounters with different groups of islanders, and shows how these models also structured metropolitan views of the voyagers and of Hodges's work. This fully illustrated study offers a fresh perspective on eighteenth-century representations of gender, colonialism and exploration.’]
Publishing details: Cambridge University Press,(Hardback, 2007), 270pp

Ref: 1009

Beck Laurieview full entry

Reference: Beautiful Australian Wildflowers By Artist Laurie Beck

Publishing details: Printed note sheets and matching envelopes Size: Size F: 9"-10" Tall
Ref: 1000

Artists in Queensland seriesview full entry

Reference: Check all titles

Publishing details: Published by University of Queensland, St Lucia

Southern Reflectionsview full entry

Reference: Southern Reflections: Ten contemporary Australian artists- an exhibition of Australian art touring northern Europe 1998-1999
Curated by Elizabeth Cross under the auspices of the Art Gallery of New South Wales. An exhibition of Australian art touring northern Europe 1998-1999. Introduction by Barry Pearce.

Publishing details: The Art Gallery of New South Walse, Australia (1998), Quarto, illustrated wrappers, pp. 60, illustrated.
Ref: 1000

Winter in Australian artview full entry

Reference: see White mantle: the winter landscape in Australian art, exhibition curated by Geoffrey Edwards and Lisa Sullivan.
Geelong Art Gallery.

Publishing details: Geelong Gallery,c2006, accordeon-folded booklet :|bchiefly ill. ;|c14 cm.
Geelong Art Gallery Catalogue of an exhibition held 10 June -6 August 2006.

La Trobe Charles Josephview full entry

Reference: see Corlett Peter - The Making of a Statue: Charles Joseph La Trobe. By John Drury. [’One of the most Victorian of cities along with Birmingham, Liverpool and Manchester, Melbourne, Victoria in the south-east of Australia, is endowed with many fine memorials to those forebears who had a lasting influence on the development of a 19th century British colony into what has become one of the most liveable and most cultured modern cities in the world. Surprisingly, no public memorial to the visionary first Lieutenant Governor of Victoria, Charles Joseph La Trobe, who laid the foundations of this modern state, appeared before the La Trobe Society commissioned a larger-than-life bronze sculpture, installed in 2006.
In this superbly designed and beautifully produced volume, the creativity and technical skill of renowned Australian sculptor Peter Corlett are highlighted every step of the way. The complete process of creating a sculpture, from the clay original to the finished, mounted bronze – from studio to foundry - is revealed in fascinating detail.
Of course, for Australians and, more particularly, for Victorians, this book describes in interesting detail the way in which Melbourne’s most recent publicly-commissioned statue of perhaps our most eminent forefather came about, and how its position on the forecourt of Victoria’s State Library was selected.
John Drury’s clear though informative text is eminently accessible, and it is enhanced by the superb photographs of Susan Gordon-Brown, one of Australia’s leading documentary photographers.
This is a beautiful guide to the process of creating a sculpture. It can be heartily recommended to anyone contemplating the commission of a sculpture who would like to know more about the process, to any sculptor who has never been directly involved in casting their own work, to art students everywhere to broaden their knowledge of the sculptural process, especially any artist thinking of becoming a sculptor, and all those interested in the creative arts.’]

Publishing details: Published by the C J La Trobe Society, Melbourne, December 2010.
Fully Illustrated. Hardback. 76pp.

Andrews Gordonview full entry

Reference: Gordon Andrews: a retrospective
Judith O'Callaghan
booklet
Publishing details: Powerhouse Publications
Ref: 1009

A’Beckett Edwardview full entry

Reference: see The Cowen Gallery Catalogue by Michael D Galimany. Includes some biographical information on each of approximately 90 artists, with one colour illustration for each.

Originally built as the Stawell Gallery in 1892 for the National Gallery of Victoria, and subsequently used by the National Museum, the Cowen Gallery was renovated and reopened to the public in November 2003. It houses a permanent exhibition of 150 paintings and sculptures from the State Library of Victoria's Pictures Collection, the oldest visual documentary collection in Australia.
Author Michael D Galimany was the first curator of the Cowen Gallery, and worked at the Library for 13 years.
Publishing details: Publisher: State Library Victoria, 2006, 172 pp with index of artists and index of portraits

Bale Alice Marion Ellenview full entry

Reference: see The Cowen Gallery Catalogue by Michael D Galimany. Includes some biographical information on each of approximately 90 artists, with one colour illustration for each.

Originally built as the Stawell Gallery in 1892 for the National Gallery of Victoria, and subsequently used by the National Museum, the Cowen Gallery was renovated and reopened to the public in November 2003. It houses a permanent exhibition of 150 paintings and sculptures from the State Library of Victoria's Pictures Collection, the oldest visual documentary collection in Australia.
Author Michael D Galimany was the first curator of the Cowen Gallery, and worked at the Library for 13 years.
Publishing details: Publisher: State Library Victoria, 2006, 172 pp with index of artists and index of portraits

Ball Percivalview full entry

Reference: see The Cowen Gallery Catalogue by Michael D Galimany. Includes some biographical information on each of approximately 90 artists, with one colour illustration for each.

Originally built as the Stawell Gallery in 1892 for the National Gallery of Victoria, and subsequently used by the National Museum, the Cowen Gallery was renovated and reopened to the public in November 2003. It houses a permanent exhibition of 150 paintings and sculptures from the State Library of Victoria's Pictures Collection, the oldest visual documentary collection in Australia.
Author Michael D Galimany was the first curator of the Cowen Gallery, and worked at the Library for 13 years.
Publishing details: Publisher: State Library Victoria, 2006, 172 pp with index of artists and index of portraits

Bartiliniview full entry

Reference: see The Cowen Gallery Catalogue by Michael D Galimany. Includes some biographical information on each of approximately 90 artists, with one colour illustration for each.

Originally built as the Stawell Gallery in 1892 for the National Gallery of Victoria, and subsequently used by the National Museum, the Cowen Gallery was renovated and reopened to the public in November 2003. It houses a permanent exhibition of 150 paintings and sculptures from the State Library of Victoria's Pictures Collection, the oldest visual documentary collection in Australia.
Author Michael D Galimany was the first curator of the Cowen Gallery, and worked at the Library for 13 years.
Publishing details: Publisher: State Library Victoria, 2006, 172 pp with index of artists and index of portraits

Becker Ludwigview full entry

Reference: see The Cowen Gallery Catalogue by Michael D Galimany. Includes some biographical information on each of approximately 90 artists, with one colour illustration for each.

Originally built as the Stawell Gallery in 1892 for the National Gallery of Victoria, and subsequently used by the National Museum, the Cowen Gallery was renovated and reopened to the public in November 2003. It houses a permanent exhibition of 150 paintings and sculptures from the State Library of Victoria's Pictures Collection, the oldest visual documentary collection in Australia.
Author Michael D Galimany was the first curator of the Cowen Gallery, and worked at the Library for 13 years.
Publishing details: Publisher: State Library Victoria, 2006, 172 pp with index of artists and index of portraits

Brown Mikeview full entry

Reference: see The Cowen Gallery Catalogue by Michael D Galimany. Includes some biographical information on each of approximately 90 artists, with one colour illustration for each.

Originally built as the Stawell Gallery in 1892 for the National Gallery of Victoria, and subsequently used by the National Museum, the Cowen Gallery was renovated and reopened to the public in November 2003. It houses a permanent exhibition of 150 paintings and sculptures from the State Library of Victoria's Pictures Collection, the oldest visual documentary collection in Australia.
Author Michael D Galimany was the first curator of the Cowen Gallery, and worked at the Library for 13 years.
Publishing details: Publisher: State Library Victoria, 2006, 172 pp with index of artists and index of portraits

Bryans Linaview full entry

Reference: see The Cowen Gallery Catalogue by Michael D Galimany. Includes some biographical information on each of approximately 90 artists, with one colour illustration for each.

Originally built as the Stawell Gallery in 1892 for the National Gallery of Victoria, and subsequently used by the National Museum, the Cowen Gallery was renovated and reopened to the public in November 2003. It houses a permanent exhibition of 150 paintings and sculptures from the State Library of Victoria's Pictures Collection, the oldest visual documentary collection in Australia.
Author Michael D Galimany was the first curator of the Cowen Gallery, and worked at the Library for 13 years.
Publishing details: Publisher: State Library Victoria, 2006, 172 pp with index of artists and index of portraits

Burn Henryview full entry

Reference: see The Cowen Gallery Catalogue by Michael D Galimany. Includes some biographical information on each of approximately 90 artists, with one colour illustration for each.

Originally built as the Stawell Gallery in 1892 for the National Gallery of Victoria, and subsequently used by the National Museum, the Cowen Gallery was renovated and reopened to the public in November 2003. It houses a permanent exhibition of 150 paintings and sculptures from the State Library of Victoria's Pictures Collection, the oldest visual documentary collection in Australia.
Author Michael D Galimany was the first curator of the Cowen Gallery, and worked at the Library for 13 years.
Publishing details: Publisher: State Library Victoria, 2006, 172 pp with index of artists and index of portraits

Bush Charlesview full entry

Reference: see The Cowen Gallery Catalogue by Michael D Galimany. Includes some biographical information on each of approximately 90 artists, with one colour illustration for each.

Originally built as the Stawell Gallery in 1892 for the National Gallery of Victoria, and subsequently used by the National Museum, the Cowen Gallery was renovated and reopened to the public in November 2003. It houses a permanent exhibition of 150 paintings and sculptures from the State Library of Victoria's Pictures Collection, the oldest visual documentary collection in Australia.
Author Michael D Galimany was the first curator of the Cowen Gallery, and worked at the Library for 13 years.
Publishing details: Publisher: State Library Victoria, 2006, 172 pp with index of artists and index of portraits

Buvelot Abram Louisview full entry

Reference: see The Cowen Gallery Catalogue by Michael D Galimany. Includes some biographical information on each of approximately 90 artists, with one colour illustration for each.

Originally built as the Stawell Gallery in 1892 for the National Gallery of Victoria, and subsequently used by the National Museum, the Cowen Gallery was renovated and reopened to the public in November 2003. It houses a permanent exhibition of 150 paintings and sculptures from the State Library of Victoria's Pictures Collection, the oldest visual documentary collection in Australia.
Author Michael D Galimany was the first curator of the Cowen Gallery, and worked at the Library for 13 years.
Publishing details: Publisher: State Library Victoria, 2006, 172 pp with index of artists and index of portraits

Carabain Jacquesview full entry

Reference: see The Cowen Gallery Catalogue by Michael D Galimany. Includes some biographical information on each of approximately 90 artists, with one colour illustration for each.

Originally built as the Stawell Gallery in 1892 for the National Gallery of Victoria, and subsequently used by the National Museum, the Cowen Gallery was renovated and reopened to the public in November 2003. It houses a permanent exhibition of 150 paintings and sculptures from the State Library of Victoria's Pictures Collection, the oldest visual documentary collection in Australia.
Author Michael D Galimany was the first curator of the Cowen Gallery, and worked at the Library for 13 years.
Publishing details: Publisher: State Library Victoria, 2006, 172 pp with index of artists and index of portraits

Carse James Howeview full entry

Reference: see The Cowen Gallery Catalogue by Michael D Galimany. Includes some biographical information on each of approximately 90 artists, with one colour illustration for each.

Originally built as the Stawell Gallery in 1892 for the National Gallery of Victoria, and subsequently used by the National Museum, the Cowen Gallery was renovated and reopened to the public in November 2003. It houses a permanent exhibition of 150 paintings and sculptures from the State Library of Victoria's Pictures Collection, the oldest visual documentary collection in Australia.
Author Michael D Galimany was the first curator of the Cowen Gallery, and worked at the Library for 13 years.
Publishing details: Publisher: State Library Victoria, 2006, 172 pp with index of artists and index of portraits

Catani Ugoview full entry

Reference: see The Cowen Gallery Catalogue by Michael D Galimany. Includes some biographical information on each of approximately 90 artists, with one colour illustration for each.

Originally built as the Stawell Gallery in 1892 for the National Gallery of Victoria, and subsequently used by the National Museum, the Cowen Gallery was renovated and reopened to the public in November 2003. It houses a permanent exhibition of 150 paintings and sculptures from the State Library of Victoria's Pictures Collection, the oldest visual documentary collection in Australia.
Author Michael D Galimany was the first curator of the Cowen Gallery, and worked at the Library for 13 years.
Publishing details: Publisher: State Library Victoria, 2006, 172 pp with index of artists and index of portraits

Challen Arthur Thomasview full entry

Reference: see The Cowen Gallery Catalogue by Michael D Galimany. Includes some biographical information on each of approximately 90 artists, with one colour illustration for each.

Originally built as the Stawell Gallery in 1892 for the National Gallery of Victoria, and subsequently used by the National Museum, the Cowen Gallery was renovated and reopened to the public in November 2003. It houses a permanent exhibition of 150 paintings and sculptures from the State Library of Victoria's Pictures Collection, the oldest visual documentary collection in Australia.
Author Michael D Galimany was the first curator of the Cowen Gallery, and worked at the Library for 13 years.
Publishing details: Publisher: State Library Victoria, 2006, 172 pp with index of artists and index of portraits

Chapman Aliceview full entry

Reference: see The Cowen Gallery Catalogue by Michael D Galimany. Includes some biographical information on each of approximately 90 artists, with one colour illustration for each.

Originally built as the Stawell Gallery in 1892 for the National Gallery of Victoria, and subsequently used by the National Museum, the Cowen Gallery was renovated and reopened to the public in November 2003. It houses a permanent exhibition of 150 paintings and sculptures from the State Library of Victoria's Pictures Collection, the oldest visual documentary collection in Australia.
Author Michael D Galimany was the first curator of the Cowen Gallery, and worked at the Library for 13 years.
Publishing details: Publisher: State Library Victoria, 2006, 172 pp with index of artists and index of portraits

Chevalier Nicholasview full entry

Reference: see The Cowen Gallery Catalogue by Michael D Galimany. Includes some biographical information on each of approximately 90 artists, with one colour illustration for each.

Originally built as the Stawell Gallery in 1892 for the National Gallery of Victoria, and subsequently used by the National Museum, the Cowen Gallery was renovated and reopened to the public in November 2003. It houses a permanent exhibition of 150 paintings and sculptures from the State Library of Victoria's Pictures Collection, the oldest visual documentary collection in Australia.
Author Michael D Galimany was the first curator of the Cowen Gallery, and worked at the Library for 13 years.
Publishing details: Publisher: State Library Victoria, 2006, 172 pp with index of artists and index of portraits

Clark Thomasview full entry

Reference: see The Cowen Gallery Catalogue by Michael D Galimany. Includes some biographical information on each of approximately 90 artists, with one colour illustration for each.

Originally built as the Stawell Gallery in 1892 for the National Gallery of Victoria, and subsequently used by the National Museum, the Cowen Gallery was renovated and reopened to the public in November 2003. It houses a permanent exhibition of 150 paintings and sculptures from the State Library of Victoria's Pictures Collection, the oldest visual documentary collection in Australia.
Author Michael D Galimany was the first curator of the Cowen Gallery, and worked at the Library for 13 years.
Publishing details: Publisher: State Library Victoria, 2006, 172 pp with index of artists and index of portraits

Clarke Danielview full entry

Reference: see The Cowen Gallery Catalogue by Michael D Galimany. Includes some biographical information on each of approximately 90 artists, with one colour illustration for each.

Originally built as the Stawell Gallery in 1892 for the National Gallery of Victoria, and subsequently used by the National Museum, the Cowen Gallery was renovated and reopened to the public in November 2003. It houses a permanent exhibition of 150 paintings and sculptures from the State Library of Victoria's Pictures Collection, the oldest visual documentary collection in Australia.
Author Michael D Galimany was the first curator of the Cowen Gallery, and worked at the Library for 13 years.
Publishing details: Publisher: State Library Victoria, 2006, 172 pp with index of artists and index of portraits

Colquhoun Archibald Douglasview full entry

Reference: see The Cowen Gallery Catalogue by Michael D Galimany. Includes some biographical information on each of approximately 90 artists, with one colour illustration for each.

Originally built as the Stawell Gallery in 1892 for the National Gallery of Victoria, and subsequently used by the National Museum, the Cowen Gallery was renovated and reopened to the public in November 2003. It houses a permanent exhibition of 150 paintings and sculptures from the State Library of Victoria's Pictures Collection, the oldest visual documentary collection in Australia.
Author Michael D Galimany was the first curator of the Cowen Gallery, and worked at the Library for 13 years.
Publishing details: Publisher: State Library Victoria, 2006, 172 pp with index of artists and index of portraits

Cook H N Eview full entry

Reference: see The Cowen Gallery Catalogue by Michael D Galimany. Includes some biographical information on each of approximately 90 artists, with one colour illustration for each.

Originally built as the Stawell Gallery in 1892 for the National Gallery of Victoria, and subsequently used by the National Museum, the Cowen Gallery was renovated and reopened to the public in November 2003. It houses a permanent exhibition of 150 paintings and sculptures from the State Library of Victoria's Pictures Collection, the oldest visual documentary collection in Australia.
Author Michael D Galimany was the first curator of the Cowen Gallery, and worked at the Library for 13 years.
Publishing details: Publisher: State Library Victoria, 2006, 172 pp with index of artists and index of portraits

Craig Sybilview full entry

Reference: see The Cowen Gallery Catalogue by Michael D Galimany. Includes some biographical information on each of approximately 90 artists, with one colour illustration for each.

Originally built as the Stawell Gallery in 1892 for the National Gallery of Victoria, and subsequently used by the National Museum, the Cowen Gallery was renovated and reopened to the public in November 2003. It houses a permanent exhibition of 150 paintings and sculptures from the State Library of Victoria's Pictures Collection, the oldest visual documentary collection in Australia.
Author Michael D Galimany was the first curator of the Cowen Gallery, and worked at the Library for 13 years.
Publishing details: Publisher: State Library Victoria, 2006, 172 pp with index of artists and index of portraits

Dargie Williamview full entry

Reference: see The Cowen Gallery Catalogue by Michael D Galimany. Includes some biographical information on each of approximately 90 artists, with one colour illustration for each.

Originally built as the Stawell Gallery in 1892 for the National Gallery of Victoria, and subsequently used by the National Museum, the Cowen Gallery was renovated and reopened to the public in November 2003. It houses a permanent exhibition of 150 paintings and sculptures from the State Library of Victoria's Pictures Collection, the oldest visual documentary collection in Australia.
Author Michael D Galimany was the first curator of the Cowen Gallery, and worked at the Library for 13 years.
Publishing details: Publisher: State Library Victoria, 2006, 172 pp with index of artists and index of portraits

Dennis Carrie Victoriaview full entry

Reference: see The Cowen Gallery Catalogue by Michael D Galimany. Includes some biographical information on each of approximately 90 artists, with one colour illustration for each.

Originally built as the Stawell Gallery in 1892 for the National Gallery of Victoria, and subsequently used by the National Museum, the Cowen Gallery was renovated and reopened to the public in November 2003. It houses a permanent exhibition of 150 paintings and sculptures from the State Library of Victoria's Pictures Collection, the oldest visual documentary collection in Australia.
Author Michael D Galimany was the first curator of the Cowen Gallery, and worked at the Library for 13 years.
Publishing details: Publisher: State Library Victoria, 2006, 172 pp with index of artists and index of portraits

Dowling Robertview full entry

Reference: see The Cowen Gallery Catalogue by Michael D Galimany. Includes some biographical information on each of approximately 90 artists, with one colour illustration for each.

Originally built as the Stawell Gallery in 1892 for the National Gallery of Victoria, and subsequently used by the National Museum, the Cowen Gallery was renovated and reopened to the public in November 2003. It houses a permanent exhibition of 150 paintings and sculptures from the State Library of Victoria's Pictures Collection, the oldest visual documentary collection in Australia.
Author Michael D Galimany was the first curator of the Cowen Gallery, and worked at the Library for 13 years.
Publishing details: Publisher: State Library Victoria, 2006, 172 pp with index of artists and index of portraits

Dickenson Lowes Catoview full entry

Reference: see The Cowen Gallery Catalogue by Michael D Galimany. Includes some biographical information on each of approximately 90 artists, with one colour illustration for each.

Originally built as the Stawell Gallery in 1892 for the National Gallery of Victoria, and subsequently used by the National Museum, the Cowen Gallery was renovated and reopened to the public in November 2003. It houses a permanent exhibition of 150 paintings and sculptures from the State Library of Victoria's Pictures Collection, the oldest visual documentary collection in Australia.
Author Michael D Galimany was the first curator of the Cowen Gallery, and worked at the Library for 13 years.
Publishing details: Publisher: State Library Victoria, 2006, 172 pp with index of artists and index of portraits

Flintoff Thomasview full entry

Reference: see The Cowen Gallery Catalogue by Michael D Galimany. Includes some biographical information on each of approximately 90 artists, with one colour illustration for each.

Originally built as the Stawell Gallery in 1892 for the National Gallery of Victoria, and subsequently used by the National Museum, the Cowen Gallery was renovated and reopened to the public in November 2003. It houses a permanent exhibition of 150 paintings and sculptures from the State Library of Victoria's Pictures Collection, the oldest visual documentary collection in Australia.
Author Michael D Galimany was the first curator of the Cowen Gallery, and worked at the Library for 13 years.
Publishing details: Publisher: State Library Victoria, 2006, 172 pp with index of artists and index of portraits

Flood Alfredview full entry

Reference: see The Cowen Gallery Catalogue by Michael D Galimany. Includes some biographical information on each of approximately 90 artists, with one colour illustration for each.

