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The Scheding Index of Australian Art & Artists

Search or browse the Index to locate biographical information
on Australian artists more details»


Showing 1,000 records of 1,000 total. We are displaying one thousand.

First | Previous | Record 92,451 – 93,450 of 1,000

Westmoreland Braddview full entry
Reference: exhibition at Niagara Galleries, 2009
Publishing details: catalogue details to be located.
Ref: 1000
Tabacco Wilmaview full entry
Reference: Wilma Tabacco exhibition at Niagara Galleries, 2009
Publishing details: Melbourne : Niagara Galleries, 2009. Quarto, illustrated wrappers, pp. [32], illustrated. Invitation card included.
Ref: 1000
Young Brentview full entry
Reference: exhibition at John Gordon Gallery, Coffs Harbour, 2004
Publishing details: catalogue details to be located.
Ref: 1000
Eggert Annaview full entry
Reference: sculpture exhibition at Barry Stern Galleries, 2001
Publishing details: catalogue details to be located.
Ref: 1000
Atkins Rosalindview full entry
Reference: exhibition at Australian Galleries, 2006
Publishing details: catalogue details to be located.
Ref: 1000
Keighery Michaelview full entry
Reference: Winter/Spring 2009 exhibition at Wilson Street Gallery, Newtown. NSW, 2009, Catalogue includes biographical information on artosts.
Publishing details: Wilson Street Gallery, Newtown. NSW, 2009, 25pp
Ref: 139
Keighery Michaelview full entry
Reference: see Winter/Spring 2009 exhibition at Wilson Street Gallery, Newtown. NSW, 2009, Catalogue includes biographical information on artosts.
Publishing details: Wilson Street Gallery, Newtown. NSW, 2009, 25pp
Heinrich Bernd & Ross Thorntonview full entry
Reference: see Winter/Spring 2009 exhibition at Wilson Street Gallery, Newtown. NSW, 2009, Catalogue includes biographical information on artosts.
Publishing details: Wilson Street Gallery, Newtown. NSW, 2009, 25pp
Thornton Ross & Bernd Heinrichview full entry
Reference: see Winter/Spring 2009 exhibition at Wilson Street Gallery, Newtown. NSW, 2009, Catalogue includes biographical information on artosts.
Publishing details: Wilson Street Gallery, Newtown. NSW, 2009, 25pp
Kay Hannaview full entry
Reference: see Winter/Spring 2009 exhibition at Wilson Street Gallery, Newtown. NSW, 2009, Catalogue includes biographical information on artosts.
Publishing details: Wilson Street Gallery, Newtown. NSW, 2009, 25pp
Dongwang Fanview full entry
Reference: see Winter/Spring 2009 exhibition at Wilson Street Gallery, Newtown. NSW, 2009, Catalogue includes biographical information on artosts.
Publishing details: Wilson Street Gallery, Newtown. NSW, 2009, 25pp
Pool Gabrielleview full entry
Reference: exhibition at Brenda Colahan Fine Art and Mandela Gallery, 2004
Publishing details: catalogue details to be located.
Ref: 1000
Noakes Reginaview full entry
Reference: exhibition at Libby Edwards Gallery, 2004? invite with biographical information
Ref: 139
Backen Robynview full entry
Reference: Verge in Rain, exhibition at Art Gallery of NSW, 1995.
Publishing details: catalogue details to be located.
Ref: 1000
Ropar Dennisview full entry
Reference: exhibition at United Galleries, 2008
Publishing details: catalogue details to be located.
Ref: 1000
Valadon Rosemaryview full entry
Reference: exhibition at Eva Breuer Gallery, 2004, invite and press relase with biographical information.
Publishing details: Eva Breuer Gallery, 2004,
Ref: 139
Bennetts Shirleyview full entry
Reference: exhibition at Cooks Hill Gallery, Newcastle, 2002
Publishing details: catalogue details to be located.
Ref: 1000
Foxtonfinn Deloresview full entry
Reference: exhibition at Cooks Hill Gallery, Newcastle, 2002
Publishing details: catalogue details to be located.
Ref: 1000
Brownhall Robertview full entry
Reference: exhibition at Philip Bacon Galleries, 2009
Publishing details: catalogue details to be located.
Ref: 1000
Adams Lisaview full entry
Reference: exhibition at Philip Bacon Galleries, 2009
Publishing details: catalogue details to be located.
Ref: 1000
Seffrin Nickolausview full entry
Reference: exhibition at Philip Bacon Galleries, 2009
Publishing details: catalogue details to be located.
Ref: 1000
Honeywill Johnview full entry
Reference: exhibition at Philip Bacon Galleries, 2009
Publishing details: catalogue details to be located.
Ref: 1000
Anderson Peterview full entry
Reference: exhibition at Philip Bacon Galleries, 2009
Publishing details: catalogue details to be located.
Ref: 1000
Benwell Stephenview full entry
Reference: exhibition at Niagara Galleries, 2005
Publishing details: catalogue details to be located.
Ref: 1000
Bartley Johnview full entry
Reference: exhibition at Legge Gallery, 2003
Publishing details: catalogue details to be located.
Ref: 1000
Bennett Andrewview full entry
Reference: Water and other illusions, exhibition at Gallery 460, 2003
Publishing details: catalogue details to be located.
Ref: 1000
Boston Paulview full entry
Reference: exhibition at Niagara Galleries, 2008
Publishing details: catalogue details to be located.
Ref: 1000
Batt Terryview full entry
Reference: exhibition at Niagara Galleries, 2008
Publishing details: catalogue details to be located.
Ref: 1000
Meilak Seanview full entry
Reference: exhibition at Kaliman Gllery, Sydney, 2009
Publishing details: catalogue details to be located.
Ref: 1000
Bratanoff Jean-Pierreview full entry
Reference: exhibition at Sara Roney Gallery, Sydney, 2006
Publishing details: catalogue details to be located.
Ref: 1000
Bathgate Rodview full entry
Reference: exhibition at Cooks Hill Gallery, Newcastle, 2002
Publishing details: catalogue details to be located.
Ref: 1000
Bonato Victorview full entry
Reference: exhibition at 2 Danks Street Gallery, 2005, 46 exhibits.
Publishing details: catalogue details to be located.
Ref: 1000
Butler Emmaview full entry
Reference: exhibition at Chalkhorse Gallery, Surry Hills, Sydney, i-page biography, 2008
Publishing details: Chalkhorse Gallery, Surry Hills, Sydney, i-page biography, 2008
Ref: 139
Binns Fergusview full entry
Reference: exhibition at Chalkhorse Gallery, Surry Hills, Sydney,, 2008
Publishing details: Chalkhorse Gallery, Surry Hills, Sydney, 2008
Ref: 1000
Ciccarone Juliaview full entry
Reference: exhibition at Niagara Galleries, 2005
Publishing details: catalogue details to be located.
Ref: 1000
Browne Andrewview full entry
Reference: exhibition at Gould Contemporary, 2004
Publishing details: catalogue details to be located.
Ref: 1000
Crisp Peterview full entry
Reference: exhibition at Tim Goodman Fine Art Warehouse, Double Bay, NSW, 2002
Publishing details: catalogue details to be located.
Ref: 1000
Purves Michelleview full entry
Reference: exhibition at Tim Goodman Fine Art Warehouse, Double Bay, NSW, 2002
Publishing details: catalogue details to be located.
Ref: 1000
Dawson Janeview full entry
Reference: New Sculptures, exhibition at Barry Stern Gallery, 2001
Publishing details: catalogue details to be located.
Ref: 1000
Black Belindaview full entry
Reference: Floral watercolours, exhibition at 43 Lavender Street, Lavender bay, NSW, November 9 - November 18, 20--? (no year)
Publishing details: catalogue details to be located.
Ref: 1000
Gordon James view full entry
Reference: Insects and Eucalypts, exhibition at 43 Lavender Street, Lavender bay, NSW, November 9 - November 18, 20--? (no year)
Publishing details: catalogue details to be located.
Ref: 1000
Summers Angieview full entry
Reference: Flowers, exhibition at 43 Lavender Street, Lavender bay, NSW, November 9 - November 18, 20--? (no year)
Publishing details: catalogue details to be located.
Ref: 1000
Douglass Markview full entry
Reference: exhibition at Gould Contemporary, 2001
Publishing details: catalogue details to be located.
Ref: 1000
Cerins Juris b1967 Latviaview full entry
Reference: exhibition at Disegno Gallery, Melbourne, 2002, invite has brief biographical information.
Publishing details: catalogue details to be located.
Ref: 139
Christmann Gunterview full entry
Reference: exhibition at Niagara Galleries, 2005
Publishing details: catalogue details to be located.
Ref: 1000
Christmann Gunterview full entry
Reference: exhibition at Niagara Galleries, 2005
Publishing details: catalogue details to be located.
Ref: 1000
Boyd Arthur view full entry
Reference: The Bride, exhibition at Gould Contemporary, 2001. 18 paintings in the series.
Publishing details: catalogue details to be located.
Ref: 1000
Boyd Cassandra view full entry
Reference: exhibition at Wagner Art Gallery, 2004
Publishing details: catalogue details to be located.
Ref: 1000
Clarke Denisview full entry
Reference: exhibition at Polly Courtin Gallery, Sydney, 2001
Publishing details: catalogue details to be located.
Ref: 1000
Crouch Adrienneview full entry
Reference: exhibition at The Private Gallery, 563 South Dowling Street, Surry Hills, NSW, 2001
Publishing details: catalogue details to be located.
Ref: 1000
Capper Chrisview full entry
Reference: exhibition at Brian Moore Gallery, 2001
Publishing details: catalogue details to be located.
Ref: 1000
Chen Phillipview full entry
Reference: exhibition at The Private Gallery, 563 South Dowling Street, Surry Hills, NSW, 2001
Publishing details: catalogue details to be located.
Ref: 1000
Caughlan Robynview full entry
Reference: exhibition at Serendipity Gallery, Katoomba, NSW, 20092
Publishing details: catalogue details to be located.
Ref: 1000
Courtin Pollyview full entry
Reference: solo exhibition at Polly Courtin Gallery, Sydney, 2001, press release and invite.
Publishing details: Polly Courtin Gallery, Sydney, 2001,
Ref: 139
Chen Zhongview full entry
Reference: exhibition at Eva Breuer Gallery, 2001,
Publishing details: catalogue details to be located.
Ref: 1000
Cassab Judyview full entry
Reference: exhibition at Australian Galleries, 2001
Publishing details: catalogue details to be located.
Ref: 1000
Cameron Phyllidaview full entry
Reference: solo exhibition at Polly Courtin Gallery, Sydney, 2001, press release and invite.
Publishing details: Polly Courtin Gallery, Sydney, 2001,
Ref: 139
Baines Andrewview full entry
Reference: exhibition at RBG Gallery, Sydney, 2005
Publishing details: catalogue details to be located.
Ref: 1000
Blabey Aaronview full entry
Reference: exhibition at Maree Mizon Gallery. Sydney, 2005
Publishing details: catalogue details to be located.
Ref: 1000
Batt Terryview full entry
Reference: exhibition at Niagara Galleries, 2006
Publishing details: catalogue details to be located.
Ref: 1000
Bridgewater Robertview full entry
Reference: exhibition at Niagara Galleries, 2007
Publishing details: catalogue details to be located.
Ref: 1000
Bush Stephenview full entry
Reference: exhibition at John Gordon Gallery, Coffs Harbour, 2004
Publishing details: catalogue details to be located.
Ref: 1000
Shirvington Patrickview full entry
Reference: exhibition at Wagner Gallery, Sydney, 2003
Publishing details: catalogue details to be located.
Ref: 1000
Shirvington Patrickview full entry
Reference: exhibition at Wagner Gallery, Sydney, 2004
Publishing details: catalogue details to be located.
Ref: 1000
Browell Andrew photographerview full entry
Reference: The Waterfront 2, exhibition at Josef Lebovic Gallery, artist statement and 18 illustrations
Publishing details: Josef Lebovic Gallery, nd, c2008? 4pp
Ref: 139
Bang Min Wooview full entry
Reference: exhibition at TAP Gallery, Sydney, 2004
Publishing details: catalogue details to be located.
Ref: 1000
Crook Rayview full entry
Reference: History of Love Part 1, exhibition at BBA Gallery, Sydney, 2001 with essay by Timothy Morell
Publishing details: BBA Gallery, Sydney, 2001
Ref: 139
Intersections of Art & Scienceview full entry
Reference: Intersections of Art & Science, exhibition at COFA, Sydney, 2001 [to be indexed]
Publishing details: COFA, Sydney, 2001
Ref: 1000
Baka Peterview full entry
Reference: exhibition at Robin Gibson Gallery, Sydney, 2001
Publishing details: catalogue details to be located.
Ref: 1000
Bowen Deanview full entry
Reference: The big little men, exhibition at Arts D’Australie, Paris, 2001, invite includes very brief biography
Publishing details: Arts D’Australie, Paris, 2001, 4pp
Ref: 139
Bramley-Moore Mostynview full entry
Reference: exhibition at Watters Gallery, Sydney, 2001
Publishing details: catalogue details to be located.
Ref: 1000
Browne Andrewview full entry
Reference: exhibition at Gould Contemporary, 2001
Publishing details: catalogue details to be located.
Ref: 1000
Wei Guanview full entry
Reference: exhibition at Sherman Galleries, 2007
Publishing details: catalogue details to be located.
Ref: 1000
Douglass Markview full entry
Reference: exhibition at Gould Contemporary, Sydney, 2005
Publishing details: catalogue details to be located.
Ref: 1000
Sealey Dougview full entry
Reference: exhibition at The Private Gallery, 563 South Dowling Street, Surry Hills, NSW, 2001
Publishing details: catalogue details to be located.
Ref: 1000
Diamond Jenniferview full entry
Reference: exhibition at The Private Gallery, 563 South Dowling Street, Surry Hills, NSW, in 2001
Publishing details: catalogue details to be located.
Ref: 1000
Daunt Nicholasview full entry
Reference: exhibition at Libby Edwards Gallery, Sydney, 2001
Publishing details: catalogue details to be located.
Ref: 1000
Medail Contessa Patriziaview full entry
Reference: exhibition at Barry Stern Gallery, 2001
Publishing details: catalogue details to be located.
Ref: 1000
Roden Raphaellaview full entry
Reference: exhibition at Barry Stern Gallery, 2001
Publishing details: catalogue details to be located.
Ref: 1000
Bott G Wview full entry
Reference: exhibition at Barry Stern Gallery, 2001
Publishing details: catalogue details to be located.
Ref: 1000
Brown Martinview full entry
Reference: exhibition at Australian Galleries, 2001
Publishing details: catalogue details to be located.
Ref: 1000
Byrnes Aubrey Jamesview full entry
Reference: exhibition at Wallspace Gallery, Sydney, 2006
Publishing details: catalogue details to be located.
Ref: 1000
Bergstrom Danelleview full entry
Reference: exhibition at rex-livingston art dealer, Surry Hills, NSW, 2005
Publishing details: catalogue details to be located.
Ref: 1000
Burton Nicholasview full entry
Reference: exhibition at Libby Edwards Gallery at South Yarra Gallery, c2004
Publishing details: catalogue details to be located.
Ref: 1000
Boyd Lynneview full entry
Reference: exhibition at Brian Moore Gallery, Sydney, 2003
Publishing details: catalogue details to be located.
Ref: 1000
Bilyk Zibview full entry
Reference: exhibition at Roney Galleries, Sydney, 2006
Publishing details: catalogue details to be located.
Ref: 1000
Caughlan Robynview full entry
Reference: exhibition at Bondi Pavillion Gallery, 2001, invite with brief biography on this Indigenous artist.
Publishing details: Bondi Pavillion Gallery, 2001
Ref: 139
Chadwick Tonyview full entry
Reference: Drawings, exhibition at Brian Moore Gallery, Sydney, 2001
Publishing details: catalogue details to be located.
Ref: 1000
Tan Yifengview full entry
Reference: Sculpture, exhibition at Paddington Contemporary Fine Art, Sydney, 23 July - 10 August (no year - c2008?)
Publishing details: catalogue details to be located.
Ref: 1000
Lindsay Norman view full entry
Reference: Norman Lindsay - Artful cats, introduced by Meg Stewart
Publishing details: Odana Editions, 2001, hc, 144pp
Ref: 1009
Sinozich Gina view full entry
Reference: exhibition at Liverpool Regional Museum, 2005
Publishing details: catalogue details to be located.
Ref: 1000
Sharp Peterview full entry
Reference: Spider
Publishing details: Liverpool Street Gallery, 2007
Ref: 1000
Hart Proview full entry
Reference: Works on Paper by Pro Hart, exhibition at Phillips Fine Art
Publishing details: Phillips Fine Art, 2004
Ref: 1000
Schaller Markview full entry
Reference: Tim Olsen Gallery
Publishing details: 2001
Ref: 1000
Molnar George 1910-1998view full entry
Reference: Statues by George Molnar

Publishing details: [London] : Phoenix House, 1954
Ref: 1000
Molnar George 1910-1998view full entry
Reference: Human scale in architecture : George Molnar's Sydney / Jo Holder, Robert Freestone, Joan Kerr. Includes index.
Bibliography: p. 144-148.

Publishing details: Craftsman House, c2003, 152 p. : ill., port. (hardback)

Ref: 1000
Molnar Georgeview full entry
Reference: Insubstantial pageant / by George Molnar
by Molnar, George, 1910-1998

Publishing details: Sydney : Angus & Robertson, [1959]

Ref: 1000
Molnar Georgeview full entry
Reference: Molnar, 1970-1976 : a collection of cartoons from the Sydney Morning Herald
by Molnar, George, 1910-1998

Publishing details: [Sydney] : John Fairfax & Sons, 1976
Ref: 1000
Molnar Georgeview full entry
Reference: Postcards
by Molnar, George, 1910-1998


Publishing details: [Sydney] : Angus and Robertson, [1961]
Ref: 1000
Molnar Georgeview full entry
Reference: see The more things change [electronic resource] : the relevance of Molnar today / Shirely Fitzgerald
by Fitzgerald, Shirley, 1949-

Publishing details: [Sydney, NSW] : [Sydney City Council?], [2001?]
Molnar Georgeview full entry
Reference: Sydney observed / by Gavin Souter [and] George Molnar


Publishing details: [Sydney] : Angus and Robertson, [1968]
Ref: 1000
Molnar Georgeview full entry
Reference: Statues : and more statues by George Molnar