Originally built as the Stawell Gallery in 1892 for the National Gallery of Victoria, and subsequently used by the National Museum, the Cowen Gallery was renovated and reopened to the public in November 2003. It houses a permanent exhibition of 150 paintings and sculptures from the State Library of Victoria's Pictures Collection, the oldest visual documentary collection in Australia.
Author Michael D Galimany was the first curator of the Cowen Gallery, and worked at the Library for 13 years.
Publishing details: Publisher: State Library Victoria, 2006, 172 pp with index of artists and index of portraits

Folingsby George Frederickview full entry

Reference: see The Cowen Gallery Catalogue by Michael D Galimany. Includes some biographical information on each of approximately 90 artists, with one colour illustration for each.

Originally built as the Stawell Gallery in 1892 for the National Gallery of Victoria, and subsequently used by the National Museum, the Cowen Gallery was renovated and reopened to the public in November 2003. It houses a permanent exhibition of 150 paintings and sculptures from the State Library of Victoria's Pictures Collection, the oldest visual documentary collection in Australia.
Author Michael D Galimany was the first curator of the Cowen Gallery, and worked at the Library for 13 years.
Publishing details: Publisher: State Library Victoria, 2006, 172 pp with index of artists and index of portraits

Fox Emmanuel Phillipsview full entry

Reference: see The Cowen Gallery Catalogue by Michael D Galimany. Includes some biographical information on each of approximately 90 artists, with one colour illustration for each.

Originally built as the Stawell Gallery in 1892 for the National Gallery of Victoria, and subsequently used by the National Museum, the Cowen Gallery was renovated and reopened to the public in November 2003. It houses a permanent exhibition of 150 paintings and sculptures from the State Library of Victoria's Pictures Collection, the oldest visual documentary collection in Australia.
Author Michael D Galimany was the first curator of the Cowen Gallery, and worked at the Library for 13 years.
Publishing details: Publisher: State Library Victoria, 2006, 172 pp with index of artists and index of portraits

Francis Johnview full entry

Reference: see The Cowen Gallery Catalogue by Michael D Galimany. Includes some biographical information on each of approximately 90 artists, with one colour illustration for each.

Originally built as the Stawell Gallery in 1892 for the National Gallery of Victoria, and subsequently used by the National Museum, the Cowen Gallery was renovated and reopened to the public in November 2003. It houses a permanent exhibition of 150 paintings and sculptures from the State Library of Victoria's Pictures Collection, the oldest visual documentary collection in Australia.
Author Michael D Galimany was the first curator of the Cowen Gallery, and worked at the Library for 13 years.
Publishing details: Publisher: State Library Victoria, 2006, 172 pp with index of artists and index of portraits

Freedman Harold Emanuelview full entry

Reference: see The Cowen Gallery Catalogue by Michael D Galimany. Includes some biographical information on each of approximately 90 artists, with one colour illustration for each.

Originally built as the Stawell Gallery in 1892 for the National Gallery of Victoria, and subsequently used by the National Museum, the Cowen Gallery was renovated and reopened to the public in November 2003. It houses a permanent exhibition of 150 paintings and sculptures from the State Library of Victoria's Pictures Collection, the oldest visual documentary collection in Australia.
Author Michael D Galimany was the first curator of the Cowen Gallery, and worked at the Library for 13 years.
Publishing details: Publisher: State Library Victoria, 2006, 172 pp with index of artists and index of portraits

Fuller Florence Adaview full entry

Reference: see The Cowen Gallery Catalogue by Michael D Galimany. Includes some biographical information on each of approximately 90 artists, with one colour illustration for each.

Originally built as the Stawell Gallery in 1892 for the National Gallery of Victoria, and subsequently used by the National Museum, the Cowen Gallery was renovated and reopened to the public in November 2003. It houses a permanent exhibition of 150 paintings and sculptures from the State Library of Victoria's Pictures Collection, the oldest visual documentary collection in Australia.
Author Michael D Galimany was the first curator of the Cowen Gallery, and worked at the Library for 13 years.
Publishing details: Publisher: State Library Victoria, 2006, 172 pp with index of artists and index of portraits

Glover Johnview full entry

Reference: see The Cowen Gallery Catalogue by Michael D Galimany. Includes some biographical information on each of approximately 90 artists, with one colour illustration for each.

Originally built as the Stawell Gallery in 1892 for the National Gallery of Victoria, and subsequently used by the National Museum, the Cowen Gallery was renovated and reopened to the public in November 2003. It houses a permanent exhibition of 150 paintings and sculptures from the State Library of Victoria's Pictures Collection, the oldest visual documentary collection in Australia.
Author Michael D Galimany was the first curator of the Cowen Gallery, and worked at the Library for 13 years.
Publishing details: Publisher: State Library Victoria, 2006, 172 pp with index of artists and index of portraits

Gritten Henry Cview full entry

Reference: see The Cowen Gallery Catalogue by Michael D Galimany. Includes some biographical information on each of approximately 90 artists, with one colour illustration for each.

Originally built as the Stawell Gallery in 1892 for the National Gallery of Victoria, and subsequently used by the National Museum, the Cowen Gallery was renovated and reopened to the public in November 2003. It houses a permanent exhibition of 150 paintings and sculptures from the State Library of Victoria's Pictures Collection, the oldest visual documentary collection in Australia.
Author Michael D Galimany was the first curator of the Cowen Gallery, and worked at the Library for 13 years.
Publishing details: Publisher: State Library Victoria, 2006, 172 pp with index of artists and index of portraits

von Guerard Eugeneview full entry

Reference: see The Cowen Gallery Catalogue by Michael D Galimany. Includes some biographical information on each of approximately 90 artists, with one colour illustration for each.

Originally built as the Stawell Gallery in 1892 for the National Gallery of Victoria, and subsequently used by the National Museum, the Cowen Gallery was renovated and reopened to the public in November 2003. It houses a permanent exhibition of 150 paintings and sculptures from the State Library of Victoria's Pictures Collection, the oldest visual documentary collection in Australia.
Author Michael D Galimany was the first curator of the Cowen Gallery, and worked at the Library for 13 years.
Publishing details: Publisher: State Library Victoria, 2006, 172 pp with index of artists and index of portraits

Hartford Patrick John O’Flaghertie Fingalview full entry

Reference: see The Cowen Gallery Catalogue by Michael D Galimany. Includes some biographical information on each of approximately 90 artists, with one colour illustration for each.

Originally built as the Stawell Gallery in 1892 for the National Gallery of Victoria, and subsequently used by the National Museum, the Cowen Gallery was renovated and reopened to the public in November 2003. It houses a permanent exhibition of 150 paintings and sculptures from the State Library of Victoria's Pictures Collection, the oldest visual documentary collection in Australia.
Author Michael D Galimany was the first curator of the Cowen Gallery, and worked at the Library for 13 years.
Publishing details: Publisher: State Library Victoria, 2006, 172 pp with index of artists and index of portraits

Hofmann Reinhold attribview full entry

Reference: see The Cowen Gallery Catalogue by Michael D Galimany. Includes some biographical information on each of approximately 90 artists, with one colour illustration for each.

Originally built as the Stawell Gallery in 1892 for the National Gallery of Victoria, and subsequently used by the National Museum, the Cowen Gallery was renovated and reopened to the public in November 2003. It houses a permanent exhibition of 150 paintings and sculptures from the State Library of Victoria's Pictures Collection, the oldest visual documentary collection in Australia.
Author Michael D Galimany was the first curator of the Cowen Gallery, and worked at the Library for 13 years.
Publishing details: Publisher: State Library Victoria, 2006, 172 pp with index of artists and index of portraits

van den Houten Henricusview full entry

Reference: see The Cowen Gallery Catalogue by Michael D Galimany. Includes some biographical information on each of approximately 90 artists, with one colour illustration for each.

Originally built as the Stawell Gallery in 1892 for the National Gallery of Victoria, and subsequently used by the National Museum, the Cowen Gallery was renovated and reopened to the public in November 2003. It houses a permanent exhibition of 150 paintings and sculptures from the State Library of Victoria's Pictures Collection, the oldest visual documentary collection in Australia.
Author Michael D Galimany was the first curator of the Cowen Gallery, and worked at the Library for 13 years.
Publishing details: Publisher: State Library Victoria, 2006, 172 pp with index of artists and index of portraits

Jeffery Fionaview full entry

Reference: see The Cowen Gallery Catalogue by Michael D Galimany. Includes some biographical information on each of approximately 90 artists, with one colour illustration for each.

Originally built as the Stawell Gallery in 1892 for the National Gallery of Victoria, and subsequently used by the National Museum, the Cowen Gallery was renovated and reopened to the public in November 2003. It houses a permanent exhibition of 150 paintings and sculptures from the State Library of Victoria's Pictures Collection, the oldest visual documentary collection in Australia.
Author Michael D Galimany was the first curator of the Cowen Gallery, and worked at the Library for 13 years.
Publishing details: Publisher: State Library Victoria, 2006, 172 pp with index of artists and index of portraits

Knights Samuel Salkeldview full entry

Reference: see The Cowen Gallery Catalogue by Michael D Galimany. Includes some biographical information on each of approximately 90 artists, with one colour illustration for each.

Originally built as the Stawell Gallery in 1892 for the National Gallery of Victoria, and subsequently used by the National Museum, the Cowen Gallery was renovated and reopened to the public in November 2003. It houses a permanent exhibition of 150 paintings and sculptures from the State Library of Victoria's Pictures Collection, the oldest visual documentary collection in Australia.
Author Michael D Galimany was the first curator of the Cowen Gallery, and worked at the Library for 13 years.
Publishing details: Publisher: State Library Victoria, 2006, 172 pp with index of artists and index of portraits

Lawrey Charles Hamilton attribview full entry

Reference: see The Cowen Gallery Catalogue by Michael D Galimany. Includes some biographical information on each of approximately 90 artists, with one colour illustration for each.

Originally built as the Stawell Gallery in 1892 for the National Gallery of Victoria, and subsequently used by the National Museum, the Cowen Gallery was renovated and reopened to the public in November 2003. It houses a permanent exhibition of 150 paintings and sculptures from the State Library of Victoria's Pictures Collection, the oldest visual documentary collection in Australia.
Author Michael D Galimany was the first curator of the Cowen Gallery, and worked at the Library for 13 years.
Publishing details: Publisher: State Library Victoria, 2006, 172 pp with index of artists and index of portraits

Leason Percyview full entry

Reference: see The Cowen Gallery Catalogue by Michael D Galimany. Includes some biographical information on each of approximately 90 artists, with one colour illustration for each.

Originally built as the Stawell Gallery in 1892 for the National Gallery of Victoria, and subsequently used by the National Museum, the Cowen Gallery was renovated and reopened to the public in November 2003. It houses a permanent exhibition of 150 paintings and sculptures from the State Library of Victoria's Pictures Collection, the oldest visual documentary collection in Australia.
Author Michael D Galimany was the first curator of the Cowen Gallery, and worked at the Library for 13 years.
Publishing details: Publisher: State Library Victoria, 2006, 172 pp with index of artists and index of portraits

Lehmann Wilhelm August Rudolfview full entry

Reference: see The Cowen Gallery Catalogue by Michael D Galimany. Includes some biographical information on each of approximately 90 artists, with one colour illustration for each.

Originally built as the Stawell Gallery in 1892 for the National Gallery of Victoria, and subsequently used by the National Museum, the Cowen Gallery was renovated and reopened to the public in November 2003. It houses a permanent exhibition of 150 paintings and sculptures from the State Library of Victoria's Pictures Collection, the oldest visual documentary collection in Australia.
Author Michael D Galimany was the first curator of the Cowen Gallery, and worked at the Library for 13 years.
Publishing details: Publisher: State Library Victoria, 2006, 172 pp with index of artists and index of portraits

Lloyd Charles Salisview full entry

Reference: see The Cowen Gallery Catalogue by Michael D Galimany. Includes some biographical information on each of approximately 90 artists, with one colour illustration for each.

Originally built as the Stawell Gallery in 1892 for the National Gallery of Victoria, and subsequently used by the National Museum, the Cowen Gallery was renovated and reopened to the public in November 2003. It houses a permanent exhibition of 150 paintings and sculptures from the State Library of Victoria's Pictures Collection, the oldest visual documentary collection in Australia.
Author Michael D Galimany was the first curator of the Cowen Gallery, and worked at the Library for 13 years.
Publishing details: Publisher: State Library Victoria, 2006, 172 pp with index of artists and index of portraits

Longstaff John Campbellview full entry

Reference: see The Cowen Gallery Catalogue by Michael D Galimany. Includes some biographical information on each of approximately 90 artists, with one colour illustration for each.

Originally built as the Stawell Gallery in 1892 for the National Gallery of Victoria, and subsequently used by the National Museum, the Cowen Gallery was renovated and reopened to the public in November 2003. It houses a permanent exhibition of 150 paintings and sculptures from the State Library of Victoria's Pictures Collection, the oldest visual documentary collection in Australia.
Author Michael D Galimany was the first curator of the Cowen Gallery, and worked at the Library for 13 years.
Publishing details: Publisher: State Library Victoria, 2006, 172 pp with index of artists and index of portraits

McCubbin Frederickview full entry

Reference: see The Cowen Gallery Catalogue by Michael D Galimany. Includes some biographical information on each of approximately 90 artists, with one colour illustration for each.

Originally built as the Stawell Gallery in 1892 for the National Gallery of Victoria, and subsequently used by the National Museum, the Cowen Gallery was renovated and reopened to the public in November 2003. It houses a permanent exhibition of 150 paintings and sculptures from the State Library of Victoria's Pictures Collection, the oldest visual documentary collection in Australia.
Author Michael D Galimany was the first curator of the Cowen Gallery, and worked at the Library for 13 years.
Publishing details: Publisher: State Library Victoria, 2006, 172 pp with index of artists and index of portraits

McDonald Agnes Grantview full entry

Reference: see The Cowen Gallery Catalogue by Michael D Galimany. Includes some biographical information on each of approximately 90 artists, with one colour illustration for each.

Originally built as the Stawell Gallery in 1892 for the National Gallery of Victoria, and subsequently used by the National Museum, the Cowen Gallery was renovated and reopened to the public in November 2003. It houses a permanent exhibition of 150 paintings and sculptures from the State Library of Victoria's Pictures Collection, the oldest visual documentary collection in Australia.
Author Michael D Galimany was the first curator of the Cowen Gallery, and worked at the Library for 13 years.
Publishing details: Publisher: State Library Victoria, 2006, 172 pp with index of artists and index of portraits

McGlinn Eleanorview full entry

Reference: see The Cowen Gallery Catalogue by Michael D Galimany. Includes some biographical information on each of approximately 90 artists, with one colour illustration for each.

Originally built as the Stawell Gallery in 1892 for the National Gallery of Victoria, and subsequently used by the National Museum, the Cowen Gallery was renovated and reopened to the public in November 2003. It houses a permanent exhibition of 150 paintings and sculptures from the State Library of Victoria's Pictures Collection, the oldest visual documentary collection in Australia.
Author Michael D Galimany was the first curator of the Cowen Gallery, and worked at the Library for 13 years.
Publishing details: Publisher: State Library Victoria, 2006, 172 pp with index of artists and index of portraits

McInnes William Beckwithview full entry

Reference: see The Cowen Gallery Catalogue by Michael D Galimany. Includes some biographical information on each of approximately 90 artists, with one colour illustration for each.

Originally built as the Stawell Gallery in 1892 for the National Gallery of Victoria, and subsequently used by the National Museum, the Cowen Gallery was renovated and reopened to the public in November 2003. It houses a permanent exhibition of 150 paintings and sculptures from the State Library of Victoria's Pictures Collection, the oldest visual documentary collection in Australia.
Author Michael D Galimany was the first curator of the Cowen Gallery, and worked at the Library for 13 years.
Publishing details: Publisher: State Library Victoria, 2006, 172 pp with index of artists and index of portraits

Munday Henry or Mundyview full entry

Reference: see The Cowen Gallery Catalogue by Michael D Galimany. Includes some biographical information on each nof approximately 90 artists, with one colour illustration for each.

Originally built as the Stawell Gallery in 1892 for the National Gallery of Victoria, and subsequently used by the National Museum, the Cowen Gallery was renovated and reopened to the public in November 2003. It houses a permanent exhibition of 150 paintings and sculptures from the State Library of Victoria's Pictures Collection, the oldest visual documentary collection in Australia.
Author Michael D Galimany was the first curator of the Cowen Gallery, and worked at the Library for 13 years.
Publishing details: Publisher: State Library Victoria, 2006, 172 pp with index of artists and index of portraits

Panton Alice Julieview full entry

Reference: see The Cowen Gallery Catalogue by Michael D Galimany. Includes some biographical information on each of approximately 90 artists, with one colour illustration for each.

Originally built as the Stawell Gallery in 1892 for the National Gallery of Victoria, and subsequently used by the National Museum, the Cowen Gallery was renovated and reopened to the public in November 2003. It houses a permanent exhibition of 150 paintings and sculptures from the State Library of Victoria's Pictures Collection, the oldest visual documentary collection in Australia.
Author Michael D Galimany was the first curator of the Cowen Gallery, and worked at the Library for 13 years.
Publishing details: Publisher: State Library Victoria, 2006, 172 pp with index of artists and index of portraits

Panton Joseph Alexanderview full entry

Reference: see The Cowen Gallery Catalogue by Michael D Galimany. Includes some biographical information on each of approximately 90 artists, with one colour illustration for each.

Originally built as the Stawell Gallery in 1892 for the National Gallery of Victoria, and subsequently used by the National Museum, the Cowen Gallery was renovated and reopened to the public in November 2003. It houses a permanent exhibition of 150 paintings and sculptures from the State Library of Victoria's Pictures Collection, the oldest visual documentary collection in Australia.
Author Michael D Galimany was the first curator of the Cowen Gallery, and worked at the Library for 13 years.
Publishing details: Publisher: State Library Victoria, 2006, 172 pp with index of artists and index of portraits

Parsons Elizabethview full entry

Reference: see The Cowen Gallery Catalogue by Michael D Galimany. Includes some biographical information on each of approximately 90 artists, with one colour illustration for each.

Originally built as the Stawell Gallery in 1892 for the National Gallery of Victoria, and subsequently used by the National Museum, the Cowen Gallery was renovated and reopened to the public in November 2003. It houses a permanent exhibition of 150 paintings and sculptures from the State Library of Victoria's Pictures Collection, the oldest visual documentary collection in Australia.
Author Michael D Galimany was the first curator of the Cowen Gallery, and worked at the Library for 13 years.
Publishing details: Publisher: State Library Victoria, 2006, 172 pp with index of artists and index of portraits

Pilkington Henriettaview full entry

Reference: see The Cowen Gallery Catalogue by Michael D Galimany. Includes some biographical information on each of approximately 90 artists, with one colour illustration for each.

Originally built as the Stawell Gallery in 1892 for the National Gallery of Victoria, and subsequently used by the National Museum, the Cowen Gallery was renovated and reopened to the public in November 2003. It houses a permanent exhibition of 150 paintings and sculptures from the State Library of Victoria's Pictures Collection, the oldest visual documentary collection in Australia.
Author Michael D Galimany was the first curator of the Cowen Gallery, and worked at the Library for 13 years.
Publishing details: Publisher: State Library Victoria, 2006, 172 pp with index of artists and index of portraits

Philippson Mathildeview full entry

Reference: see The Cowen Gallery Catalogue by Michael D Galimany. Includes some biographical information on each of approximately 90 artists, with one colour illustration for each.

Originally built as the Stawell Gallery in 1892 for the National Gallery of Victoria, and subsequently used by the National Museum, the Cowen Gallery was renovated and reopened to the public in November 2003. It houses a permanent exhibition of 150 paintings and sculptures from the State Library of Victoria's Pictures Collection, the oldest visual documentary collection in Australia.
Author Michael D Galimany was the first curator of the Cowen Gallery, and worked at the Library for 13 years.
Publishing details: Publisher: State Library Victoria, 2006, 172 pp with index of artists and index of portraits

Plante Ada view full entry

Reference: see The Cowen Gallery Catalogue by Michael D Galimany. Includes some biographical information on each of approximately 90 artists, with one colour illustration for each.

Originally built as the Stawell Gallery in 1892 for the National Gallery of Victoria, and subsequently used by the National Museum, the Cowen Gallery was renovated and reopened to the public in November 2003. It houses a permanent exhibition of 150 paintings and sculptures from the State Library of Victoria's Pictures Collection, the oldest visual documentary collection in Australia.
Author Michael D Galimany was the first curator of the Cowen Gallery, and worked at the Library for 13 years.
Publishing details: Publisher: State Library Victoria, 2006, 172 pp with index of artists and index of portraits

Pownall George Hydeview full entry

Reference: see The Cowen Gallery Catalogue by Michael D Galimany. Includes some biographical information on each of approximately 90 artists, with one colour illustration for each.

Originally built as the Stawell Gallery in 1892 for the National Gallery of Victoria, and subsequently used by the National Museum, the Cowen Gallery was renovated and reopened to the public in November 2003. It houses a permanent exhibition of 150 paintings and sculptures from the State Library of Victoria's Pictures Collection, the oldest visual documentary collection in Australia.
Author Michael D Galimany was the first curator of the Cowen Gallery, and worked at the Library for 13 years.
Publishing details: Publisher: State Library Victoria, 2006, 172 pp with index of artists and index of portraits

Rielly Henryview full entry

Reference: see The Cowen Gallery Catalogue by Michael D Galimany. Includes some biographical information on each of approximately 90 artists, with one colour illustration for each.

Originally built as the Stawell Gallery in 1892 for the National Gallery of Victoria, and subsequently used by the National Museum, the Cowen Gallery was renovated and reopened to the public in November 2003. It houses a permanent exhibition of 150 paintings and sculptures from the State Library of Victoria's Pictures Collection, the oldest visual documentary collection in Australia.
Author Michael D Galimany was the first curator of the Cowen Gallery, and worked at the Library for 13 years.
Publishing details: Publisher: State Library Victoria, 2006, 172 pp with index of artists and index of portraits

Robertson Thomasview full entry

Reference: see The Cowen Gallery Catalogue by Michael D Galimany. Includes some biographical information on each of approximately 90 artists, with one colour illustration for each.

Originally built as the Stawell Gallery in 1892 for the National Gallery of Victoria, and subsequently used by the National Museum, the Cowen Gallery was renovated and reopened to the public in November 2003. It houses a permanent exhibition of 150 paintings and sculptures from the State Library of Victoria's Pictures Collection, the oldest visual documentary collection in Australia.
Author Michael D Galimany was the first curator of the Cowen Gallery, and worked at the Library for 13 years.
Publishing details: Publisher: State Library Victoria, 2006, 172 pp with index of artists and index of portraits

Rudd Charlesview full entry

Reference: see The Cowen Gallery Catalogue by Michael D Galimany. Includes some biographical information on each of approximately 90 artists, with one colour illustration for each.

Originally built as the Stawell Gallery in 1892 for the National Gallery of Victoria, and subsequently used by the National Museum, the Cowen Gallery was renovated and reopened to the public in November 2003. It houses a permanent exhibition of 150 paintings and sculptures from the State Library of Victoria's Pictures Collection, the oldest visual documentary collection in Australia.
Author Michael D Galimany was the first curator of the Cowen Gallery, and worked at the Library for 13 years.
Publishing details: Publisher: State Library Victoria, 2006, 172 pp with index of artists and index of portraits

Scott Eugene Montaguview full entry

Reference: see The Cowen Gallery Catalogue by Michael D Galimany. Includes some biographical information on each of approximately 90 artists, with one colour illustration for each.

Originally built as the Stawell Gallery in 1892 for the National Gallery of Victoria, and subsequently used by the National Museum, the Cowen Gallery was renovated and reopened to the public in November 2003. It houses a permanent exhibition of 150 paintings and sculptures from the State Library of Victoria's Pictures Collection, the oldest visual documentary collection in Australia.
Author Michael D Galimany was the first curator of the Cowen Gallery, and worked at the Library for 13 years.
Publishing details: Publisher: State Library Victoria, 2006, 172 pp with index of artists and index of portraits

Senbergs Janview full entry

Reference: see The Cowen Gallery Catalogue by Michael D Galimany. Includes some biographical information on each of approximately 90 artists, with one colour illustration for each.

Originally built as the Stawell Gallery in 1892 for the National Gallery of Victoria, and subsequently used by the National Museum, the Cowen Gallery was renovated and reopened to the public in November 2003. It houses a permanent exhibition of 150 paintings and sculptures from the State Library of Victoria's Pictures Collection, the oldest visual documentary collection in Australia.
Author Michael D Galimany was the first curator of the Cowen Gallery, and worked at the Library for 13 years.
Publishing details: Publisher: State Library Victoria, 2006, 172 pp with index of artists and index of portraits

Short Henryview full entry

Reference: see The Cowen Gallery Catalogue by Michael D Galimany. Includes some biographical information on each of approximately 90 artists, with one colour illustration for each.

Originally built as the Stawell Gallery in 1892 for the National Gallery of Victoria, and subsequently used by the National Museum, the Cowen Gallery was renovated and reopened to the public in November 2003. It houses a permanent exhibition of 150 paintings and sculptures from the State Library of Victoria's Pictures Collection, the oldest visual documentary collection in Australia.
Author Michael D Galimany was the first curator of the Cowen Gallery, and worked at the Library for 13 years.
Publishing details: Publisher: State Library Victoria, 2006, 172 pp with index of artists and index of portraits

Sibley Andrewview full entry

Reference: see The Cowen Gallery Catalogue by Michael D Galimany. Includes some biographical information on each of approximately 90 artists, with one colour illustration for each.

Originally built as the Stawell Gallery in 1892 for the National Gallery of Victoria, and subsequently used by the National Museum, the Cowen Gallery was renovated and reopened to the public in November 2003. It houses a permanent exhibition of 150 paintings and sculptures from the State Library of Victoria's Pictures Collection, the oldest visual documentary collection in Australia.
Author Michael D Galimany was the first curator of the Cowen Gallery, and worked at the Library for 13 years.
Publishing details: Publisher: State Library Victoria, 2006, 172 pp with index of artists and index of portraits

Sinclair Lesleyview full entry

Reference: see The Cowen Gallery Catalogue by Michael D Galimany. Includes some biographical information on each of approximately 90 artists, with one colour illustration for each.

Originally built as the Stawell Gallery in 1892 for the National Gallery of Victoria, and subsequently used by the National Museum, the Cowen Gallery was renovated and reopened to the public in November 2003. It houses a permanent exhibition of 150 paintings and sculptures from the State Library of Victoria's Pictures Collection, the oldest visual documentary collection in Australia.
Author Michael D Galimany was the first curator of the Cowen Gallery, and worked at the Library for 13 years.
Publishing details: Publisher: State Library Victoria, 2006, 172 pp with index of artists and index of portraits

Stevenson Maryview full entry

Reference: see The Cowen Gallery Catalogue by Michael D Galimany. Includes some biographical information on each of approximately 90 artists, with one colour illustration for each.

Originally built as the Stawell Gallery in 1892 for the National Gallery of Victoria, and subsequently used by the National Museum, the Cowen Gallery was renovated and reopened to the public in November 2003. It houses a permanent exhibition of 150 paintings and sculptures from the State Library of Victoria's Pictures Collection, the oldest visual documentary collection in Australia.
Author Michael D Galimany was the first curator of the Cowen Gallery, and worked at the Library for 13 years.
Publishing details: Publisher: State Library Victoria, 2006, 172 pp with index of artists and index of portraits

Stocqueler Edwin Roper Loftusview full entry

Reference: see The Cowen Gallery Catalogue by Michael D Galimany. Includes some biographical information on each of approximately 90 artists, with one colour illustration for each.

Originally built as the Stawell Gallery in 1892 for the National Gallery of Victoria, and subsequently used by the National Museum, the Cowen Gallery was renovated and reopened to the public in November 2003. It houses a permanent exhibition of 150 paintings and sculptures from the State Library of Victoria's Pictures Collection, the oldest visual documentary collection in Australia.
Author Michael D Galimany was the first curator of the Cowen Gallery, and worked at the Library for 13 years.
Publishing details: Publisher: State Library Victoria, 2006, 172 pp with index of artists and index of portraits

Strutt Williamview full entry

Reference: see The Cowen Gallery Catalogue by Michael D Galimany. Includes some biographical information on each of approximately 90 artists, with one colour illustration for each.

Originally built as the Stawell Gallery in 1892 for the National Gallery of Victoria, and subsequently used by the National Museum, the Cowen Gallery was renovated and reopened to the public in November 2003. It houses a permanent exhibition of 150 paintings and sculptures from the State Library of Victoria's Pictures Collection, the oldest visual documentary collection in Australia.
Author Michael D Galimany was the first curator of the Cowen Gallery, and worked at the Library for 13 years.
Publishing details: Publisher: State Library Victoria, 2006, 172 pp with index of artists and index of portraits

Summers Charlesview full entry

Reference: see The Cowen Gallery Catalogue by Michael D Galimany. Includes some biographical information on each of approximately 90 artists, with one colour illustration for each.

Originally built as the Stawell Gallery in 1892 for the National Gallery of Victoria, and subsequently used by the National Museum, the Cowen Gallery was renovated and reopened to the public in November 2003. It houses a permanent exhibition of 150 paintings and sculptures from the State Library of Victoria's Pictures Collection, the oldest visual documentary collection in Australia.
Author Michael D Galimany was the first curator of the Cowen Gallery, and worked at the Library for 13 years.
Publishing details: Publisher: State Library Victoria, 2006, 172 pp with index of artists and index of portraits

Tensfeld Jview full entry

Reference: see The Cowen Gallery Catalogue by Michael D Galimany. Includes some biographical information on each of approximately 90 artists, with one colour illustration for each.

Originally built as the Stawell Gallery in 1892 for the National Gallery of Victoria, and subsequently used by the National Museum, the Cowen Gallery was renovated and reopened to the public in November 2003. It houses a permanent exhibition of 150 paintings and sculptures from the State Library of Victoria's Pictures Collection, the oldest visual documentary collection in Australia.
Author Michael D Galimany was the first curator of the Cowen Gallery, and worked at the Library for 13 years.
Publishing details: Publisher: State Library Victoria, 2006, 172 pp with index of artists and index of portraits

Thomas Margaretview full entry

Reference: see The Cowen Gallery Catalogue by Michael D Galimany. Includes some biographical information on each of approximately 90 artists, with one colour illustration for each.

Originally built as the Stawell Gallery in 1892 for the National Gallery of Victoria, and subsequently used by the National Museum, the Cowen Gallery was renovated and reopened to the public in November 2003. It houses a permanent exhibition of 150 paintings and sculptures from the State Library of Victoria's Pictures Collection, the oldest visual documentary collection in Australia.
Author Michael D Galimany was the first curator of the Cowen Gallery, and worked at the Library for 13 years.
Publishing details: Publisher: State Library Victoria, 2006, 172 pp with index of artists and index of portraits

Thomson Olive Rolloview full entry

Reference: see The Cowen Gallery Catalogue by Michael D Galimany. Includes some biographical information on each of approximately 90 artists, with one colour illustration for each.

Originally built as the Stawell Gallery in 1892 for the National Gallery of Victoria, and subsequently used by the National Museum, the Cowen Gallery was renovated and reopened to the public in November 2003. It houses a permanent exhibition of 150 paintings and sculptures from the State Library of Victoria's Pictures Collection, the oldest visual documentary collection in Australia.
Author Michael D Galimany was the first curator of the Cowen Gallery, and worked at the Library for 13 years.
Publishing details: Publisher: State Library Victoria, 2006, 172 pp with index of artists and index of portraits

Thunder Annie C Hview full entry

Reference: see The Cowen Gallery Catalogue by Michael D Galimany. Includes some biographical information on each of approximately 90 artists, with one colour illustration for each.

Originally built as the Stawell Gallery in 1892 for the National Gallery of Victoria, and subsequently used by the National Museum, the Cowen Gallery was renovated and reopened to the public in November 2003. It houses a permanent exhibition of 150 paintings and sculptures from the State Library of Victoria's Pictures Collection, the oldest visual documentary collection in Australia.
Author Michael D Galimany was the first curator of the Cowen Gallery, and worked at the Library for 13 years.
Publishing details: Publisher: State Library Victoria, 2006, 172 pp with index of artists and index of portraits

Traill Jessie Constance Aliciaview full entry

Reference: see The Cowen Gallery Catalogue by Michael D Galimany. Includes some biographical information on each of approximately 90 artists, with one colour illustration for each.

Originally built as the Stawell Gallery in 1892 for the National Gallery of Victoria, and subsequently used by the National Museum, the Cowen Gallery was renovated and reopened to the public in November 2003. It houses a permanent exhibition of 150 paintings and sculptures from the State Library of Victoria's Pictures Collection, the oldest visual documentary collection in Australia.
Author Michael D Galimany was the first curator of the Cowen Gallery, and worked at the Library for 13 years.
Publishing details: Publisher: State Library Victoria, 2006, 172 pp with index of artists and index of portraits

Tucker Albert Leeview full entry

Reference: see The Cowen Gallery Catalogue by Michael D Galimany. Includes some biographical information on each of approximately 90 artists, with one colour illustration for each.

Originally built as the Stawell Gallery in 1892 for the National Gallery of Victoria, and subsequently used by the National Museum, the Cowen Gallery was renovated and reopened to the public in November 2003. It houses a permanent exhibition of 150 paintings and sculptures from the State Library of Victoria's Pictures Collection, the oldest visual documentary collection in Australia.
Author Michael D Galimany was the first curator of the Cowen Gallery, and worked at the Library for 13 years.
Publishing details: Publisher: State Library Victoria, 2006, 172 pp with index of artists and index of portraits

Vassilieff Danilaview full entry

Reference: see The Cowen Gallery Catalogue by Michael D Galimany. Includes some biographical information on each of approximately 90 artists, with one colour illustration for each.

Originally built as the Stawell Gallery in 1892 for the National Gallery of Victoria, and subsequently used by the National Museum, the Cowen Gallery was renovated and reopened to the public in November 2003. It houses a permanent exhibition of 150 paintings and sculptures from the State Library of Victoria's Pictures Collection, the oldest visual documentary collection in Australia.
Author Michael D Galimany was the first curator of the Cowen Gallery, and worked at the Library for 13 years.
Publishing details: Publisher: State Library Victoria, 2006, 172 pp with index of artists and index of portraits

Webb Wattview full entry

Reference: see The Cowen Gallery Catalogue by Michael D Galimany. Includes some biographical information on each of approximately 90 artists, with one colour illustration for each.

Originally built as the Stawell Gallery in 1892 for the National Gallery of Victoria, and subsequently used by the National Museum, the Cowen Gallery was renovated and reopened to the public in November 2003. It houses a permanent exhibition of 150 paintings and sculptures from the State Library of Victoria's Pictures Collection, the oldest visual documentary collection in Australia.
Author Michael D Galimany was the first curator of the Cowen Gallery, and worked at the Library for 13 years.
Publishing details: Publisher: State Library Victoria, 2006, 172 pp with index of artists and index of portraits

Weigall Henry Jrview full entry

Reference: see The Cowen Gallery Catalogue by Michael D Galimany. Includes some biographical information on each of approximately 90 artists, with one colour illustration for each.

Originally built as the Stawell Gallery in 1892 for the National Gallery of Victoria, and subsequently used by the National Museum, the Cowen Gallery was renovated and reopened to the public in November 2003. It houses a permanent exhibition of 150 paintings and sculptures from the State Library of Victoria's Pictures Collection, the oldest visual documentary collection in Australia.
Author Michael D Galimany was the first curator of the Cowen Gallery, and worked at the Library for 13 years.
Publishing details: Publisher: State Library Victoria, 2006, 172 pp with index of artists and index of portraits

Williams Caroline Marshview full entry

Reference: see The Cowen Gallery Catalogue by Michael D Galimany. Includes some biographical information on each of approximately 90 artists, with one colour illustration for each.

Originally built as the Stawell Gallery in 1892 for the National Gallery of Victoria, and subsequently used by the National Museum, the Cowen Gallery was renovated and reopened to the public in November 2003. It houses a permanent exhibition of 150 paintings and sculptures from the State Library of Victoria's Pictures Collection, the oldest visual documentary collection in Australia.
Author Michael D Galimany was the first curator of the Cowen Gallery, and worked at the Library for 13 years.
Publishing details: Publisher: State Library Victoria, 2006, 172 pp with index of artists and index of portraits

Wilson Dora Lynellview full entry

Reference: see The Cowen Gallery Catalogue by Michael D Galimany. Includes some biographical information on each of approximately 90 artists, with one colour illustration for each.

Originally built as the Stawell Gallery in 1892 for the National Gallery of Victoria, and subsequently used by the National Museum, the Cowen Gallery was renovated and reopened to the public in November 2003. It houses a permanent exhibition of 150 paintings and sculptures from the State Library of Victoria's Pictures Collection, the oldest visual documentary collection in Australia.
Author Michael D Galimany was the first curator of the Cowen Gallery, and worked at the Library for 13 years.
Publishing details: Publisher: State Library Victoria, 2006, 172 pp with index of artists and index of portraits

Wilson Lawrence Williamview full entry

Reference: see The Cowen Gallery Catalogue by Michael D Galimany. Includes some biographical information on each of approximately 90 artists, with one colour illustration for each.

Originally built as the Stawell Gallery in 1892 for the National Gallery of Victoria, and subsequently used by the National Museum, the Cowen Gallery was renovated and reopened to the public in November 2003. It houses a permanent exhibition of 150 paintings and sculptures from the State Library of Victoria's Pictures Collection, the oldest visual documentary collection in Australia.
Author Michael D Galimany was the first curator of the Cowen Gallery, and worked at the Library for 13 years.
Publishing details: Publisher: State Library Victoria, 2006, 172 pp with index of artists and index of portraits

Wood Marshallview full entry

Reference: see The Cowen Gallery Catalogue by Michael D Galimany. Includes some biographical information on each of approximately 90 artists, with one colour illustration for each.

Originally built as the Stawell Gallery in 1892 for the National Gallery of Victoria, and subsequently used by the National Museum, the Cowen Gallery was renovated and reopened to the public in November 2003. It houses a permanent exhibition of 150 paintings and sculptures from the State Library of Victoria's Pictures Collection, the oldest visual documentary collection in Australia.
Author Michael D Galimany was the first curator of the Cowen Gallery, and worked at the Library for 13 years.
Publishing details: Publisher: State Library Victoria, 2006, 172 pp with index of artists and index of portraits

Woodhouse Frederick Williamview full entry

Reference: see The Cowen Gallery Catalogue by Michael D Galimany. Includes some biographical information on each of approximately 90 artists, with one colour illustration for each.

Originally built as the Stawell Gallery in 1892 for the National Gallery of Victoria, and subsequently used by the National Museum, the Cowen Gallery was renovated and reopened to the public in November 2003. It houses a permanent exhibition of 150 paintings and sculptures from the State Library of Victoria's Pictures Collection, the oldest visual documentary collection in Australia.
Author Michael D Galimany was the first curator of the Cowen Gallery, and worked at the Library for 13 years.
Publishing details: Publisher: State Library Victoria, 2006, 172 pp with index of artists and index of portraits

Woodhouse Frederick William Jrview full entry

Reference: see The Cowen Gallery Catalogue by Michael D Galimany. Includes some biographical information on each of approximately 90 artists, with one colour illustration for each.

Originally built as the Stawell Gallery in 1892 for the National Gallery of Victoria, and subsequently used by the National Museum, the Cowen Gallery was renovated and reopened to the public in November 2003. It houses a permanent exhibition of 150 paintings and sculptures from the State Library of Victoria's Pictures Collection, the oldest visual documentary collection in Australia.
Author Michael D Galimany was the first curator of the Cowen Gallery, and worked at the Library for 13 years.
Publishing details: Publisher: State Library Victoria, 2006, 172 pp with index of artists and index of portraits

Woolner Thomasview full entry

Reference: see The Cowen Gallery Catalogue by Michael D Galimany. Includes some biographical information on each of approximately 90 artists, with one colour illustration for each.

Originally built as the Stawell Gallery in 1892 for the National Gallery of Victoria, and subsequently used by the National Museum, the Cowen Gallery was renovated and reopened to the public in November 2003. It houses a permanent exhibition of 150 paintings and sculptures from the State Library of Victoria's Pictures Collection, the oldest visual documentary collection in Australia.
Author Michael D Galimany was the first curator of the Cowen Gallery, and worked at the Library for 13 years.
Publishing details: Publisher: State Library Victoria, 2006, 172 pp with index of artists and index of portraits

Montford Paulview full entry

Reference: copies of 3 newspaper articles on Paul Montford - Geelong Advertiser 26 May, 1923, p5; The Argus, 29 July, 1935, p9; Argus 9 July, 1931, p3.
Publishing details: (photocopy)
Ref: 17

Paauwe Deborahview full entry

Reference: deborah Paauwe - Greenaway Art Gallery catalogue with essay by Anne Marsh and biographical details
Publishing details: Greenaway Art Gallery, 2002, 16pp, illustrated
Ref: 222

Wilson Edwin b1942view full entry

Reference: Stardust Painter-Poet, Edwin Wilson: Paintings and Poems with introduction by Robin Norling. Includes ‘curriculum vitae’, notes on each work illustrated.
Publishing details: Woodbine Press, 2015, hardcover, no dw as issued, 226pp.

Wilson Edwin b1942view full entry

Reference: Edwin Wilson - Mullumbimby Dreaming, paintings and poems
Publishing details: Tweed Regional Gallery, 2014
Ref: 1000

Walker Thorntonview full entry

Reference: Thornton Walker by Sasha Grishin, Patrick Hutchings and Guy Abrahams. [’This is a beautifully produced art book by a highly acclaimed Australian artist. Thornton Walker is a mid career Melbourne based artist whose work is represented in collections in the British Museum and Aichi Prefectural Museum of Art, Nagoya, Japan and throughout Australia including the National Gallery of Australia, Art Gallery of New South Wales, Art Gallery of Western Australia, QUT Art Museum, Brisbane, Artbank, University of New South Wales, Philip Morris Arts Grant Collection: Parliament House, Canberra, Macquarie Bank, and AXA Australia. This book, curated by the artist in collaboration with Melbourne Books chronologically displays a representation of works from 1970 to 2015. The book includes essays by the prominent art academics and gallerist, Professor Sasha Grishin AM, FAHA,; Dr Patrick Hutchings and Guy Abrahams. 'Thornton Walker is an artist who is a teller of stories without a narrative. He is a staunchly figurative artist, but one who paints highly abstracted images. He is also a philosopher who meditates on the nature of the whole world, but does this by examining in exceptional detail a small fragment in a painting, contemplating a haiku or rediscovering part of an old photograph which has been stripped of its original context.... The best paintings by Thornton Walker are very much about "the spiritual rhythm ... which pervades heaven and earth.' From the essay by Professor Sasha Grishin AM, FAHA included in the book. Professor Grishin is the author of the recent title: Australian Art, A History’]
Publishing details: Melbourne Books, 2015. Quarto, cloth in dustjacket, pp. 160, illustrated.