Publishing details: Potts Point, N.S.W. : Duffy & Snellgrove, 2000
Central Street Liveview full entry
Reference: Central Street Live, exhibition about the Central Street Gallery, Sydney, launched by Paul McGillick
Publishing details: Macquarie University Art Gallery, 2003. And at Penrith Regional Gallery.
Ref: 1000
Stringer Terry NZ sculptorview full entry
Reference: exhibition at Robin Gibson Galleries, 2002, with essay
Publishing details: Robin Gibson Galleries, 2002, 7pp
Ref: 139
Lewitt Vivienne Sharkview full entry
Reference: Ros Oxley9 Gallery catalogue
Publishing details: 2001
Ref: 1000
Wei Guanview full entry
Reference: exhibition at Sherman Galleries, 2006
Publishing details: catalogue details to be located.
Ref: 1000
Rush Edview full entry
Reference: see University of Newcastle Gallery, Australia, exhibition catalogue essay: The art of Ed Rush yields its true meaning after prolonged viewing. Rush layers his paintings. One surface is put down over another in order to develop depth of colour and an underlying structure. He says that he likes “structure”, particularly one that knits composite elements into something whole. At first glance, the individual shapes and marks of the final surface are more visible. Then, after a while, the ‘knitted whole’ comes into view.
Textiles appeal to Rush and it seems that he approaches his work as if he were threading skeins of paint. His interest in all things woven and interlaced might reveal something about his temperament. It suggests sensitivity to the tenuousness of things and to the binaries that lightly hold them together: to the separate and peculiar fragment, and also the larger, patterned order; to the weight and density of a surface, and also its porosity. Indeed, Rush’s layered surfaces always retain a porous quality. Gaps and transparencies lead us deep into the painting.
Rush lives on a small hill in a remote valley. After looking at the paintings in the studio one becomes attuned to the passing phenomena outside: one last shard of light illuminating a hillside, a twilit cloud, the deepening blue of the Barringtons. What is apparent is the way the steepness of the valley frames and amplifies the impressions of these phenomena. It provides a circumscribed structure over which all these changes pass. Sitting on its hill, Rush’s house is like a watchtower. It is easy to see why this place appeals to him. It is its vantage point, the particular way of looking it solicits. There is a clear view of the geological whole and also of the elemental, the atmospheric and the ephemeral coursing through it.
Rush says that his paintings are not about landscape, although a title such as “From the Veranda: Forecast Turbulence” invites us to at least consider it. He has commented on the changing colours of the grass and the scorched patterns left on the hills after back-burn. These observations enter his paintings not as descriptions of place but as metaphors for something larger. They become metaphors for the largeness of life, the splendour of its surface impressions and the structure of its shifting and rarely definable understory – the dense weave of our being.
Scott Millington (artist), August 2012’]
Publishing details: University of Newcastle Gallery, 2012
Rush Edview full entry
Reference: exhibition at Brian Moore Gallery, Sydney, 2002
Publishing details: catalogue details to be located.
Ref: 1000
Rish Adamview full entry
Reference: Adam Rish : Michael Nagy Gallery exhibition, 2001
Publishing details: catalogue details to be located.
Ref: 1000
Plapp Jonview full entry
Reference: Pale Coherences, Watters Gallery,2001,
Publishing details: catalogue details to be located.
Ref: 1000
Varvaressos Vickiview full entry
Reference: Watters Gallery catalogue, 2001
Publishing details: catalogue details to be located.
Ref: 1000
Mombassa Regview full entry
Reference: Reg Mombassa exhibition at Watters Gallery, 2001
Publishing details: catalogue details to be located.
Ref: 1000
Namok Rosellaview full entry
Reference: Niagara Galleries, 2006
Publishing details: catalogue details to be located.
Nellview full entry
Reference: Ros Oxley9 catalogue, 2005
Publishing details: catalogue details to be located.
Ref: 1000
Platten Anna view full entry
Reference: Anna Platten 1994-2006 : exhibition at Eva Breuer Gallery. 2006
Publishing details: catalogue details to be located.
Ref: 1000
Meilak Seanview full entry
Reference: exhibition at Kaliman Gllery, Sydney, 2005
Publishing details: catalogue details to be located.
Ref: 1000
Abbott Douglassview full entry
Reference: see Shannon's Fine Art Auctioneers, USA, 21 June, 2019, lot 85. DOUGLASS ABBOTT, Australian (b. 1948), Pair of Landscapes,watercolor on paper, 13 x 18 inches, signed lower right "Douglas.Abbott." Central Australian watercolours.,
Quadrivium Galleryview full entry
Reference: Quadrivium Gallery, 2-50 Gallery Level 2 Queen Victoria Building, Sydney, operated from 1996 until? specialising in works by Australian glass makers. see brochure ‘glass art in Australia, 12-page brochure with illustrations of works by about 30 artists. All Quadrivium Gallery catalogues to be indexed.
Ref: 139
glass artistsview full entry
Reference: see Quadrivium Gallery, 2-50 Gallery Level 2 Queen Victoria Building, Sydney, operated from 1996 until? specialising in works by Australian glass makers. see brochure ‘glass art in Australia, 12-page brochure with illustrations of works by about 30 artists. All Quadrivium Gallery catalogues to be indexed.
Mount Nick glass artistview full entry
Reference: exhibition at Quadrivium Gallery, Oct-Nov 2001
Publishing details: catalogue details to be located.
Ref: 1000
Milliss Davidview full entry
Reference: exhibition at Harris Courtin Gallery 2001
Publishing details: catalogue details to be located.
Ref: 1000
McVinish Cristopherview full entry
Reference: exhibition at Gallery 460, 2001
Publishing details: catalogue details to be located.
Ref: 1000
Robertson Kelvinview full entry
Reference: exhibition at Icon Gallery 2004
Publishing details: catalogue details to be located.
Ref: 1000
Rigby Johnview full entry
Reference: exhibition at Wagner Gallery 2004 with biographical details
Publishing details: .
Ref: 139
Rowley Jannview full entry
Reference: exhibition at Libby Edwards Gallery 2003, with biographical details
Ref: 139
Richards Gordonview full entry
Reference: exhibition at Richard Martin Gallery, 2006
Publishing details: catalogue details to be located.
Ref: 1000
Ritson Sarahview full entry
Reference: exhibition at Glen Eira City Gallery, 2003
Publishing details: catalogue details to be located.
Ref: 1000
Reichelt Victoriaview full entry
Reference: exhibition at John Gordon Gallery, 2005
Publishing details: catalogue details to be located.
Ref: 1000
Ross Anne sculptureview full entry
Reference: exhibition at Brian Moore Gallery, 2002
Publishing details: catalogue details to be located.
Ref: 1000
Park Yeonjooview full entry
Reference: exhibition at Span Galleries, Melbourne, 2005
Publishing details: catalogue details to be located.
Ref: 1000
Pekel Hermanview full entry
Reference: exhibition at Mahoneys Galleries, Melbourne, 2004
Publishing details: catalogue details to be located.
Ref: 1000
Price Terry-Pauline view full entry
Reference: exhibition at Maree Mizon Gallery, 2005
Publishing details: catalogue details to be located.
Ref: 1000
Priddle Tonyview full entry
Reference: exhibition at Wallspace Gallery, 2006
Publishing details: catalogue details to be located.
Ref: 1000
Popov Mika Utzonview full entry
Reference: exhibition at Australian Galleries, 2006, with biographical details
Ref: 139
Tippett Pamview full entry
Reference: exhibition at Australian Galleries, 2004
Publishing details: catalogue details to be located.
Ref: 1000
Tuckwell Louiseview full entry
Reference: exhibition at Tim Olsen Gallery, 2003
Publishing details: catalogue details to be located.
Ref: 1000
Turner Kateview full entry
Reference: exhibition at Liverpool Street Gallery, 2004
Publishing details: catalogue details to be located.
Ref: 1000
Thorpe Mackenzieview full entry
Reference: exhibition at Fishers Fine Art, Trevor Victor Harvey gallery and Gullotti Galleries, 2004
Publishing details: catalogue details to be located.
Ref: 1000
Perceval Celiaview full entry
Reference: exhibition at Wagner Gallery, 2004
Publishing details: catalogue details to be located.
Ref: 1000
Twigden Blakeview full entry
Reference: exhibition at Cooks Hill Galleries, 2002
Publishing details: catalogue details to be located.
Ref: 1000
Preston Davidview full entry
Reference: exhibition at Wagner Gallery, 2003
Publishing details: catalogue details to be located.
Ref: 1000
Preston Davidview full entry
Reference: exhibition at Wagner Gallery, 2003
Publishing details: catalogue details to be located.
Ref: 1000
Taylor Fraserview full entry
Reference: exhibition at Tim Olsen Gallery, 2001
Publishing details: catalogue details to be located.
Ref: 1000
McGuire Mandyview full entry
Reference: exhibition at The Private Gallery, Surry Hills, NSW, c2003? Noosa artist.
Publishing details: catalogue details to be located.
Ref: 1000
Hoberman Nickyview full entry
Reference: exhibition at Gould Galleries, 2002
Publishing details: catalogue details to be located.
Ref: 1000
Waddell Craigview full entry
Reference: exhibition at 2 Danks Street Gallery 2005
Publishing details: catalogue details to be located.
Ref: 1000
Martinez Luisview full entry
Reference: exhibition at Wallspace Gallery, c2005
Publishing details: catalogue details to be located.
Ref: 1000
Marr Stephenview full entry
Reference: exhibition at Wallspace Gallery, 2007
Publishing details: catalogue details to be located.
Ref: 1000
Goodwolf Nicolasview full entry
Reference: exhibition at Port Jackson Press Print Room, 2006
Publishing details: catalogue details to be located.
Ref: 1000
Wadsworth Elizabethview full entry
Reference: exhibition at Libby Edwards Gallery, 2001
Publishing details: catalogue details to be located.
Ref: 1000
White Sheilaview full entry
Reference: exhibition at Harris Courtin Gallery, 2000
Publishing details: catalogue details to be located.
Ref: 1000
Miralis Spiroview full entry
Reference: exhibition at Wallspace Gallery, 2006
Publishing details: catalogue details to be located.
Ref: 1000
Matsuzawa Yukoview full entry
Reference: exhibition at Wallspace Gallery, 2007
Publishing details: catalogue details to be located.
Ref: 1000
Middlebrook Davidview full entry
Reference: exhibition at Holdsworth Gallery, 1996, invite card with biographical details
Ref: 139
McLean Simonview full entry
Reference: exhibition at Libby Edwards Gallery, 2004
Publishing details: catalogue details to be located.
Ref: 1000
Maitland Johnview full entry
Reference: exhibition at Cooks Hill Galleries, 2004, with biographical details
Ref: 139
Timmins Warrickview full entry
Reference: exhibition at Cooks Hill Galleries, 2004
Publishing details: catalogue details to be located.
Ref: 1000
McCarroll Kristineview full entry
Reference: exhibition at SAUC, 2004
Publishing details: catalogue details to be located.
Ref: 1000
Muktananda Albert Hempel b1971view full entry
Reference: exhibition at Tap Gallery, 2004, invite card with biographical details
Ref: 139
Murray Kendallview full entry
Reference: exhibition at 2 Danks Street, Waterloo, 2004
Publishing details: catalogue details to be located.
Ref: 1000
Maxwell Grantview full entry
Reference: exhibition at Brian Moore Gallery, 2003
Publishing details: catalogue details to be located.
Ref: 1000
Oldfield Alanview full entry
Reference: exhibition at Robin Gibson Gallery, 2001
Publishing details: catalogue details to be located.
Ref: 1000
Nelson Kimview full entry
Reference: exhibition at United Galleries, 2008,
Publishing details: catalogue details to be located.
Ref: 1000
Nothling Stephenview full entry
Reference: exhibition at Eva Breuer Gallery, 2004
Publishing details: catalogue details to be located.
Ref: 1000
Moore T Vview full entry
Reference: exhibition at Ros Oxley9 Gallery, 2006
Publishing details: catalogue details to be located.
Ref: 1000
Mason Taniaview full entry
Reference: exhibition at Australian Galleries, 2005
Publishing details: catalogue details to be located.
Ref: 1000
Williams Deborahview full entry
Reference: exhibition at Australian Galleries, 2004
Publishing details: catalogue details to be located.
Ref: 1000
McVinish Christopherview full entry
Reference: exhibition at Mahoneys Galleries, 2002
Publishing details: catalogue details to be located.
Ref: 1000
Morgan Shelaghview full entry
Reference: exhibition at Legge Gallery, 2005
Publishing details: catalogue details to be located.
Ref: 1000
McDonald Sarahview full entry
Reference: exhibition at Maree Mizon Gallery, 2005
Publishing details: catalogue details to be located.
Ref: 1000
Moffatt Brettview full entry
Reference: exhibition at Brian Moore Gallery, 2003
Publishing details: catalogue details to be located.
Ref: 1000
van der Kerkhoff Andreview full entry
Reference: exhibition at Marlene Antico Fine Arts, 2002
Publishing details: catalogue details to be located.
Ref: 1000
Nafisi Naomiview full entry
Reference: exhibition at The Depot Gallery, 2004, invite card with biographical details
Ref: 139
Nolan Mandyview full entry
Reference: exhibition at Michael Commerford Gallery, 2001
Publishing details: catalogue details to be located.
Ref: 1000
Nothling Stephenview full entry
Reference: exhibition at Eva Breuer Gallery, 2001
Publishing details: catalogue details to be located.
Ref: 1000
Nickolls Louview full entry
Reference: exhibition at Cooks Hill Galleries, 2001
Publishing details: catalogue details to be located.
Ref: 1000
Walters Rhondaview full entry
Reference: exhibition at Cooks Hill Galleries, 2002
Publishing details: catalogue details to be located.
Ref: 1000
Worrall Mikeview full entry
Reference: exhibition at Wagner Art Gallery, 2002
Publishing details: catalogue details to be located.
Ref: 1000
Worrall Mikeview full entry
Reference: exhibition at Wagner Art Gallery, 2002
Publishing details: catalogue details to be located.
Ref: 1000
White Judithview full entry
Reference: exhibition at Wagner Art Gallery, 2004
Publishing details: catalogue details to be located.
Ref: 1000
White Judithview full entry
Reference: exhibition at Wagner Art Gallery, 2002
Publishing details: catalogue details to be located.
Ref: 1000
Noakes Reginaview full entry
Reference: exhibition at Libby Edwards Galleries, 2002, invite card with biographical details
Ref: 139
Trevethan Merryn Jview full entry
Reference: exhibition at Span Galleries, 2006
Publishing details: catalogue details to be located.
Ref: 1000
Twigden Blakeview full entry
Reference: exhibition at Cooks Hill Galleries, 2002
Publishing details: catalogue details to be located.
Ref: 1000
Tomlin Franview full entry
Reference: exhibition at Maree Mizon Gallery, 2003
Publishing details: catalogue details to be located.
Ref: 1000
Theiring Johnview full entry
Reference: exhibition at Cooks Hill Galleries, 2004
Publishing details: catalogue details to be located.
Ref: 1000
Theiring Johnview full entry
Reference: exhibition at Cooks Hill Galleries, 2004
Publishing details: catalogue details to be located.
Ref: 1000
Procee Paulview full entry
Reference: exhibition at Eva Breuer Gallery, 2006
Publishing details: catalogue details to be located.
Ref: 1000
Russell Deborahview full entry
Reference: exhibition at Tim Olsen Gallery, 2002
Publishing details: catalogue details to be located.
Ref: 1000
Woodroffe Katyview full entry
Reference: exhibition at Barrack Gallery, 2006
Publishing details: catalogue details to be located.
Ref: 1000
Winch Madeleineview full entry
Reference: Gallery 460 catalogue, 2002
Publishing details: catalogue details to be located.
Ref: 1000
Bancroft Bronwynview full entry
Reference: exhibition at BBA Gallery, Sydney, 2001
Publishing details: catalogue details to be located.
Ref: 1000
Nelson Kimview full entry
Reference: exhibition at Gig Gallery, Glebe, 2005
Publishing details: catalogue details to be located.
Ref: 1000
Rees William Eview full entry
Reference: exhibition at Marlene Antico Fine Arts, 2001
Publishing details: catalogue details to be located.
Ref: 1000
Uzur Brancaview full entry
Reference: exhibition at Brian Moore Gallery, 2003
Publishing details: catalogue details to be located.
Ref: 1000
Uzur Brancaview full entry
Reference: exhibition at Brian Moore Gallery, 2003
Publishing details: catalogue details to be located.
Ref: 1000
Nickolls Louview full entry
Reference: exhibition at Cooks Hill Galleries, 2007
Publishing details: catalogue details to be located.
Ref: 1000
McDonald Meganview full entry
Reference: exhibition at Polly Courtin Gallery, 2001
Publishing details: catalogue details to be located.
Ref: 1000
Archer Suzanneview full entry
Reference: exhibition at Wilson Street Gallery, 2009
Publishing details: catalogue details to be located.
Ref: 1000
Keller Kay Singletonview full entry
Reference: exhibition at Michael Nagy Gallery, 2004, catalogue details to be located.
Ref: 139
Moffatt Brettview full entry
Reference: in three-person exhibition at Mary Place Gallery, Sydney, organised by Lyn Morey Edwards, 2007? opened by Colin Lanceley
Publishing details: catalogue details to be located.
Ref: 1000
Davis Meikeview full entry
Reference: in three-person exhibition at Mary Place Gallery, Sydney, organised by Lyn Morey Edwards, 2007? opened by Colin Lanceley
Publishing details: catalogue details to be located.
Ref: 1000
Haythornwaite Sophieview full entry
Reference: in three-person exhibition at Mary Place Gallery, Sydney, organised by Lyn Morey Edwards, 2007? opened by Colin Lanceley
Publishing details: catalogue details to be located.
Ref: 1000
Kuang Zaiview full entry
Reference: exhibition at Eva Breuer Gallery, 2005
Publishing details: catalogue details to be located.
Ref: 1000
Kendall Yvonneview full entry
Reference: exhibition at Niagara Galleries, 2006
Publishing details: catalogue details to be located.
Ref: 1000
Kent Janeview full entry
Reference: exhibition at Span Galleries, 2004
Publishing details: catalogue details to be located.
Ref: 1000
Lewis Jillview full entry
Reference: exhibition at Libby Edwards Galleries, Brisbane, , 2004
Publishing details: catalogue details to be located.
Ref: 1000
Latimer Bruceview full entry
Reference: exhibition at Australian Galleries, 2003
Publishing details: catalogue details to be located.
Ref: 1000
Lopes Stephenview full entry
Reference: exhibition at Brian Moore Gallery, 2004
Publishing details: catalogue details to be located.
Ref: 1000
Legge Jasperview full entry
Reference: exhibition at Watters Gallery, 2001
Publishing details: catalogue details to be located.
Ref: 1000
Lewis Jillview full entry
Reference: exhibition at South Yarra Galleries, c2002
Publishing details: catalogue details to be located.
Ref: 1000
Lees Christopherview full entry
Reference: exhibition at Libby Edwards Galleries, Brisbane, , 2002
Publishing details: catalogue details to be located.
Ref: 1000
Lee Jenniferview full entry
Reference: exhibition at Liverpool Street Gallery, 2006
Publishing details: catalogue details to be located.
Ref: 1000
Logan Andrewview full entry
Reference: exhibition at Tim Olsen Gallery, 2003
Publishing details: catalogue details to be located.
Ref: 1000
Logue Joannaview full entry
Reference: exhibition at Tim Olsen Gallery, 2003
Publishing details: catalogue details to be located.
Ref: 1000
Ling Songview full entry
Reference: exhibition at Niagara Galleries, 2008
Publishing details: catalogue details to be located.
Ref: 1000
Law Ruthview full entry
Reference: exhibition at Arthouse Hotel, Dome Gallery, 2005, 2008
Publishing details: catalogue details to be located.
Ref: 1000
Lewis Jillview full entry
Reference: exhibition at Libby Edwards Gallery, 2003
Publishing details: catalogue details to be located.
Ref: 1000
Linegar Maxview full entry
Reference: exhibition at Dickerson Gallery, 2002
Publishing details: catalogue details to be located.
Ref: 1000
Siebols Jeannetteview full entry
Reference: exhibition at Kudos Gallery, 2004
Publishing details: catalogue details to be located.
Ref: 1000
McDonald Tonyview full entry
Reference: exhibition at Legge Gallery, 2003
Publishing details: catalogue details to be located.
Ref: 1000
Steinmann Heinzview full entry
Reference: exhibition at Wagner Art Gallery, 2001
Publishing details: catalogue details to be located.
Ref: 1000
Steer Garyview full entry
Reference: exhibition at Icon Gallery, 693 South Dowling Street, East Redfern.200?
Publishing details: catalogue details to be located.
Ref: 1000
Lloyd Johnview full entry
Reference: exhibition at Maree Mizon Gallery, 2002
Publishing details: catalogue details to be located.
Ref: 1000
Wright Melissaview full entry
Reference: exhibition at Maree Mizon Gallery, 2002
Publishing details: catalogue details to be located.
Ref: 1000
Walsh Johnview full entry
Reference: exhibition at Gow Langsford Gallery, 2003
Publishing details: catalogue details to be located.
Ref: 1000
Madigan Lisaview full entry
Reference: exhibition at Defina and Nancarrow, Enmore, Sydney 2004
Publishing details: catalogue details to be located.
Ref: 1000
McQueeney Peterview full entry
Reference: exhibition at Istral Gallery, 2001
Publishing details: catalogue details to be located.
Ref: 1000
McQueeney Peterview full entry
Reference: exhibition at Istral Gallery, 2001
Publishing details: catalogue details to be located.
Ref: 1000
Morris Johnview full entry
Reference: exhibition at BBA Gallery, 2001
Publishing details: catalogue details to be located.
Ref: 1000
McGregor Alasdairview full entry
Reference: exhibition at Bungendore Wood Works Gallery Bloomfield Galleries, 2001, invite card with biographical details
Ref: 139
Marshall Helen 1912-1996view full entry
Reference: Helen Marshal 1912-1996, and her husband Philip Martin, to be exhibited concurrently at the Sir Herman Black Gallery, University of Sydney, exhibition to be opened by Richard King, formally director of Richard King Gallery, Woollomooloo.
Publishing details: Polly Courtin Gallery, 2001 [catalogue details to be entered]
Ref: 1000
Moy Patriciaview full entry
Reference: exhibition at The Private Gallery, 563 South Dowling Street, Surry Hills, Sydney, , 2001
Publishing details: catalogue details to be located.
Ref: 1000
Simpson Alisterview full entry
Reference: equine art exhibition at The Wentworth Gallery (Hotel), Sydney, 2002, with Mary Simpson still life and figurative artist
Publishing details: catalogue details to be located.
Ref: 1000
Simpson Maryview full entry
Reference: Alister Simpson equine art exhibition at The Wentworth Gallery (Hotel), Sydney, 2002, with Mary Simpson still life and figurative artist
Publishing details: catalogue details to be located.
Ref: 1000
Simpson Peterview full entry
Reference: exhibition at Brian Moore Gallery, 2002
Publishing details: catalogue details to be located.
Ref: 1000
Seelander Kerenview full entry
Reference: exhibition at Libby Edwards Gallery, 2001
Publishing details: catalogue details to be located.
Ref: 1000
Spence Tomview full entry
Reference: exhibition at Barry Stern Galleries, 2001
Publishing details: catalogue details to be located.
Ref: 1000
Strampp Adrianeview full entry
Reference: exhibition at Eva Breuer Art Dealer, 2003
Publishing details: catalogue details to be located.
Ref: 1000
Strampp Adrianeview full entry
Reference: exhibition at Eva Breuer Art Dealer, 2003
Publishing details: catalogue details to be located.
Ref: 1000
Sackville Pamview full entry
Reference: exhibition at Eva Breuer Art Dealer, 2005
Publishing details: catalogue details to be located.
Ref: 1000
Sharp Peterview full entry
Reference: exhibition at Liverpool Street Gallery, 2004
Publishing details: catalogue details to be located.
Ref: 1000
Sheridan Susanview full entry
Reference: exhibition at Wagnet Art Gallery, 2004
Publishing details: catalogue details to be located.
Ref: 1000
Salmon Evanview full entry
Reference: exhibition at Legge Gallery, 2003
Publishing details: catalogue details to be located.
Ref: 1000
Salmon Evanview full entry
Reference: exhibition at Legge Gallery, 2003
Publishing details: catalogue details to be located.
Ref: 1000
Sullivan Lukeview full entry
Reference: exhibition at Brian Moore Gallery, 2002
Publishing details: catalogue details to be located.
Ref: 1000
Sheridan Susanview full entry
Reference: exhibition at Cooks Hill Gallery, 2001
Publishing details: catalogue details to be located.
Ref: 1000
Spence Barbaraview full entry
Reference: exhibition at The Private Gallery, 563 South Dowling Street, Surry Hills, Sydney, 2001
Publishing details: catalogue details to be located.
Ref: 1000
Saaks Nadineview full entry
Reference: exhibition at The Private Gallery, 563 South Dowling Street, Surry Hills, Sydney, 2001
Publishing details: catalogue details to be located.
Ref: 1000
Sullivan Andrewview full entry
Reference: exhibition at Australian Galleries, 2006
Publishing details: catalogue details to be located.
Ref: 1000
Roberts Brianview full entry
Reference: exhibition at Gallery 460, 2005
Publishing details: catalogue details to be located.
Ref: 1000
Walker Liddy Napanangkaview full entry
Reference: exhibition at CDU Gallery, Charles Darwin University 2003
LIDDY NAPANANGKA WALKER
BORN: 1930
R E S I D E N C E : Yuendumu, Northern Territory, Australia
GROUP: Warlpiri
D R E A M I N G S : Warna (Snake), Kanta (Bloodwood Gall or Bush Coconut), Wardapi
(Goanna), Wakirlpirri (Acacia Seed), Karnta (Women), Ngalyipi (Snake Vine), Ngapa (Water/Rain), Puturlu (Mt. Theo), Wanakiji (Bush Tomato), Jarrada-Jarrayi (Dreaming Site).
EXHIBITIONS:
October 1985 Araluen Arts Centre, Alice Springs June 1986 Editions Gallery, Perth
October 1986
January 1987
March 1987
May 1987 Portsmouth Festival, England
August 1987 Reconnaissance Gallery, Melbourne September 1987 Chapman Gallery, Canberra December 1987 Opera House Gallery, Sydney February 1988 Lewis-Wara Gallery, Seattle, U.S.A. March 1988 Anima Gallery, Adelaide
March 1988 ‘Yuendumu: paintings out of the desert’, S.A. Museum May 1988 F.O.E. Community Art Space, Melbourne
June 1988 Coo-ee, Sydney
August 1988 Linden Gallery (St Kilda C.C.), Melbourne
R.S.A.S.A. Gallery, Adelaide Achille Lauro, Perth
Blaxland Gallery, Sydney
September 1988
November 1988
December 1988
December 1989
February 1989
May 1989 F.O.E. Community Art Space, Melbourne August 1989 Chesser Gallery, Adelaide
Dreamtime Gallery, Perth
Chapman Gallery, Canberra
F.O.E. Community Art Space, Melbourne
‘Windows on the Dreaming’, Australia National Gallery, Canberra Painters Gallery, Sydney
October 1989 F.O.E. Community Art Space, Melbourne November 1989 Hogarth Gallery of Dreams, Sydney
March 1990 South Australian Museum, Adelaide Arts Festival July 1990 Darwin Performing Arts Centre, Darwin
October 1990 Bond University Campus Gallery, Queensland December 1990 ‘Women’s Exhibition’, The Women’s Gallery, Melbourne March 1991 Araluen Arts Centre, Alice Springs
November 1991 Hogarth Gallery of Dreams, Sydney
March 1992 Dreamtime Gallery, Gold Coastity, 2001
Publishing details: catalogue details to be located.
Ref: 1000
Nakamarra Bessie Sims view full entry
Reference: see Aboriginal Fine Art website:
Bessie Sims Nakamarra

Born: 1932
Died: 2012
State: NT
region: Tanami Desert
Community: Yuendumu
Language: Warlpiri
Social Affiliation: Nakamarra subsection