Coppin Grove Collectionview full entry

Reference: The Coppin Grove collection of Sandra and David Bardas / David Bardas [and Jenny Zimmer ; with an introduction by Gerard Vaughn]. [’This comprehensively illustrated volume tells the story of two people - Sandra Bardas (nee Smorgon) and David Bardas - who inherited from their parents a deep appreciation of the visual arts and were convinced of the importance of having art around them in the family home. They did not set out to form a collection but now, half a century later, that is undoubtedly what it is. The artworks they bought, usually by mutual consent and with great enthusiasm, were acquired from local galleries or discovered while on business trips abroad. Today they form a fascinating assemblage featuring many important works by European modernists from the Post Impressionists to the School of Paris. Represented are artists such as Cezanne, Picasso, Braque, Signac, Derain, Bonnard, Leger and Vlaminck. Australian artists in the collection include John Brack, John Olsen, Brett Whiteley, Arthur Boyd and Sidney Nolan - and others of the next generation with whom Sandra Bardas studied at art school in the late 1950s. Somewhat unusually, the collection also reflects a strong interest in sculpture, with works by Europeans Pino Conte, Jacques Lipchitz and Auguste Rodin as well as the Australians Brett Whiteley, George Baldessin, Tony Pryor, Gus Dall'Ava and Bruce Armstrong. Apart from showcasing the collection, this book offers intriguing insights into a family's dedication to lives lived in the presence of objects evidencing human creativity and the joy they bring.’]
Publishing details: Macmillan, 2011.
176 p. : ill. (some col.), ports. ; 32 x 26 cm

Brandl E Jview full entry

Reference: Australian Aboriginal Paintings in Western and Central Arnhem Land: Temporal Sequences and Elements of Style in caddell Riber and Deaf Adder Creek Art - by E.J. Brandl.
Publishing details: Published in Canberra by the Australian Institute of Aboriginal Studies in 1973. A small folio sized volume, bound in original cloth in dustwrapper. Includes a full-colour frontispiece, and profusely illustrated in monochrome throughout.
Ref: 1000

Morris Frankview full entry

Reference: Birds of Prey of Australia - by Frank Morris.
Publishing details: Melbourne, by Lansdowne Editions in 1973. A limited edition of 500, hand numbered 488, and signed by the artist. A large folio volume, full leather, with raised bands and bilt stamp, border and lettering on the spine. Illustrated throughout with both colour and monochrome, full page plates
Ref: 1000

Donald Willview full entry

Reference: Kids Cannon - Written and Illustrated by Will Donald for The War Chest (Cover Title) War Babies ABC (Title Page)
Publishing details: Printed in Sydney by W C Penfold for a soap company, Cudahy, no date but published during WW!. Measures 25 x 30 cms. A very good copy of an ABC of war cartoons.
Ref: 1000

Tissandier Albertview full entry

Reference: see The Pursuit of Wonder - How Australia’s Landscape was Explored. Nature Discovered and Tourism Unleashed by Julia Horne. Extensively illustrated with works by Australian artists and provides some information about some of these artists.
Publishing details: The Miengunyah Press, 2005, hc, dw, 352pp with index.

Winter C view full entry

Reference: see The Pursuit of Wonder - How Australia’s Landscape was Explored. Nature Discovered and Tourism Unleashed by Julia Horne. Extensively illustrated with works by Australian artists and provides some information about some of these artists.
Publishing details: The Miengunyah Press, 2005, hc, dw, 352pp with index.

Gosse W C p10view full entry

Reference: see The Pursuit of Wonder - How Australia’s Landscape was Explored. Nature Discovered and Tourism Unleashed by Julia Horne. Extensively illustrated with works by Australian artists and provides some information about some of these artists.
Publishing details: The Miengunyah Press, 2005, hc, dw, 352pp with index.

Angus George∂ French p45-51view full entry

Reference: see The Pursuit of Wonder - How Australia’s Landscape was Explored. Nature Discovered and Tourism Unleashed by Julia Horne. Extensively illustrated with works by Australian artists and provides some information about some of these artists.
Publishing details: The Miengunyah Press, 2005, hc, dw, 352pp with index.

Porcher Edwin Augustus p17view full entry

Reference: see The Pursuit of Wonder - How Australia’s Landscape was Explored. Nature Discovered and Tourism Unleashed by Julia Horne. Extensively illustrated with works by Australian artists and provides some information about some of these artists.
Publishing details: The Miengunyah Press, 2005, hc, dw, 352pp with index.

Havell Robert p19view full entry

Reference: see The Pursuit of Wonder - How Australia’s Landscape was Explored. Nature Discovered and Tourism Unleashed by Julia Horne. Extensively illustrated with works by Australian artists and provides some information about some of these artists.
Publishing details: The Miengunyah Press, 2005, hc, dw, 352pp with index.

Brierly Oswald p33view full entry

Reference: see The Pursuit of Wonder - How Australia’s Landscape was Explored. Nature Discovered and Tourism Unleashed by Julia Horne. Extensively illustrated with works by Australian artists and provides some information about some of these artists.
Publishing details: The Miengunyah Press, 2005, hc, dw, 352pp with index.

Blandowski W p36view full entry

Reference: see The Pursuit of Wonder - How Australia’s Landscape was Explored. Nature Discovered and Tourism Unleashed by Julia Horne. Extensively illustrated with works by Australian artists and provides some information about some of these artists.
Publishing details: The Miengunyah Press, 2005, hc, dw, 352pp with index.

Blandowski W p36view full entry

Reference: see The Pursuit of Wonder - How Australia’s Landscape was Explored. Nature Discovered and Tourism Unleashed by Julia Horne. Extensively illustrated with works by Australian artists and provides some information about some of these artists.
Publishing details: The Miengunyah Press, 2005, hc, dw, 352pp with index.

Glover Johnview full entry

Reference: see The Pursuit of Wonder - How Australia’s Landscape was Explored. Nature Discovered and Tourism Unleashed by Julia Horne. Extensively illustrated with works by Australian artists and provides some information about some of these artists.
Publishing details: The Miengunyah Press, 2005, hc, dw, 352pp with index.

Piguenit W Cview full entry

Reference: see The Pursuit of Wonder - How Australia’s Landscape was Explored. Nature Discovered and Tourism Unleashed by Julia Horne. Extensively illustrated with works by Australian artists and provides some information about some of these artists.
Publishing details: The Miengunyah Press, 2005, hc, dw, 352pp with index.

Earle Augustusview full entry

Reference: see The Pursuit of Wonder - How Australia’s Landscape was Explored. Nature Discovered and Tourism Unleashed by Julia Horne. Extensively illustrated with works by Australian artists and provides some information about some of these artists.
Publishing details: The Miengunyah Press, 2005, hc, dw, 352pp with index.

Gould Johnview full entry

Reference: see The Pursuit of Wonder - How Australia’s Landscape was Explored. Nature Discovered and Tourism Unleashed by Julia Horne. Extensively illustrated with works by Australian artists and provides some information about some of these artists.
Publishing details: The Miengunyah Press, 2005, hc, dw, 352pp with index.

von Guerard Eugeneview full entry

Reference: see The Pursuit of Wonder - How Australia’s Landscape was Explored. Nature Discovered and Tourism Unleashed by Julia Horne. Extensively illustrated with works by Australian artists and provides some information about some of these artists.
Publishing details: The Miengunyah Press, 2005, hc, dw, 352pp with index.

Bonar John Andrew p91view full entry

Reference: see The Pursuit of Wonder - How Australia’s Landscape was Explored. Nature Discovered and Tourism Unleashed by Julia Horne. Extensively illustrated with works by Australian artists and provides some information about some of these artists.
Publishing details: The Miengunyah Press, 2005, hc, dw, 352pp with index.

Medland Joseph Gouldview full entry

Reference: see The Pursuit of Wonder - How Australia’s Landscape was Explored. Nature Discovered and Tourism Unleashed by Julia Horne. Extensively illustrated with works by Australian artists and provides some information about some of these artists.
Publishing details: The Miengunyah Press, 2005, hc, dw, 352pp with index.

Medland Joseph Gouldview full entry

Reference: see The Pursuit of Wonder - How Australia’s Landscape was Explored. Nature Discovered and Tourism Unleashed by Julia Horne. Extensively illustrated with works by Australian artists and provides some information about some of these artists.
Publishing details: The Miengunyah Press, 2005, hc, dw, 352pp with index.

Macpherson Emmaview full entry

Reference: see The Pursuit of Wonder - How Australia’s Landscape was Explored. Nature Discovered and Tourism Unleashed by Julia Horne. Extensively illustrated with works by Australian artists and provides some information about some of these artists.
Publishing details: The Miengunyah Press, 2005, hc, dw, 352pp with index.

Sleap F A pp114 149view full entry

Reference: see The Pursuit of Wonder - How Australia’s Landscape was Explored. Nature Discovered and Tourism Unleashed by Julia Horne. Extensively illustrated with works by Australian artists and provides some information about some of these artists.
Publishing details: The Miengunyah Press, 2005, hc, dw, 352pp with index.

Robertson H N p171view full entry

Reference: see The Pursuit of Wonder - How Australia’s Landscape was Explored. Nature Discovered and Tourism Unleashed by Julia Horne. Extensively illustrated with works by Australian artists and provides some information about some of these artists.
Publishing details: The Miengunyah Press, 2005, hc, dw, 352pp with index.

Lewin John William pp207-7view full entry

Reference: see The Pursuit of Wonder - How Australia’s Landscape was Explored. Nature Discovered and Tourism Unleashed by Julia Horne. Extensively illustrated with works by Australian artists and provides some information about some of these artists.
Publishing details: The Miengunyah Press, 2005, hc, dw, 352pp with index.

Grosse Frederick p218view full entry

Reference: see The Pursuit of Wonder - How Australia’s Landscape was Explored. Nature Discovered and Tourism Unleashed by Julia Horne. Extensively illustrated with works by Australian artists and provides some information about some of these artists.
Publishing details: The Miengunyah Press, 2005, hc, dw, 352pp with index.

Calvert Samuel p221view full entry

Reference: see The Pursuit of Wonder - How Australia’s Landscape was Explored. Nature Discovered and Tourism Unleashed by Julia Horne. Extensively illustrated with works by Australian artists and provides some information about some of these artists.
Publishing details: The Miengunyah Press, 2005, hc, dw, 352pp with index.

Calvert Samuel p221view full entry

Reference: see The Pursuit of Wonder - How Australia’s Landscape was Explored. Nature Discovered and Tourism Unleashed by Julia Horne. Extensively illustrated with works by Australian artists and provides some information about some of these artists.
Publishing details: The Miengunyah Press, 2005, hc, dw, 352pp with index.

Mitchell Thomasview full entry

Reference: see The Pursuit of Wonder - How Australia’s Landscape was Explored. Nature Discovered and Tourism Unleashed by Julia Horne. Extensively illustrated with works by Australian artists and provides some information about some of these artists.
Publishing details: The Miengunyah Press, 2005, hc, dw, 352pp with index.

Martens Conradview full entry

Reference: see The Pursuit of Wonder - How Australia’s Landscape was Explored. Nature Discovered and Tourism Unleashed by Julia Horne. Extensively illustrated with works by Australian artists and provides some information about some of these artists.
Publishing details: The Miengunyah Press, 2005, hc, dw, 352pp with index.

King Stephen p240view full entry

Reference: see The Pursuit of Wonder - How Australia’s Landscape was Explored. Nature Discovered and Tourism Unleashed by Julia Horne. Extensively illustrated with works by Australian artists and provides some information about some of these artists.
Publishing details: The Miengunyah Press, 2005, hc, dw, 352pp with index.

Prout John Skinnerview full entry

Reference: see The Pursuit of Wonder - How Australia’s Landscape was Explored. Nature Discovered and Tourism Unleashed by Julia Horne. Extensively illustrated with works by Australian artists and provides some information about some of these artists.
Publishing details: The Miengunyah Press, 2005, hc, dw, 352pp with index.

Bruce Robertview full entry

Reference: see The Pursuit of Wonder - How Australia’s Landscape was Explored. Nature Discovered and Tourism Unleashed by Julia Horne. Extensively illustrated with works by Australian artists and provides some information about some of these artists.
Publishing details: The Miengunyah Press, 2005, hc, dw, 352pp with index.

Campbell Archibald James p269view full entry

Reference: see The Pursuit of Wonder - How Australia’s Landscape was Explored. Nature Discovered and Tourism Unleashed by Julia Horne. Extensively illustrated with works by Australian artists and provides some information about some of these artists.
Publishing details: The Miengunyah Press, 2005, hc, dw, 352pp with index.

Campbell Archibald James p269view full entry

Reference: see The Pursuit of Wonder - How Australia’s Landscape was Explored. Nature Discovered and Tourism Unleashed by Julia Horne. Extensively illustrated with works by Australian artists and provides some information about some of these artists.
Publishing details: The Miengunyah Press, 2005, hc, dw, 352pp with index.

Atkinson Louisaview full entry

Reference: see The Pursuit of Wonder - How Australia’s Landscape was Explored. Nature Discovered and Tourism Unleashed by Julia Horne. Extensively illustrated with works by Australian artists and provides some information about some of these artists.
Publishing details: The Miengunyah Press, 2005, hc, dw, 352pp with index.

Meredith Louisa Anneview full entry

Reference: see The Pursuit of Wonder - How Australia’s Landscape was Explored. Nature Discovered and Tourism Unleashed by Julia Horne. Extensively illustrated with works by Australian artists and provides some information about some of these artists.
Publishing details: The Miengunyah Press, 2005, hc, dw, 352pp with index.

Olsen Johnview full entry

Reference: My Salute to Five Bells by John Olsen. [’John Olsen's striking mural for the Sydney Opera House was his response to the poem, 'Five Bells' by Kenneth Slessor. Here Olsen talks about the inspiration for the mural and its creation. The book includes a previously unseen self-portrait and paintings, ending with a moving self-penned poem. ‘]
Publishing details: National Library of Australia 2015 first edition, hard cover in dust jacket 308 x 240mm., pp., 80, b/w, sepia & colour plates t/out, List of Illustrations, drawings sketches.

White Franklin (1892-1975)view full entry

Reference: from eBay UK Oct 2015: FRANKLIN WHITE BRITISH-AUSTRALIAN MODERNIST
Studio Figure- The Artist's Wife
By FRANKLIN WHITE
1892-1975. The Franklin White Collection was sold at Unique Auctions, Lincoln, on the 28th and 29th Sept. 2012. The collection included some 2,500 paintings and drawings by the artist that he created over decades. Franklin White was a teacher at the Slade School of Art for nearly 40 years and founded the Samuel Palmer School of Art. The collection included artwork from throughout his career. Originally from Australia, he came to England in 1913. More information on this fascinating artist can be found by visting the link below-
http://www.franklinwhite.co.uk/about-franklin-white/. Belvoir Fine Art are pleased to be able to offer a substantial amount of White's works over the coming weeks on ebay that were purchased from the original studio sale by a local collector. Most of these pieces date from the era when White was a Slade School tutor and represent an excellent selection of his ability as both landscape and figurative painter.
White had work exhibited at the London Group, Agnews, The Redfern, The New English of the 1920s, and is held in permanent collections such as H.M. Queen Elizabeth The Queen Mother's collection, TheBritish Museum, The Victoria and Albert, The Ashmolean Museum, Oxford, The Birmingham City Museum and ArtGallery, The Laing Gallery, Newcastle, and The National Gallery of Australia, Melbourne. Also held in private collections of Dr Mary Woodall C.B.E., Mrs Thelma Cazalet-Keir C.B.E., Leonard Duke C.B.E., Noel Coward, amongst many others.

A portrait of the artist's wife reclining on a sofa. An excellent freehand study in oils.
Age- 1960's
Medium- Oil on paper
Size- 13 by 17 inches approx including frame, paper 11 by 15 inches approx
Condition- Good for its age, slight paper browning visible.
Frame- Unglazed shabby-chic style resin frame.
Signature- Unsigned, studio and sale stamps lower right.
Belvoir Fine Art are long established fine art dealers from the East Midlands of England. Our team has over 40 years experience in the art trade, having sold online for a considerable number of years now. We have contacts in London and The North West of England meaning we are able to source fresh to the market artwork at affordable prices.

Shead Garryview full entry

Reference: ‘Poems: Rudi Krausmann. Drawings: Garry Shead’
Publishing details: published by Wild and Woolley, Sydney, 1993
Ref: 1000

Hanna J Cview full entry

Reference: see Meanjin Papers, for reproduction of ‘Military Landscape’
Publishing details: Spring 1950 (?date)

Creativity and Assimilation view full entry

Reference: Aboriginal Art - Creativity and Assimilation. By Donna Leslie

[’Dr Donna Leslie explores Indigenous art in relation to the effects of the policy of assimilation, which was in place in Australia from the 1930s to the 1970s. This book provides a valuable contribution from an Aboriginal perspective and provides an insight into the Aboriginal experience.

This is an exquisite volume with beautiful and crisp reproductions. It is a must-have for anyone interested in Indigenous art and Indigenous experiences in Australia.’]
Publishing details: Macmillan Art Publishing (December 31, 2008), 319 pages hardback colour illustrations,
Ref: 1000

Cox Grahamview full entry

Reference: Graham Cox - the journey begins
Publishing details: Craftsman House; F First Edition edition (1988), hc, 127 pages

Ref: 1000

Truchanas Olegasview full entry

Reference: Pedder Dreaming- Olegas Truchanas and a lost Tasmanian Wilderness

Publishing details: Brisbane UQP 2012
Second impression. Small square 4to. 246pp, lavishly illustrated in colour and b&w. Pictorial papered boards with dustwrapper.
Ref: 1000

Pioneer Craftsview full entry

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

Quayle Jackview full entry

Reference: Jack Quayle was a cartoonist in NSW, Victoria and South Australia, flourished 1920-1970. d 1986.

Exploring the South Landview full entry

Reference: Exploring the South Land - Tasmania emerges from Terra Australia Incognito by Libby & John McMahon [’Exploring the South Land is a celebration of the mapmaker's art - commencing with the 1606 voyage of Captain Willem Janszoon, the first European to chart part of the unknown southern continent.

This book documents, by means of a sequence of historical maps, the emergence of knowledge over 400 years from the time that the navigators began probing south in search of 'Terra Australias Incognita' until the modern outlines of Australia and Tasmania were determined.’]
Publishing details: Hobart : Maritime Museum of Tasmania, 2006. [Lindisfarne, Tas.] : by 40 Degrees South, viii, 68 p. : ill., maps (some col.) ; 23 x 30 cm.
Published

Ref: 1000

mapping and mapmakingview full entry

Reference: see Exploring the South Land - Tasmania emerges from Terra Australia Incognito by Libby & John McMahon [’Exploring the South Land is a celebration of the mapmaker's art - commencing with the 1606 voyage of Captain Willem Janszoon, the first European to chart part of the unknown southern continent.

This book documents, by means of a sequence of historical maps, the emergence of knowledge over 400 years from the time that the navigators began probing south in search of 'Terra Australias Incognita' until the modern outlines of Australia and Tasmania were determined.’]
Publishing details: Hobart : Maritime Museum of Tasmania, 2006. [Lindisfarne, Tas.] : by 40 Degrees South, viii, 68 p. : ill., maps (some col.) ; 23 x 30 cm.
Published

Alexander Georgeview full entry

Reference: George Alexander - Sparagmos [’Born into a multi-lingual Levantine world from Egypt, of Greek and Italian extraction, George Alexander grew up in the working class suburb of Botany in Sydney. He travelled the world and spent the early 1970s in the squats of London, and the early 1980s in the Lower East Side of New York City.
George’s previous novel Mortal Divide, was awarded the 1999 NSW Premier’s Award, and his novel Sparagmos (1989) was shortlisted for the Victorian Premier’s Literary Award for New Writing. George is currently the coordinator of Contemporary Art Programmes at the Art Gallery of New South Wales.
‘]
Publishing details: Adelaide : Experimental Art Foundation, 1989
37 p. : ill. ; 24 cm.
Ref: 1000

Browne Andrewview full entry

Reference: paintings 1992
Publishing details: Deutscher Fine Art 1992
Ref: 1000

Boswell Annabellaview full entry

Reference: Life in the 1830s and 1840s - Annabella Boswell’s Journal, Australian Reminiscences Illustrated with her own watercolours and contemporary drawings and sketches. With a foreword by Ronald Howell and an introduction by Morton Herman.

[’"This account, written by Annabella as a young woman and revised in later years, provides a delightfully accurate and often witty picture of Australia in the 1800's. Her story is scattered with names that will be recognized from the history books. Annabella has illustrated the book with her own watercolours. A vivid insight into life as a young women in colonial Australia. This is a beautifully produced book, with delightful illustrations, many of them in colour.’]
Publishing details: Angus & Robertson, 1987. Hc, dw, xix, 221 p. : ill. (some col.), plans, port. ; 27 cm. [Previously published: London; Sydney : Angus & Robertson, 1981.]

Wolfe Rossview full entry

Reference: Ross Wolfe - The Mystery of Forgetting: an exhibition of recent work by Ross Wolfe, and with works from the Flinders University Art Museum collection selected by the artist / essay by Wendy Walker. Exhibition : 23 June - 3 August 2005, Flinders University City Gallery, State Library of South Australia.
Publishing details: Flinders University, 2005
39 p. : ill. (some col.) ; 23 cm.

Parr Geoffview full entry

Reference: Geoff Parr - Periscope: a view from the original Lake Pedder [exhibition curators Maria Kunda and Michael Edwards ; catalogue essay Maria Kunda]. Exhibition held at the Carnegie Gallery in Hobart from 24 August-24 September 2006.
Includes bibliographical references.
Publishing details: Carnegie Gallery, 2006
32 p. : col. ill. ; 15 x 21 cm.