Subjects: Ngarlajiyi (Small Yam), Janganpa (Possum), Pamapardu (Flying Ant), Karntajarra (Two Women), Yarla (Bush Potato), Bush Plum (Mukaki).
Collections:
Artbank, Sydney.
Art Gallery of Western Australia, Perth.
National Gallery of Australia, Canberra.
National Gallery of Victoria, Melbourne.
Parliament House Art Collection, Canberra.
The Holmes a Court Collection, Perth.
The Kelton Foundation, Santa Monica, U.S.A.
Museum and Art Gallery of N.T.
Awards:
1988, South Australian Museum Mural; one of five artists.
Collection:
Aboriginal Art Museum, The Netherlands.
Art Gallery and Museum, Kelvingrove, Glasgow, Scotland.
Art Gallery of Western Australia, Perth.
Art Gallery and Museum, Kelvingrove, Glasgow, Scotland.
Australian Museum, Sydney.
Australian National Gallery, Canberra.
Department of Archaeology and Anthropology, Australian National University, Canberra.
Donald Kahn collection, Lowe Art Museum, University of Miami.
Flinders University Collection, Adelaide.
Gordon Darling Foundation, Canberra.
Museum and Art Gallery of the Northern Territory, Darwin.
National Gallery of Australia, Canberra.
Newmont Mining, USA.
South Australian Museum, Adelaide. Shell, USA.
Exhibitions:
2006-2007 - Gifted: Contemporary Aboriginal Art: The Mollie Gowing Acquisition Fund, Art Gallery of New South Wales
2006 - Open Doors, Aboriginal Art Museum, Utrecht, Netherlands.
2005 - Warlukurlangu Artists from Yuendumu, NT, Hogarth Galleries, Sydney; WAAA Collection, Flinders Museum, Adelaide, SA; Warlukurlangu Collection, Araluen Galleries, Alice Springs, NT; Jukurrpa Wiri - Important Dreaming Stories, Araluen Galleries, Alice Sprints, NT; Divas of the Desert, Gallery Gondwana, Alice Springs, NT; Recent Works, Short Street Gallery, Broome, WA; Luminous, Northern Editions, Charles Darwin University, Darwin, NT; Warlukurlangu Group Show, Beaver Gallery, Canberra, ACT; Desert Mob, Araluen Art and Cultural Centre, Alice Springs, NT; Land of Diversity, Hogarth Gallery, Sydney; Masterpieces of Aboriginal Art, Collectors' Exhibition, Flinders Lane Gallery, Melbourne.
2004 - Warlukurlangu Artists: Recent Works from Yuendumu, NT, Hogarth Galleries, Sydney; Kurruwarri Pipangka - Designs on Paper, CDU Gallery, Charles Darwin University, NT; Little Warlu, Big Stories, Hot Little Paintings by Big Artists of Yuendumu, Australia's NT and Outback Centre, Sydney; Dreaming Stories, Indigenart, Perth; New Works for Yuendumu, Bellas Gallery, Brisbane; Desert Mob, Araluen Centre, Alice Springs, NT.
2001 - 2002 - Land of Diversity, The Northern Territory, at Hogarth Galleries, Paddington
2000 - World Baptist Conference, Melbourne Exhibition Centre, Melbourne; Print exhibition, Bellas Gallery, Brisbane; Paintings and Prints, Northern Territory University, Darwin; Kurawari, Desart Gallery, Sydney; Hogarth Gallery, Sydney; Gallery Gabrielle Pizzi, Melbourne; Wayuta, The Desart Janganpa Gallery, Alice Springs; Marking the Paper, Desart Gallery, Sydney; L'art des Aborigenes d'Australie, Marie d' Allonnes, France; jangku yinyi, Carey Baptist Grammar School, Melbourne; Hot Press, Beaver Galleries, Canberra; Desert Mob Show, Araluen Centre for the Arts, Alice Springs
1999 - Desert Mob Show, Araluen Centre, Alice Springs; National Aboriginal and Torres Strait Islander Art Award, Museum and Art Gallery of the Northern Territory, Darwin; Mina Mina Show, Hogarth Gallery, Sydney; L'art des Aborigenes d'Australie, Theatre de Narbonnes France
1998 - Gallery Gabrielle Pizzi, Melbourne; Framed Gallery, Darwin; Desert Designs, W.A.; Bellas Gallery, Brisbane
1997 - Hogarth Gallery, Sydney; Hogarth Gallery, Sydney; Art Gallery NSW, Festival of the Dreaming,
1996 - World Vision, Sydney; Hogarth Gallery, Sydney
1995 - Kloosterkazerne, Breda; INMA Foundation, Amsterdam; Cultureel Centrum Berchem, Antwerp; Cleveland Centre for Contempoary Art, Cleveland, Ohio, U.S.A.
1994 - The Assembly Hall of the Territorial Parliament, Tahiti, French Polynesia; Interamerican Art Gallery, Miami, Florida, U.S.A.; Hogarth Gallery, Sydney; Hogarth Gallery of Dreams, Sydney; Chicago Art Fair, Chicago, U.S.A; Adelaide Town Hall, Adelaide (in conjunction with The Adelaide Festival); Dreamings - Tjukurrpa: Aboriginal Art of the Western Desert; The Donald Kahn collection, Museum Villa Stuck, Munich;
1994, Central Australian Aboriginal Art and Craft Exhibition, Araluen Centre, Alice Springs; Desertracks, Westergasfabriek, Amsterdam
1993 - Sutton Gallery, Melbourne; CINAFE (Chicago International New Art Forms Exposition), U.S.A.; Bellas Gallery, Brisbane; Alice Prize Exhibition, Araleun, Alice Springs; Adelaide Town Hall, (in association with the Pacific Arts Symposium), Adelaide; Jukurrpa, Desert Dreamings - a survey of central desert art 1971- 1993, Art Gallery of Western Australia, Perth; Dreaming the World, St. Mungo's Museum, Glasgow; Central Australian Aboriginal Art and Craft Exhibition, Araluen Centre, Alice Springs; Aratjara, Hayward Gallery, London; Aratjara - Art Of The First Australians, Kunstsammlung Nordrhein Westfalen, Dusseldorf, Germany
1992, - Central Australian Aboriginal Art and Craft Exhibition, Araluen Centre, Alice Springs; Women's Gallery, Melbourne; The Long Gallery, Hobart; The Haven Gallery, Melbourne; Manyuku, Melbourne; Hogarth Gallery, Sydney; Dreamtime Gallery, Gold Coast; Chapman Gallery, Canberra; Alliance Francais, Canberra
1991 - The Womens Gallery, Melbourne; Hogarth Gallery of Dreams, Sydney; Darwin Performing Arts Centre, Darwin; Auckland City Art Gallery, Auckland, New Zealand; Araluen Arts Centre, Alice Springs; Araluen Arts Centre, Alice Springs; Albert Hall, Canberra; Te Whare Taonga o Aotearoa National Art Gallery & Museum, New Zealand; Australian Aboriginal Art from the Collection of Donald Kahn, Lowe Art Museum, University of Miami, USA;
1991, Central Australian Aboriginal Art and Craft Exhibition, Araluen Centre, Alice Springs
1990 - South Australian Museum Shop, Adelaide Festival; Arts Centre, Darwin; I.U.N.C. (showing at Hilton Hotel), Perth; Hogarth Gallery of Dreams, Sydney; F.O.E. Community Art Space, Melbourne; Women's Exhibition, The Women's Gallery, Melbourne; The Seventh National Aboriginal Art Award Exhibition, Museum and Art Gallery of the Northern Territory, Darwin; National Aboriginal Art Award,
1989 - Hogarth Gallery of Dreams, Sydney; A Myriad of Dreaming: Twentieth Century Aboriginal Art, Westpac Gallery, Melbourne; Design Warehouse Sydney [through Lauraine Diggins Fine Art]; Victor Harbour Art Show, South Australia; F.O.E. Community Art Space, Melbourne; Chesser Gallery, Adelaide
1988 - Lewis-Wara Gallery, Seattle, U.S.A; Caz Gallery, Los Angeles, U.S.A.; The Inspired Dream, Life as art in Aboriginal Australia, Museum and Art Gallery of the Northern Territory and touring internationally; Hilton Hotel (Nadoc Week), Adelaide; F.O.E. Community Art Space, Melbourne; F.O.E. Community Art Space, Melbourne; Dreamtime Gallery, Perth; Bellas Gallery, Brisbane
1987 - Blaxland Gallery, Sydney; Achille Lauro, Perth; Yuendumu at the Opera House; Roar Gabrielle Pizzi, Melbourne; Opera House Gallery, Sydney; Chapman Gallery, Canberra
1986 - R.S.A.S.A. Gallery, Adelaide; Editions Gallery, Perth; Araluen Arts Centre, Alice Springs
Selected Bibliography:
Australian Aboriginal Art from the Collection of Donald Kahn, 1991, Lowe Art Museum, University of Miami, USA

Birnie Danzker, J. Dreamings. Tjukurrpa Aboriginal Art of the Western Desert The Donald Kahn
Collection, Prestel, Munich, New York,1994

Caruana, W Aboriginal Art, Thames and Hudson (World of Art),London, 1993

Diggins, L. (ed.) A Myriad of Dreaming Malakoff Fine Art Press, Melbourne, 1989

Johnstone, C (Dir) The Painted Dream: Contemporary Aboriginal Paintings From Tim And Vivien

Johnson Collection, Auckland City Art Gallery, Auckland New Zealand, 1990

Johnson, V., 1994, The Dictionary of Western Desert Artists, Craftsman House, East Roseville, New South Wales. (C)

O'Ferrall, M Jukurrpa Desert Dreamings - a survey of central desert art 1971 - 1993, Art Gallery of Western Australia, Perth, 1993

West, M. (ed.) The Inspired Dream, Queensland Art Gallery , Brisbane, 1988

Morphy, H. Aboriginal Art, Phaidon Press Limited, London, 1998

Morphy, H. and Boles, M.S. (eds.) Art from the land, University of Virginia Press, Virginia, U.S.A., 1999

Riley, M., 1988, Dreamings, video for Dreamings exhibition.

Preston Davidview full entry
Reference: exhibition at Wagner Art Gallery 2003
Publishing details: catalogue details to be located.
Ref: 1000
Pound Peterview full entry
Reference: exhibition at Wallspace Gallery 2007
Publishing details: catalogue details to be located.
Ref: 1000
Palmer-Arps Sharonview full entry
Reference: exhibition at Span Galleries, 2005
Publishing details: catalogue details to be located.
Ref: 1000
Pwerle Angelinaview full entry
Reference: exhibition at Niagara Galleries, 2008
Publishing details: catalogue details to be located.
Ref: 1000
Pekel Hermanview full entry
Reference: exhibition at Mahoneys Galleries, 2005
Publishing details: catalogue details to be located.
Ref: 1000
Porm Simonview full entry
Reference: exhibition at Michael Nagy Fine Art, 2003
Publishing details: catalogue details to be located.
Ref: 1000
McVinish Christopherview full entry
Reference: exhibition at Mahoneys Galleries, 2001
Publishing details: catalogue details to be located.
Ref: 1000
Egan Melissaview full entry
Reference: exhibited with Wagner Gallery, 2001, 2003 and 2004 and 2005, invites, etc, with biographical information
Ref: 139
Erlich Estherview full entry
Reference: exhibition at Libby Edwards Gallery, 2003
Publishing details: catalogue details to be located.
Ref: 1000
Haggith Paul view full entry
Reference: exhibition at Cooks Hill Gallery, 2003
Publishing details: catalogue details to be located.
Ref: 1000
Glassborow Steve sculptureview full entry
Reference: exhibition at Cooks Hill Gallery, 2003
Publishing details: catalogue details to be located.
Ref: 1000
Field Jacquelinview full entry
Reference: exhibition at Tim Olsen Gallery, 2002
Publishing details: catalogue details to be located.
Ref: 1000
Craig Alexview full entry
Reference: exhibition at Legge Gallery, 2005
Publishing details: catalogue details to be located.
Ref: 1000
Croke Jimview full entry
Reference: exhibition at Brenda May Gallery, 2003
Publishing details: catalogue details to be located.
Ref: 1000
Doar Brianview full entry
Reference: exhibition at Legge Gallery, 2003
Publishing details: catalogue details to be located.
Ref: 1000
Wadsworth Elizabethview full entry
Reference: exhibition at Libby Edwards Gallery, 2002
Publishing details: catalogue details to be located.
Ref: 1000
Maitland Johnview full entry
Reference: exhibition at Cooks Hill Galleries, 2003, with biographical details
Ref: 139
Colvin Calumview full entry
Reference: exhibition at Michael Nagy Fine Art, 2003
Publishing details: catalogue details to be located.
Ref: 1000
Hensen Billview full entry
Reference: exhibition at Michael Nagy Fine Art, 2003
Publishing details: catalogue details to be located.
Ref: 1000
Manion Gerardview full entry
Reference: exhibition at Barry Stern Galleries, 200?
Publishing details: catalogue details to be located.
Ref: 1000
Wright Helenview full entry
Reference: exhibition at Niagara Galleries, 2007
Publishing details: catalogue details to be located.
Ref: 1000
Wicks Arthurview full entry
Reference: exhibition at Michael Nagy Fine Art, 2002
Publishing details: catalogue details to be located.
Ref: 1000
Tomlin Franview full entry
Reference: exhibition at Maree Mizon Gallery, 2004, invite with biographical information
Ref: 139
Wright Edwardview full entry
Reference: exhibition at Australian Galleries, 2004
Publishing details: catalogue details to be located.
Ref: 1000
Xian Ah view full entry
Reference: exhibition at Powerhouse Museum, 2001
Publishing details: catalogue details to be located.
Ref: 1000
Meijer Lotjeview full entry
Reference: exhibition at Barry Stern Galleries, 2002, invite with biography.
Ref: 139
Viney Wayneview full entry
Reference: exhibition at Port Jackson Press, 2006
Publishing details: catalogue details to be located.
Ref: 1000
White Fionaview full entry
Reference: exhibition at the Depot Gallery, 2 Danks Street, 20?? undated invite sighted.
Publishing details: catalogue details to be located.
Ref: 1000
White Fionaview full entry
Reference: from artist;’s website: Sydney-based artist, Fiona White's distinctive & vibrant character work manifested from an early age, her layered painting style reflecting the multi-faceted nature of her practice.A self-taught artist, Fiona's impressive command over a range of media, developed by experimenting with drawing cartoon cut outs from magazines & papers,which over time evolved into the intricate mixed media works she produces today.
White has been a finalist in many prestigious exhibitions & awards within Australia & Internationally, including START Art Fair Saatchi Gallery London, The Royal Academy Summer Exhibition, Sulman Prize, Mosman Art Prize, Portia Geach Memorial Award, Rick Amor Drawing Prize,Winner of The Manning Prize, Macarthur Cook Art Award, SCAP Art Prize & Blake Prize "Human Justice Award".Her work is included in the BHP Billiton Collection, Phillip Morris Collection & private collections in Australia, UK, USA, Italy & Hong Kong.
Wanambi Wukunview full entry
Reference: exhibition at Niagara Galleries, 2008
Publishing details: catalogue details to be located.
Ref: 1000
Parekowhai Michaelview full entry
Reference: exhibition at Roslyn Oxley9 Gallery, 2005
Publishing details: catalogue details to be located.
Ref: 1000
Pound Patrickview full entry
Reference: exhibition at Grant Pirrie Gallery, 2006
Publishing details: catalogue details to be located.
Ref: 1000
O’Doherty Peter view full entry
Reference: exhibition at Barry Stern Gallery, 2002
Publishing details: catalogue details to be located.
Ref: 1000
Westphal Dirkview full entry
Reference: exhibition at Tim Olsen Gallery, 2003
Publishing details: catalogue details to be located.
Ref: 1000
Forster Hendrikview full entry
Reference: exhibition at Wallspace Gallery 2007
Publishing details: catalogue details to be located.
Ref: 1000
Henry Belindaview full entry
Reference: exhibition at Richard Martin Gallery 2005
Publishing details: catalogue details to be located.
Ref: 1000
Harvey Stevenview full entry
Reference: exhibition at Liverpool Street Gallery 2008
Publishing details: catalogue details to be located.
Ref: 1000
Harvey Stevenview full entry
Reference: exhibition at Liverpool Street Gallery 2007
Publishing details: catalogue details to be located.
Ref: 1000
Watanabe Mikio mezzotintsview full entry
Reference: exhibition at Charles Hewitt Gallery 199?
Publishing details: catalogue details to be located.
Ref: 1000
Schkolnyk Laurent mezzotintsview full entry
Reference: exhibition at Charles Hewitt Gallery 199?
Publishing details: catalogue details to be located.
Ref: 1000
Hagerty Marieview full entry
Reference: exhibition at Tim Olsen Gallery, 2001
Publishing details: catalogue details to be located.
Ref: 1000
Henry Belindaview full entry
Reference: exhibition at Libby Edwards Gallery 2002, invite card with biography
Publishing details: catalogue details to be located.
Ref: 1000
Hannah Eveview full entry
Reference: exhibition at Istral Gallery, 2001
Publishing details: catalogue details to be located.
Ref: 1000
Harry Patview full entry
Reference: exhibition at Michael Carr Art Dealer, 2007
Publishing details: catalogue details to be located.
Ref: 1000
Pratt Louisview full entry
Reference: exhibition at Australian Galleries, 2002
Publishing details: catalogue details to be located.
Ref: 1000
Purcell Marisaview full entry
Reference: exhibition at Tim Olsen Gallery, 200?
Publishing details: catalogue details to be located.
Ref: 1000
Proud Geoffreyview full entry
Reference: exhibition at Gallery 460, 2001
Publishing details: catalogue details to be located.
Ref: 1000
Omeenyo Fionaview full entry
Reference: exhibition at Niagara Galleries, 2007
Publishing details: catalogue details to be located.
Ref: 1000
May Anne-Marieview full entry
Reference: exhibition at Sarah Cottier Gallery, 1997, with brief biography
Publishing details: Sarah Cottier Gallery, 1997, 8pp
Ref: 139
Tosca Floriaview full entry
Reference: exhibition at Flinders Street, Gallery, 2009
Publishing details: catalogue details to be located.
Ref: 1000
Marr Stephenview full entry
Reference: exhibition at Wallspace Gallery, 2006
Publishing details: catalogue details to be located.
Ref: 1000
Martinez Luizview full entry
Reference: exhibition at Wallspace Gallery, 2007
Publishing details: catalogue details to be located.
Ref: 1000
Dawe Bryanview full entry
Reference: exhibition at Richard Martin Gallery 2005
Publishing details: catalogue details to be located.
Ref: 1000
Downton John Caryview full entry
Reference: landscape exhibition at Wentworth Gallery, Sydney, invite sighted, not dated.
Publishing details: catalogue details to be located.
Ref: 1000
Dixon Kwementyayview full entry
Reference: exhibition at Niagara Galleries, 2006
Publishing details: catalogue details to be located.
Ref: 1000
Carambano Conchitaview full entry
Reference: exhibition at Mahoneys Galleries, 2003
Publishing details: catalogue details to be located.
Ref: 1000
Porch Debraview full entry
Reference: exhibition at Casula Powerhouse Arts CentreGalleries, 2003 with Noelene Lucas
Publishing details: catalogue details to be located.
Ref: 1000
Lucas Noelene view full entry
Reference: exhibition at Casula Powerhouse Arts CentreGalleries, 2003 with Debra Porch
Publishing details: catalogue details to be located.
Ref: 1000
McDougall Scottview full entry
Reference: exhibition at Cooks Hill Gallery, 2001
Publishing details: catalogue details to be located.
Ref: 1000
Curtis Sybilview full entry
Reference: exhibition at Brenda May Gallery, 2008
Publishing details: catalogue details to be located.
Ref: 1000
Carambano Conchitaview full entry
Reference: exhibition at Mahoneys Galleries, 2005
Publishing details: catalogue details to be located.
Ref: 1000
Chen Zhongview full entry
Reference: exhibition at Eva Breuer Gallery, 2005, invite and press release
Ref: 139
Cowlishaw Edithview full entry
Reference: exhibition at Gallery 460, 2003
Publishing details: catalogue details to be located.
Ref: 1000
Coburn Stephen sculptureview full entry
Reference: exhibition at Depot II Gallery, 2005
Publishing details: catalogue details to be located.
Ref: 1000
Carr Hamishview full entry
Reference: exhibition at Span Galleries, 2005
Publishing details: catalogue details to be located.
Ref: 1000
Cotton Judy, view full entry
Reference: exhibition at Wagner Art Gallery, 2005, invite with biography.
Ref: 139
Chonggang Duview full entry
Reference: exhibition at Span Galleries, 2006
Publishing details: catalogue details to be located.
Ref: 1000
Greenaune Janeview full entry
Reference: exhibition at Libby Edwards Gallery, 2003
Publishing details: catalogue details to be located.
Ref: 1000
Carroll Patrickview full entry
Reference: exhibition at Wagner Art Gallery, 2003
Publishing details: catalogue details to be located.
Ref: 1000
Cerretti Robynview full entry
Reference: exhibition at Counihan Gallery, Brunswick, 2004
Publishing details: catalogue details to be located.
Ref: 1000
Crooke Rayview full entry
Reference: exhibition at Shapiro Gallery, 2004
Publishing details: catalogue details to be located.
Ref: 1000
Ching-Bor Paulview full entry
Reference: biographical information printed from Art News, May 2002
Publishing details: Art News, May 2002
Ref: 139
Ching-Bor Paulview full entry
Reference: exhibition at Vistablue Contemporary Art Gallery, 2002
Publishing details: Art News, May 2002
Ref: 1000
Carey Russellview full entry
Reference: exhibition at Cutcliff Gallery, 2002
Publishing details: catalogue details to be located.
Ref: 1000
Carmont Meganview full entry
Reference: exhibition at SAUC Gallery, 200?
Publishing details: catalogue details to be located.
Ref: 1000
Clark Peterview full entry
Reference: exhibition at Michael Carr Art Dealer, 2002
Publishing details: catalogue details to be located.
Ref: 1000
Cusack Michaelview full entry
Reference: exhibition at Martin Browne, 2005
Publishing details: catalogue details to be located.
Ref: 1000
Chambers Lucindaview full entry
Reference: exhibition at Maree Mizon Gallery, 2003
Publishing details: catalogue details to be located.
Ref: 1000
Daunt Nicholasview full entry
Reference: exhibition at Libby Edwards Gallery, 2002
Publishing details: catalogue details to be located.
Ref: 1000
Dunlop Sophieview full entry
Reference: exhibition at Eva Breuer art dealer, 2004
Publishing details: catalogue details to be located.
Ref: 1000
Fulgence Anne-Franceview full entry
Reference: exhibition at Michael Nagy Fine Art, 2001
Publishing details: catalogue details to be located.
Ref: 1000
Fraser Cameronview full entry
Reference: exhibition at Australian Galleries, 2001
Publishing details: catalogue details to be located.
Ref: 1000
Clack John Forresterview full entry
Reference: exhibition at Michael Nagy Fine Art, 2001
Publishing details: catalogue details to be located.
Ref: 1000
Fransella Grahamview full entry
Reference: exhibition at Port Jackson Press, 2005
Publishing details: catalogue details to be located.
Ref: 1000
Gregg Garyview full entry
Reference: exhibition at BBA Gallery, 2001
Publishing details: catalogue details to be located.
Ref: 1000
Foley Samview full entry
Reference: exhibition at Soho Galleries, Sydney, 2006
Publishing details: catalogue details to be located.
Ref: 1000
Eastwood Davidview full entry
Reference: exhibition at Robin Gibson Gallery, Sydney, 2001
Publishing details: catalogue details to be located.
Ref: 1000
Griffin Caroleview full entry
Reference: exhibition at Michael Nagy Fine Art, 2001
Publishing details: catalogue details to be located.
Ref: 1000
Grech Louview full entry
Reference: exhibition at the Atrium, Hughenden Hotel, 2001?
Publishing details: catalogue details to be located.
Ref: 1000
Gentle Chrisview full entry
Reference: exhibition at Robin Gibson Gallery, Sydney, 2001
Publishing details: catalogue details to be located.
Ref: 1000
Glazier Vickiview full entry
Reference: exhibition at Robin Gibson Gallery, Sydney, 2001
Publishing details: catalogue details to be located.
Ref: 1000
Griffin Juliaview full entry
Reference: exhibition at Brian Moore Gallery, Sydney, 2002
Publishing details: catalogue details to be located.
Ref: 1000
Gordon Jamesview full entry
Reference: exhibition at Tim Olsen Gallery, 2002
Publishing details: catalogue details to be located.
Ref: 1000
Gilmore Guyview full entry
Reference: exhibition at Robin Gibson Gallery, Sydney, 2002
Publishing details: catalogue details to be located.
Ref: 1000
Harvey Geoffview full entry
Reference: exhibition at Robin Gibson Gallery, Sydney, 2001
Publishing details: catalogue details to be located.
Ref: 1000
Humphreys Stuart photographyview full entry
Reference: exhibition at Michael Nagy Fine Art, 2001
Publishing details: catalogue details to be located.
Ref: 1000
Henry Belindaview full entry
Reference: exhibition at Libby Edwards Gallery, 2003
Publishing details: catalogue details to be located.
Ref: 1000
Howson Nickview full entry
Reference: exhibition at Australian Galleries, 2001
Publishing details: catalogue details to be located.
Ref: 1000
Hart Proview full entry
Reference: New Etchings, exhibition at Mahoneys Galleries, 2002
Publishing details: catalogue details to be located.
Ref: 1000
Harrison David Mackayview full entry
Reference: exhibition at Cooks Hill Gallery, 2005
Publishing details: catalogue details to be located.
Ref: 1000
Haggith Paul view full entry
Reference: exhibition at Cooks Hill Gallery, 2005
Publishing details: catalogue details to be located.
Ref: 1000
Newell Harryview full entry
Reference: exhibition at Roslyn Oxley9 Gallery, 2007
Publishing details: catalogue details to be located.
Ref: 1000
Gawne Markview full entry
Reference: exhibition at Libby Edwards Gallery, 2002
Publishing details: catalogue details to be located.
Ref: 1000
Georgiadis Margaritaview full entry
Reference: exhibition at Maree Mizon Gallery, 2004, invite with biographical information.
Ref: 139
Georgiadis Margaritaview full entry
Reference: exhibition at Maree Mizon Gallery, 2005, invite with artist’s statement.
Ref: 139
Gregg Garyview full entry
Reference: exhibition at Depot ii Gallery, 2005
Publishing details: catalogue details to be located.
Ref: 1000
Herford Michaelview full entry
Reference: exhibition at Volvo Gallery, 2001
Publishing details: catalogue details to be located.
Ref: 1000
Gartside Malcolmview full entry
Reference: exhibition at Span Galleries, 2006
Publishing details: catalogue details to be located.
Ref: 1000
Harris Julieview full entry
Reference: exhibition at Legge Gallery, 2005
Publishing details: catalogue details to be located.
Ref: 1000
Guppy Jamesview full entry
Reference: exhibition at Brenda May Gallery, 2002, biographical information shee\t
Ref: 139
Kluge-Pott Herthaview full entry
Reference: exhibition at Australian Galleries, 2001
Publishing details: catalogue details to be located.
Ref: 1000
King Stephenview full entry
Reference: exhibition at BBA Gallery, 2001
Publishing details: catalogue details to be located.
Ref: 1000
Ohana Yaeliview full entry
Reference: exhibition at Michael Nagy Fine Art, 2002
Publishing details: Michael Nagy Fine Art, 2002
Ref: 139
Hannah Eveview full entry
Reference: exhibition at Istral Gallery, 2002
Publishing details: catalogue details to be located.
Ref: 1000
Haggith Paul view full entry
Reference: exhibition at Cooks Hill Gallery, 2003
Publishing details: catalogue details to be located.
Ref: 1000
Hali Clara sculptureview full entry
Reference: exhibition at Stella Downer Fine Art, 2003
Publishing details: catalogue details to be located.
Ref: 1000
Harley Davidview full entry
Reference: exhibition at Michael Carr Art Dealer, 2002, invite with biographical information.
Publishing details: catalogue details to be located.
Ref: 1000
Shepherdson Gordonview full entry
Reference: exhibition at Phillip Bacon Galleries, 2009
Publishing details: catalogue details to be located.
Ref: 1000
He Huangview full entry
Reference: exhibition at Gallery 460, 2004
Publishing details: catalogue details to be located.
Ref: 1000
Kusama Yayoiview full entry
Reference: exhibition at Roslyn Oxley9 Gallery, 2007
Publishing details: catalogue details to be located.
Ref: 1000
King Brianview full entry
Reference: exhibition at Legge Gallery, 2005
Publishing details: catalogue details to be located.
Ref: 1000
Namok Rosellaview full entry
Reference: exhibition at Hogarth Galleries, 2006
Publishing details: catalogue details to be located.
Ref: 1000
Wojak Anaview full entry
Reference: exhibition at Michael Nagy Fine Art, 2001
Publishing details: catalogue details to be located.
Ref: 1000
White Judithview full entry
Reference: exhibition at Istral Gallery, 2001
Publishing details: catalogue details to be located.
Ref: 1000
Mason Taniaview full entry
Reference: exhibition at Australian Galleries, 2004
Publishing details: catalogue details to be located.
Ref: 1000
Napangardi Lilly Kellyview full entry
Reference: exhibition at John Gordon Gallery, 2005
Publishing details: catalogue details to be located.
Ref: 1000
Nyadbi Lenaview full entry
Reference: exhibition at Niagara Galleries, 2005
Publishing details: catalogue details to be located.
Ref: 1000
Willebrant Jamesview full entry
Reference: exhibition at Cooks Hill Gallery, 2004, invite with brief biographical details
Ref: 139
O’Connor Derekview full entry
Reference: exhibition at Legge Gallery, 2005
Publishing details: catalogue details to be located.
Ref: 1000
O’Donnell Catherineview full entry
Reference: exhibition at Wallspace Gallery, 2006?
Publishing details: catalogue details to be located.
Ref: 1000
O’Doherty Ssanview full entry
Reference: exhibition at Barry Stern Galleries, 2002
Publishing details: catalogue details to be located.
Ref: 1000
Veasey Beverleyview full entry
Reference: exhibition at Span Galleries, 2004
Publishing details: catalogue details to be located.
Ref: 1000
Vozzo Vinceview full entry
Reference: exhibition at Michael Nagy Fine Art, 2002
Publishing details: catalogue details to be located.
Ref: 1000
O’Shaughnessy Maureenview full entry
Reference: exhibition at Michael Nagy Fine Art, 2003
Publishing details: catalogue details to be located.
Ref: 1000
Nickolls Louview full entry
Reference: exhibition at Cooks Hill Gallery, 2001
Publishing details: catalogue details to be located.
Ref: 1000
Nivinson Angusview full entry
Reference: exhibition at BBA Gallery, 2001
Publishing details: catalogue details to be located.
Ref: 1000
Nowlan Annabelview full entry
Reference: exhibition at Mary Place Gallery, Sydney, 2001
Publishing details: catalogue details to be located.
Ref: 1000
Quilty Benview full entry
Reference: exhibition at Barry Stern Galleries, Sydney, undated invite sighted c2000?
Publishing details: catalogue details to be located.
Ref: 1000
Jones Paulview full entry
Reference: ‘Mad about the boy’, exhibition at Barry Stern Galleries, Sydney, undated invite sighted c2000?
Publishing details: catalogue details to be located.
Ref: 1000
Paisio Frankoview full entry
Reference: exhibition at Marlene Antico Fine Art, 2001
Publishing details: catalogue details to be located.
Ref: 1000
Richards Gordonview full entry
Reference: exhibition at Libby Edwards Gallery, 2001
Publishing details: catalogue details to be located.
Ref: 1000
Orchard Ken 1981-2003view full entry
Reference: exhibition at UTS Gallery, 2003
Publishing details: catalogue details to be located.
Ref: 1000
van Heeren Judithview full entry
Reference: exhibition at Brian Moore Gallery, 2001
Publishing details: catalogue details to be located.
Ref: 1000
Phibbs Stephenview full entry
Reference: exhibition at Istral Gallery, 2001
Publishing details: catalogue details to be located.
Ref: 1000
Perkins John FRASview full entry
Reference: exhibition at the Private Gallery, 2001
Publishing details: catalogue details to be located.
Ref: 1000
Pratt Louisview full entry
Reference: exhibition at Australian Galleries, 2001
Publishing details: catalogue details to be located.
Ref: 1000
Vella Deanview full entry
Reference: exhibition at Trevor Victor Harvey, fine art dealer, Burswood, 1998
Publishing details: catalogue details to be located.
Ref: 1000
Papapetrou Polixeniview full entry
Reference: exhibition at Stills Gallery, 2006
Publishing details: catalogue details to be located.
Ref: 1000
Cox Grahamview full entry
Reference: exhibition at Trevor Victor Harvey, fine art dealer, Burswood, 2000
Publishing details: catalogue details to be located.
Ref: 1000
Mazzotti Gioranoview full entry
Reference: exhibition at Trevor Victor Harvey, fine art dealer, Burswood, 2000
Publishing details: catalogue details to be located.
Ref: 1000
Ward Richard landscape architectureview full entry
Reference: exhibition at Trevor Victor Harvey, fine art dealer, Burswood, 1998
Publishing details: catalogue details to be located.
Ref: 1000
Jeroff Pallaview full entry
Reference: exhibition at Trevor Victor Harvey, fine art dealer, Burswood, c2000
Publishing details: catalogue details to be located.
Ref: 1000
Parr Martin UKview full entry
Reference: exhibition at Nigara Galleries, 2005
Publishing details: catalogue details to be located.
Ref: 1000
Pevreall Jasonview full entry
Reference: exhibition at Willow Cafe, Bateman’s Bay, NSW, invite not dated, c2000
Publishing details: catalogue details to be located.
Ref: 1000
Pericles Leonview full entry
Reference: a folding 6-page brochure on the arist, includes sections on the Pericles Studio, Master Pritmaker, Printer and Books and Posters
Publishing details: printed by Pen & Paint, nd.
Ref: 139
O’Shaughnessy Maureenview full entry
Reference: exhibition at Michael Nagy Fine Art, 2001
Publishing details: catalogue details to be located.
Ref: 1000
Kim Nielsonview full entry
Reference: exhibition at ICON, 71 Union Street, North Sydney, 2005
Publishing details: catalogue details to be located.
Ref: 1000
Porm Simonview full entry
Reference: exhibition at Michael Nagy Fine Art, 2001
Publishing details: catalogue details to be located.
Ref: 1000
Raftopoulos Georgeview full entry
Reference: exhibition at Michael Carr Art Dealer, 2002, 6-page folding invite with biographical information.
Ref: 139
Ricardo Geoffreyview full entry
Reference: exhibition at Mahoneys Galleries, 2001
Publishing details: catalogue details to be located.
Ref: 1000
Rambeau Marc b1945view full entry
Reference: exhibition at Quadrivium, QVB, Sydney, 2001, invite with biographical information.
Ref: 139
Rugge-Price Christianview full entry
Reference: exhibition at Maree Mizon Gallery, 2004
Publishing details: catalogue details to be located.
Ref: 1000
Smith Laurieview full entry
Reference: exhibition at Span Galleries, 2005
Publishing details: catalogue details to be located.
Ref: 1000
Ricardo Geoffreyview full entry
Reference: exhibition at Australian Galleries, 2003
Publishing details: catalogue details to be located.
Ref: 1000
Renshaw Marcview full entry
Reference: exhibition at The Tub Art Gallery, Byron Bay, NSW, undated invite sighted, c2005?
Publishing details: catalogue details to be located.
Ref: 1000
Romeo Giuseppeview full entry
Reference: exhibition at Span Galleries, 2004
Publishing details: catalogue details to be located.
Ref: 1000
Rugge-Price Christianview full entry
Reference: exhibition at Maree Mizon Gallery, 2003
Publishing details: catalogue details to be located.
Ref: 1000
Smarzac Mariolaview full entry
Reference: exhibition at Brian Moore Gallery, 2003
Publishing details: catalogue details to be located.
Ref: 1000
Sullivan Lukeview full entry
Reference: exhibition at Brian Moore Gallery, 2003
Publishing details: catalogue details to be located.
Ref: 1000
Rogers Jamesview full entry
Reference: exhibition at Legge Gallery, 2008
Publishing details: catalogue details to be located.
Ref: 1000
Watson Dianaview full entry
Reference: exhibition at Richard Martin Gallery, 2004
Publishing details: catalogue details to be located.
Ref: 1000
Walters Rhondaview full entry
Reference: exhibition at Cooks Hill Gallery, 2005
Publishing details: catalogue details to be located.
Ref: 1000
Brouet Michellview full entry
Reference: exhibition at Gallery 460, 2004
Publishing details: catalogue details to be located.
Ref: 1000
Wood Berylview full entry
Reference: exhibition at Legge Gallery, 2008
Publishing details: catalogue details to be located.
Ref: 1000
Walker Jakeview full entry
Reference: exhibition at James Dorahy Project, 2006
Publishing details: catalogue details to be located.
Ref: 1000
Moss Damianview full entry
Reference: exhibition at Tim Olsen Gallery, 2003
Publishing details: catalogue details to be located.
Ref: 1000
Mincham Jeffview full entry
Reference: exhibition at Sabbia Gallery, 2005
Publishing details: catalogue details to be located.
Ref: 1000
Murphy Fionaview full entry
Reference: exhibition at Brian Moore Gallery, 2002
Publishing details: catalogue details to be located.
Ref: 1000
Wilson Cooperview full entry
Reference: exhibition at Gallery hm, 2006
Publishing details: catalogue details to be located.
Ref: 1000
McDonald Tonyview full entry
Reference: exhibition at Legge Gallery, 2003
Publishing details: catalogue details to be located.
Ref: 1000
Maitland Johnview full entry
Reference: exhibition at Cooks Hill Gallery, 2003
Publishing details: catalogue details to be located.
Ref: 1000
Shepherdson Gordonview full entry
Reference: exhibition at Brian Moore Gallery, 2001
Publishing details: catalogue details to be located.
Ref: 1000
Strong Kenview full entry
Reference: exhibition at Cooks Hill Gallery, 2001
Publishing details: catalogue details to be located.
Ref: 1000
Simpson Peterview full entry
Reference: exhibition at Brian Moore Gallery, 2001
Publishing details: catalogue details to be located.
Ref: 1000
Sullivan Lukeview full entry
Reference: exhibition at Brian Moore Gallery, 2001
Publishing details: catalogue details to be located.
Ref: 1000
Sheridan Susanview full entry
Reference: exhibition at Wagner Art Gallery, 2001
Publishing details: catalogue details to be located.
Ref: 1000
Seelander Kerenview full entry
Reference: exhibition at Mare Mizon Gallery, 2002, brief biography on invite
Ref: 139
Smarzak Mariolaview full entry
Reference: exhibition at Mary Place Gallery with Nicky Ginsberg art dealer, , 2001
Publishing details: catalogue details to be located.
Ref: 1000
Strampp Adrieneview full entry
Reference: exhibition at Eva Breuer Gallery 2005 with biography
Ref: 139
Smith Brendanview full entry
Reference: exhibition at Virginia Wilson Art, 2004
Publishing details: catalogue details to be located.
Ref: 1000
Scott Jillview full entry
Reference: exhibition at Roslyn Oxley9 2003
Publishing details: catalogue details to be located.
Ref: 1000
Shanahan Rebeccaview full entry
Reference: exhibition at Span Galleries, 2003
Publishing details: catalogue details to be located.
Ref: 1000
Sullivan Andrewview full entry
Reference: exhibition at Australian Galleries, 2004
Publishing details: catalogue details to be located.
Ref: 1000
Serwan Peterview full entry
Reference: exhibition at Libby Edwards Galleries, 2003
Publishing details: catalogue details to be located.
Ref: 1000
Shackman Maryview full entry
Reference: exhibition at Richard Martin Fine Art, , 2004
Publishing details: catalogue details to be located.
Ref: 1000
Sernack Zoeview full entry
Reference: exhibition at Michael Nagy Fine Art, 2003
Publishing details: catalogue details to be located.
Ref: 1000
Simpson Peterview full entry
Reference: exhibition at Brian Moore Gallery, 2003
Publishing details: catalogue details to be located.
Ref: 1000
Strong Kenview full entry
Reference: exhibition at Cooks Hill Gallery, 2004, invite with brief biography
Ref: 139
Hall Benview full entry
Reference: exhibition at Wilson Street Gallery, Newtown, 2008,
Publishing details: catalogue details to be located.
Ref: 1000
Archer Suzanneview full entry
Reference: exhibition at Wilson Street Gallery, Newtown, 2009,
Publishing details: catalogue details to be located.
Ref: 1000
Collocott Michelleview full entry
Reference: exhibition at Wilson Street Gallery, Newtown, 2010,
Publishing details: catalogue details to be located.
Ref: 1000
Geier Helenview full entry
Reference: exhibition at Wilson Street Gallery, Newtown, 2010,
Publishing details: catalogue details to be located.
Ref: 1000
Johns Gregview full entry
Reference: exhibition at Robin Gibson Gallery, Newtown, 2001,
Publishing details: catalogue details to be located.
Ref: 1000
Jensen Shanview full entry
Reference: exhibition at Robin Gibson Gallery, Newtown, 2001,
Publishing details: catalogue details to be located.
Ref: 1000
James Stuartview full entry
Reference: exhibition at Australian Galleries, 2001
Publishing details: catalogue details to be located.
Ref: 1000
Ivanyi Belaview full entry
Reference: exhibition at Gallery 460, 2002, 8-page illustrated invite with biography.
Ref: 139
Irving Tonyview full entry
Reference: exhibition at Eva Breuer Gallery 2004
Publishing details: catalogue details to be located.
Ref: 1000
Kendall Yvonneview full entry
Reference: exhibition at Niagara Galleries, 2006
Publishing details: catalogue details to be located.
Ref: 1000
Kempson Michaelview full entry
Reference: exhibition at Michael Nagy Fine Art, 2003
Publishing details: catalogue details to be located.
Ref: 1000
Kjar Barbieview full entry
Reference: exhibition at Australian Galleries, 2003
Publishing details: catalogue details to be located.
Ref: 1000
Joseph Jenniferview full entry
Reference: exhibition at Niagara Galleries, 2008
Publishing details: catalogue details to be located.
Ref: 1000
Fenikowski Adamview full entry
Reference: exhibition at Marlene Antico Fine Art, 2002
Publishing details: catalogue details to be located.
Ref: 1000
Lees Christopherview full entry
Reference: exhibition at South Yarra Galleries, 2001
Publishing details: catalogue details to be located.
Ref: 1000
Kelly Michaelview full entry
Reference: exhibition at Australian Galleries, 2004
Publishing details: catalogue details to be located.
Ref: 1000
Ky Marineview full entry
Reference: exhibition at Australian Galleries, 2003
Publishing details: catalogue details to be located.
Ref: 1000
Kruger Elisabethview full entry
Reference: exhibition at Eva Breuer Gallery 2005
Publishing details: catalogue details to be located.
Ref: 1000
van Heeren Judithview full entry
Reference: exhibition at Brian Moore Gallery, 2003
Publishing details: catalogue details to be located.
Ref: 1000
Galo Miaview full entry
Reference: exhibition at Libby Edwards Galleries, 2003
Publishing details: catalogue details to be located.
Ref: 1000
Grech Nicoleview full entry
Reference: exhibition at Mare Mizon Gallery, 2004,
Publishing details: catalogue details to be located.
Ref: 1000
Ginanneschi Isabellaview full entry
Reference: exhibition at Icon Gallery, c2004,
Publishing details: catalogue details to be located.
Ref: 1000
Lane Tonyview full entry
Reference: exhibition at Tim Olsen Gallery, 2001
Publishing details: catalogue details to be located.
Ref: 1000
Kruger Elisabethview full entry
Reference: exhibition at Eva Breuer Gallery 2004
Publishing details: catalogue details to be located.
Ref: 1000
Klein Deborahview full entry
Reference: exhibition at Brian Moore Gallery, 2003
Publishing details: catalogue details to be located.
Ref: 1000
Kreijn Maxview full entry
Reference: exhibition at Libby Edwards Galleries, 2004, invite with some biographical details and 10 illustrations, Malta Sries
Ref: 139
Kalabishis Ginaview full entry
Reference: exhibition at Counihan Gallery, 2004
Publishing details: catalogue details to be located.
Ref: 1000
Lees Christopherview full entry
Reference: exhibition at Libby Edwards Galleries, 2001
Publishing details: catalogue details to be located.
Ref: 1000
Lieberman Maxview full entry
Reference: exhibition at Robin Gibson Gallery, 2001
Publishing details: catalogue details to be located.
Ref: 1000
Lewis Jillview full entry
Reference: exhibition at Libby Edwards Galleries, 2001
Publishing details: catalogue details to be located.
Ref: 1000
King Bryanview full entry
Reference: exhibition at Legge Gallery, 2005
Publishing details: catalogue details to be located.
Ref: 1000
Kolbusz Waldemarview full entry
Reference: exhibition at Axia Modern Art, 2008, invite with some biographical details and 6 illustrations,
Ref: 139
Golin Carloview full entry
Reference: exhibition at Libby Edwards Galleries, 2004
Publishing details: catalogue details to be located.
Ref: 1000
Christmann Jenny and Gunterview full entry
Reference: exhibition at Liverpool Street Gallery, 2006
Publishing details: catalogue details to be located.
Ref: 1000
Georgiadis Mararitaview full entry
Reference: exhibition at Mare Mizon Gallery, 2002, invite with some biographical information
Ref: 139
Griffen Peterview full entry
Reference: exhibition at Wagner Art Gallery, 2003
Publishing details: catalogue details to be located.
Ref: 1000
Kosmas Alexview full entry
Reference: exhibition at Australian Galleries, 2005
Publishing details: catalogue details to be located.
Ref: 1000
Joubert Sallyview full entry
Reference: exhibition at Istral Gallery, 2001
Publishing details: catalogue details to be located.
Ref: 1000
Henderson Bericview full entry
Reference: exhibition at Wallspace Gallery, 2006
Publishing details: catalogue details to be located.
Ref: 1000
Kolbusz Waldemarview full entry
Reference: exhibition at Libby Edwards Galleries, 2002
Publishing details: catalogue details to be located.
Ref: 1000
Kolbusz Waldemarview full entry
Reference: exhibition at Libby Edwards Galleries, 2003 invite with some biographical information
Ref: 139
Hoyle Annaview full entry
Reference: exhibition at Mossgreen Gallery, 2006, invite with biographical invitation
Ref: 139
Hagerty Marieview full entry
Reference: exhibition at Tim Olsen Gallery, 2003
Publishing details: catalogue details to be located.
Ref: 1000
Henry Belyndaview full entry
Reference: exhibition at Libby Edwards Galleries, 2002
Publishing details: catalogue details to be located.
Ref: 1000
Harris Julieview full entry
Reference: exhibition at Legge Gallery, 2005
Publishing details: catalogue details to be located.
Ref: 1000
Hempsall Ashview full entry
Reference: article on the artist from Australian Art Collector. April, 2004
Publishing details: Australian Art Collector. April, 2004
Ref: 139
Hinton Peta & Jumaadiview full entry
Reference: exhibition at Legge Gallery, 2005
Publishing details: catalogue details to be located.
Ref: 1000
Jumaadi & Hinton Peta view full entry
Reference: exhibition at Legge Gallery, 2005
Publishing details: catalogue details to be located.
Ref: 1000
Holcombe Robertview full entry
Reference: exhibition at Richard Martin Fine Art, 2004
Publishing details: catalogue details to be located.
Ref: 1000
Hannah Eveview full entry
Reference: exhibition at Istral Gallery, 2003
Publishing details: catalogue details to be located.
Ref: 1000
King Bryanview full entry
Reference: exhibition at Legge Gallery, 2003
Publishing details: catalogue details to be located.
Ref: 1000
Keeling Anwenview full entry
Reference: exhibition at Brian Moore Gallery, 2003
Publishing details: catalogue details to be located.
Ref: 1000
He Huangview full entry
Reference: exhibition at Gallery 460, 2003
Publishing details: catalogue details to be located.
Ref: 1000
Hondros Despaview full entry
Reference: exhibition at Span Galleries, 2006
Publishing details: catalogue details to be located.
Ref: 1000
Kendall Yvonneview full entry
Reference: exhibition at Niagara Galleries, 2008
Publishing details: catalogue details to be located.
Ref: 1000
Henry Belyndaview full entry
Reference: exhibition at Gallery 460, 2005
Publishing details: catalogue details to be located.
Ref: 1000
Holcombe Robertview full entry
Reference: exhibition at Richard Martin Fine Art, 2005
Publishing details: catalogue details to be located.
Ref: 1000
Kosmas Alexview full entry
Reference: exhibition at Australian Galleries, 2002
Publishing details: catalogue details to be located.
Ref: 1000
Keeler-Milne Jenniferview full entry
Reference: exhibition at Tim Olsen Gallery, 2003, catalogue with biographical information and 6 illustrations
Publishing details: Tim Olsen Gallery, 2003, 6pp and insert
Ref: 1000
McCredie John G (1912 -?)
view full entry
Reference: see Lawson’s auction, Fine Art - Sale 8773 - Lot 618, 27 June 2019,
John G McCredie (1912 -?)
Yacht 'Sirocco', off Fort Denisone
oil on canvas
59 x 74cm
signed lower right
Estimate $200-300
Elliott Murial Annie (1898 - 2005) view full entry
Reference: Murial Annie Elliott (1898 - 2005)
Mosman Bay, Sydney Harbour
see Lawson’s auction, Fine Art - Sale 8773, Lot 625, 27 June 2019, oil on board
37 x 44cm
signed lower left
Estimate $300-500
King Henryview full entry
Reference: Elephant folio, 37 x 27 x 6cm, with over 150 albumen photographs, including 4 Aboriginal portraits and one unknown group photograph of an extended Aboriginal family outside their gunyah c1880. While the usual elegant studies of Sydney Harbour, Mosman, and the Blue Mountains are all here, King has crossed out some variants like the Heads from George’s Battery 935, and 241 Wiseman’s Ferry. Notably good are Sydney St Steam Car, our earliest Light Rail, a large version of Circular Quay in action, and good examples of Maitland, Bundanoon and Newcastle. Information from Historic Photographs, Manuscripts, Maps and Books catalogue, Sydney Rare Book Auctions, June 29, 2019,
Ultimo, Australia
Ref: 1000
Olley Margaretview full entry
Reference: article in Spectum Magazine, Sydney Morning Herald, 15 June, 2019, p8ff. ‘My Friend MNargaret’ by Quentin Bryce.
Publishing details: copy filed inside Margaret Olley by Christine France in Scheding Library.
Tucker Albertview full entry
Reference: Albert Tucker - Images of Modern Evil by Geoffrey Smith. A Sotheby’s exhibition of 22 works.
[’Sotheby's Australia is honoured to present one of the most significant exhibitions by Albert Tucker ever held outside a public institution. Curated by Geoffrey Smith, Chairman of Sotheby's Australia, Albert Tucker: Images of Modern Evil reunites major compositions from a crucial and defining series within the history and development of Australian art.
>Buy hardcover catalogue
Drawn from the personal collection of Albert and Barbara Tucker, the exhibition contains many works that have never previously been available for public sale. Offered on behalf of the Albert and Barbara Tucker Foundation, proceeds from the sale of each work will benefit important social causes including the initiation of social change which goes towards increasing the equal treatment and social acceptance of all persons in the community.
It seems particularly appropriate that Albert Tucker’s forceful and energetic compositions that removed the veil of respectability and revealed the rupture, disunity, violence, vulnerability, menace, ambiguity, and urgency confronting our society, continue to play a vital role in our present and future welfare.
The exhibition is open 17 June to 6 July 2019, 10am to 5pm, Monday to Saturday.’]
Publishing details: Sothebys, 2019, 56pp, hc, dw, with price list inserted.
Sievers Wolfgangview full entry
Reference: see Joels Auction, June 26, 2019, Melbourne, Australia, over 50 photographs by Sievers.
Toms Edith M view full entry
Reference: see BURSTOW & HEWETT, auction, 20 June, 2019, lot 1142: Edith M Toms (Australian artist), watercolour, beach scene, 1917, signed, 8.5" x 17", framed
Cotton Johnview full entry
Reference: Cotton (John). The Song Birds of Great Britain,