Arnold Rayview full entry

Reference: Raymond Arnold by Sean Kelly. [’Raymond Arnolds’s legacy to Tasmanian art is already well established. His prodigious and masterful body of work in printmaking places him in the foremost rung of practitioners of the discipline in Australia and beyond.
His adoption of the West Coast of Tasmania as his home is typically inclusive, and he continues to articulate this unique landscape while introduction others to its rugged, compelling beauty and the many vital issues surrounding its past, present and future.’]
Publishing details: Published by Quintus Publishing,hc, dw, 64pp

Antarctic Journey view full entry

Reference: Antarctic Journey - three artists in Antactica [text: Peter Boyer and Hendrik Kolenberg ; editing and design: Sandra Potter]. "This book and the Hobart exhibition of the Antarctic work of Bea Maddock, John Caldwell and Jan Senbergs are the result of a co-operative effort between the Antarctic Division (Department of the Arts, Sport, the Environment, Tourism and Territories) and the Tasmanian Museum and Art Gallery, Hobart ...'
Publishing details: Canberra : Australian Govt. Pub. Service, 1988, v, 50 pages : ill. (some colour), portraits [where filed?]

Maddock Beaview full entry

Reference: see Antarctic Journey - three artists in Antactica [text: Peter Boyer and Hendrik Kolenberg ; editing and design: Sandra Potter]. "This book and the Hobart exhibition of the Antarctic work of Bea Maddock, John Caldwell and Jan Senbergs are the result of a co-operative effort between the Antarctic Division (Department of the Arts, Sport, the Environment, Tourism and Territories) and the Tasmanian Museum and Art Gallery, Hobart ...'
Publishing details: Canberra : Australian Govt. Pub. Service, 1988, v, 50 pages : ill. (some colour), portraits ; 23 cm

Caldwell Johnview full entry

Reference: see Antarctic Journey - three artists in Antactica [text: Peter Boyer and Hendrik Kolenberg ; editing and design: Sandra Potter]. "This book and the Hobart exhibition of the Antarctic work of Bea Maddock, John Caldwell and Jan Senbergs are the result of a co-operative effort between the Antarctic Division (Department of the Arts, Sport, the Environment, Tourism and Territories) and the Tasmanian Museum and Art Gallery, Hobart ...'
Publishing details: Canberra : Australian Govt. Pub. Service, 1988, v, 50 pages : ill. (some colour), portraits ; 23 cm

Senbergs Janview full entry

Reference: see Antarctic Journey - three artists in Antactica [text: Peter Boyer and Hendrik Kolenberg ; editing and design: Sandra Potter]. "This book and the Hobart exhibition of the Antarctic work of Bea Maddock, John Caldwell and Jan Senbergs are the result of a co-operative effort between the Antarctic Division (Department of the Arts, Sport, the Environment, Tourism and Territories) and the Tasmanian Museum and Art Gallery, Hobart ...'
Publishing details: Canberra : Australian Govt. Pub. Service, 1988, v, 50 pages : ill. (some colour), portraits ; 23 cm

Benwell Stephenview full entry

Reference: see clashing fragments. Exhibition held at: Plimsoll Gallery, Centre of the Arts , Hunter St., Hobart, 3 Sept.-3 Oct. 1993, and University Gallery, University of Tasmania, Launceston, March 1994. Organised by the Plimsoll Gallery Committee, University of Tasmania at Hobart. ncludes biographical information on each artist.
Publishing details: Plimsoll Gallery, 1993, pb, 32pp.

Bessant Leonieview full entry

Reference: see clashing fragments. Exhibition held at: Plimsoll Gallery, Centre of the Arts , Hunter St., Hobart, 3 Sept.-3 Oct. 1993, and University Gallery, University of Tasmania, Launceston, March 1994. Organised by the Plimsoll Gallery Committee, University of Tasmania at Hobart. ncludes biographical information on each artist.
Publishing details: Plimsoll Gallery, 1993, pb, 32pp.

Cook Marieview full entry

Reference: see clashing fragments. Exhibition held at: Plimsoll Gallery, Centre of the Arts , Hunter St., Hobart, 3 Sept.-3 Oct. 1993, and University Gallery, University of Tasmania, Launceston, March 1994. Organised by the Plimsoll Gallery Committee, University of Tasmania at Hobart. ncludes biographical information on each artist.
Publishing details: Plimsoll Gallery, 1993, pb, 32pp.

Doolan Michaelview full entry

Reference: see clashing fragments. Exhibition held at: Plimsoll Gallery, Centre of the Arts , Hunter St., Hobart, 3 Sept.-3 Oct. 1993, and University Gallery, University of Tasmania, Launceston, March 1994. Organised by the Plimsoll Gallery Committee, University of Tasmania at Hobart. ncludes biographical information on each artist.
Publishing details: Plimsoll Gallery, 1993, pb, 32pp.

Jones Merynview full entry

Reference: see clashing fragments. Exhibition held at: Plimsoll Gallery, Centre of the Arts , Hunter St., Hobart, 3 Sept.-3 Oct. 1993, and University Gallery, University of Tasmania, Launceston, March 1994. Organised by the Plimsoll Gallery Committee, University of Tasmania at Hobart. ncludes biographical information on each artist.
Publishing details: Plimsoll Gallery, 1993, pb, 32pp.

K Catherineview full entry

Reference: see clashing fragments. Exhibition held at: Plimsoll Gallery, Centre of the Arts , Hunter St., Hobart, 3 Sept.-3 Oct. 1993, and University Gallery, University of Tasmania, Launceston, March 1994. Organised by the Plimsoll Gallery Committee, University of Tasmania at Hobart. ncludes biographical information on each artist.
Publishing details: Plimsoll Gallery, 1993, pb, 32pp.

Killick Stephenview full entry

Reference: see clashing fragments. Exhibition held at: Plimsoll Gallery, Centre of the Arts , Hunter St., Hobart, 3 Sept.-3 Oct. 1993, and University Gallery, University of Tasmania, Launceston, March 1994. Organised by the Plimsoll Gallery Committee, University of Tasmania at Hobart. ncludes biographical information on each artist.
Publishing details: Plimsoll Gallery, 1993, pb, 32pp.

Letcher Joanview full entry

Reference: see clashing fragments. Exhibition held at: Plimsoll Gallery, Centre of the Arts , Hunter St., Hobart, 3 Sept.-3 Oct. 1993, and University Gallery, University of Tasmania, Launceston, March 1994. Organised by the Plimsoll Gallery Committee, University of Tasmania at Hobart. ncludes biographical information on each artist.
Publishing details: Plimsoll Gallery, 1993, pb, 32pp.

Mavrogordato Tassview full entry

Reference: see clashing fragments. Exhibition held at: Plimsoll Gallery, Centre of the Arts , Hunter St., Hobart, 3 Sept.-3 Oct. 1993, and University Gallery, University of Tasmania, Launceston, March 1994. Organised by the Plimsoll Gallery Committee, University of Tasmania at Hobart. ncludes biographical information on each artist.
Publishing details: Plimsoll Gallery, 1993, pb, 32pp.

Mantzaris Dianeview full entry

Reference: see clashing fragments. Exhibition held at: Plimsoll Gallery, Centre of the Arts , Hunter St., Hobart, 3 Sept.-3 Oct. 1993, and University Gallery, University of Tasmania, Launceston, March 1994. Organised by the Plimsoll Gallery Committee, University of Tasmania at Hobart. ncludes biographical information on each artist.
Publishing details: Plimsoll Gallery, 1993, pb, 32pp.

Mantzaris Dianeview full entry

Reference: see clashing fragments. Exhibition held at: Plimsoll Gallery, Centre of the Arts , Hunter St., Hobart, 3 Sept.-3 Oct. 1993, and University Gallery, University of Tasmania, Launceston, March 1994. Organised by the Plimsoll Gallery Committee, University of Tasmania at Hobart. ncludes biographical information on each artist.
Publishing details: Plimsoll Gallery, 1993, pb, 32pp.

Wales and Australiaview full entry

Reference: Wales and Australia - Catalogue of an Exhibition. In Welsh and English. Exhibition of books, pictures, manuscripts,etc, Not illustrated apart from colour cover showing a watercolour by Crozier Allport of David Jones store in Sydney in 1842. There is a reference to Allport in exhibition numbers 52-54 about David Jones commissioning Crozier Allport to paint the store.
Publishing details: National Library of Wales, 1988, pb, 24pp
Ref: 3

Allport Crozierview full entry

Reference: Wales and Australia - Catalogue of an Exhibition. In Welsh and English. Exhibition of books, pictures, manuscripts,etc, Not illustrated apart from colour cover showing a watercolour by Crozier Allport of David see Jones store in Sydney in 1842. There is a reference to Allport in exhibition numbers 52-54 about David Jones commissioning Crozier Allport to paint the store. However, this is probably Henry Curzon Allport becuae the work is in the SLNSW described as ‘This work shows the site of present-day Martin Place looking across to David Jones' first store on the corner of George and Barrack Streets. On the left-hand side is the then General Post Office, the main meeting place in the town. The foreground is taken up with a lively rendition of everyday activities: people gather by the Post Office; two Aborigines look on; a bullock dray and team of brewery horses transport loads towards Sydney Cove; two groups rest against the Barracks wall. In the lane beside the Post Office street vendors sell fish, eggs, fish and vegetables, with baskets, brooms, clay pipes and empty bottles lying around. An oil container with the name "Leon" indicates the premises (out-of-sight) of Lewis Leon, oil merchant. As it is mid-summer, many people are wearing straw and cabbage-tree hats, cloth caps and bonnets. Purchased November 1995’
Publishing details: National Library of Wales, 1988, pb, 24pp [NB this may not be on open shelves but filed in an unidentified box]

Allport Henry Curzon 1788-1854view full entry

Reference: Wales and Australia - Catalogue of an Exhibition. In Welsh and English. Exhibition of books, pictures, manuscripts,etc, Not illustrated apart from colour cover showing a watercolour by Crozier Allport of David see Jones store in Sydney in 1842. There is a reference to Allport in exhibition numbers 52-54 about David Jones commissioning Crozier Allport to paint the store. However, this is probably Henry Curzon Allport becuae the work is in the SLNSW described as ‘This work shows the site of present-day Martin Place looking across to David Jones' first store on the corner of George and Barrack Streets. On the left-hand side is the then General Post Office, the main meeting place in the town. The foreground is taken up with a lively rendition of everyday activities: people gather by the Post Office; two Aborigines look on; a bullock dray and team of brewery horses transport loads towards Sydney Cove; two groups rest against the Barracks wall. In the lane beside the Post Office street vendors sell fish, eggs, fish and vegetables, with baskets, brooms, clay pipes and empty bottles lying around. An oil container with the name "Leon" indicates the premises (out-of-sight) of Lewis Leon, oil merchant. As it is mid-summer, many people are wearing straw and cabbage-tree hats, cloth caps and bonnets. Purchased November 1995’
Publishing details: National Library of Wales, 1988, pb, 24pp

Considering Art in Tasmaniaview full entry

Reference: Considering Art in Tasmania. Comprises a reprint of pp 473-532 of Art and Australia, volume 22, no 4; with articles on the collections in the Tasmanian Museum & Art Gallery, the State Library of Tasmania (special collections) and Queen Victoria Museum & Art Gallery; contemporary landscape art; John Skinner Prout; Jack Carington Smith; George Davis, David Chapman & Anton Holzner; craft in Tasmania; and the Tasmanian art scene.
Publishing details: Sydney The Fine Arts Press, 1985. hc, dw, Small Quarto Size [approx 17.5cm x 24cm]. Illustrated with colour and black & white reproductions. 64 pages approx.

Prout John Skinner article by Tony Brownview full entry

Reference: see Considering Art in Tasmania. Comprises a reprint of pp 473-532 of Art and Australia, volume 22, no 4; with articles on the collections in the Tasmanian Museum & Art Gallery, the State Library of Tasmania (special collections) and Queen Victoria Museum & Art Gallery; contemporary landscape art; John Skinner Prout; Jack Carington Smith; George Davis, David Chapman & Anton Holzner; craft in Tasmania; and the Tasmanian art scene.
Publishing details: Sydney The Fine Arts Press, 1985. hc, dw, Small Quarto Size [approx 17.5cm x 24cm]. Illustrated with colour and black & white reproductions. 64 pages approx.

Smith Jack Carington article by Sue Backhouseview full entry

Reference: see Considering Art in Tasmania. Comprises a reprint of pp 473-532 of Art and Australia, volume 22, no 4; with articles on the collections in the Tasmanian Museum & Art Gallery, the State Library of Tasmania (special collections) and Queen Victoria Museum & Art Gallery; contemporary landscape art; John Skinner Prout; Jack Carington Smith; George Davis, David Chapman & Anton Holzner; craft in Tasmania; and the Tasmanian art scene.
Publishing details: Sydney The Fine Arts Press, 1985. hc, dw, Small Quarto Size [approx 17.5cm x 24cm]. Illustrated with colour and black & white reproductions. 64 pages approx.

Davis Georgeview full entry

Reference: see Considering Art in Tasmania. Comprises a reprint of pp 473-532 of Art and Australia, volume 22, no 4; with articles on the collections in the Tasmanian Museum & Art Gallery, the State Library of Tasmania (special collections) and Queen Victoria Museum & Art Gallery; contemporary landscape art; John Skinner Prout; Jack Carington Smith; George Davis, David Chapman & Anton Holzner; craft in Tasmania; and the Tasmanian art scene.
Publishing details: Sydney The Fine Arts Press, 1985. hc, dw, Small Quarto Size [approx 17.5cm x 24cm]. Illustrated with colour and black & white reproductions. 64 pages approx.

Chapman David view full entry

Reference: see Considering Art in Tasmania. Comprises a reprint of pp 473-532 of Art and Australia, volume 22, no 4; with articles on the collections in the Tasmanian Museum & Art Gallery, the State Library of Tasmania (special collections) and Queen Victoria Museum & Art Gallery; contemporary landscape art; John Skinner Prout; Jack Carington Smith; George Davis, David Chapman & Anton Holzner; craft in Tasmania; and the Tasmanian art scene.
Publishing details: Sydney The Fine Arts Press, 1985. hc, dw, Small Quarto Size [approx 17.5cm x 24cm]. Illustrated with colour and black & white reproductions. 64 pages approx.

Holzner Anton view full entry

Reference: see Considering Art in Tasmania. Comprises a reprint of pp 473-532 of Art and Australia, volume 22, no 4; with articles on the collections in the Tasmanian Museum & Art Gallery, the State Library of Tasmania (special collections) and Queen Victoria Museum & Art Gallery; contemporary landscape art; John Skinner Prout; Jack Carington Smith; George Davis, David Chapman & Anton Holzner; craft in Tasmania; and the Tasmanian art scene.
Publishing details: Sydney The Fine Arts Press, 1985. hc, dw, Small Quarto Size [approx 17.5cm x 24cm]. Illustrated with colour and black & white reproductions. 64 pages approx.

Duterrau Benjamin artist’s choice by Geoff Parrview full entry

Reference: see Considering Art in Tasmania. Comprises a reprint of pp 473-532 of Art and Australia, volume 22, no 4; with articles on the collections in the Tasmanian Museum & Art Gallery, the State Library of Tasmania (special collections) and Queen Victoria Museum & Art Gallery; contemporary landscape art; John Skinner Prout; Jack Carington Smith; George Davis, David Chapman & Anton Holzner; craft in Tasmania; and the Tasmanian art scene.
Publishing details: Sydney The Fine Arts Press, 1985. hc, dw, Small Quarto Size [approx 17.5cm x 24cm]. Illustrated with colour and black & white reproductions. 64 pages approx.

Tasmanian craftview full entry

Reference: see Considering Art in Tasmania. Comprises a reprint of pp 473-532 of Art and Australia, volume 22, no 4; with articles on the collections in the Tasmanian Museum & Art Gallery, the State Library of Tasmania (special collections) and Queen Victoria Museum & Art Gallery; contemporary landscape art; John Skinner Prout; Jack Carington Smith; George Davis, David Chapman & Anton Holzner; craft in Tasmania; and the Tasmanian art scene.
Publishing details: Sydney The Fine Arts Press, 1985. hc, dw, Small Quarto Size [approx 17.5cm x 24cm]. Illustrated with colour and black & white reproductions. 64 pages approx.

Tasmanian artview full entry

Reference: see Considering Art in Tasmania. Comprises a reprint of pp 473-532 of Art and Australia, volume 22, no 4; with articles on the collections in the Tasmanian Museum & Art Gallery, the State Library of Tasmania (special collections) and Queen Victoria Museum & Art Gallery; contemporary landscape art; John Skinner Prout; Jack Carington Smith; George Davis, David Chapman & Anton Holzner; craft in Tasmania; and the Tasmanian art scene.
Publishing details: Sydney The Fine Arts Press, 1985. hc, dw, Small Quarto Size [approx 17.5cm x 24cm]. Illustrated with colour and black & white reproductions. 64 pages approx.

Cleburne Margaret Sarah c1870 p496view full entry

Reference: see Considering Art in Tasmania. Comprises a reprint of pp 473-532 of Art and Australia, volume 22, no 4; with articles on the collections in the Tasmanian Museum & Art Gallery, the State Library of Tasmania (special collections) and Queen Victoria Museum & Art Gallery; contemporary landscape art; John Skinner Prout; Jack Carington Smith; George Davis, David Chapman & Anton Holzner; craft in Tasmania; and the Tasmanian art scene.
Publishing details: Sydney The Fine Arts Press, 1985. hc, dw, Small Quarto Size [approx 17.5cm x 24cm]. Illustrated with colour and black & white reproductions. 64 pages approx.

Fulton Hamish p502view full entry

Reference: see Considering Art in Tasmania. Comprises a reprint of pp 473-532 of Art and Australia, volume 22, no 4; with articles on the collections in the Tasmanian Museum & Art Gallery, the State Library of Tasmania (special collections) and Queen Victoria Museum & Art Gallery; contemporary landscape art; John Skinner Prout; Jack Carington Smith; George Davis, David Chapman & Anton Holzner; craft in Tasmania; and the Tasmanian art scene.
Publishing details: Sydney The Fine Arts Press, 1985. hc, dw, Small Quarto Size [approx 17.5cm x 24cm]. Illustrated with colour and black & white reproductions. 64 pages approx.

Library at the end of the worldview full entry

Reference: the library at the end of the world, natural science and its illustrators, edited by Anita Hansen and Margaret Davies. Includes biographical information on the artists. [’Science and Art come together in this lavishly-illustrated (over 200 high- quality pictures), 240 pp book which explores the natural history art to be found in The Royal Society of Tasmania’s Rare Book Collection. The brief of the numerous scientific authors was to view these amazing early volumes and their exquisite illustrations and to consider how important they were to the understanding of their particular group of organisms in early times, and what influence they have had on the science today. The art authors were asked to bring to life the incredible men and women who produced the extraordinary art work that you will find reproduced in this volume. So often their talent and identity is overlooked, yet without them, we would have nothing but verbal description that conveys nothing of the real wonder of the organisms.
The Library at the End of the World: Natural Science and its Illustrators will be published in late October 2014. The 1000 hardcover copies will be numbered and signed by the editors.’]
Publishing details: The Royal Society of Tasmania, 2014, hc, 234pp with index. Edition limited to 1000 of which this is number 962 signed by both editors.

Redoute Pierre-Josephview full entry

Reference: see: the library at the end of the world, natural science and its illustrators, edited by Anita Hansen and Margaret Davies. Includes biographical information on the artists. [’Science and Art come together in this lavishly-illustrated (over 200 high- quality pictures), 240 pp book which explores the natural history art to be found in The Royal Society of Tasmania’s Rare Book Collection. The brief of the numerous scientific authors was to view these amazing early volumes and their exquisite illustrations and to consider how important they were to the understanding of their particular group of organisms in early times, and what influence they have had on the science today. The art authors were asked to bring to life the incredible men and women who produced the extraordinary art work that you will find reproduced in this volume. So often their talent and identity is overlooked, yet without them, we would have nothing but verbal description that conveys nothing of the real wonder of the organisms.
The Library at the End of the World: Natural Science and its Illustrators will be published in late October 2014. The 1000 hardcover copies will be numbered and signed by the editors.’]
Publishing details: The Royal Society of Tasmania, 2014, hc, 234pp with index. Edition limited to 1000 of which this is number 962 signed by both editors.

Parkinson Sydneyview full entry

Reference: see: the library at the end of the world, natural science and its illustrators, edited by Anita Hansen and Margaret Davies. Includes biographical information on the artists. [’Science and Art come together in this lavishly-illustrated (over 200 high- quality pictures), 240 pp book which explores the natural history art to be found in The Royal Society of Tasmania’s Rare Book Collection. The brief of the numerous scientific authors was to view these amazing early volumes and their exquisite illustrations and to consider how important they were to the understanding of their particular group of organisms in early times, and what influence they have had on the science today. The art authors were asked to bring to life the incredible men and women who produced the extraordinary art work that you will find reproduced in this volume. So often their talent and identity is overlooked, yet without them, we would have nothing but verbal description that conveys nothing of the real wonder of the organisms.
The Library at the End of the World: Natural Science and its Illustrators will be published in late October 2014. The 1000 hardcover copies will be numbered and signed by the editors.’]
Publishing details: The Royal Society of Tasmania, 2014, hc, 234pp with index. Edition limited to 1000 of which this is number 962 signed by both editors.

Nodder Frederick Polydoreview full entry

Reference: see: the library at the end of the world, natural science and its illustrators, edited by Anita Hansen and Margaret Davies. Includes biographical information on the artists. [’Science and Art come together in this lavishly-illustrated (over 200 high- quality pictures), 240 pp book which explores the natural history art to be found in The Royal Society of Tasmania’s Rare Book Collection. The brief of the numerous scientific authors was to view these amazing early volumes and their exquisite illustrations and to consider how important they were to the understanding of their particular group of organisms in early times, and what influence they have had on the science today. The art authors were asked to bring to life the incredible men and women who produced the extraordinary art work that you will find reproduced in this volume. So often their talent and identity is overlooked, yet without them, we would have nothing but verbal description that conveys nothing of the real wonder of the organisms.
The Library at the End of the World: Natural Science and its Illustrators will be published in late October 2014. The 1000 hardcover copies will be numbered and signed by the editors.’]
Publishing details: The Royal Society of Tasmania, 2014, hc, 234pp with index. Edition limited to 1000 of which this is number 962 signed by both editors.

Miller James fl 1770sview full entry

Reference: see: the library at the end of the world, natural science and its illustrators, edited by Anita Hansen and Margaret Davies. Includes biographical information on the artists. [’Science and Art come together in this lavishly-illustrated (over 200 high- quality pictures), 240 pp book which explores the natural history art to be found in The Royal Society of Tasmania’s Rare Book Collection. The brief of the numerous scientific authors was to view these amazing early volumes and their exquisite illustrations and to consider how important they were to the understanding of their particular group of organisms in early times, and what influence they have had on the science today. The art authors were asked to bring to life the incredible men and women who produced the extraordinary art work that you will find reproduced in this volume. So often their talent and identity is overlooked, yet without them, we would have nothing but verbal description that conveys nothing of the real wonder of the organisms.
The Library at the End of the World: Natural Science and its Illustrators will be published in late October 2014. The 1000 hardcover copies will be numbered and signed by the editors.’]
Publishing details: The Royal Society of Tasmania, 2014, hc, 234pp with index. Edition limited to 1000 of which this is number 962 signed by both editors.

Sowerby Jamesview full entry

Reference: see: the library at the end of the world, natural science and its illustrators, edited by Anita Hansen and Margaret Davies. Includes biographical information on the artists. [’Science and Art come together in this lavishly-illustrated (over 200 high- quality pictures), 240 pp book which explores the natural history art to be found in The Royal Society of Tasmania’s Rare Book Collection. The brief of the numerous scientific authors was to view these amazing early volumes and their exquisite illustrations and to consider how important they were to the understanding of their particular group of organisms in early times, and what influence they have had on the science today. The art authors were asked to bring to life the incredible men and women who produced the extraordinary art work that you will find reproduced in this volume. So often their talent and identity is overlooked, yet without them, we would have nothing but verbal description that conveys nothing of the real wonder of the organisms.
The Library at the End of the World: Natural Science and its Illustrators will be published in late October 2014. The 1000 hardcover copies will be numbered and signed by the editors.’]
Publishing details: The Royal Society of Tasmania, 2014, hc, 234pp with index. Edition limited to 1000 of which this is number 962 signed by both editors.

Smith Edwin Dalton 1800-c1852view full entry

Reference: see: the library at the end of the world, natural science and its illustrators, edited by Anita Hansen and Margaret Davies. Includes biographical information on the artists. [’Science and Art come together in this lavishly-illustrated (over 200 high- quality pictures), 240 pp book which explores the natural history art to be found in The Royal Society of Tasmania’s Rare Book Collection. The brief of the numerous scientific authors was to view these amazing early volumes and their exquisite illustrations and to consider how important they were to the understanding of their particular group of organisms in early times, and what influence they have had on the science today. The art authors were asked to bring to life the incredible men and women who produced the extraordinary art work that you will find reproduced in this volume. So often their talent and identity is overlooked, yet without them, we would have nothing but verbal description that conveys nothing of the real wonder of the organisms.
The Library at the End of the World: Natural Science and its Illustrators will be published in late October 2014. The 1000 hardcover copies will be numbered and signed by the editors.’]
Publishing details: The Royal Society of Tasmania, 2014, hc, 234pp with index. Edition limited to 1000 of which this is number 962 signed by both editors.

Mitten William 1819-1906view full entry

Reference: see: the library at the end of the world, natural science and its illustrators, edited by Anita Hansen and Margaret Davies. Includes biographical information on the artists. [’Science and Art come together in this lavishly-illustrated (over 200 high- quality pictures), 240 pp book which explores the natural history art to be found in The Royal Society of Tasmania’s Rare Book Collection. The brief of the numerous scientific authors was to view these amazing early volumes and their exquisite illustrations and to consider how important they were to the understanding of their particular group of organisms in early times, and what influence they have had on the science today. The art authors were asked to bring to life the incredible men and women who produced the extraordinary art work that you will find reproduced in this volume. So often their talent and identity is overlooked, yet without them, we would have nothing but verbal description that conveys nothing of the real wonder of the organisms.
The Library at the End of the World: Natural Science and its Illustrators will be published in late October 2014. The 1000 hardcover copies will be numbered and signed by the editors.’]
Publishing details: The Royal Society of Tasmania, 2014, hc, 234pp with index. Edition limited to 1000 of which this is number 962 signed by both editors.

Fitch Walter Hood 1817-1892view full entry

Reference: see: the library at the end of the world, natural science and its illustrators, edited by Anita Hansen and Margaret Davies. Includes biographical information on the artists. [’Science and Art come together in this lavishly-illustrated (over 200 high- quality pictures), 240 pp book which explores the natural history art to be found in The Royal Society of Tasmania’s Rare Book Collection. The brief of the numerous scientific authors was to view these amazing early volumes and their exquisite illustrations and to consider how important they were to the understanding of their particular group of organisms in early times, and what influence they have had on the science today. The art authors were asked to bring to life the incredible men and women who produced the extraordinary art work that you will find reproduced in this volume. So often their talent and identity is overlooked, yet without them, we would have nothing but verbal description that conveys nothing of the real wonder of the organisms.
The Library at the End of the World: Natural Science and its Illustrators will be published in late October 2014. The 1000 hardcover copies will be numbered and signed by the editors.’]
Publishing details: The Royal Society of Tasmania, 2014, hc, 234pp with index. Edition limited to 1000 of which this is number 962 signed by both editors.

Archer William 1820-1874view full entry

Reference: see: the library at the end of the world, natural science and its illustrators, edited by Anita Hansen and Margaret Davies. Includes biographical information on the artists. [’Science and Art come together in this lavishly-illustrated (over 200 high- quality pictures), 240 pp book which explores the natural history art to be found in The Royal Society of Tasmania’s Rare Book Collection. The brief of the numerous scientific authors was to view these amazing early volumes and their exquisite illustrations and to consider how important they were to the understanding of their particular group of organisms in early times, and what influence they have had on the science today. The art authors were asked to bring to life the incredible men and women who produced the extraordinary art work that you will find reproduced in this volume. So often their talent and identity is overlooked, yet without them, we would have nothing but verbal description that conveys nothing of the real wonder of the organisms.
The Library at the End of the World: Natural Science and its Illustrators will be published in late October 2014. The 1000 hardcover copies will be numbered and signed by the editors.’]
Publishing details: The Royal Society of Tasmania, 2014, hc, 234pp with index. Edition limited to 1000 of which this is number 962 signed by both editors.

Fitzgerald Robert David 1830-1892view full entry

Reference: see: the library at the end of the world, natural science and its illustrators, edited by Anita Hansen and Margaret Davies. Includes biographical information on the artists. [’Science and Art come together in this lavishly-illustrated (over 200 high- quality pictures), 240 pp book which explores the natural history art to be found in The Royal Society of Tasmania’s Rare Book Collection. The brief of the numerous scientific authors was to view these amazing early volumes and their exquisite illustrations and to consider how important they were to the understanding of their particular group of organisms in early times, and what influence they have had on the science today. The art authors were asked to bring to life the incredible men and women who produced the extraordinary art work that you will find reproduced in this volume. So often their talent and identity is overlooked, yet without them, we would have nothing but verbal description that conveys nothing of the real wonder of the organisms.
The Library at the End of the World: Natural Science and its Illustrators will be published in late October 2014. The 1000 hardcover copies will be numbered and signed by the editors.’]
Publishing details: The Royal Society of Tasmania, 2014, hc, 234pp with index. Edition limited to 1000 of which this is number 962 signed by both editors.

Gould William Buelow ?1801-1853view full entry

Reference: see: the library at the end of the world, natural science and its illustrators, edited by Anita Hansen and Margaret Davies. Includes biographical information on the artists. [’Science and Art come together in this lavishly-illustrated (over 200 high- quality pictures), 240 pp book which explores the natural history art to be found in The Royal Society of Tasmania’s Rare Book Collection. The brief of the numerous scientific authors was to view these amazing early volumes and their exquisite illustrations and to consider how important they were to the understanding of their particular group of organisms in early times, and what influence they have had on the science today. The art authors were asked to bring to life the incredible men and women who produced the extraordinary art work that you will find reproduced in this volume. So often their talent and identity is overlooked, yet without them, we would have nothing but verbal description that conveys nothing of the real wonder of the organisms.
The Library at the End of the World: Natural Science and its Illustrators will be published in late October 2014. The 1000 hardcover copies will be numbered and signed by the editors.’]
Publishing details: The Royal Society of Tasmania, 2014, hc, 234pp with index. Edition limited to 1000 of which this is number 962 signed by both editors.

Becker Ludwig Phillip Heinrich 1808-1861view full entry

Reference: see: the library at the end of the world, natural science and its illustrators, edited by Anita Hansen and Margaret Davies. Includes biographical information on the artists. [’Science and Art come together in this lavishly-illustrated (over 200 high- quality pictures), 240 pp book which explores the natural history art to be found in The Royal Society of Tasmania’s Rare Book Collection. The brief of the numerous scientific authors was to view these amazing early volumes and their exquisite illustrations and to consider how important they were to the understanding of their particular group of organisms in early times, and what influence they have had on the science today. The art authors were asked to bring to life the incredible men and women who produced the extraordinary art work that you will find reproduced in this volume. So often their talent and identity is overlooked, yet without them, we would have nothing but verbal description that conveys nothing of the real wonder of the organisms.
The Library at the End of the World: Natural Science and its Illustrators will be published in late October 2014. The 1000 hardcover copies will be numbered and signed by the editors.’]
Publishing details: The Royal Society of Tasmania, 2014, hc, 234pp with index. Edition limited to 1000 of which this is number 962 signed by both editors.

Wild John James 1824-1900view full entry

Reference: see: the library at the end of the world, natural science and its illustrators, edited by Anita Hansen and Margaret Davies. Includes biographical information on the artists. [’Science and Art come together in this lavishly-illustrated (over 200 high- quality pictures), 240 pp book which explores the natural history art to be found in The Royal Society of Tasmania’s Rare Book Collection. The brief of the numerous scientific authors was to view these amazing early volumes and their exquisite illustrations and to consider how important they were to the understanding of their particular group of organisms in early times, and what influence they have had on the science today. The art authors were asked to bring to life the incredible men and women who produced the extraordinary art work that you will find reproduced in this volume. So often their talent and identity is overlooked, yet without them, we would have nothing but verbal description that conveys nothing of the real wonder of the organisms.
The Library at the End of the World: Natural Science and its Illustrators will be published in late October 2014. The 1000 hardcover copies will be numbered and signed by the editors.’]
Publishing details: The Royal Society of Tasmania, 2014, hc, 234pp with index. Edition limited to 1000 of which this is number 962 signed by both editors.

Scott Harriet 1830-1907view full entry

Reference: see: the library at the end of the world, natural science and its illustrators, edited by Anita Hansen and Margaret Davies. Includes biographical information on the artists. [’Science and Art come together in this lavishly-illustrated (over 200 high- quality pictures), 240 pp book which explores the natural history art to be found in The Royal Society of Tasmania’s Rare Book Collection. The brief of the numerous scientific authors was to view these amazing early volumes and their exquisite illustrations and to consider how important they were to the understanding of their particular group of organisms in early times, and what influence they have had on the science today. The art authors were asked to bring to life the incredible men and women who produced the extraordinary art work that you will find reproduced in this volume. So often their talent and identity is overlooked, yet without them, we would have nothing but verbal description that conveys nothing of the real wonder of the organisms.
The Library at the End of the World: Natural Science and its Illustrators will be published in late October 2014. The 1000 hardcover copies will be numbered and signed by the editors.’]
Publishing details: The Royal Society of Tasmania, 2014, hc, 234pp with index. Edition limited to 1000 of which this is number 962 signed by both editors.

Scott Helena Forde 1832-1910view full entry

Reference: see: the library at the end of the world, natural science and its illustrators, edited by Anita Hansen and Margaret Davies. Includes biographical information on the artists. [’Science and Art come together in this lavishly-illustrated (over 200 high- quality pictures), 240 pp book which explores the natural history art to be found in The Royal Society of Tasmania’s Rare Book Collection. The brief of the numerous scientific authors was to view these amazing early volumes and their exquisite illustrations and to consider how important they were to the understanding of their particular group of organisms in early times, and what influence they have had on the science today. The art authors were asked to bring to life the incredible men and women who produced the extraordinary art work that you will find reproduced in this volume. So often their talent and identity is overlooked, yet without them, we would have nothing but verbal description that conveys nothing of the real wonder of the organisms.
The Library at the End of the World: Natural Science and its Illustrators will be published in late October 2014. The 1000 hardcover copies will be numbered and signed by the editors.’]
Publishing details: The Royal Society of Tasmania, 2014, hc, 234pp with index. Edition limited to 1000 of which this is number 962 signed by both editors.

Humpheys Henry Noel 1810-1879view full entry

Reference: see: the library at the end of the world, natural science and its illustrators, edited by Anita Hansen and Margaret Davies. Includes biographical information on the artists. [’Science and Art come together in this lavishly-illustrated (over 200 high- quality pictures), 240 pp book which explores the natural history art to be found in The Royal Society of Tasmania’s Rare Book Collection. The brief of the numerous scientific authors was to view these amazing early volumes and their exquisite illustrations and to consider how important they were to the understanding of their particular group of organisms in early times, and what influence they have had on the science today. The art authors were asked to bring to life the incredible men and women who produced the extraordinary art work that you will find reproduced in this volume. So often their talent and identity is overlooked, yet without them, we would have nothing but verbal description that conveys nothing of the real wonder of the organisms.
The Library at the End of the World: Natural Science and its Illustrators will be published in late October 2014. The 1000 hardcover copies will be numbered and signed by the editors.’]
Publishing details: The Royal Society of Tasmania, 2014, hc, 234pp with index. Edition limited to 1000 of which this is number 962 signed by both editors.

Hewitson William Chapman 1806-1878view full entry

Reference: see: the library at the end of the world, natural science and its illustrators, edited by Anita Hansen and Margaret Davies. Includes biographical information on the artists. [’Science and Art come together in this lavishly-illustrated (over 200 high- quality pictures), 240 pp book which explores the natural history art to be found in The Royal Society of Tasmania’s Rare Book Collection. The brief of the numerous scientific authors was to view these amazing early volumes and their exquisite illustrations and to consider how important they were to the understanding of their particular group of organisms in early times, and what influence they have had on the science today. The art authors were asked to bring to life the incredible men and women who produced the extraordinary art work that you will find reproduced in this volume. So often their talent and identity is overlooked, yet without them, we would have nothing but verbal description that conveys nothing of the real wonder of the organisms.
The Library at the End of the World: Natural Science and its Illustrators will be published in late October 2014. The 1000 hardcover copies will be numbered and signed by the editors.’]
Publishing details: The Royal Society of Tasmania, 2014, hc, 234pp with index. Edition limited to 1000 of which this is number 962 signed by both editors.

Wagenschieber W fl 1850-1880view full entry

Reference: see: the library at the end of the world, natural science and its illustrators, edited by Anita Hansen and Margaret Davies. Includes biographical information on the artists. [’Science and Art come together in this lavishly-illustrated (over 200 high- quality pictures), 240 pp book which explores the natural history art to be found in The Royal Society of Tasmania’s Rare Book Collection. The brief of the numerous scientific authors was to view these amazing early volumes and their exquisite illustrations and to consider how important they were to the understanding of their particular group of organisms in early times, and what influence they have had on the science today. The art authors were asked to bring to life the incredible men and women who produced the extraordinary art work that you will find reproduced in this volume. So often their talent and identity is overlooked, yet without them, we would have nothing but verbal description that conveys nothing of the real wonder of the organisms.
The Library at the End of the World: Natural Science and its Illustrators will be published in late October 2014. The 1000 hardcover copies will be numbered and signed by the editors.’]
Publishing details: The Royal Society of Tasmania, 2014, hc, 234pp with index. Edition limited to 1000 of which this is number 962 signed by both editors.

Curtis John 1791-1862view full entry

Reference: see: the library at the end of the world, natural science and its illustrators, edited by Anita Hansen and Margaret Davies. Includes biographical information on the artists. [’Science and Art come together in this lavishly-illustrated (over 200 high- quality pictures), 240 pp book which explores the natural history art to be found in The Royal Society of Tasmania’s Rare Book Collection. The brief of the numerous scientific authors was to view these amazing early volumes and their exquisite illustrations and to consider how important they were to the understanding of their particular group of organisms in early times, and what influence they have had on the science today. The art authors were asked to bring to life the incredible men and women who produced the extraordinary art work that you will find reproduced in this volume. So often their talent and identity is overlooked, yet without them, we would have nothing but verbal description that conveys nothing of the real wonder of the organisms.
The Library at the End of the World: Natural Science and its Illustrators will be published in late October 2014. The 1000 hardcover copies will be numbered and signed by the editors.’]
Publishing details: The Royal Society of Tasmania, 2014, hc, 234pp with index. Edition limited to 1000 of which this is number 962 signed by both editors.

Spiegler Ludwig Wilhelm Anton Martin 1824-1892view full entry

Reference: see: the library at the end of the world, natural science and its illustrators, edited by Anita Hansen and Margaret Davies. Includes biographical information on the artists. [’Science and Art come together in this lavishly-illustrated (over 200 high- quality pictures), 240 pp book which explores the natural history art to be found in The Royal Society of Tasmania’s Rare Book Collection. The brief of the numerous scientific authors was to view these amazing early volumes and their exquisite illustrations and to consider how important they were to the understanding of their particular group of organisms in early times, and what influence they have had on the science today. The art authors were asked to bring to life the incredible men and women who produced the extraordinary art work that you will find reproduced in this volume. So often their talent and identity is overlooked, yet without them, we would have nothing but verbal description that conveys nothing of the real wonder of the organisms.
The Library at the End of the World: Natural Science and its Illustrators will be published in late October 2014. The 1000 hardcover copies will be numbered and signed by the editors.’]
Publishing details: The Royal Society of Tasmania, 2014, hc, 234pp with index. Edition limited to 1000 of which this is number 962 signed by both editors.

Schoenfeld Frederick 1810-1868view full entry

Reference: see: the library at the end of the world, natural science and its illustrators, edited by Anita Hansen and Margaret Davies. Includes biographical information on the artists. [’Science and Art come together in this lavishly-illustrated (over 200 high- quality pictures), 240 pp book which explores the natural history art to be found in The Royal Society of Tasmania’s Rare Book Collection. The brief of the numerous scientific authors was to view these amazing early volumes and their exquisite illustrations and to consider how important they were to the understanding of their particular group of organisms in early times, and what influence they have had on the science today. The art authors were asked to bring to life the incredible men and women who produced the extraordinary art work that you will find reproduced in this volume. So often their talent and identity is overlooked, yet without them, we would have nothing but verbal description that conveys nothing of the real wonder of the organisms.
The Library at the End of the World: Natural Science and its Illustrators will be published in late October 2014. The 1000 hardcover copies will be numbered and signed by the editors.’]
Publishing details: The Royal Society of Tasmania, 2014, hc, 234pp with index. Edition limited to 1000 of which this is number 962 signed by both editors.

Grey George 1812-1898view full entry

Reference: see: the library at the end of the world, natural science and its illustrators, edited by Anita Hansen and Margaret Davies. Includes biographical information on the artists. [’Science and Art come together in this lavishly-illustrated (over 200 high- quality pictures), 240 pp book which explores the natural history art to be found in The Royal Society of Tasmania’s Rare Book Collection. The brief of the numerous scientific authors was to view these amazing early volumes and their exquisite illustrations and to consider how important they were to the understanding of their particular group of organisms in early times, and what influence they have had on the science today. The art authors were asked to bring to life the incredible men and women who produced the extraordinary art work that you will find reproduced in this volume. So often their talent and identity is overlooked, yet without them, we would have nothing but verbal description that conveys nothing of the real wonder of the organisms.
The Library at the End of the World: Natural Science and its Illustrators will be published in late October 2014. The 1000 hardcover copies will be numbered and signed by the editors.’]
Publishing details: The Royal Society of Tasmania, 2014, hc, 234pp with index. Edition limited to 1000 of which this is number 962 signed by both editors.

Meredith Louisa Anne nee Twamley 1812-1895view full entry

Reference: see: the library at the end of the world, natural science and its illustrators, edited by Anita Hansen and Margaret Davies. Includes biographical information on the artists. [’Science and Art come together in this lavishly-illustrated (over 200 high- quality pictures), 240 pp book which explores the natural history art to be found in The Royal Society of Tasmania’s Rare Book Collection. The brief of the numerous scientific authors was to view these amazing early volumes and their exquisite illustrations and to consider how important they were to the understanding of their particular group of organisms in early times, and what influence they have had on the science today. The art authors were asked to bring to life the incredible men and women who produced the extraordinary art work that you will find reproduced in this volume. So often their talent and identity is overlooked, yet without them, we would have nothing but verbal description that conveys nothing of the real wonder of the organisms.
The Library at the End of the World: Natural Science and its Illustrators will be published in late October 2014. The 1000 hardcover copies will be numbered and signed by the editors.’]
Publishing details: The Royal Society of Tasmania, 2014, hc, 234pp with index. Edition limited to 1000 of which this is number 962 signed by both editors.