[Dominic Winter UK, auction catalogue note: Freeman 825; Mullens & Swann pp. 148-9; Nissen IVB 206; Wood p. 301. 'Song Birds, of which only a few copies were printed for private circulation, is a work of the utmost rarity in its complete state, and is moreover much esteemed for the fidelity and beauty of its life-size hand-coloured plates' (Mullens & Swann). It was first published the previous year; this second issue has a cancel title-page to part one and no title-page to part two. Cotton later emigrated to Australia; his correspondence on Australian avifauna is now considered 'of great historical value' (ADB).
Publishing details: 1st edition, 2nd issue, [privately printed], 1836, 33 hand-coloured engraved plates, royal 8vo (23.5 x 14.7 cm)
Papapetrou Polixeniview full entry
Reference: Polixeni Papapetrou, Natalie King (series editor)

Publishing details: Melbourne : Thames & Hudson, 2019. Octavo, illustrated boards, pp. 96, illustrated in colour.
Ref: 1000
Barton Del Kathryn view full entry
Reference: Del Kathryn Barton, Natalie King (series editor)


Publishing details: Melbourne : Thames & Hudson, 2019. Octavo, illustrated boards, pp. 96, illustrated in colour.
Ref: 1000
Western Australian Art Gallery Collectionview full entry
Reference: Western Australian Art Gallery Collection, introduction by Frank Norton. works described and illustrated, chiefly from Western Australia and Arnhem Land;
Publishing details: The Western Australian Art Gallery Board, 1969. Quarto, illustrated wrappers (designed by Frank Norton), pp. 15, 109, AGWA, 1969, 15pp (back cover missing)
Norton Frankview full entry
Reference: Western Australian Art Gallery Collection, introduction by Frank Norton. works described and illustrated, chiefly from Western Australia and Arnhem Land;
Publishing details: The Western Australian Art Gallery Board, 1969. Quarto, illustrated wrappers (designed by Frank Norton), pp. 15, 109, AGWA, 1969, 15pp (back cover missing)
Piccinini Patriciaview full entry
Reference: Patricia Piccinini: Curious affection by Peter McKay et al.
[’Patricia Piccinini’s imaginative and startlingly life-like artworks surprise and enchant with their fantastic rendering of the near future — a world in which DNA editing is commonplace, machinery is sentient, and life both old and new is flourishing.
This publication accompanying the exhibition of the same name explores the artist’s exciting new commissions, as well as significant works produced over the last 20 years. New scholarship by Dr Elizabeth Finkel (Cosmos Magazine) and Professor Rosi Braidotti, a pioneer in European women’s studies, together with a curatorial overview by Peter McKay, explores the artist’s groundbreaking artworks and ideas. The publication also features ‘Familiar’, a short story by award-winning author China Miéville, about an unearthly creature — conjured by a witch’s magic — as it tries to survive in a hostile city.
Patricia Piccinini: Curious Affection allows readers to view the extraordinarily creative output of one of Australia’s most successful contemporary artists in an informative, thought-provoking and beautifully designed volume, filled with stunning installation photography of her major exhibition at GOMA.’]

Publishing details: Brisbane : Queensland Art Gallery, 2018. Quarto, illistrated boards, pp. 202, illustrated.
Ref: 1000
Canning Crissview full entry
Reference: Criss Canning 2008

Publishing details: Melbourne : Metro 5 Gallery, 2008. Small quarto, blind embossed diecut wrappers, pp. 24, illustrated.
Ref: 1000
Moffatt Traceyview full entry
Reference: The moving images of Tracey Moffatt, by Catherine Summerhayes.
A monograph which comprehensively examines Moffatt’s contemporary cinematic oeuvre, approaching it simultaneously as film, performance art, documentation and photography
Publishing details: Milan : Charta, 2007. Quarto, boards, pp. 250, illustrated.
Ref: 1000
Piccinini Patriciaview full entry
Reference: Patricia Piccinini & Joy Hester : through love. Victoria Lynn, curator.

[’‘Love and intimacy are the focus of this major exhibition that pairs the work of globally renowned artist Patricia Piccinini with that of important Australian modernist Joy Hester.
Patricia Piccinini & Joy Hester: Through love … presents more than 50 works, including a major new sculpture by Piccinini and rarely-seen works by Hester, that show the incredible spectrum of human and non-human relationships, from romantic love and maternal devotion through to the connections formed between humans and animals, and animate and inanimate objects.
Melbourne-based artist Piccinini is known for her large-scale, life-like sculptures of hybrid forms that often fuse together human and animal characteristics to examine the increasingly blurred boundary between the artificial and natural worlds. Her early practice was profoundly influenced by the work of Hester (1920-60), a member of Melbourne’s ‘Heide circle’ who was acclaimed for highly personal brush and ink drawings that evoked emotional extremes from passion to loneliness.
In a world first, Through love … exhibits Hester’s ink and paper works as touchstones for Piccinini’s extraordinary sculptures, photography, video works and drawings. Alongside a new work developed especially for TarraWarra Museum of Art, Piccinini is represented by some of her most important sculptures including The Young Family 2002; Nest 2006; Doubting Thomas 2008; The Lovers 2011; Kindred 2018; and TarraWarra Museum of Art collection work Thicker Than Water 2007.’ – the publisher
‘]


Publishing details: Melbourne : TarraWarra Museum of Art, November 2018. Quarto, pictorial laminated boards, illustrated endpapers, pp. 126, illustrated
Catalogue for an Exhibition held at TarraWarra Museum of Art from 24 November 2018 – 11 March 2019.
Ref: 1000
Hester Joyview full entry
Reference: see Patricia Piccinini & Joy Hester : through love. Victoria Lynn, curator.

[’‘Love and intimacy are the focus of this major exhibition that pairs the work of globally renowned artist Patricia Piccinini with that of important Australian modernist Joy Hester.
Patricia Piccinini & Joy Hester: Through love … presents more than 50 works, including a major new sculpture by Piccinini and rarely-seen works by Hester, that show the incredible spectrum of human and non-human relationships, from romantic love and maternal devotion through to the connections formed between humans and animals, and animate and inanimate objects.
Melbourne-based artist Piccinini is known for her large-scale, life-like sculptures of hybrid forms that often fuse together human and animal characteristics to examine the increasingly blurred boundary between the artificial and natural worlds. Her early practice was profoundly influenced by the work of Hester (1920-60), a member of Melbourne’s ‘Heide circle’ who was acclaimed for highly personal brush and ink drawings that evoked emotional extremes from passion to loneliness.
In a world first, Through love … exhibits Hester’s ink and paper works as touchstones for Piccinini’s extraordinary sculptures, photography, video works and drawings. Alongside a new work developed especially for TarraWarra Museum of Art, Piccinini is represented by some of her most important sculptures including The Young Family 2002; Nest 2006; Doubting Thomas 2008; The Lovers 2011; Kindred 2018; and TarraWarra Museum of Art collection work Thicker Than Water 2007.’ – the publisher
‘]



Publishing details: Melbourne : TarraWarra Museum of Art, November 2018. Quarto, pictorial laminated boards, illustrated endpapers, pp. 126, illustrated
Catalogue for an Exhibition held at TarraWarra Museum of Art from 24 November 2018 – 11 March 2019.
Tucker Albertview full entry
Reference: Albert Tucker : the timeless land. Exhibition catalogue of 54 works by Australian artist Albert Tucker. Includes price list.
Publishing details: Sydney : Second East Auction Holdings, 2010. Quarto, white illustrated wrappers, pp. 116, illustrations throughout.
Ref: 1000
Carington Smith Jack view full entry
Reference: see Smith Jack Carington
Whisson Kenview full entry
Reference: Ken Whisson : a survey
Catalogue of 36 works by the artist with short biography and essay by John McDonald. Edition of 1000 copies. Curated by Clinton Tweedie.
Publishing details: [Victoria?] : [312 Lennox Street Gallery], [1990]. Quarto, illustrated cream wrappers, pp. 20, illustrations throughout.
Ref: 1000
Wallace-Crabbe Robin view full entry
Reference: Robin Wallace-Crabbe : studio corners, paintings & constructions 1985-1986
Exhibition catalogue of 14 works with loose price list.
Publishing details: Melbourne : Powell Street Gallery, 1986. Quarto, white card wrappers, [pp. 18], some illustrations.
Ref: 1000
Breslin Anthonyview full entry
Reference: Frantic Bloom
[’Frantic Bloom showcases the stylistically varied and compelling work of Anthony Breslin, a painter, poet, performer, stage designer and director from Melbourne.
For Breslin, art is a happening, a transformation of the material used, with artist and artwork engaging in a trance-dance of creation. As Breslin explains: “This manic search in coloured paint is an attempt to encapsulate the memory of an imaginary kaleidoscope I yearned for as a child, but never did it manifest itself in any birthday box I ever knew.”
Described as a lovechild of modern primitivism’s denouncement of the ultra- technological urban landscape, surrealism’s revolt against the tyranny of Reason, and expressionism’s desire to externalise the inner turmoil of the individual, Breslin’s work is composed of circuitous outlines, undulating curves and Pollock-esque paint splatters,
as well as deformed human faces and bold, festive colours. These embody Breslin’s attempt to depict the plight of the modern- day human forever entrenched in the process of self-formation and self-assertion.
“In much of Breslin’s work, his ability to celebrate the ‘otherworld’ of imagination
is associated with both delight and a
slight dread of all that life offers. While
he generally revels in the sense of play and joy, some primitive dark force inevitably glimmers beneath the surface, to animate the anxious bugs trapped on canvas and to chill the startled stares of his subjects as they contemplate the void.”
– Dr Lisa Dethridge, ‘The artist as urban shaman’
Includes a foreword by The Hon. Paul M. Guest QC and an introductory essay by
Dr Lisa Dethridge of RMIT University, along with a list of Breslin’s exhibitions and a personal timeline.’]

Publishing details: Melbourne : Melbourne Books, 2010. Quarto, boards, illustrated, pp. 232, housed in publisher’s box.
Ref: 1000
Sime Dawnview full entry
Reference: Looking through : selected works by Dawn Sime

Publishing details: Melbourne : University of Melbourne, 1996. Quarto, illustrated wrappers, pp. 32, illustrated.
Ref: 1000
Faulkner Sarahview full entry
Reference: Sarah Faulkner : no straight lines ~ a survey 1982 – 2004
Exhibition catalogue with conversation with the artist by John Buckley.
Publishing details: Melbourne : Stonington Stables Museum of Art, Deakin University, 2004. Quarto, illustrated wrappers, pp. 28, colour illustrations throughout.
Ref: 1000
oan exhibitionsview full entry
Reference: see Australian Art & Artists to 1950 - a bibliography based on the holdings of the State Library of Victoria compiled by Elizabeth Hanks. [Australian artists and art subjects are listed alphabetically. Australian art catalogues and art books (and over 100 periodicals) in the SLV have been indexed].
Publishing details: Library Council of Victioria, 1982, pb, 397pp
Loan Exhibition 1897 - Diamond Jubilee view full entry
Reference: see Australian Art & Artists to 1950 - a bibliography based on the holdings of the State Library of Victoria compiled by Elizabeth Hanks. [Australian artists and art subjects are listed alphabetically. Australian art catalogues and art books (and over 100 periodicals) in the SLV have been indexed].
Publishing details: Library Council of Victioria, 1982, pb, 397pp
loan collections of oil paintings and water-colour drawings exhibited in the Sydney, Melbourne and Adelaide Galleriesview full entry
Reference: see Catalogue of the second interchange loan collections of oil paintings and water-colour drawings exhibited in the Sydney, Melbourne and Adelaide Galleries ... 1896.
Published (imprint): Syd., 1896.

Publishing details: National Art Gallery of New South Wales, 1896, Description: 76 p. : illus.
Loan exhibitionview full entry
Reference: National Gallery of Victoria
National Gallery of Victoria : loan exhibition of Australian paintings
Exhibition catalogue of 427 works.
Publishing details: Melbourne : National Gallery of Victoria, 1925. Quarto, plain card imprinted wrappers, pp. 30.
Ref: 1000
Tillers Imantsview full entry
Reference: Imants Tillers : the enigma of arrival
Essays by Pierre Restany and Wystan Curnow.
Publishing details: Sydney : Sherman Galleries, 1997. Quarto, illustrated folding card, 3 double sided pages.
Ref: 1000
Storrier Timview full entry
Reference: Storrier 10 October – 4 November 2001
Essay by David Thomas about the artist.
Publishing details: Melbourne : Metro 5 Gallery, 2001. Quarto, illustrated folding card, 4 pages.
Ref: 1000
Lander Cyril Georgeview full entry
Reference: see Martel Maides auction
June 27, 2019, 10:00 AM BST
Guernsey, United Kingdom. lot 894, Description: Cyril George Lander (Australian, 1892-1983)
Mousehole harbour, Cornwall
watercolour, signed 'Cyril Lander' lower right
14 1/4 x 19 3/4in. (36.3 x 50.25cm.)

* Condition: Not examined out of frame - framing appears original (1960s-70s). Light foxing to lower area of water and sky and very minor mount burn. Colours remain strong.
Parsons R 1918 2011view full entry
Reference: see Hawley’s auction, 30 Jun 2019, Beverley , East Yorkshire, lot 669: Oil on board landscape signed R. Parsons. the pseudonym of Australian artist Leon William Harrison 1918 2011
Harrison Leon William 1918 2011view full entry
Reference: see Hawley’s auction, 30 Jun 2019, Beverley , East Yorkshire, lot 669: Oil on board landscape signed R. Parsons. the pseudonym of Australian artist Leon William Harrison 1918 2011
Hodgkins Francesview full entry
Reference: Anthony Hordern’ Fine Arts Gallery in Sydney in 1913
Publishing details: Anthony Hordern’ Fine Arts Gallery, 1913
Ref: 1000
Hodgkins Francesview full entry
Reference: Auckland Art Gallery exhibition – European Journeys
Publishing details: Auckland Art Gallery, 2019
Ref: 1006
Hodgkins Frances 1869-1947view full entry
Reference: Francis Hodgkins - A New Zealand Modernist, exhibition at Auckland’s Jonathan Grant Gallery, 15 works
Publishing details: Jonathan Grant Gallery, Auckland, 2019
Ref: 1006
Hodgkins Frances 1869-1947view full entry
Reference: see AASD article by Terry Ingram, 20-Jun-2019:

[’Frances Hodgkins (1869 -1947) is the star of an exhibition of almost 300 watercolours at the Auckland Art Gallery. She was much-loved by Australian art collectors in her day, and showed at Anthony Hordern’s Gallery in Sydney in 1913. This is an extraordinary achievement for an artist whose career spanned the leap from traditional to contemporary art in the early 20th century and who came from a place then thought to be the end of the world. Above, ‘Bridesmaids’, 1930 from the artist's Manchester period.’]

A New Zealand artist is at the top of the list of women artists who will dominate the “What’s on” lists of important exhibition venues around the world this year.
Much-loved by Australian art collectors in particular in her day, the artist is Frances Hodgkins (1869 -1947) who showed at Anthony Hordern’ Fine Arts Gallery in Sydney in 1913. She is currently the star of one of the biggest exhibitions - numbering close to 300 watercolours - showing at the Auckland Art Gallery.
The exhibition is aptly titled Frances Hodgkins – European Journeys because she was very peripatetic. She is also the subject of a commercial exhibition Francis Hodgkins - A New Zealand Modernist at Auckland’s Jonathan Grant Gallery (JGG) of 15 watercolours eight of which have been sold. It runs until September 1.
This is an extraordinary achievement for an artist whose career spanned the leap that world art took from the traditional to the contemporary in the early 20th century and who came from a place then thought to be the end of the world.
The exhibition at Jonathan Grant Gallery emphasises her modernism. Hodgkins is designated a Modernist by the galleries, following the period’s developments closely by being on the spot in Europe while they were happening.
Her greatest achievement was perhaps applying modernism to the medium of watercolour in which she worked almost exclusively. Previously watercolour had come to be associated largely with prissy Victorianism.
Watercolours tend not to capture quite the financial acclaim as oils. However, the works have been soaring in the market-place with prices up to $NZ125,000 being asked for a still life Marrows and Peppers at Jonathan Grant Gallery. Landscape and portraits make up most of the remainder.
Hodgkins often merged two or three of her ideas into one and in the’20s introduced an occasional surrealist element. She was well connected to the Modern British School and also a player in the Manchester School which was the thriving at the turn of the 19th and 20th centuries.
A leader of the British School, John Piper, wrote a book on her. Collectors of her work receive good value in paint and effort from her studio. She piled the paint on repeatedly changing the work so much that it came to weigh substantially more than when she started, when she finally let it go!
Dunedin-born Hodgkins has never been seriously neglected, but in a practice reminiscent of the big spending days of Sydney, New Zealander Denis Savill on Arthur Boyd and the stockbroker Gordon Moffatt on J A Turner in the 1970s and 1980s respectively the New Zealand dealership has discretely assembled the show.
It has not been an easy task because of the artist’s intensive travels in Europe including the United Kingdom from 1900, there always appears to be a couple of stalwart local museums or collectors ready to reach out for what works come onto the market.
Her ties with Australia were strong. “Call me Australian if you wish” she told one reporter shortly after federation in those days when nationality was not firmly defined
At her exhibition at the Anthony Hordern’ Fine Arts Gallery in Sydney in 1913, Julian Ashton seized on the exhibits’ refreshing directness for their medium which tended to be associated by art lovers with prettiness and primness.
While not officially part of any plot by feminists to improve the lot of women artists per se, the exhibition appears to be a sudden, growing recognition that women artists have had a raw deal in obtaining exhibitions.
Many unconnected curators and critics as well as members of the trade appear to have arrived at this conclusion at the same point in time.
Other “local” women artists inevitably will be pressed into service although many of the best works have already been taken by collectors such as that put together by John Cruthers in Perth,
Gooderham in conjunction with the independent curator Mary Kisler have given extra credibility to provenances by ensuring that wherever possible the location of the scenery depicted in her landscapes, which were an important part of her oeuvre is identified. Gooderham recently visited Wales to identify the locations of works she did there.
Hodgkins’ visit to Wales included Corfe Castle where there was a small arts community. She painted the Castle, as did Sir Arthur Streeton whose large painting of the subject featured in sales in the 1980s. It was not an easy sell, however --too much grey.
The sites she painted have now been investigated and photographed by the Auckland Art Gallery and Jonathan Grant Gallery. This has often involved travelling to the sites very speculatively, giving buyers a little extra assurance as to provenance, attribution and the period of the artist’s work. A full catalogue raisonne of her work is meanwhile being published on the Internet.
The exhibition fits in well with the current vogue for women artists that is also taking place in the selection of plays with women’s roles around the world in both film and theatre. This year it will be difficult dodging shows devoted to individual women artists as there are so many of them.
The artist currently attracting the most acclaim is that devoted to Mrs Pollock, (Lee Krasner) as the wife and then the widow of Jackson Pollock was known. An exhibition has opened at London’s Barbican Art Gallery to massively enthusiastic reviews. This includes major loan material from Australia which has been singled out for special mention by the critics.
Other exhibitions devoted to individual women artists at major venues this year include Natatalie Goncharova at Tate Modern, Faith Ringgold at the Serpentine and Paula Rego at Milton Keynes New Gallery.
In France, Berthe Morisot is being shown at the Muse d’Orsay, Dora Maar at the Pompidou and Sally Mann at the Jeu de Pomme.
About The Author
Terry Ingram inaugurated the weekly Saleroom column for the Australian Financial Review in 1969 and continued writing it for nearly 40 years. His scoops include the Whitlam Government's purchase of Blue Poles in 1973 and repeated fake scandals (from contemporary art to antique silver) and auction finds. He has closely followed the international art, collectors and antique markets to this days. Terry has also written two books on the subjects
Index to illustrated newspaper imagery relating to Tasmaniaview full entry
Reference: Index to illustrated newspaper imagery relating to Tasmania by Peter A. Dowling
Printed by the author, Hamilton, Victoria,
November 2012.