Stone Sarah c1761-1844view full entry

Reference: see: the library at the end of the world, natural science and its illustrators, edited by Anita Hansen and Margaret Davies. Includes biographical information on the artists. [’Science and Art come together in this lavishly-illustrated (over 200 high- quality pictures), 240 pp book which explores the natural history art to be found in The Royal Society of Tasmania’s Rare Book Collection. The brief of the numerous scientific authors was to view these amazing early volumes and their exquisite illustrations and to consider how important they were to the understanding of their particular group of organisms in early times, and what influence they have had on the science today. The art authors were asked to bring to life the incredible men and women who produced the extraordinary art work that you will find reproduced in this volume. So often their talent and identity is overlooked, yet without them, we would have nothing but verbal description that conveys nothing of the real wonder of the organisms.
The Library at the End of the World: Natural Science and its Illustrators will be published in late October 2014. The 1000 hardcover copies will be numbered and signed by the editors.’]
Publishing details: The Royal Society of Tasmania, 2014, hc, 234pp with index. Edition limited to 1000 of which this is number 962 signed by both editors.

Hawkins Benjamin Waterhouse 1807-1894view full entry

Reference: see: the library at the end of the world, natural science and its illustrators, edited by Anita Hansen and Margaret Davies. Includes biographical information on the artists. [’Science and Art come together in this lavishly-illustrated (over 200 high- quality pictures), 240 pp book which explores the natural history art to be found in The Royal Society of Tasmania’s Rare Book Collection. The brief of the numerous scientific authors was to view these amazing early volumes and their exquisite illustrations and to consider how important they were to the understanding of their particular group of organisms in early times, and what influence they have had on the science today. The art authors were asked to bring to life the incredible men and women who produced the extraordinary art work that you will find reproduced in this volume. So often their talent and identity is overlooked, yet without them, we would have nothing but verbal description that conveys nothing of the real wonder of the organisms.
The Library at the End of the World: Natural Science and its Illustrators will be published in late October 2014. The 1000 hardcover copies will be numbered and signed by the editors.’]
Publishing details: The Royal Society of Tasmania, 2014, hc, 234pp with index. Edition limited to 1000 of which this is number 962 signed by both editors.

Bartholomew Arthur 1834-1909view full entry

Reference: see: the library at the end of the world, natural science and its illustrators, edited by Anita Hansen and Margaret Davies. Includes biographical information on the artists. [’Science and Art come together in this lavishly-illustrated (over 200 high- quality pictures), 240 pp book which explores the natural history art to be found in The Royal Society of Tasmania’s Rare Book Collection. The brief of the numerous scientific authors was to view these amazing early volumes and their exquisite illustrations and to consider how important they were to the understanding of their particular group of organisms in early times, and what influence they have had on the science today. The art authors were asked to bring to life the incredible men and women who produced the extraordinary art work that you will find reproduced in this volume. So often their talent and identity is overlooked, yet without them, we would have nothing but verbal description that conveys nothing of the real wonder of the organisms.
The Library at the End of the World: Natural Science and its Illustrators will be published in late October 2014. The 1000 hardcover copies will be numbered and signed by the editors.’]
Publishing details: The Royal Society of Tasmania, 2014, hc, 234pp with index. Edition limited to 1000 of which this is number 962 signed by both editors.

Gould Elizabeth 1804-1841view full entry

Reference: see: the library at the end of the world, natural science and its illustrators, edited by Anita Hansen and Margaret Davies. Includes biographical information on the artists. [’Science and Art come together in this lavishly-illustrated (over 200 high- quality pictures), 240 pp book which explores the natural history art to be found in The Royal Society of Tasmania’s Rare Book Collection. The brief of the numerous scientific authors was to view these amazing early volumes and their exquisite illustrations and to consider how important they were to the understanding of their particular group of organisms in early times, and what influence they have had on the science today. The art authors were asked to bring to life the incredible men and women who produced the extraordinary art work that you will find reproduced in this volume. So often their talent and identity is overlooked, yet without them, we would have nothing but verbal description that conveys nothing of the real wonder of the organisms.
The Library at the End of the World: Natural Science and its Illustrators will be published in late October 2014. The 1000 hardcover copies will be numbered and signed by the editors.’]
Publishing details: The Royal Society of Tasmania, 2014, hc, 234pp with index. Edition limited to 1000 of which this is number 962 signed by both editors.

Richter Henry Constantine 1821-1902view full entry

Reference: see: the library at the end of the world, natural science and its illustrators, edited by Anita Hansen and Margaret Davies. Includes biographical information on the artists. [’Science and Art come together in this lavishly-illustrated (over 200 high- quality pictures), 240 pp book which explores the natural history art to be found in The Royal Society of Tasmania’s Rare Book Collection. The brief of the numerous scientific authors was to view these amazing early volumes and their exquisite illustrations and to consider how important they were to the understanding of their particular group of organisms in early times, and what influence they have had on the science today. The art authors were asked to bring to life the incredible men and women who produced the extraordinary art work that you will find reproduced in this volume. So often their talent and identity is overlooked, yet without them, we would have nothing but verbal description that conveys nothing of the real wonder of the organisms.
The Library at the End of the World: Natural Science and its Illustrators will be published in late October 2014. The 1000 hardcover copies will be numbered and signed by the editors.’]
Publishing details: The Royal Society of Tasmania, 2014, hc, 234pp with index. Edition limited to 1000 of which this is number 962 signed by both editors.

Mitchell David William 1813-1860view full entry

Reference: see: the library at the end of the world, natural science and its illustrators, edited by Anita Hansen and Margaret Davies. Includes biographical information on the artists. [’Science and Art come together in this lavishly-illustrated (over 200 high- quality pictures), 240 pp book which explores the natural history art to be found in The Royal Society of Tasmania’s Rare Book Collection. The brief of the numerous scientific authors was to view these amazing early volumes and their exquisite illustrations and to consider how important they were to the understanding of their particular group of organisms in early times, and what influence they have had on the science today. The art authors were asked to bring to life the incredible men and women who produced the extraordinary art work that you will find reproduced in this volume. So often their talent and identity is overlooked, yet without them, we would have nothing but verbal description that conveys nothing of the real wonder of the organisms.
The Library at the End of the World: Natural Science and its Illustrators will be published in late October 2014. The 1000 hardcover copies will be numbered and signed by the editors.’]
Publishing details: The Royal Society of Tasmania, 2014, hc, 234pp with index. Edition limited to 1000 of which this is number 962 signed by both editors.

Wolf Joseph 1820-1899view full entry

Reference: see: the library at the end of the world, natural science and its illustrators, edited by Anita Hansen and Margaret Davies. Includes biographical information on the artists. [’Science and Art come together in this lavishly-illustrated (over 200 high- quality pictures), 240 pp book which explores the natural history art to be found in The Royal Society of Tasmania’s Rare Book Collection. The brief of the numerous scientific authors was to view these amazing early volumes and their exquisite illustrations and to consider how important they were to the understanding of their particular group of organisms in early times, and what influence they have had on the science today. The art authors were asked to bring to life the incredible men and women who produced the extraordinary art work that you will find reproduced in this volume. So often their talent and identity is overlooked, yet without them, we would have nothing but verbal description that conveys nothing of the real wonder of the organisms.
The Library at the End of the World: Natural Science and its Illustrators will be published in late October 2014. The 1000 hardcover copies will be numbered and signed by the editors.’]
Publishing details: The Royal Society of Tasmania, 2014, hc, 234pp with index. Edition limited to 1000 of which this is number 962 signed by both editors.

Lewin John William 1770-1819view full entry

Reference: see: the library at the end of the world, natural science and its illustrators, edited by Anita Hansen and Margaret Davies. Includes biographical information on the artists. [’Science and Art come together in this lavishly-illustrated (over 200 high- quality pictures), 240 pp book which explores the natural history art to be found in The Royal Society of Tasmania’s Rare Book Collection. The brief of the numerous scientific authors was to view these amazing early volumes and their exquisite illustrations and to consider how important they were to the understanding of their particular group of organisms in early times, and what influence they have had on the science today. The art authors were asked to bring to life the incredible men and women who produced the extraordinary art work that you will find reproduced in this volume. So often their talent and identity is overlooked, yet without them, we would have nothing but verbal description that conveys nothing of the real wonder of the organisms.
The Library at the End of the World: Natural Science and its Illustrators will be published in late October 2014. The 1000 hardcover copies will be numbered and signed by the editors.’]
Publishing details: The Royal Society of Tasmania, 2014, hc, 234pp with index. Edition limited to 1000 of which this is number 962 signed by both editors.

Green Roland 1890-1972view full entry

Reference: see: the library at the end of the world, natural science and its illustrators, edited by Anita Hansen and Margaret Davies. Includes biographical information on the artists. [’Science and Art come together in this lavishly-illustrated (over 200 high- quality pictures), 240 pp book which explores the natural history art to be found in The Royal Society of Tasmania’s Rare Book Collection. The brief of the numerous scientific authors was to view these amazing early volumes and their exquisite illustrations and to consider how important they were to the understanding of their particular group of organisms in early times, and what influence they have had on the science today. The art authors were asked to bring to life the incredible men and women who produced the extraordinary art work that you will find reproduced in this volume. So often their talent and identity is overlooked, yet without them, we would have nothing but verbal description that conveys nothing of the real wonder of the organisms.
The Library at the End of the World: Natural Science and its Illustrators will be published in late October 2014. The 1000 hardcover copies will be numbered and signed by the editors.’]
Publishing details: The Royal Society of Tasmania, 2014, hc, 234pp with index. Edition limited to 1000 of which this is number 962 signed by both editors.

Keulemans Johannes Gerardus 1842-1912view full entry

Reference: see: the library at the end of the world, natural science and its illustrators, edited by Anita Hansen and Margaret Davies. Includes biographical information on the artists. [’Science and Art come together in this lavishly-illustrated (over 200 high- quality pictures), 240 pp book which explores the natural history art to be found in The Royal Society of Tasmania’s Rare Book Collection. The brief of the numerous scientific authors was to view these amazing early volumes and their exquisite illustrations and to consider how important they were to the understanding of their particular group of organisms in early times, and what influence they have had on the science today. The art authors were asked to bring to life the incredible men and women who produced the extraordinary art work that you will find reproduced in this volume. So often their talent and identity is overlooked, yet without them, we would have nothing but verbal description that conveys nothing of the real wonder of the organisms.
The Library at the End of the World: Natural Science and its Illustrators will be published in late October 2014. The 1000 hardcover copies will be numbered and signed by the editors.’]
Publishing details: The Royal Society of Tasmania, 2014, hc, 234pp with index. Edition limited to 1000 of which this is number 962 signed by both editors.

Piron fl 1790sview full entry

Reference: see: the library at the end of the world, natural science and its illustrators, edited by Anita Hansen and Margaret Davies. Includes biographical information on the artists. [’Science and Art come together in this lavishly-illustrated (over 200 high- quality pictures), 240 pp book which explores the natural history art to be found in The Royal Society of Tasmania’s Rare Book Collection. The brief of the numerous scientific authors was to view these amazing early volumes and their exquisite illustrations and to consider how important they were to the understanding of their particular group of organisms in early times, and what influence they have had on the science today. The art authors were asked to bring to life the incredible men and women who produced the extraordinary art work that you will find reproduced in this volume. So often their talent and identity is overlooked, yet without them, we would have nothing but verbal description that conveys nothing of the real wonder of the organisms.
The Library at the End of the World: Natural Science and its Illustrators will be published in late October 2014. The 1000 hardcover copies will be numbered and signed by the editors.’]
Publishing details: The Royal Society of Tasmania, 2014, hc, 234pp with index. Edition limited to 1000 of which this is number 962 signed by both editors.

Broinowski Gracius Joseph 1837-1913view full entry

Reference: see: the library at the end of the world, natural science and its illustrators, edited by Anita Hansen and Margaret Davies. Includes biographical information on the artists. [’Science and Art come together in this lavishly-illustrated (over 200 high- quality pictures), 240 pp book which explores the natural history art to be found in The Royal Society of Tasmania’s Rare Book Collection. The brief of the numerous scientific authors was to view these amazing early volumes and their exquisite illustrations and to consider how important they were to the understanding of their particular group of organisms in early times, and what influence they have had on the science today. The art authors were asked to bring to life the incredible men and women who produced the extraordinary art work that you will find reproduced in this volume. So often their talent and identity is overlooked, yet without them, we would have nothing but verbal description that conveys nothing of the real wonder of the organisms.
The Library at the End of the World: Natural Science and its Illustrators will be published in late October 2014. The 1000 hardcover copies will be numbered and signed by the editors.’]
Publishing details: The Royal Society of Tasmania, 2014, hc, 234pp with index. Edition limited to 1000 of which this is number 962 signed by both editors.

Catton Charles Jr 1756-1819view full entry

Reference: see: the library at the end of the world, natural science and its illustrators, edited by Anita Hansen and Margaret Davies. Includes biographical information on the artists. [’Science and Art come together in this lavishly-illustrated (over 200 high- quality pictures), 240 pp book which explores the natural history art to be found in The Royal Society of Tasmania’s Rare Book Collection. The brief of the numerous scientific authors was to view these amazing early volumes and their exquisite illustrations and to consider how important they were to the understanding of their particular group of organisms in early times, and what influence they have had on the science today. The art authors were asked to bring to life the incredible men and women who produced the extraordinary art work that you will find reproduced in this volume. So often their talent and identity is overlooked, yet without them, we would have nothing but verbal description that conveys nothing of the real wonder of the organisms.
The Library at the End of the World: Natural Science and its Illustrators will be published in late October 2014. The 1000 hardcover copies will be numbered and signed by the editors.’]
Publishing details: The Royal Society of Tasmania, 2014, hc, 234pp with index. Edition limited to 1000 of which this is number 962 signed by both editors.

Lesueur Charles-Alexander 1778-1846view full entry

Reference: see: the library at the end of the world, natural science and its illustrators, edited by Anita Hansen and Margaret Davies. Includes biographical information on the artists. [’Science and Art come together in this lavishly-illustrated (over 200 high- quality pictures), 240 pp book which explores the natural history art to be found in The Royal Society of Tasmania’s Rare Book Collection. The brief of the numerous scientific authors was to view these amazing early volumes and their exquisite illustrations and to consider how important they were to the understanding of their particular group of organisms in early times, and what influence they have had on the science today. The art authors were asked to bring to life the incredible men and women who produced the extraordinary art work that you will find reproduced in this volume. So often their talent and identity is overlooked, yet without them, we would have nothing but verbal description that conveys nothing of the real wonder of the organisms.
The Library at the End of the World: Natural Science and its Illustrators will be published in late October 2014. The 1000 hardcover copies will be numbered and signed by the editors.’]
Publishing details: The Royal Society of Tasmania, 2014, hc, 234pp with index. Edition limited to 1000 of which this is number 962 signed by both editors.

de Seve Jacques fl 1742-1788view full entry

Reference: see: the library at the end of the world, natural science and its illustrators, edited by Anita Hansen and Margaret Davies. Includes biographical information on the artists. [’Science and Art come together in this lavishly-illustrated (over 200 high- quality pictures), 240 pp book which explores the natural history art to be found in The Royal Society of Tasmania’s Rare Book Collection. The brief of the numerous scientific authors was to view these amazing early volumes and their exquisite illustrations and to consider how important they were to the understanding of their particular group of organisms in early times, and what influence they have had on the science today. The art authors were asked to bring to life the incredible men and women who produced the extraordinary art work that you will find reproduced in this volume. So often their talent and identity is overlooked, yet without them, we would have nothing but verbal description that conveys nothing of the real wonder of the organisms.
The Library at the End of the World: Natural Science and its Illustrators will be published in late October 2014. The 1000 hardcover copies will be numbered and signed by the editors.’]
Publishing details: The Royal Society of Tasmania, 2014, hc, 234pp with index. Edition limited to 1000 of which this is number 962 signed by both editors.

Leseuer or Leseur see Lesueur or Lesueurview full entry

Reference:

Slade George Penkivilview full entry

Reference: represented in TMAG

Mitchell Sarah Annview full entry

Reference: represented in TMAG

Piccinini Patriciaview full entry

Reference: Relativity - Catalogue of an exhibition held 1 May - 22 August 2010 at the Art Gallery of Western Australia, Perth.
Publishing details: Perth, W. A. : Art Gallery of Western Australia, c2010
64 p. : col. ill. ; 21 cm.
Ref: 1000

Lincoln Kevinview full entry

Reference: Kevin Lincoln : encounters
Publishing details: Niagara Galleries, 2013
35 pages : colour illustrations ; 21 x 24 cm.
Ref: 1000

Lincoln Kevinview full entry

Reference: Kevin Lincoln : the artist's kitchen

Publishing details: Niagara Publishing, [2007]
1 v. (unpaged) : col. ill. ; 21 x 25 cm.
Ref: 1000

Beattie John Wattview full entry

Reference: Pictorial portrayal of Tasmania's past : from Beatties Studio, the oldest of its kind in Australia / text by Basil Rait. [’"Beatties Studio is a photographic business. We would never claim to be historians. It is clear that from the 1840's onwards, there were numerous photographers in Tasmania and their works changed hands several times as they retired or passed away. Some of these works became part of the Beatties Studio collection. Our job now is to preserve, restore and present these images so they can be accessed and appreciated by everyone."

John Stephenson

"The business started in the 1840's and later carried on by the Anson brothers. John Beattie worked for them during the 1880's. He later bought the business and renamed it Beatties Studio. Until it closed in 1993 it was said to be the oldest photographic business still operating in Australia.

After the fire in 1933, Mr Frank Cane who owned the business bought an old studio in Collins Street known as McGuffies. We worked from this old studio until the first section of Cat & Fiddle Arcade was completed in 1934.

We had salvaged a great number of scenic photographs of Mr Beattie's work. Arch Stephenson made negatives from them. William Stephenson continues to produce framed photographic enlargements of scenery taken by John Beattie including some taken by Arch Stephenson. He has over 3000 negatives, printing the photographs, working from his home.

Frank Cane, Arch Stephenson & Miss B Gislingham (retoucher & colourist) through their dedication and long working hours were responsible for the survival of Beatties Studio.

Much more could be written, but this is the basic story of the old business. I hope it is of interest to my family and others"

A.A (Bill senior) Stephenson A.I.A.P

“John Watt Beattie was born in Aberdeen, Scotland, in 1859, was educated at grammar school, and learned his wet-plate photography from his father John Beattie, senior, who conducted a highly successful portrait studio in George Street, Aberdeen, where he was a prominent and forceful figure in public life. When John Sr. was well over seventy, and nearly blind, he felt that his Scottish principles had been so outraged that he must turn his back on his native land, as a protest, and emigrate to Australia.”

“John Watt Beattie was an explorer-photographer who spent his life and earned his living on the mountain tops and in the valleys of the beautiful island — bringing back his magic pictures of lakes and rivers and far-flung peaks, which, in many instances, he was the first (white) man to discover.”

“Their farm labourers were old convicts who had an enormous influence on John's life.
Concerning this part of the upper reaches of the Derwent River, Charles Barrett the naturalist wrote: "Doubtless God could have made a lovelier valley but doubtless He never did." It is one of the most photogenic places in the world, and so, within that first year the course of John's life was set—to interpret the beauty of the place with his camera and to study and collect the records of its tragic history.”

From Jack Cato, “The Story of the Camera in Australia”.

Beattie: The Scottish explorer-photographer who captured Tasmania
Scotland features heavily in the history of photography. In 1842, just three years after the first photographs were taken in France and England, a Scottish university lecturer took the first calotype portrait, the first process to use a negative image to produce more than one print. The first colour photograph was taken in Scotland in 1861 when Maxwell successfully took a picture of tartan ribbon using red, blue and green filters. Throughout the 1800s Scottish photographers pushed the art of photography to new technical and creative limits. Annan famously recorded the slums of Glasgow in what is considered to be the first use of photography as social record. Meanwhile other Scots took their skills abroad to record major events such as the American Civil War and the Crimean War. One Scot who emigrated in 1878 was John Watt Beattie who became one of the most important explorer-photographers in Australia.

John Beattie Sr. had conducted a very successful photographic portrait studio at 75 George Street in Aberdeen, where he was a prominent and forceful figure in public life. He originally worked as a painter and glazer before opening his business in 1866. In 1870 his studio moved to the corner of Bridge and Guild Street near the railway station. His son, John Watt Beattie was born on 15th August 1859, and attended grammar school there. By 1865 Beattie and his family were living in Millburn Street, and they lived there throughout most of the 1870s, and where the 1871 Census lists the household as having two domestic servants. When he was well over 70 years old, and nearly blind, Beattie Sr. felt that his Scottish principles had been so outraged that he needed to turn his back on his native land, as a protest, and emigrate to Australia.

Professor Charteris, in his book 'When the Scot Smiles,' interviewed John Watt Beattie many years later to discover the background to this "...illustration of Aberdonian tenacity of principle...what it was that had brought him as far as 13,000 miles from his native land."