["This index to illustrated newspaper imagery relating to Tasmania has been assembled from the much broader Index to imagery in colonial Australian illustrated newspapers. The reason for its production is that of the imagery relating to Australia in the papers, 55% concerns Victoria, 30% pertains to New South Wales, and just 15% involves South Australia, Tasmania, Queensland and Western Australia at a ratio of approximately 5.0%, 3.5%, 3.5% and 1.0% respectively (the remaining 2.0% is accounted for by the non-colony specific subject, Imaginative Fiction Illustration). Out of a concern that these less covered colonies may seem a bit lost in the Index, and conversely, to make it easier for researchers interested in imagery from just one or another of these colonies, this cut-and-paste collection of the imagery relating to Tasmania has been compiled"--Introduction.]
Publishing details: Printed by the author, Hamilton, Victoria,
November 2012
Ref: 1000
newspaper illustrationsview full entry
Reference: see Index to illustrated newspaper imagery relating to Tasmania by Peter A. Dowling
Printed by the author, Hamilton, Victoria,
November 2012
Contents
Introduction
1
Guide to index
3
Material Culture
Panoramas
1
8
Streetscapes
2
1
Buildin
gs
22
Commerce
24
Manufacturing
24
Exhibitions
25
Gardens
26
Monuments (no images)
26
Maritime
27
Transpo
rt & Communications
31
Civic
Culture
Portraits
33
Civic Occasions
36
The Arts
37
Leisure
37
Military & Naval
4
0
Frontier Culture
Landscapes
40
Indigenous People
4
8
Rural
49
Mining
50
Nat
u
ral History
5
2
Natural Disasters
54
Crime
54
Sundry
Miscellan
eous

All colonies
55

iv
Supplementary
Women & Chi
ldren
(no images)
55
Chi
nese
(no images)
55
Historical
(no images)
55
Supple
ments
5
7
Creators
Illustrators
5
8
Photographers
59
Publishing details: Printed by the author, Hamilton, Victoria,
November 2012
Woolley Charles Alfredview full entry
Reference: see Index to illustrated newspaper imagery relating to Tasmania by Peter A. Dowling
Printed by the author, Hamilton, Victoria,
November 2012.
Publishing details: Printed by the author, Hamilton, Victoria,
November 2012
Winter Alfredview full entry
Reference: see Index to illustrated newspaper imagery relating to Tasmania by Peter A. Dowling
Printed by the author, Hamilton, Victoria,
November 2012

Publishing details: Printed by the author, Hamilton, Victoria,
November 2012
Walsh & Sonview full entry
Reference: see Index to illustrated newspaper imagery relating to Tasmania by Peter A. Dowling
Printed by the author, Hamilton, Victoria,
November 2012

Publishing details: Printed by the author, Hamilton, Victoria,
November 2012
Officer S Lview full entry
Reference: see Index to illustrated newspaper imagery relating to Tasmania by Peter A. Dowling
Printed by the author, Hamilton, Victoria,
November 2012

Publishing details: Printed by the author, Hamilton, Victoria,
November 2012
Paterson F Jview full entry
Reference: see Index to illustrated newspaper imagery relating to Tasmania by Peter A. Dowling
Printed by the author, Hamilton, Victoria,
November 2012

Publishing details: Printed by the author, Hamilton, Victoria,
November 2012
Frith Henry Albertview full entry
Reference: see Index to illustrated newspaper imagery relating to Tasmania by Peter A. Dowling
Printed by the author, Hamilton, Victoria,
November 2012

Publishing details: Printed by the author, Hamilton, Victoria,
November 2012
Dowling William Paulview full entry
Reference: see Index to illustrated newspaper imagery relating to Tasmania by Peter A. Dowling
Printed by the author, Hamilton, Victoria,
November 2012

Publishing details: Printed by the author, Hamilton, Victoria,
November 2012
Clifford Samuelview full entry
Reference: see Index to illustrated newspaper imagery relating to Tasmania by Peter A. Dowling
Printed by the author, Hamilton, Victoria,
November 2012

Publishing details: Printed by the author, Hamilton, Victoria,
November 2012
Cawston Williamview full entry
Reference: see Index to illustrated newspaper imagery relating to Tasmania by Peter A. Dowling
Printed by the author, Hamilton, Victoria,
November 2012

Publishing details: Printed by the author, Hamilton, Victoria,
November 2012
Burns James (Wynyard)view full entry
Reference: see Index to illustrated newspaper imagery relating to Tasmania by Peter A. Dowling
Printed by the author, Hamilton, Victoria,
November 2012

Publishing details: Printed by the author, Hamilton, Victoria,
November 2012
Beattie J Wview full entry
Reference: see Index to illustrated newspaper imagery relating to Tasmania by Peter A. Dowling
Printed by the author, Hamilton, Victoria,
November 2012

Publishing details: Printed by the author, Hamilton, Victoria,
November 2012
Anson Brothersview full entry
Reference: see Index to illustrated newspaper imagery relating to Tasmania by Peter A. Dowling
Printed by the author, Hamilton, Victoria,
November 2012

Publishing details: Printed by the author, Hamilton, Victoria,
November 2012
Allport Mortonview full entry
Reference: see Index to illustrated newspaper imagery relating to Tasmania by Peter A. Dowling
Printed by the author, Hamilton, Victoria,
November 2012

Publishing details: Printed by the author, Hamilton, Victoria,
November 2012
Wood Louisview full entry
Reference: see Index to illustrated newspaper imagery relating to Tasmania by Peter A. Dowling
Printed by the author, Hamilton, Victoria,
November 2012

Publishing details: Printed by the author, Hamilton, Victoria,
November 2012
Stutterd Joseph Gardnerview full entry
Reference: see Index to illustrated newspaper imagery relating to Tasmania by Peter A. Dowling
Printed by the author, Hamilton, Victoria,
November 2012

Publishing details: Printed by the author, Hamilton, Victoria,
November 2012
Jeffreys Charlesview full entry
Reference: see Index to illustrated newspaper imagery relating to Tasmania by Peter A. Dowling
Printed by the author, Hamilton, Victoria,
November 2012

Publishing details: Printed by the author, Hamilton, Victoria,
November 2012
Hudspeth Elizabethview full entry
Reference: see Index to illustrated newspaper imagery relating to Tasmania by Peter A. Dowling
Printed by the author, Hamilton, Victoria,
November 2012

Publishing details: Printed by the author, Hamilton, Victoria,
November 2012
Fogg Sarah Annview full entry
Reference: see Index to illustrated newspaper imagery relating to Tasmania by Peter A. Dowling
Printed by the author, Hamilton, Victoria,
November 2012

Publishing details: Printed by the author, Hamilton, Victoria,
November 2012
Fenton Jamesview full entry
Reference: see Index to illustrated newspaper imagery relating to Tasmania by Peter A. Dowling
Printed by the author, Hamilton, Victoria,
November 2012

Publishing details: Printed by the author, Hamilton, Victoria,
November 2012
Browne F Sview full entry
Reference: see Index to illustrated newspaper imagery relating to Tasmania by Peter A. Dowling
Printed by the author, Hamilton, Victoria,
November 2012

Publishing details: Printed by the author, Hamilton, Victoria,
November 2012
Angelo G Fview full entry
Reference: see Index to illustrated newspaper imagery relating to Tasmania by Peter A. Dowling
Printed by the author, Hamilton, Victoria,
November 2012

Publishing details: Printed by the author, Hamilton, Victoria,
November 2012
Angelo G Fview full entry
Reference: see Index to illustrated newspaper imagery relating to Tasmania by Peter A. Dowling
Printed by the author, Hamilton, Victoria,
November 2012

Publishing details: Printed by the author, Hamilton, Victoria,
November 2012
Craftview full entry
Reference: see Decorative Arts in Australia, Art Gallery of New South Wales exhibition
Publishing details: AGNSW, 1991-92
craftview full entry
Reference: The Winnowing of the Grain - Art & Craft magazines in Australia 1963 - 1996 (to be indexed)
Publishing details: Carlton Street Press, Hobart, 2006
glassview full entry
Reference: International Directions in Glass/American Jewellery and Metalwork/Australia - New Design Visions
Publishing details: Art Gallery of WA, 1993 reprint, hc, dw, 179pp, ex libris copy
Graffiti - Melbourne 1983-1993view full entry
Reference: see King's Way: The Beginnings of Australian Graffiti - Melbourne 1983-1993 by Duro Cubrilo, Karl Stamer, Martin Harvey [’A comprehensive account of the first decade of the graffiti writing subculture in Melbourne, and the story of the development of a hardcore underground scene of local 'writers' and their commitment to 'getting up'. Using the city's walls and trains as their canvas, they pioneered the elaborate spray-paint murals that now dominate the cityscape.
‘]
Publishing details: MUP, 2010
Gough Julieview full entry
Reference: Julie Gough – Tense Past Presented by Dark Mofo and the Tasmanian Museum and Art Gallery Tasmanian Museum and Art Gallery, Hobart 7 June – 3 November 2019.
Publishing details: TMAG, 2019
Ref: 1000
Roper Edward 1830-1909view full entry
Reference: see The Maas gallery, UK, catalogue, June, 2019: 28. Edward Roper, 1830-1909

Sea Life in the North Atlantic
Watercolour; signed, dated June 15th 1873, and inscribed 'Animals as seen in/Lat 32 N - Long 45.W'
19 x 12¼ inches
Provenance:
The artist, thence by descent
Information:
Roper and his family returned to England from Australia in 1873 on the Thomas Stephens. Becalmed in the North Atlantic ‘horse latitudes’ of the Sargasso Sea (a large clockwise gyre of particularly clear, blue and salty ocean waters), Roper left the ship in a rowing boat, against a backdrop of ‘fairweather’ waterspouts beneath static low cloud. There, he recorded a large piece of sargassum seaweed and the sea life around it in watercolour. On the back he wrote: ‘Animals taken on Board “Thos Stephens” / on passage from Australia, June 1873’ and gave the exact position of the ship: ‘32 N Lat 45 W Long’, and provided a key with the known names of the animals:
‘1. Physalia, or Portuguese Man of War / 2. Velella or Salle Mar / 3. Glaucus or Sea Lizard / 4. Great Pipe Fish / 5. Painted or Floating crab / 6. Cestus Veneris, or Venus’ Girdle (?) / 7. Varieties of Medusa / 8. Nearer view of portions of no. 6 / 9. Janthina Fragilis or Violet Snail & Raft / The other fish are unknown as to names.’
After this voyage, Roper studied in Paris and made a successful career as a professional artist and writer, publishing books of his travels in Canada (which he revisited many times) and working for Boys Own Paper and London Illustrated News up until his death in 1909.
[This work previously at Bonhams, London].

Watson Douglasview full entry
Reference: see Australian War Memorial website:
Service number NX191007
Birth Date 13 June 1920
Birth Place Australia: New South Wales, Sydney
Death Date 1972
Death Place Australia: New South Wales, Sydney
Final Rank Lieutenant
Place Sydney
Conflict/Operation Second World War, 1939-1945
Description
Douglas Watson, one of the youngest official war artists of the Second World War, was born in Sydney on 13 June 1920. He studied at the East Sydney Technical College and on graduating in 1940, was awarded a state scholarship to study overseas, but because of the war he was not able to leave Australia.

In 1941, at the age of 21, Watson applied to become an official war artist. He had spent six months travelling around Western Australia, sketching in the hope of getting work as a war artist, and he had written to the Commonwealth Art Advisory Committee to express his interest.

Watson enlisted in July 1942. He was assigned to 4 Camouflage Training Unit, then transferred to the Military History Section in August 1943. He became an official war artist with the rank of lieutenant in November 1943 and was sent to Townsville to begin his commission. On the way he stopped in Sydney to document the activities at the Sydney Graving Dock.

Watson's commission spanned the last two years of the war and most of 1946. He covered military activities throughout Australia, New Guinea and Borneo.

After the war Watson traveled extensively, studied in Europe and the United Kingdom, and exhibited at the Royal Academy in London and with the Contemporary Art Society in Sydney. Watson was the youngest artist to be awarded the Wynne prize, which he won in 1942, and again in 1945.

Watson died in Sydney in 1972
Watson Tommy - Yannima Pikarli Tommy Watson Ngayuku Nguraview full entry
Reference: Yannima Pikarli Tommy Watson Ngayuku Ngura – My Country. (Special edition, with original painting) - Translation into French by Flore Gregorini. Melbourne : Macmillan, 2014. ‘This special presentation of Yannima Pikarli Tommy Watson Ngayuku Ngura – My Country, authored by Ken McGregor and Marie Geissler, translated into French by Flore Gregorini and published by Macmillan, has been compiled by Ken McGregor. It is limited to 40 copies. Each copy, consisting of 2 units presented together in a slip-case, contains the original publication with a signed portrait of the artist and this explanatory colophon tipped in. A second component contains a unique original painting by the artist together with a signed photograph of the artist creating the work. The photographic portraits are by Ken McGregor. The book-binding is by David Pool with the assistance of Rod Eastgate of Jarman the Picture Framer and Eastgate and Holst. Copy No. 9/40′. (colophon)
This monograph presents the spectacular painting of a master colourist. A Pitjantjatjara elder who maintains his home and studio in Alice Springs, the artist still travels extensively across his ‘country’ to fulfil traditional obligations.

Publishing details: Melbourne : Macmillan, 2014.Quarto, white lettered purple buckram, illustrated endpapers, pp 248, extensively illustrated, text in English and French; the original painting and signed photograph are presented in a black buckram portfolio; both the book and portfolio are housed in a buckram slipcase.

Ref: 1000
Ngura Yannima Pikarli Tommy Watson Ngayuku view full entry
Reference: see Yannima Pikarli Tommy Watson Ngayuku Ngura – My Country. (Special edition, with original painting) - Translation into French by Flore Gregorini. Melbourne : Macmillan, 2014. ‘This special presentation of Yannima Pikarli Tommy Watson Ngayuku Ngura – My Country, authored by Ken McGregor and Marie Geissler, translated into French by Flore Gregorini and published by Macmillan, has been compiled by Ken McGregor. It is limited to 40 copies. Each copy, consisting of 2 units presented together in a slip-case, contains the original publication with a signed portrait of the artist and this explanatory colophon tipped in. A second component contains a unique original painting by the artist together with a signed photograph of the artist creating the work. The photographic portraits are by Ken McGregor. The book-binding is by David Pool with the assistance of Rod Eastgate of Jarman the Picture Framer and Eastgate and Holst. Copy No. 9/40′. (colophon)
This monograph presents the spectacular painting of a master colourist. A Pitjantjatjara elder who maintains his home and studio in Alice Springs, the artist still travels extensively across his ‘country’ to fulfil traditional obligations.

Publishing details: Melbourne : Macmillan, 2014.Quarto, white lettered purple buckram, illustrated endpapers, pp 248, extensively illustrated, text in English and French; the original painting and signed photograph are presented in a black buckram portfolio; both the book and portfolio are housed in a buckram slipcase.

Makin Jeffreyview full entry
Reference: Jeffrey Makin Drawings
Publishing details: Melbourne : Port Jackson Press Australia and Deakin University, 2006. Quarto, illustrated wrappers, pp. 80, illustrated. Limited to 1000 copies.
Ref: 1000
Weaving the Murrayview full entry
Reference: Weaving the Murray : an installation celebrating community, collaboration and craft practice along the River Murray, created by seven artists as a lasting legacy of one hundred years of federation in Australia. Rhonda Agius, Nici Cumpston, Kirsty Darlaston, Sandy Elverd, Chrissie Houston, Kay Lawrence, Karen Russell.
Publishing details: Prospect, SA : Prospect Gallery and Centenary of Federation South Australia, [2002]. Small oblong quarto, pictorial wrappers, 24 pp, illustrated in colour and b/w;
Ref: 1000
Agius Rhonda view full entry
Reference: see Weaving the Murray : an installation celebrating community, collaboration and craft practice along the River Murray, created by seven artists as a lasting legacy of one hundred years of federation in Australia. Rhonda Agius, Nici Cumpston, Kirsty Darlaston, Sandy Elverd, Chrissie Houston, Kay Lawrence, Karen Russell.
Publishing details: Prospect, SA : Prospect Gallery and Centenary of Federation South Australia, [2002]. Small oblong quarto, pictorial wrappers, 24 pp, illustrated in colour and b/w;
Cumpston Nici view full entry
Reference: see Weaving the Murray : an installation celebrating community, collaboration and craft practice along the River Murray, created by seven artists as a lasting legacy of one hundred years of federation in Australia. Rhonda Agius, Nici Cumpston, Kirsty Darlaston, Sandy Elverd, Chrissie Houston, Kay Lawrence, Karen Russell.
Publishing details: Prospect, SA : Prospect Gallery and Centenary of Federation South Australia, [2002]. Small oblong quarto, pictorial wrappers, 24 pp, illustrated in colour and b/w;
Darlaston Kirsty view full entry
Reference: see Weaving the Murray : an installation celebrating community, collaboration and craft practice along the River Murray, created by seven artists as a lasting legacy of one hundred years of federation in Australia. Rhonda Agius, Nici Cumpston, Kirsty Darlaston, Sandy Elverd, Chrissie Houston, Kay Lawrence, Karen Russell.
Publishing details: Prospect, SA : Prospect Gallery and Centenary of Federation South Australia, [2002]. Small oblong quarto, pictorial wrappers, 24 pp, illustrated in colour and b/w;
Elverd Sandy view full entry
Reference: see Weaving the Murray : an installation celebrating community, collaboration and craft practice along the River Murray, created by seven artists as a lasting legacy of one hundred years of federation in Australia. Rhonda Agius, Nici Cumpston, Kirsty Darlaston, Sandy Elverd, Chrissie Houston, Kay Lawrence, Karen Russell.
Publishing details: Prospect, SA : Prospect Gallery and Centenary of Federation South Australia, [2002]. Small oblong quarto, pictorial wrappers, 24 pp, illustrated in colour and b/w;
Houston Chrissie view full entry
Reference: see Weaving the Murray : an installation celebrating community, collaboration and craft practice along the River Murray, created by seven artists as a lasting legacy of one hundred years of federation in Australia. Rhonda Agius, Nici Cumpston, Kirsty Darlaston, Sandy Elverd, Chrissie Houston, Kay Lawrence, Karen Russell.
Publishing details: Prospect, SA : Prospect Gallery and Centenary of Federation South Australia, [2002]. Small oblong quarto, pictorial wrappers, 24 pp, illustrated in colour and b/w;
Lawrence Kay view full entry
Reference: see Weaving the Murray : an installation celebrating community, collaboration and craft practice along the River Murray, created by seven artists as a lasting legacy of one hundred years of federation in Australia. Rhonda Agius, Nici Cumpston, Kirsty Darlaston, Sandy Elverd, Chrissie Houston, Kay Lawrence, Karen Russell.
Publishing details: Prospect, SA : Prospect Gallery and Centenary of Federation South Australia, [2002]. Small oblong quarto, pictorial wrappers, 24 pp, illustrated in colour and b/w;
Russell Karen view full entry
Reference: see Weaving the Murray : an installation celebrating community, collaboration and craft practice along the River Murray, created by seven artists as a lasting legacy of one hundred years of federation in Australia. Rhonda Agius, Nici Cumpston, Kirsty Darlaston, Sandy Elverd, Chrissie Houston, Kay Lawrence, Karen Russell.
Publishing details: Prospect, SA : Prospect Gallery and Centenary of Federation South Australia, [2002]. Small oblong quarto, pictorial wrappers, 24 pp, illustrated in colour and b/w;
Boyd Davidview full entry
Reference: David Boyd retrospective 1957 – 1982. A series of seven exhibitions presented by the Wagner Art Gallery as a contribution to the Festival of Sydney 1983. Sydney
Publishing details: Wagner Art Gallery, 1983. Oblong quarto, illustrated wrappers, pp. 24, illustrated in black and white.
Ref: 1000
Art of Book Collecting in Australiaview full entry
Reference: The Art of Book Collecting in Australia
Chapters include Bligh, broadsides, colour plate books, fictitious voyages to Australia, Australian broadsides, land explorers etc.

Publishing details: Sydney : Angus & Robertson [printed at The Hawthorn Press], 1956. First edition, limited to 500 signed and numbered copies. Quarto, fine blue cloth boards with gilt lettering to front and spine, in good dustjacket, light offsetting to endpapers, pp [xii], 185 + colophon, b/w plates,
Ref: 1000
Book Collecting in Australiaview full entry
Reference: see The Art of Book Collecting in Australia
Chapters include Bligh, broadsides, colour plate books, fictitious voyages to Australia, Australian broadsides, land explorers etc.

Publishing details: Sydney : Angus & Robertson [printed at The Hawthorn Press], 1956. First edition, limited to 500 signed and numbered copies. Quarto, fine blue cloth boards with gilt lettering to front and spine, in good dustjacket, light offsetting to endpapers, pp [xii], 185 + colophon, b/w plates,
Moffatt Traceyview full entry
Reference: Tracey Moffatt : between dreams and reality. Filippo Maggia (ed.) [’Tracey Moffatt, with her ‘photographic paintings’, fragments of imaginary or real tales, highlights the contrasts within society and within each individual in an exemplary manner. Through forms and techniques that seem to come from the realm of dreams, subconscious, and myth – between dreams and reality – she shows us that day-to-day conflicts are a reality shared by all civilisations, although the particular circumstances and cultural contexts affect the way they are expressed.
Exhibition held Milan, Spazio Oberdan, 28 June – 1 October 2006.’]

Publishing details: Milan : Skira Editore, 2006. Quarto, illustrated wrappers, pp. 143, illustrated.
Ref: 1000
McCrae Georgianaview full entry
Reference: Letters to Georgiana from her four sons.
Letters to Andrew and Georgiana McCrae in 1845 from their four sons George, William, Alexander and Farquhar.


Publishing details: [Arthur’s Seat : the McCrae family], 1962. Duodecimo, printed wrappers, pp. [16],
Ref: 1000
Smart Jeffreyview full entry
Reference: Jeffrey Smart : South Yarra Gallery
Invitation to an exhibition of paintings by Jeffrey Smart at 5:30 p.m on Tuesday, May 21, 1968.
Publishing details: [Melbourne : South Yarra Gallery, 1968]. Quarto, folding card, bifold.
Ref: 1000
Smart Jeffreyview full entry
Reference: Jeffrey Smart : South Yarra Gallery
Invitation to an exhibition of paintings by Jeffrey Smart 1975
Publishing details: [Melbourne : South Yarra Gallery, 1975].
Ref: 1000
Smart Jeffreyview full entry
Reference: Jeffrey Smart : 15 April to 10 May 2008
Brisbane : Philip Bacon Galleries, with essay by Christopher Allen.
Publishing details: Philip Bacon Galleries, 2008. Quarto, illustrated dust jacket, white wrappers, pp. 32, illustrations throughout. Catalogue of 26 works in the exhibition,
Ref: 1000
Smart Jeffreyview full entry
Reference: Jeffrey Smart : Philip Bacon Galleries, with essay by Christopher Allen.
Publishing details: Philip Bacon Galleries, 2005. Quarto, illustrated dust jacket, white wrappers, pp. 24, illustrations throughout. Catalogue of 26 works in the exhibition,
Ref: 1000
Smart Jeffreyview full entry
Reference: Master of Stillness - Jeffrey Smart - Paintings 1940-2011 by Barry Pearce
Publishing details: Anne & Gordon Samstag Museum of Art, 2012. Quarto, illustrated folding card, 3 double sided pages.
Ref: 1000
Smart Jeffreyview full entry
Reference: Jeffrey Smart : the question of portraiture. Exhibition companion with list of works.
Publishing details: [Melbourne] : Mornington Peninsula Regional Gallery, [2009]. Quarto, illustrated wrappers, pp. 24, some illustrations.
Ref: 1000
Smart Jeffreyview full entry
Reference: Jeffrey Smart 1921-2013 : recondita armonia – strange harmonies of contrast Catalogue of works from the exhibition, essay by David Malouf.
Publishing details: Sydney : University Art Gallery, The university of Sydney, 2013. Quarto, illustrated wrappers, pp. 16, colour illustrations throughout.
Ref: 1000
Smart Jeffreyview full entry
Reference: Jeffrey Smart : the Perth exhibition Essay by Barry Pearce, list of solo exhibitions and collections.
Publishing details: Perth : The Swansea Gallery, 2011. Quarto, folded card, 3 pages, 2 illustrated.
Ref: 1000
Taylor Peter 1927-2019
view full entry
Reference: see Sydney Morning Herald, 4 July, 2019, Obituary: Peter Taylor 1927-2019
By Dr Annette Van den Bosch:
Taylor was previously head of sculpture at the school of art, University of Tasmania. He worked for 20 years making figurative sculpture and many coats of arms for public buildings in Hobart. His work was collected by the Tasmanian Museum and Art Gallery and the Queen Victoria Museum and Art Gallery in Launceston.
During this period, a Design in Wood degree was established at the school of art. Taylor and Kevin Perkins were later commissioned to design furniture and a small sculpture for the Prime Minister's suite at Parliament House.
Taylor's work was exhibited at Macquarie Galleries in Sydney, Dick Hughes Gallery in Brisbane and was collected for the National Gallery of Victoria by Robert Lindsay. His work was reviewed by Nancy Borlase, art critic for the Herald, Sandra Mcgrath in The Australian and Suzi Gablik in Art in America in 1981 and throughout the 1980s and early 1990s.
Taylor’s work drew on early Tasmanian history, including the explorations of Nicolas Baudin and Francois Peron, and the later voyage of La Perouse to Botany Bay. He carved text on his sculpture or responded to commissions, for example by the small museum to mark the landing of La Perouse. Taylor responded to the "detached and objective observation of native peoples which was clearly stated in the instructions to French explorers".
His large figurative pine sculptures were made of both highly polished surfaces and rough untreated exterior bark, the figures were often marked with brightly coloured paint in an abstract pattern that enlivened the surface and attracted the eye.

Dr Annette Van den Bosch

Peter Taylor, who died in a Hobart nursing home last month, was an accomplished artist renowned for his distinctive wooden sculptures and assemblages made from Huon pine, a timber native to the Huon Valley region of Tasmania where he had lived and worked since 1961.
His most significant architectural commission was the Coat of Arms in the Senate chamber, the design for which includes Tasmanian myrtle with etched and slumped glass.
Peter Taylor, who died in a Hobart nursing home last month, was an accomplished artist renowned for his distinctive wooden sculptures and assemblages made from Huon pine, a timber native to the Huon Valley region of Tasmania where he had lived and worked since 1961.
His most significant architectural commission was the Coat of Arms in the Senate chamber, the design for which includes Tasmanian myrtle with etched and slumped glass.
Peter Taylor, who died in a Hobart nursing home last month, was an accomplished artist renowned for his distinctive wooden sculptures and assemblages made from Huon pine, a timber native to the Huon Valley region of Tasmania where he had lived and worked since 1961.
His most significant architectural commission was the Coat of Arms in the Senate chamber, the design for which includes Tasmanian myrtle with etched and slumped glass.
Taylor was born in Sydney on February 23, 1927. His works were exhibited and collected in Sydney, Melbourne and Brisbane, as well as Tasmania. He came to prominence in the 1980s.
Taylor's group of six full-scale figures was displayed in the 1984 Biennale of Sydney, directed by Leon Paroissien, after his selection for the 1981 Australian Perspecta directed by Bernice Murphy.
Ettleson Jamesview full entry
Reference: Selective Hearing, exhibition, Arthouse Gallery, 2019. Invite with short essay on the artist.
Publishing details: Arthouse Gallery, 2019
Ref: 1000
Spirovski Loribelleview full entry
Reference: exhibition at Frances Keevil Gallery, Cross Street, Double Bay, NSW
Publishing details: Frances Keevil Gallery, 2019
Ref: 1000
Kelly Deborahview full entry
Reference: see Look Magazine, July-August, 2019, p23, interview by Susannah Kelly.
Publishing details: Look Magazine, Art Gallery Society of New South Wales, July-August, 2019,
Archibald Prizeview full entry
Reference: see Look Magazine, July-August, 2019, p28-9, Archie turns 100
Publishing details: Look Magazine, Art Gallery Society of New South Wales, July-August, 2019,
Swift Ianview full entry
Reference: exhibition at Lost Bear Gallery, Katoomba, NSW
Publishing details: Lost Bear Gallery, Katoomba, NSW, 2019
Ref: 1000
framesview full entry
Reference: see Look Magazine, July-August, 2019, p36-7 illustrated article by Anne Gerard-Austin ‘From the Sidelines.
Publishing details: Look Magazine, Art Gallery Society of New South Wales, July-August, 2019,
framingview full entry
Reference: see Look Magazine, July-August, 2019, p36-7 illustrated article by Anne Gerard-Austin ‘From the Sidelines.
Publishing details: Look Magazine, Art Gallery Society of New South Wales, July-August, 2019,
Culliton Lucyview full entry
Reference: exhibition at King Street Gallery
Publishing details: King Street Gallery, 2019
Ref: 1000
Heron John Spier collectorview full entry
Reference: see Look Magazine, July-August, 2019, p51 illustrated article by Anne Gerard-Austin. Collection, involved in shipwreck, included a Tiepolo now in Art Gallery of NSW.
Publishing details: Look Magazine, Art Gallery Society of New South Wales, July-August, 2019,
Whiteley Brett operaview full entry
Reference: see Look Magazine, July-August, 2019, p52-4 illustrated article by Jacqui Taffel ‘Notes on the Artist’s Life’
Publishing details: Look Magazine, Art Gallery Society of New South Wales, July-August, 2019,
Blowers Nicholasview full entry
Reference: exhibition at Nanda Hobbs Gallery
Publishing details: Nanda Hobbs Gallery, Chippendale, NSW, 2019
Ref: 1000
Parekowhai Michaelview full entry
Reference: see Look Magazine, July-August, 2019, p61 illustrated work, The English Channel, 2015, [Captain Cook] in Art Gallery of NSW.
Publishing details: Look Magazine, Art Gallery Society of New South Wales, July-August, 2019,
Black Dorritview full entry
Reference: see Look Magazine, July-August, 2019, p66-7 illustrated article on the artist’s prints in Art Gallery of NSW.
Publishing details: Look Magazine, Art Gallery Society of New South Wales, July-August, 2019,
Lowry Fionaview full entry
Reference: see Look Magazine, July-August, 2019, p69-72 illustrated article on the artist.
Publishing details: Look Magazine, Art Gallery Society of New South Wales, July-August, 2019,
Capon Edmundview full entry
Reference: see Look Magazine, July-August, 2019, various references.
Publishing details: Look Magazine, Art Gallery Society of New South Wales, July-August, 2019,
Hoddle Robertview full entry
Reference: Hordern House catalogue item, July, 2019:
Manuscript letter from Robert Hoddle as Assistant Surveyor to John Oxley…
HODDLE, Robert
Sydney: 19th January, 1826.
Single sheet of laid paper, 375 x 228 mm folded to letter form, watermarked "C. Wilmott 1819"; remnants of red wax-seal.
before Melbourne…disputed title in the Hunter Valley

A most interesting letter from Robert Hoddle as Assistant Surveyor of New South Wales, to his superior, John Oxley.
Robert Hoddle (1794-1881) had arrived in New South Wales in 1823 and spent 12 years surveying country districts of New South Wales. He earned the esteem of Governor Sir Thomas Brisbane and his successor Sir Ralph Darling, but a rather arch Sir Thomas Mitchell (Oxley's successor) declared that Hoddle was a man who 'can scarcely spell … [and] can only be employed as he has always been, at the chain'. [ADB]. Despite Mitchell's opinion, Hoddle was appointed Senior Surveyor and later, Surveyor- General in Victoria (then Port Phillip) and his work was fundamental to the planning and layout of Melbourne and Geelong.
In this letter, Hoddle apologises for mistakenly marking a claim before receiving Oxley's orders. Hoddle's claimants were William Lee and John Tindall (Tindale) who had improved the land with a 'Hut and Stock Yards'. William Lee was the son of a First Fleet convict and Tindale had arrived on the Guilford in 1812 earning his freedom (with other convicts) after completion of the road over the Blue Mountains in 1815. The letter records Lee's activity with the notorious and murderous 'Lieut Lowe of the 40th Regt'. Lieutenant Nathanial Lowe was to be indicted for the murder of Aboriginal man Jacky-Jacky in a landmark case, the following year. The case helped to establish the rights of A boriginals under Colonial law, but Lowe was to be exonerated and the case dubbed by William Wentworth 'a solemn judicial farce'. [See R v Lowe http://www.law.mq.edu.au/research/colonial_case_law/nsw/cases/case_index/1827/r_v_lowe/].
The 'Superior' claimant who complained of Hoddle's oversight was 'Mr R. Fitzgerald', the one-time Third Fleet convict, Richard Fitzgerald. By the time of this letter he had, as a free man, accumulated sizeable landholdings in the Upper Hunter Valley near the Goulburn River, having served (briefly) as Macquarie's Superintendent of agriculture on the Emu Plains and later as agent for Elizabeth Macquarie, also administering part of the Macarthur estate. Fitzgerald's son Robert, (mentioned in the letter) was also to become a prominent grazier in the Liverpool Plains region. In 1830 he was granted 500 acres near Rylstone and, on his father's death in 1840, inherited his lands and the agency for Mrs Elizabeth Macquarie's estate.


Rayner Hewitt Henry.view full entry
Reference: Hordern House catalogue item, July, 2019:
Portrait of the writer, D.H. Lawrence (11 September 1885 – 2 March 1930)…
RAYNER, Hewitt Henry.
1929.
An original pen and ink portrait, 270 x 200mm; signed lower left Henry Rayner and inscribed "D H Lawrence 1929"; mounted and framed.
Portrait of D.H. Lawrence

This evocative portrait of the great writer brilliantly captures his likeness in his 44th year, at a time when he had returned to Europe from New Mexico and was suffering greatly from the tuberculosis that would kill him early the following year.
This portrait of a short-time Australian resident (Lawrence was in Australia from May to August 1822, the last ten weeks spent in residence at Thirroul on the New South Wales coast) was painted by a significant expatriate Australian artist: Henry Hewitt Rayner was born in Melbourne in September 1902. His father Henry Redstone Rayner had arrived in Australia in 1886 at the age of 14 with his family from the Isle of Wight. Henry Hewitt grew up in Brighton, then a small coastal town to the south of Melbourne, where his father had a building business. Keen from a very young age to train as an artist he moved to England in 1923 and it was here he that he commenced his formal art training at the Royal Academy of Art. He was a student of Walter Sickert, who became his mentor, a relationship that evolved into a genuine friendship. It was here too he became a close friend of Augustus John. Rayner's work is held widely including at the Victoria & Albert Museum, the British Museum, the National Portrait Gallery and the Royal Collection, as well as galleries in Australia and New Zealand.
The towering literary figure D. H. Lawrence was described by the novelist E. M. Forster as 'the greatest imaginative novelist of our generation'. His early novel, "Sons and Lovers", published in 1913, is set against his own background of a Nottinghamshire mining family. Later works dealt with personal relationships, sexual experience and spontaneous emotion and made a profound impact, both literary and social. His best known novels include "The Rainbow", 1915, "Women in Love", 1920 and "Lady Chatterley's Lover", 1928, the later banned until 1960.
Lawrence began in 1922 what he termed his "savage pilgrimage", a time of voluntary exile. He left England returning only twice for brief visits, and with his wife Frieda spent the remainder of his life travelling. They set off in an easterly direction, first to Ceylon and then on to Australia. A short residence in Darlington, Western Australia, which included an encounter with local writer Mollie Skinner, was followed by a stop in the small coastal town of Thirroul, New South Wales, during which time Lawrence completed his novel, "Kangaroo".
The Lawrences finally arrived in the United States with the idea of setting up a utopian community with several of his friends, having written to his old socialist friend in Eastwood, Willie Hopkin, in 1915, "I want to gather together about twenty souls and sail away from this world of war and squalor and found a little colony where there shall be no money but a sort of communism as far as necessaries of life go, and some real decency… a place where one can live simply, apart from this civilisation… [with] a few other people who are also at peace and happy and live, and understand and be free…"
It was with this in mind that they made for the "bohemian" town of Taos, New Mexico, where Mabel Dodge Luhan, a prominent socialite, lived. Here they acquired in 1924 the 160-acre Kiowa Ranch, now called the D. H. Lawrence Ranch from Dodge Luhan in exchange for the manuscript of "Sons and Lovers". Lawrence died on 2 March 1930, aged 44, at Vence in France; his final resting place is this ranch in New Mexico.
On the verso of this evocative portrait is the following intriguing inscription dated Dec. 1944 in pencil. "To Ethel Mannin/ And this man, Henry Rayner, was/ not the white Peacock sitting on the/ stone statue in a churchyard/ A little wiser, a little humbler a/ little more searching". Ethel Mannin (1900-1984) was a novelist and one-time lover of both Yeats and Bertrand Russell. Rayner's enigmatic (and perhaps intimate) reference is to Lawrence's first novel The White Peacock, which explored themes of sexuality and the importance of a life fully-lived: themes which dominated his later work.

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Provenance: Roy Davids collection of portraits of literary figures; Bonhams, London, "Creative Encounters: Portraits of Writers, Artists and Musicians", 3 October 2005
Kerry Charlesview full entry
Reference: With Douglas Stewart Fine Books. July 2019:
Photographic portraits of Aborigines from New South Wales, Queensland and Northern Territory, 1892-95.
‘Suite of fifteen albumen print photographs, format 200 x 150 mm; each with blind stamp of ‘Kerry & Co. Photo, 308 George St. Sydney’ and with manuscript sequence number and title in the negative; a few with some toning or fading, but the majority are strong prints in very good condition; mounted and framed. Northern Territory subjects: 605. Port Darwin Native. 606. Port Darwin Native. Queensland subjects: 611. Barron River Native. 648. Workii Warrior. 825. Karundi Warrior. Myall Tribe. 829. Narimboo – Workii Tribe. 1370. Mary River Warrior. 1373. Warrior of the Kalkadoon Tribe. 1398. Coongardi. Gilbert River. 1900. Woman – Workii Tribe. New South Wales subjects: 1838. Dhraub. Aboriginal, Bombala, New South Wales. 1946. Aboriginal Women. 1958. Cunninghun. Aboriginal, Armidale District. 2011. Booree. Aboriginal Chief. Jervis Bay. 2643. Aboriginal, Wagga District.
Alongside those of his contemporaries Henry King and J.W. Lindt, Sydney photographer Charles Kerry’s striking portraits of indigenous Australians stand as the most accomplished and well-known of the late nineteenth century. Many were later published as series of postcards which proved immensely popular with the public. Indeed, it is fair to say that until well into the twentieth century, the extremely limited view that most white Australians had of indigenous people and their culture would have been largely based on the widely circulated images produced by Kerry. The longevity (and enduring influence) of Kerry’s images was ensured when his glass plate negatives were acquired, some time before 1930, by Sydney bookseller James Tyrrell, who sold reprints of Kerry’s Aboriginal portraits in large numbers. Two extensive collections of Kerry’s glass negatives are now held in the Powerhouse Museum and Macleay Museum, University of Sydney.
Provenance: Lord McAlpine of West Green, United Kingdom; Sotheby’s, Melbourne, Aboriginal Art, 27 June 2000.

Ref: 1000
Jones Henry Gilbertview full entry
Reference: With Douglas Stewart Fine Books. July 2019:
Sketch of Port Phillip Aborigines, circa 1843. ‘Graphite on paper, 105 x 120 mm; unsigned; late nineteenth or early twentieth century pencilled inscription verso: ‘Original drawing by Henry Gilbert Jones, 1842-1845. South Eastern Aboriginals’; in a recent mount and frame.
This sketch, attributed to Henry Gilbert Jones, almost certainly depicts people from the Aboriginal population of the Narre Narre Warren area, southeast of Melbourne. The National Gallery of Australia holds in its collection three sketches by Henry Gilbert Jones that depict the same subjects as those in the present sketch (mother, infant and young woman); the present sketch was presumably made by Jones at the same time as the other three.
The Indigenous people whose traditional lands include the Narre Narre Warren area are the Bunurong (Boon wurrung) of the Kulin nation. They were known to the early colonists as the Western Port Tribe. The dress of the figures in the sketch is consistent with their identification as inhabitants of the Narre Narre Warren area. The figures have been rendered in a highly naturalistic manner, with close attention to their accoutrements. The woman on the right, who carries her infant on her back, is wearing a necklace that appears to be composed of segments of common reed (Phragmites australis), a body ornament which is typical of the southeastern region. The thin headbands worn by both women in the sketch are frequently seen in mid-nineteenth century depictions and early photographs of Aboriginal women of southeastern Australia. Both women are also depicted wearing animal skin (most likely kangaroo) cloaks.
Henry Gilbert Jones was a sketcher, engraver and pharmacist, who arrived in the fledgling colony of Port Phillip in 1840 from England via the United States. In March 1842 Jones was made the Deputy Protector of Natives (medical dispenser to the Aboriginal population) at Narre Narre Warren Station. He occupied this position until September 1843. It is probable that the drawing offered here dates from this period, during which Jones’ occupation kept him in close contact with the local Aboriginal population.
During his time at Narre Narre Warren, Jones was an amateur artist. He attained professional status in 1846, when some of his etchings of Melbourne views were printed as decorative notepaper headings by John Green. Jones was listed as an artist in Collins Street, Melbourne, in the Port Phillip Almanac for 1847, and as an artist and engraver at 107 Elizabeth Street in 1859.
This sketch’s naturalistic and sensitive style bespeaks the artist’s familiarity with his subject matter, reflecting Jones’ close contact with Aboriginal people on a daily basis. The sketch is an important addition to the extant pictorial record of the Indigenous peoples of the Port Phillip region (at that time still part of the colony of New South Wales) within the first decade of European settlement.
Provenance: The Decorative Arts Collection of James Fairfax, AC., Leonard Joel, Sydney, 1 September 2017, lot 438.


GILFILLAN, John Gordon (1839-1875), attributedview full entry
Reference: With Douglas Stewart Fine Books. July 2019:
‘1. Title: Lamb Hill [in the image] From the south west [manuscript]. Image 150 x 190 mm; sheet 175 x 225 mm; initialled in the image lower right JGG.
2. Title: Lambhill [in manuscript]. Artist’s proof of the above engraving. Image 130 x 180 mm; sheet 150 x 180 mm; uninitialled; verso with pen and ink sketch of two Whanganui settlers with rifles, approximately 90 x 90 mm.
3. Title: Lamb Hill Wanganui [in the image] From nearly north east [in manuscript]. Image 165 x 230 mm; sheet 200 x 260 mm; initialled in the image lower left JGG; small loss at upper right corner of sheet.
4. Title: Lambhill [in manuscript]. Image 120 x 195 mm; sheet 137 x 202 mm; uninitialled.
5. Title: Lamb Hill [in the image] From the west [in manuscript]. Image 112 x 156 mm; sheet 125 x 200 mm; uninitialled.
The artist, J.G. (John Gordon) Gilfillan, was a son of J.A. (John Alexander) Gilfillan (1793-1864), one of the most important early settlers in the Whanganui district. J.A. Gilfillan, John Gordon’s father, was a talented artist who had taught painting at the Andersonian Institute, Glasgow, before emigrating to New Zealand with his wife and young family. The Gilfillans arrived in Wellington on Christmas Day 1841, when John Gordon was only two years of age. By the end of the following year J.A. Gilfillan had settled with his family in Whanganui, where he had been allotted 110 acres of arable land by the New Zealand Company in the Matarawa Valley, a short distance from the Whanganui township. He had also been granted a small town section in Guyton Street, on which he built a small thatched house. This was an interim dwelling which the family used while waiting for their farming land to be developed, and it was during this period that J.A. Gilfillan painted numerous scenes in and around Whanganui, as well as several portraits of local Māori chiefs. Many of his sketches and finished paintings from the first phase of European settlement in Whanganui have survived, and provide an important visual record of this time.
J.A. Gilfillan had completed the construction of the family’s house on their rural property in the Matarawa Valley by the end of 1845, and it is around this date that he painted the watercolour portrait of his six year old son John Gordon, now held in the Fletcher Trust Collection. In April 1847 the Gilfillan homestead was attacked by a Māori raiding party seeking to avenge one of their young men who had suffered a gunshot wound at the hands of a settler. The homestead was burnt to the ground. J.A. Gilfillan survived the attack, despite being severely wounded in the neck, but his wife and three of his children were massacred. Following this tragic incident, J.A. Gilfillan took his three surviving children – including John Gordon – to Australia, where he worked as an artist in Melbourne until his death in February 1864. John Gordon then returned to New Zealand, where he still had family ties in the Whanganui district due to his older sister Georgianna’s marriage to Dr. James Allison (1817-67) of Lamb Hill (Lambhill). Allison, another important early Whanganui settler, had arrived in 1840. He had named Lamb Hill after his family’s property in Scotland. In 1844 Allison married Georgianna Gilfillan (who had just turned 15), the daughter of J.A. Gilfillan. ‘After a period spent living at Wairau, James and Georgianna moved back to Lamb Hill in 1855 where they built the first of the two Lamb Hill homesteads around 1865. This house was of kahikatea, with severe borer damage requiring its replacement in 1880. The replacement was the same in every respect, and on the same spot. The site, a hill with extensive views, was chosen for fear of Maori attack. The lookout platform on the roof was built for the same reason.’ (Whanganui Government Built Heritage Inventory)
The suite of wood engravings of Lamb Hill by John Gordon Gilfillan which we offer here was probably completed in 1865 following his return to Whanganui from Australia. The engravings show the newly built Lamb Hill homestead belonging to his brother-in-law and sister from four different angles. These images are completely unrecorded. While not the work of a professional artist like his father, John Gordon’s engravings have a charmingly naive quality.
A copy of John Gordon Gilfillan’s journal, containing his account of a journey from Whanganui via Taupo and Tauranga to Rotorua district between February and May 1875, is held in the National Library of New Zealand (the original is held in a private collection). Gilfillan did not return to Whanganui – he drowned in Lake Rotorua in May 1875, before completing his journey. The NLNZ also holds five watercolours which it has tentatively attributed to John Gordon Gilfillan, on the basis that they are in a “more primitive” hand than that of his father (see, for example Maori camp with men cooking).
Reference: Smart, Maxwell J.G. and Bates, Arthur P., The Wanganui story. Wanganui : Wanganui Newspapers Ltd., 1972’

Light Williamview full entry
Reference: Colonel William Light : Founder of Adelaide, sailor, soldier, artist, and the first surveyor-general of South Australia. By Thomas Gill(1849-1923) (Deluxe edition)
Publishing details: Adelaide : R. E. E. Rogers for the Royal Geographical Society of Australasia, South Australian Branch, 1911. Octavo, gilt-illustrated vellum, marbled endpapers, pp [vi], 108, [4], 85, photographic plates, folding maps, facsimile documents; includes the Supplement, a reprint of Light’s 1839 ‘Brief Journal’; a fine copy (clearly never read) of the deluxe edition, limited to 200 copies signed by the author; loosely enclosed is the programme for the Light Centenary, October 5th, 1939.