Beattie Jr. replied "My father emigrated from Aberdeen for conscience' sake. And this when he was over seventy-five too. He had been for many a year a leading elder in the West Free Church, Aberdeen, and few men were more respected in the city. But a new minister was inducted to the charge, against my father's vote, and his views on the place of instrumental music in Divine service proved more than my father could condone. Representations to the headstrong clergyman were fruitless. My father then took the only course open to a man of principle. He resigned from the eldership and later lifted his lines from the Church, joining, of course, another where the mode of worship was less outrageous. But the mere presence of this mischievous impostor in Aberdeen so weighed upon my father's spirit that he finally came to perceive that the city itself was not large enough to contain the two of them with any comfort to himself. And as the only way of escape, his thoughts turned to emigration to the Colonies. His decision came very suddenly. As his eyesight had failed, he relied on his family for reading aloud to him at night and I recollect very clearly that one night when I was seated with him at a table turning over the pages of a large illustrated book on Australia, he pointed to a full-page steel-engraving and asked me what might the subject be? I read out the title 'Sheep-rearing on a Victorian Station.' My father pondered for a moment, and then said in a firm voice, 'That's where we are going to, then!' And from this decision nothing could move him. I was deputed to spy out the land in advance. I came out to Melbourne equipped with introductions to the leading graziers in Victoria. I made my inquiries there and in Tasmania, and on every hand I was advised on no account to start in that business. Times were bad, and I would only lose money. I went back to Aberdeen and so reported to my father, who made no reply except to say that his mind was made up. For him it was now Australia or nothing. So the whole family of us came out, with this aged man leading, as it were. And we did buy our station in Tasmania. And the times were bad, as everyone had told me. And we did lose our money, as everyone predicted. All of it."

Upon arrival in Tasmania in 1878 at the age of 19, Beattie Jr. worked for a few years on the 320 acres his father purchased at Mount Lloyd, near New Norfolk on the Derwent River. They lived in an old home called Murray Hall and their farm labourers were old ex-convicts who had an enormous influence on his life. Although he didn't enjoy farming himself, Beattie Jr. could trace his interest in the penal settlements to those early days. "Those were the days when my soul got soaked in the lore of Port Arthur, all our working men being 'old hands,' and the romance of their experiences fascinated me."

Beattie Jr. soon learned the practice of wet plate photography from his father and in an interview with The Mercury newspaper in 1930, he said: "...then there came the wild freshness of my photographic wanderings into the beautiful scenic surroundings of New Norfolk and district. Bushland clearing was not to my taste. I photographed all around the countryside." In 1879 he joined his first major photographic expedition, which travelled by horse and cart to Lake St Clair in the central highlands. He used gelatine dry plates, which were a lot easier to handle than wet plates which required much heavy equipment to be carted about. This process enabled the bush-loving Beattie to travel to Tasmania's remote wilderness areas on foot, recording their scenic beauty.

In 1882 Beattie moved to Hobart and joined the studio of Henry and Joshua Anson, as manager. The brothers had opened their business in 1880 when they acquired the Ruse & Barnett (Elite Studio), which itself had been established in the 1840s. By 1892 Beattie had bought the studio and its comprehensive large format negative collection from the Anson brothers and it became Beatties Studio, and traded as such until 1993, when it was said to be the oldest photographic business still operating in Australia. The announcement of the new photography business was printed in The Mercury on 25th June 1892. "J.W. BEATTIE - Having Purchased the whole of the Well-known Photographic Business, so long carried on by Messrs. Anson Bros., hopes, by strict attention to business and long experience in Photography, to continue to uphold the high reputation for Excellence in Photographic work, which the late firm have always maintained, and to merit liberal support and appreciation from friends and the public."

It wasn't long before the business expanded. The Anson studio had been a small part of the largest building in Elizabeth Street, three storeys of two large shops and upstairs offices. Gradually Beattie took over the whole building. The shops were turned into exhibition rooms, one for landscapes, the other for portraits and groups. His basement was used for making and mixing chemicals and sensitising printing papers. There was a large framing department, workrooms and darkrooms, the Beattie Lending library, the Beattie Museum of Van Diemen's Land relics, a huge studio where groups of 70 or 80 people could be taken, and access to a rooftop for sun printing. He later opened a studio in Launceston in 1894.

At every event of interest in Tasmania between 1880 and 1925, Beattie had a box seat and during those years he photographed every part of the island. The Mercury wrote he was "The Prince of Landscape Photographers in Australia - a man of outstanding personality, who has been a good friend to Tasmania." His professional landscape work was perfectly timed. The tourist industry was under way but Tasmania had no pictures to show the world its beauties. A handful of small prints had been made of the lowland areas, but it had been impossible to tackle this 'Isle of Mountains' with the wet plate process. Beattie and his use of the dry plate and willingness to trek hundreds of miles coincided with the tourist boom. He was a founder of the Tourist Association, formed to promote interest in the State, and in 1899 his photographs were used for a unique purpose - on the first full set of landscape postage stamps ever issued. They were engraved and printed by De La Rue and Co. of London, and their advertising value must have been tremendous.

One of his closest friends was Bishop Montgomery, (whose young son Bernard later became Field-Marshal Montgomery of Alamein), and at Bishopscourt, Beattie met the Right Rev. Dr. Wilson, Bishop of Melanesia. In 1896 Wilson invited him to come on a five months' tour of the south west Pacific in the mission steamer Southern Cross. They sailed to Norfolk Island and on to the New Hebrides, visiting many islands including Guadalcanal, Bougainville, and all the islands of the Solomons. Here Beattie made a complete coverage of the scenery and people of all those South Sea islands adjacent to Australia, eventually exposing 1,300 plates. He was ill for a long time after this journey with a skin disease and sores that were difficult to heal. The sales from these negatives though certainly surprised him. Lantern slides of them were shown in practically every church hall in the world for Beattie had taken the Mission Stations of all denominations. They went also to every scientific body in the world, and vast quantities were sold to Russia - as they told of a completely unknown world to them.

The steamer called at Norfolk Island twice on the voyage and Beattie was greatly impressed with it. The mild climate, natural beauty and the community life of the mission school for natives of the western Pacific all appealed to him. Some of his Norfolk Island photographs were of the former penal settlement at Kingston. There is no specific comment on these in his available diary fragments, but he presumably would have been most interested in the ruins, especially as there were close links historically between that settlement and the Van Diemen's Land penal colony. By the turn of the 20th century most Tasmanians were eager to forget their notorious convict past, but a that time Beattie was amassing a large collection of relics, paintings, documents and other memorabilia relating to the convict era. Beattie acquired some items from Norfolk Island for his historical collection, though not while he was visiting there. The objects were bought at sales of old government stores in Tasmania.

Also in 1896 he was appointed Photographer to the Government of Tasmania. His purpose was to inform the public, through his photographs and collections, of Tasmania's scenic beauty, fascinating history and potential for industrial development. Magic lantern slide shows were a popular form of public entertainment before the 1920s, and Beattie was one of the best known Australian outdoor photographers to deliver these illustrated lectures. In 1901 he had been elected a fellow of the Royal Society of Tasmania, addressing it on many occasions, and was asked to lecture during the Tasmanian Centenary celebrations of 1904. After his death from heart attack in 1930, one newspaper claimed he had been "the greatest living authority on Tasmanian history."

One of his lectures was reviewed as follows: "Beattie has lots of historically interesting material, and uses it to advantage. Rather pleasing to notice that he did not shirk the black spots in our history but was fair all round, though his denunciations of the 'free' press in Governor Arthur's time, the tyranny of certain jailers...and the inhuman annihilation of the aborigines, were evidently unpalatable to some lingering remnants of the old regime, who gnashed their gums in the semi-darkness of the Town Hall."

Unusually for the time, Beattie considered European settlement to have been an invasion of the Aboriginal people's land. His fascination for the Tasmanian Aboriginals led him to collect artefacts, photographs and sketches relating to the subject and in 1903 he wrote a paper for the Royal Society on native words of the Oyster Bay tribe. The convict era had a romantic appeal for too, but he consciously tried to emphasise historical accuracy rather than sensationalism in his portrayal of this aspect of Tasmania's history. Concerned at the lack of complete records of the history of the penal settlements, Beattie attempted to preserve any remaining objects, images or documents of possible relevance. For many years his magpie-like collection was a popular tourist attraction in Hobart. There was no detail of any convict settlement which missed the eye of his camera. He made up six different albums of the Port Arthur convict settlement and he always returned with some leg-irons, manacles, hand-cuffs, an original cat o' nine tails (for males or females), a batch of ticket-of-leave documents, magistrate's orders for floggings, or a collection of pewter stamped with the brand of the broad arrow. The Beattie Museum soon became an Art Gallery as well. He collected every print, drawing, and painting that he could find on early Tasmania, and his gallery became a storehouse of works of Tasmanian early artists. It was Beattie who also rediscovered Wainewright, the convict artist, whose life was written by Oscar Wilde in 'Pen, Pencil, and Poison.'

Beattie never lost interest in his native city, and the Weekly Free Press of Aberdeen constantly referred to the lantern slides and his advice on processing, sent to the Aberdeen Amateur Photographic Society. The same paper, in September 1905, wrote: "John Beattie gave the two official lectures on the history of the Colony at the Centenary Celebrations of Tasmania in 1904, and the same year gave the lecture on Tasmania to the Conference of the Australian Association for the Advancement of Science. Recently he had a fire in his premises that did minor damage, but it was made the occasion for an outburst of sympathy and an expression of the people's high regard for him. He was lured to the museum with his camera under the impression that he was to take a photograph, only to find a large gathering headed by the Hon. John Evans, Premier of the Island, who handed him a cheque for £80. Many high tributes were paid to his personal worth, his untiring efficient and self-sacrificing service on behalf of the Colony. The testimonial given so heartily and with such cordial good wishes is one of which Mr. Beattie might well be proud...as are his friends in Aberdeen, etc."

Beattie married a girl named Emily Cato, whose cousin Jack had joined the studio in 1909. Beattie and his wife had two daughters, Jean and Muriel, and lived in a large house on a steep hillside in North Hobart. From their home they had a magnificent view of mountains, valleys and waterways. At their rear was the 4,170 Mt. Wellington, below them lay the city, and beyond was a view right down the harbour to the Tasman Sea.

One morning in March 1912, Beattie saw from his balcony a strange ship lying out in the river and upon arrival at the studio he found his private office occupied by five sailors sitting around a small chest which apparently held some great treasure. It was Roald Amundsen with all the plates taken on his Antarctic expedition to the South Pole, and he wanted Beattie to personally spend all day and night developing them. Next day every paper in the world carried the headline - AMUNDSEN REACHES SOUTH POLE. His daughter Jean wrote: "I remember father coming home at night and saying how glad he was that it was all over successfully." There was not a plate broken, not a faulty exposure, nor an unprintable negative amongst them. He had made a perfect job of the most difficult of subjects. There had been no sun during the dash to the Pole and if wrongly handled the negatives could have been featureless, but Beattie got every subtle sheen and glimmer that gave modelling and form to the endless world of snow. As he bent over his dishes, he was the first man in the world to see a picture of the South Pole...the tent, the flag, the records left in that barren waste. After those plates of Amundsen's were developed, the staff then had to print thousands of copies.

Over the years Beattie's museum collection became bloated, with hundreds of artefacts locked away in storage, so in 1927 he sold his collection to the City of Launceston for £4,500, for eventual display in the Queen Victoria Museum. And when he retired he sold the photographic business to Frank Cane.

John Beattie and Jack Cato's father were lifelong friends. They both retired about the same time and visited each other several times a week. It was Beattie's turn to visit on 24th June, 1930 and Cato wrote in 'The Story of the Camera in Australia' (1955) "After talking to my father for an hour he left to meet his wife at a relative's home in Sandy Bay. Soon after arriving there he collapsed in a chair and expired in his wife's arms. John Watt Beattie was a fine man. Next day the Hobart Mercury published a column and a half obituary notice recording his great services to Tasmania. He was seventy-one years of age."

Beattie did not live to see the disaster which struck his studio three years later. In 1933 it was completely destroyed by fire. A few singed prints were all that could be rescued, and a great deal of the archive was lost, but the staff worked hard to save and rebuild it. Many of the negatives were stored off site and other images have been re-photographed from prints over the years. After the fire, Frank Cane bought an old studio in Collins Street known as McGuffies and Arch Stephenson (who had joined the studio in 1926 and took over the business later in 1930), and his son A.A. (Bill Sr.) Stephenson, who had joined in 1933, worked with their staff to save some photographs from the ashes while operating the business from the McGuffies studio until the first section of the Cat & Fiddle Arcade was completed, where it moved in 1934. Frank Cane, Arch and Bill Stephenson and Miss B Gislingham (the retoucher and colourist), through their dedication and long working hours, were responsible for the survival of Beatties Studio.

Many libraries had albums of his pictures, and the files of various publications contained many reproductions so it was possible to salvage a great number of scenic photographs of Beattie's work, and Arch Stephenson made negatives from them. His grandson, William Stephenson, who joined in 1955, continued to produce framed photographic enlargements of images taken by Beattie so there now exists an archive of over 4,000 negatives.

Beattie was an explorer-photographer who spent his life and earned his living on the mountain tops and in the valleys of a beautiful island - bringing back his magic pictures of lakes and rivers and far-flung peaks, which, in many instances, he was the first (white) man to discover. His personal love of wild country lay behind his numerous photographic journeys to remote areas: "I love the bush, and nothing gives me greater delight than to stand on the top of some high land and look out on a wild array of our grand mountains. I am struck dumb, but oh! my soul sings."

With thanks to Adrian Harvey & David Oswald, Aberdeen. (www.scottishhighlanderphotoarchive.co.uk)]

Publishing details: Beatties Studio, c1982
viii, 88 p. : chiefly ill., ports. ; 25 x 29 cm. Includes index.
Ref: 1000

Eyre Halview full entry

Reference: see display of work at the State Library of NSW (no catalogue). October 2015. From SLNSW website: Satire in the time of war: cartoons by Hal Eyre 1914 – 1918
Venue:
Level 1, Macquarie Street building
Hal Eyre began working as a cartoonist for the Daily Telegraph newspaper in 1908. The 357 original drawings he produced for the paper during World War I were purchased by the State Library of NSW in 1920. This collection depicts the war from a cartoonist’s perspective. He satirised themes of national identity and political power plays and the disintegration of the great European powers as the world erupted in warfare.
The skill of political cartoonists is to distil a complex situation into a humorous, powerful visual statement. Eyre did this within the tradition of his time, using symbols of Empire, including animals as metaphors for nation states. He made great use of caricatures of well-known European leaders. Reproductions of the original drawings by Hal Eyre will be on display.

Canning Crissview full entry

Reference: Gould Gallery Catalogue - Criss Canning: In and Around Burnside, Solo Exhibition 29 September - 16 October 1995
Publishing details: Gould Gallery, 1995
Ref: 1000

Canning Crissview full entry

Reference: Criss Canning : The Melbourne Art Exchange October 19-29, 1989
Publishing details: Melbourne Art Exchange, 1989
Ref: 1000

Canning Crissview full entry

Reference: Macmillan Mini-Art Series No. 9: Criss Canning
Publishing details: Macmillan, 2010
Ref: 1000

Boyd Merricview full entry

Reference: see An Open House - recollections of my early life, by David Boyd. [’Merric and Doris Boyd, Boyd's parents, were potters and devout Christian Scientists. They lived at Murrumbeena and their sons wandered the fields until they were reluctanntly consripted to the army during World War II’]
Publishing details: Hardie Grant, Melbourne, 2012. Hardcover, dw, 356 pages.

Boyd Arthurview full entry

Reference: see An Open House - recollections of my early life, by David Boyd. [’Merric and Doris Boyd, Boyd's parents, were potters and devout Christian Scientists. They lived at Murrumbeena and their sons wandered the fields until they were reluctanntly consripted to the army during World War II’]
Publishing details: Hardie Grant, Melbourne, 2012. Hardcover, dw, 356 pages.

Boyd familyview full entry

Reference: see An Open House - recollections of my early life, by David Boyd. [’Merric and Doris Boyd, Boyd's parents, were potters and devout Christian Scientists. They lived at Murrumbeena and their sons wandered the fields until they were reluctanntly consripted to the army during World War II’]
Publishing details: Hardie Grant, Melbourne, 2012. Hardcover, dw, 356 pages.

Douglas Neilview full entry

Reference: see An Open House - recollections of my early life, by David Boyd. [’Merric and Doris Boyd, Boyd's parents, were potters and devout Christian Scientists. They lived at Murrumbeena and their sons wandered the fields until they were reluctanntly consripted to the army during World War II’]
Publishing details: Hardie Grant, Melbourne, 2012. Hardcover, dw, 356 pages.

a’Beckett Emma Minnieview full entry

Reference: see An Open House - recollections of my early life, by David Boyd. [’Merric and Doris Boyd, Boyd's parents, were potters and devout Christian Scientists. They lived at Murrumbeena and their sons wandered the fields until they were reluctanntly consripted to the army during World War II’]
Publishing details: Hardie Grant, Melbourne, 2012. Hardcover, dw, 356 pages.

Green Deniseview full entry

Reference: see Australian Art Collector, no 15, Jan - March, 2001, p32

Green Deniseview full entry

Reference: see Australian Art Collector, no 15, Jan - March, 2001, p32

Perceval John obitview full entry

Reference: see Australian Art Collector, no 15, Jan - March, 2001, p36

Schaeffer John & Julie collectionview full entry

Reference: see Australian Art Collector, no 15, Jan - March, 2001, p42-4

Schaeffer John & Julie collectionview full entry

Reference: see Australian Art Collector, no 15, Jan - March, 2001, p42-4

Adams Peter Michaelview full entry

Reference: Peter Michael Adams - Earth Links
Publishing details: Australia Council for Fine Arts & Peter Adams, 1997, pb, 40pp

Varvaressos Vickiview full entry

Reference: Vicki Varvaressos: New Paintings 4-29 June 2002. Illustrated with 8 unnumbered colour plates, with related details printed below. Also with colour photograph of the author. Includes biographical details, collections, plus selected group exhibitions. Staple-bound pictorial wraps. [’"Vicki Varvaressos: New Paintings", which was held from 4-29 June, 2002 at Niagara Galleries, Melbourne.’]
Publishing details: Niagara Publishing, Richmond, 2002
Ref: 1000

Varvaressos Vickiview full entry

Reference: Vicki Varvaressos: The story so far, by Joe Eisenberg. [’Vicki Varvaressos is one of Australia’s leading established women painters. As a contemporary artist, Vicki Varvaressos emphasizes her inner feelings and emotions over objective depictions in highly personal colour choices and at the same time she takes the opportunity to express her attitude, sentiment and opinion.
Over time she has developed imagery characterized by vivid, often angular or flowing simplified figures to the point of distortion of her subjects. The dramatic figures contrast with a limited palette, which at times result in crude and rather raw finishes. This technique adds almost an impossible intensity to her art and defines and marks it as uniquely hers.
For Varvaressos the fragmentary nature of modern life evokes a disparate array of aesthetic responses. She paints with undisguised glee and actively searches her own feelings and story for the subject matter that becomes her art be it realistic or abstracted. She comments; ‘I paint the things that interest me, that’s what I’ve always done regardless; whatever the content. It’s what I’m involved in and what I’m interested in at the time.’’]
Publishing details: Maitland Regional Gallery, 2014, pb, 56pp.

Ollis Bernardview full entry

Reference: Bernard Ollis - The St Peters Suite, exhibition catalogue, preface by John McDonald, illustrated in colour, biographical information
Publishing details: Bernard Ollis, 2006, pb, 48pp

Caddy George photographerview full entry

Reference: Bondi Jitterbug - George Caddy and his camera [’The State Library of New South Wales has Australia’s most important photographic collection, with over a million images recording changes in our society and environment, from 1845 to the present. It is an ongoing collection, so that contemporary photographs continue to be acquired to give a fuller picture of our more recent history.
Sometimes images come to the Library from unusual sources. When Paul Caddy cleared
out his late father’s estate, he found a box of photographic negatives, neatly numbered and dated, but with no further information on them. Who they depicted was not known. Where they were taken was a blank. Mystified, he put them to one side and forgot about them for some years. Providentially, a friend contacted the Library.
The transformation of a box of unidentified pre-war film negatives to the exhibition Bondi Jitterbug
is a lesson in determined sleuthing. From the beginning, the quality of the photographs had been recognised, but knowing nothing about them presented a seemingly insurmountable obstacle.
The brilliance of George Caddy’s short photographic career would have remained unknown, were it not for the Library’s resources bringing his story to life. Books, magazines, newspapers, electoral rolls, telephone directories and the Manuscripts, oral History & Pictures on-line catalogue all contributed to an understanding of George Caddy and his photography. The Library’s media team placed
a story about his photographs of beach acrobats in a local newspaper and several people replied. Gradually, an accumulation of information enabled the images to be identified and even
led to the recognition of most of the individuals recorded by his camera.
Bondi Jitterbug is a celebration of the talent of George Caddy and testament to the wealth of information held by the Library. It is also a tribute to the Library’s staff, who made this exhibition
of George Caddy’s astonishing photographs possible.
Regina A Sutton
NSW State Librarian & Chief Executive’]
Publishing details: State Library of NSW, 2008, pb, 22pp
Ref: 133

Olley Margaretview full entry

Reference: Margaret Olley -The Inner Sanctum, Paintings 2010-2011. Philip Bacon exhibiting at Sotheby’s Gallery. 27 colour illustrations
Publishing details: Philip Bacon at Sotheby’s Gallery, 2011, pb, 32pp
Ref: 131

Clemenger Contemporary Art Awards 2006view full entry

Reference: Clemenger Contemporary Art Awards 2006. Includes essays on on each of the 12 exhibiting artists
Publishing details: NGV, 2006, pb, 40pp
Ref: 129

Clemenger Contemporary Art Awards 2000-2005?view full entry

Reference: Clemenger Contemporary Art Awards 2000-2005 [to be indexed if they were held]
Publishing details: various
Ref: 1000

Baines Robertview full entry