Ref: 1000
Meldrum Schoolview full entry
Reference: see Ink in Her Veins: The Troubled Life of Aileen Palmer. Includes details of Meldrum school artists particularly Madge Hodges who painted Aileen Palmer’s portrait.
Publishing details: UWA Publishing, 2016, 328pp,
Hodges Madgeview full entry
Reference: see Ink in Her Veins: The Troubled Life of Aileen Palmer. Includes details of Meldrum school artists particularly Madge Hodges who painted Aileen Palmer’s portrait.
Publishing details: UWA Publishing, 2016, 328pp,
Hodges Madgeview full entry
Reference: see ‘The lost portrait’ by
SYLVIA MARTIN
23 APRIL 2018[relates to Ink in Her Veins: The Troubled Life of Aileen Palmer’, UWA Publishing, 2016, which Includes details of Meldrum school artists particularly Madge Hodges who painted Aileen Palmer’s portrait.
See article in the Inside Story:
The following is an extract:

I suppose you’d like to see the portrait before we have coffee.” The smiling woman who had greeted me at the door of her elegant Art Deco flat, typical of 1930s Melbourne, gestured towards the living room and ushered me in. On the wall next to the window overlooking the front garden I saw a group of four framed portraits. Three were of the same man painted by different artists. The fourth was of a striking young woman with short hair and high cheekbones, cigarette in her raised hand, caught as if in earnest conversation with someone just out of view. I knew every line of this portrait but the immediacy of seeing the original, in colour, made my skin prickle and my eyes blur.
During the research for my biography of poet and political activist Aileen Palmer in the National Library of Australia, I had found a snapshot of her parents, Australian writers Vance and Nettie Palmer, taken in their living room in the 1950s. On the wall behind them I could see a large portrait in a heavy gold frame of a young woman. Realising it must be a portrait of Aileen, I hunted through the realia in the Palmer archive. I found two framed portraits painted in an impressionistic style by Peggy Maguire in London around 1939: one in brown tones of Aileen’s sleeping figure and the other in shades of blue in which she is reclining on a bed, reading, a red cushion at her back and shadowy outlines of books at the bedhead. Neither was the one I saw in the snapshot taken at Ardmore, the Palmer family home in Kew, just a few kilometres from where I was now standing.
I began my biography with an account of the missing portrait, describing Aileen’s appearance in it as “androgynous” and “bohemian.” “The portrait is so immediately striking,” I wrote, “you want to know who she is and when it was painted. Where could she be? In a cafe, in Paris perhaps? You feel almost as though you could meet such a young woman walking along a city street today…”
I outlined what I knew of the portrait from Aileen’s letters to her parents from London, where she was living in 1938. She had recently returned from two years on the frontlines of the Spanish civil war working as an interpreter and administrator for medical divisions of the International Brigades. A passionate communist from her university days in Melbourne, she had joined the fight to save the elected Republican government in Spain from General Franco’s fascist rebels.
Aileen wrote to her mother on 25 July that Australian artist Madge Hodges, a former student of Max Meldrum, had asked her to sit for a portrait. Madge was a neighbour with a top-floor studio in Charlotte Street, Bloomsbury. According to Aileen, she was “quite a decent Meldrumite painter… She seems rather frail and limp, but is quite awake to things.” A month later, on 25 August, Aileen reported: “I spent part of two evenings this week sitting as a model for Madge Hodges, who painted you once in Australia… She asked me if I would sit for her, as she didn’t think I would be the kind of sitter who would ask her to lengthen my eyelashes, etc. thus more or less inducing her to falsify her work as some sitters do.”
Nettie Palmer’s diary also mentions the portrait, noting that it had been brought back to Australia by a family friend in 1940 and was framed and ready to hang in the living room at Ardmore ten days later. “Remarkably good” was her verdict. “Rather dominant — Napoleonic, conducting the world with a cigarette.” She reported that Vance too was impressed.
Seeing the portrait in colour for the first time made me aware of how closely Madge Hodges had followed the strictures of Meldrum’s “Tonalism,” in which the light or darkness of colours and how they relate to each other was the defining feature. The palette was restricted to five tones and outlines were forbidden. According to art critic John McDonald, writing about the Misty Moderns exhibition in 2009, the paintings that resulted were “remarkably similar in their blurred edges and smudgy, atmospheric surfaces.” A “penchant for gloom” seemed to be a temperamental preference among Meldrum’s students, he added. In Madge Hodges’s portrait, Aileen’s head emerges from a dark background while the deep blue of her dress almost disappears into it. All emphasis is on her face and the raised hand holding the prominent cigarette. The effect is anything but gloomy. The glowing portrait is arresting in its strength and vitality.
In her published diary, Fourteen Years, Nettie Palmer recalls going to an exhibition at the Meldrum Gallery in 1933 where there was “a good mixed show: Jorgensen, Colahan, Leason, and some younger ones, also Meldrum himself. All displayed by strong electric spotlights, the rest of the Gallery correspondingly dark. Good method for their kind of tone-values; other painting might be flattened by it.”
Max Meldrum was a charismatic teacher and Melbourne was the heartland of his “school” in the early decades of the twentieth century. Clarice Beckett was his most favoured student; his other female students have been mostly forgotten. Beckett, who never left Melbourne, died at the age of forty-eight in 1935 but several of Meldrum’s best-known students, including Colin Colahan and Percy Leason, went to Britain and the United States and never returned. Little is known about Madge Hodges, but she was still in Melbourne in 1936 when she illustrated an article for anthropologist Ursula McConnel in the journal Oceania. A painting of hers is listed in an exhibition of Australian expatriate artists at the Imperial Institute Art Gallery, London, in 1956, which indicates that she remained in London after she painted Aileen Palmer in 1938. Colin Colahan exhibited paintings and sculptures there, and other artists listed in 1956 include Arthur Boyd, William Dobell, Sidney Nolan and Rolf Harris.
Wulff  Roswitha view full entry
Reference: Roswitha Wulff  - Exhibition 0f Exhibition of
Fine Pottery. Shapiro Gallery, Sydney. Please join us for the preview on Thursday 18 July from 6 – 8pm to be opened by
John McDonald
As well, meet the artist in conversation with painter/sculptor
Ron Roberston-Swan OAM
on Sunday 21 July at 2pm.
from website: ‘Roswitha Wulff
In this world of change and distraction, the quality that I strive for in my work is a quiet simplicity. Making pots is a ritual - a celebration of the physical nature of being, and a renewal of life's energy, unfolding through the process of making. The adventure is in the pursuit.
Using the language of wood-firing, I create a personal vocabulary portraying the Australian landscape to which I am greatly attracted. My form is influenced by Art Nouveau or Jugendstil, reflecting the other half of my heritage.
Techniques are informed by pottery from China, Korea, Japan and Germany’]
Publishing details: Shapiro Gallery, Sydney, 2019,
Ref: 1000
Simpson Herbert Clarke 1879-1966view full entry
Reference: see eBay listing 12 July, 2019: ‘Herbert Clarke Simpson (1879-1966) - signed and dated 1912
Herbert Clarke Simpson was born at Casino in New South Wales on 30 April 1879, one of the seven children of Herbert Rennie and Lucy Ellen née Foy. He died in Brisbane on 3 April 1966. Simpson was educated at the state school in Casino and worked for several years in the family grocery store before studying art under Godfrey Rivers at the Brisbane Technical College in the first decade of the 20th century. He exhibited with the Queensland Art Society (later named the Royal Queensland Art Society) 1899-1902 and 1920-34 (principally in the early 1920s). Simpson married Emily Chadwick at Kangaroo Point on 16 August 1924 and moved to reside in the Tweed area in about 1926 when their son was born.
His productive career began in 1906 and lasted for some 50 years. Some of his oil paintings are capably executed, such as his romantic vision of a jungle shroudedDodds Island, Tweed River 1926 (Tweed River Regional Art Gallery collection) but he is most appreciated for his watercolours. His appealing watercolours of familiar subjects in South East Queensland (such as his innumerable studies of Currumbin Rocks) were very popular with locals as well as visitors who sought a more personal souvenir of their stay. Most are of beach settings but occasionally he ventured north to depict subjects such as Dayboro and the Glasshouse Mountains. Simpson made a comfortable living through his art even through the years of the depression and was, probably, the only artist in Queensland to do so. He stated:
'When I began to paint, I reasoned there were three groups of potential purchasers; one small group who can and will pay fancy prices, and intermediate group with a purchase limit of perhaps £10 and the infinitely larger group of the general public which would like to buy pictures, but cannot afford to pay very much. I determined to satisfy the artistic leanings of this larger group.’(1)
This he did successfully. He popularised images of what was to become the Gold Coast well before the development of the mass tourism market after World War II. Simpson sold his work through Brisbane department stores such as McDonnell & East, Finney Isles & Co., McWhirters and Trittons (and also his brother’s photographic studio in Casino) for prices as modest as half a guinea. In later years and in declining circumstances he sold his watercolours at local hostelries. The appeal of his watercolours remains constant in Queensland as evidenced by specialist collectors of his work.
Oil on canvas. 
Size: Without frame: 20,5 x 30  inch. (52 x 76 cm). With frame: 28 x 38 inch. (71 x 97 cm).
Age: The work is from 1912’
Neddrie Myra view full entry
Reference: see lot 281, John Nicholson Auctioneers lot 281, Wed, Jul 31, 2019: Myra Neddrie (20th Century) Australian. "Old Dead Gum Bundanoon, NSW", A Mountainous Landscape with Sheep by a Tree, Oil on Artist's Board, Signed, and Inscribed on a label on reverse, 16" x 20".
craft in Western Australia 1829-1969view full entry
Reference: see Inspired by Light and Land. Designers and Makers in Western Australia 1829-1969 by Dorothy Erickson
Publishing details: WA Museum Publications, Perth, November, 2014
photographyview full entry
Reference: see 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.’]
Publishing details: Australian Scholarly Publishing, 2015
Sarnoff Arthur Saron view full entry
Reference: see Kopake auctions, NY, Sun, Jul 28, 2019, lot 681: Arthur Saron Sarnoff (1912-2000). Koalas in Tree. Australia. Signed LL. Oil on canvas board. Illustration art. 24" x 30".
Lindsay Dane or Daen?view full entry
Reference: see McCulloch Alan, Encyclopedia of Australian Art , 2 vols, A-K and L-Z, Hutchinson, 1984, hc, dw.[The later editions have not been indexed]
Lindsay Daenview full entry
Reference: see Abington Auction Gallery, US,
August 1, 2019,, lot 175: Lindsay Daen, American/Australian (1923-2001). Believe the title is 'Ingrid Walking' 1963. Comes with hardcover book signed the artist. Bronze sculpture on wooden base, signed. Bronze is 34.5" H; base 12.75" x 32.5". Condition report: good, with normal wear based on age.
Lindsay Daenview full entry
Reference: Lindsay Daen: The Man and The Sculpture. by Lindsay Daen's Words (Author), compiled by Laura Daen (Author) [’Australian sculptor Lindsay Daen invites us to the inspired world he forged over many decades on three continents. El escultor australiano Lindsay Daen nos invita al mundo que ha creado a través de varias décadas en tres continentes.’]
Publishing details: Publisher: La Editorial, Universidad de Puerto Rico (November 21, 2006), Hardcover: 202 pages
Ref: 1000
Oliver Tonyview full entry
Reference: Requiem for a Dream, catalogue for exhibition at Martin Browne Contemporary
Publishing details: Martin Browne Contemporary, 2019
Ref: 1000
HUME, Ellen Adye (1862-1933) view full entry
Reference: see Davidsons Auction, Sunday, July 21st
Sale 136 Lot 125
HUME, Ellen Adye (1862-1933)
Still Life
Oil on Canvas Board 29x36cm
Provenance: Angeloro family collection.
and

Lot 126: HUME, Ellen Adye (1862-1933) 'Morning Glory at Night' Provenance details verso. Oil on Canvas on Board 60x38cm and
Lot 127: HUME, Ellen Adye (1862-1933) Walk Along the Rocks, Sydney Harbour, likely Cremorne Point. Oil on Canvas Board 39x49cm
and Lot 128: HUME, Ellen Adye (1862-1933) Roses Still Life Oil on Canvas 30.5x61cm Provenance: Angeloro family collection.
PARSONS, A Hedley (1870-1960) view full entry
Reference: see Davidsons Auction, Sunday, July 21st
Sale 136
Sale 136 Lot 140
PARSONS, A Hedley (1870-1960)
Flowers in a Blue Pot, 1931
W/Clr & Gouache 47x38cm
Provenance: Angeloro family collection.
Lot 141: PARSONS, A Hedley (1870-1960) Sydney Beach with Figures, 1904 W/Clr 22.5x38.5cm Provenance: Angeloro family collection.
BOURNE, Shirley (1924-2006) view full entry
Reference: see Davidsons Auction, Sunday, July 21st
Sale 136
Sale 136 Lot 152 BOURNE, Shirley (1924-2006)
Red Bell Flowers
Oil on Board 38x30cm
Provenance: Angeloro family collection.
COGHLAN, Elaine (1897-1989)view full entry
Reference: see Davidsons Auction, Sunday, July 21st
Sale 136 for numerous works by COGHLAN, Elaine (1897-1989)
DALY, Herbert J (1865-1930)
view full entry
Reference: see Davidsons Auction, Sunday, July 21st
2019, Sale 136 Lot 182
DALY, Herbert J (1865-1930)
Salerno Harbour
H J Daly was an exhibitor in the '9 By 5 Impression Exhibition,' 1889.
Oil on Canvas 32x45cm
Provenance: Angeloro family collection.
de Wesselow Francis Guillemand Simpkinson (1819 - 1906)view full entry
Reference: see Colville auction, Hobart, July, 22, 2019, lot 9: Description: Simpkinson de Wesselow (1819-1906) Britain Australia - (Mount Wellington From Sandy Bay) Naval officer and artist arrived Hobart 1844 to work at Ross Bank Magnetic Observatory. 1845 and 1846 exhibited Hobart Town Hall alongside local artists including Skinner Prout, Wainewright and Thomas Bock. 1848 returned to England and later sent some 200 watercolour works to The Royal Society of Tasmania, now in collection TMAG. This is a rare work available from private collection by descent from Robin Hood colonial framer.
Dimensions: 24 x 37cm (sight) 51 x 63cm (fr)
Artist or Maker: Simpkinson de Wesselow (1819-1906) Britain Australia
Medium: Waterolour, chinese white
McCulloch Rosamond (1905-71) Scotland Australiaview full entry
Reference: Rosamond McCulloch (1905-71) Scotland Australia, exhibited atTasmanian Group of Painters 26 Annual Exhibition Tasmanian Art Gallery 19-31 August 1965 Cat#30,31
Meeson Dora - At Lastview full entry
Reference: from Lauraine Diggins Fine Art, July 2019: ‘Dora Meeson
Title
At Last
Year
1896
oil on canvas
96.5 x 122.5 cm
Provenance
the artist
unknown
Deutscher Fine Art, Melbourne
private collection, Melbourne
Exhibited
National Gallery School Travelling Scholarship Prize, Melbourne, 1896
A Selection of Australian and European Paintings 1820 – 1920, Deutscher Fine Art, Melbourne, 11 – 29 May 1981, cat. no. 21
Literature
Dora Meeson Coates, George Coates: His Art and life, London 1937, p.8
Further Information
The National Gallery of Victoria Travelling Scholarship Prize established 1887, awarded every three years, enabled the recipient to travel to Europe to study masterworks and with an acquisition component, see their work enter the collection of the National Gallery of Victoria.
In 1896, the title of At Last was given for students to interpret in their own way, having the year to paint their entry. The finalists were as follows:
George Coates: with a depiction of a figure with a broken leg waiting for the country doctor
Hugh Ramsay: showing visiting charity workers to a family (now in the collection of the Art Gallery of South Australia)
George Pontin: illustrating a sailor’s long-awaited return
Portia Geach: showing a labourer’s return to the meal awaiting him
Dora Meeson: depicting a lucky miner rushing home to tell of his good fortune
It is interesting that Dora Meeson was the only one of the group to interpret the subject with a positive slant. The value placed on the finalists’ paintings has grown exponentially with the passing of time and the accompanying interest in preserving and interpreting Australian cultural history; as well as the increasing rarity of such works, if not already in public collections. Hugh Ramsay’s entry (At Last, 1896) entered the collection of the Art Gallery of South Australia through the Ramsay family in 1991.’
Richardson Charles Douglas view full entry
Reference: from from Lauraine Diggins Fine Art, website, 2019:
The Last of the Flock: An Incident in Australia
Charles Douglas Richardson

The Last of the Flock: An Incident in Australia by Charles Douglas Richardson
Details
Artist
Charles Douglas Richardson
Title
The Last of the Flock: An Incident in Australia
Year
1882
Medium
oil on canvas
Size
76.2 x 50 cm
Details
signed lower left: Douglas Richardson 1882
Sold This artwork has been sold. Please contact us for similar artworks.
Provenance
private collection, Devon, U.K. 1985
Lauraine Diggins Fine Art, Melbourne, 1988
private collection, Sydney
Exhibited
The Australian Impressionists: Their Origins & Influences, Lauraine Diggins Fine Art, Melbourne, Westpac Gallery, Victorian Art Centre, Melbourne, then St Neots, Double Bay 15 Aug - 16 September, 1988, cat. no. 15 (illus)   
Literature
Astbury, Leigh  The Dog in Australian Art, Art and Australia, 30 February 1997, pp. 242-251
Betley, John, Touch of our art in an old English pub, The Age, Melbourne, 4 August 1973, p. 14
Rose, Margaret, Victorian Artists: Margaret Baskerville 1861-1930 C. Douglas Richardson 1853-1932, Jones Printing Group, 1988, illus. p. 64
Further Information
Charles Douglas Richardson, close friend of Tom Roberts, Frederick McCubbin and Arthur Streeton, is one of the unsung heroes of Australian art. Moreover, Roberts’ Shearing the Rams 1890 (National Gallery of Victoria, Melbourne), McCubbin’s Down on His Luck 1889 (Art Gallery of Western Australia, Perth) and Streeton’s Golden Summer, Eaglemont
1889 (National Gallery of Australia, Canberra) are today celebrated as icons of Australian art. Richardson’s ‘The Last Of The Flock’, An Incident In Australia 1882 deserves to be among them. For it is, arguably, the first major oil painting from this group to devote itself to a major Australian pioneering subject and the great sheep industry in particular. Its title also appears to be another first, ‘The Last of the Flock’ being taken from a 1798 poem by William Wordsworth. In 1890 Streeton followed suit with ‘Still glides the stream, and shall for ever glide’, from Wordsworth’s sonnet Conclusion.
Painted in 1882, while Richardson was studying at the Royal Academy Schools in London, it is set in the Australian landscape, redolent with the times and tribulations of the early settlers. Focused on the hardships of the sheep farmer, the ennobled figure is reminiscent of a sculptural figure by Michelangelo or one from classical antiquity. Strikingly silhouetted against the silvery mist of an early foggy morning, the blood red of his shirt and the tan of the dingo are heightened by the contrasting prominently neutral colour setting. It gives the painting a directness and intensity, the narrative touching on the allegorical in the bloody collision of the native and the newcomers. The shot dingo lies dead at the shepherd’s feet, observed carefully by the faithful collie companion. In the distance, crows feed on the carnage of slain sheep, while a lamb nearby her dead mother, bleats piteously at the farmer. The lamb is the last of the flock.
As a pioneering work in this genre, ‘ The Last of the Flock’, An Incident In Australia, raises the sheep industry and physical labour to a new nobility, soon to grow in popularity in Australian art. It also draws on subjects much admired in European art. In 1880, the National Gallery of Victoria purchased Anguish by the German artist A. T. A. Schenck, showing a ewe standing protectively over the dead body of her lamb, surrounded by a threatening circle of black crows. Richardson most likely knew this painting as it was acquired before he left for England in 1881. The orphaned lamb also echoes a popular British genre subject, exemplified by Thomas Faed’s The Mitherless Bairn. Regarded as the picture of the year at the Royal Academy of 1855, it was likewise purchased by the National Gallery of Victoria in 1886. The metaphoric use of sheep in art was employed by the Pre-Raphaelites, a well known example being William Holman Hunt’s Strayed Sheep 1852, in the collection of the Tate Gallery, London. Of other animals, perhaps none is better known than Hunt’s The Scapegoat of 1854 in the Lady Lever Art Gallery, Port Sunlight.
Richardson’s interest in nationalistic subjects of bushmen and the masculine view of Australian life had its beginnings early in his career. At Melbourne’s Buonarotti Club, Richardson ‘..had laid down the law that artists should paint what was around them, and select incidents from Australian explorers and subjects of a local nature’.¹ His illustrations for McKinley’s Australian Pictorial Almanac of 1880 included Sheep Farming in Australia, Leigh Astbury noting that ‘Richardson’s drawings depict some of the most dominant pastoral and historical themes of late nineteenth-century Australian art’.²
The wool theme continued after his return to Melbourne in 1889, The Sick Shepherd being among his numerous paintings in the 9 x 5 Impression Exhibition, while a Foggy Morning was singled out by Table Talk as ‘one of the best “bits” showing’.³ Another version of The Sick Shepherd, now lost, was in the Victorian Artists’ Society March exhibition of 1890, which also included McCubbin’s A Bush Burial (Geelong Art Gallery). While Richardson’s later works are more symbolist and mystic in intent and content, his sculptures, realized or lost through want of commission, continued his ‘subjects of a local nature’. A particularly fine example was the plaster cast of The Pioneer exhibited at the Victorian Artists’ Society in 1892; and the singular public achievement, The Discovery of Gold monument was set up in marble splendour in Bendigo in 1906.
David Thomas

¹. Minutes of the Buonarotti Club, 1883-87, La Trobe Collection, State Library of Victoria, MS10977, quoted in Leigh Astbury, City Bushmen: e Heidelberg School and the Rural Mythology, Oxford University Press, Melbourne, 1985, p. 20
². Astbury, 1985, p. 60
³. Table Talk, Melbourne, 23 August 1889, p. 4 The wax sculptural relief Wind 1889, now in the National Gallery of Australia, was in the same 9 x 5 exhibition, being an allegorical reference to the heat and oppression of an Australian summer.
Boyd Emma Minnieview full entry
Reference: from from Lauraine Diggins Fine Art, website, 2019: Emma Minnie Boyd
Title
The Letter
Year
1889
Medium
oil on canvas
Size
45.8 x 30.5 cm
Details
signed lower centre: monogrammed
Sold This artwork has been sold. Please contact us for similar artworks.
Acquired by the Art Gallery of South Australia, Adelaide.
Further Information
This work shows a young woman standing by a pair of open French doors that lead off a lounge room and onto a narrow veranda. The woman is wearing a full-length dress made of white summer-weight fabric, which has a high collar, transparent sleeves and a belt around her slim waist. In her left hand she is holding a presentation bunch of pink flowers and her right hand is tucked behind her back. She is looking down and away as if lost in her own thoughts - an opened envelope lies by her feet almost on the doorway threshold. The room is artistically decorated and furnished: there is a cane chair and an upholstered chair, a side table covered in a decorative cloth, richly patterned and coloured Persian-style carpets on the floor, a distinctive ceramic peacock vase containing flowers, several other flower displays and a painted wooden screen. A veranda bench is visible through the doorway and beyond this (backlit by bright sunshine) is a garden.
(text courtesy of Art Gallery of South Australia)
Hilling George 1825-58view full entry
Reference: see Simpson Antiques, on website, July, 2019: COASTAL VIEW - DATED 1843
16.5 x 34.0 cm
George Hilling (1825-58) A watercolour of a New South Wales coastal view with aboriginals dancing, in an Australian cedar frame, signed & dated l.r.
Canvas to campusview full entry
Reference: Canvas to campus : a history of the Bendigo Institute of Technology / by Frank Cusack

Publishing details: Melbourne : Hawthorn Press, 1973, 146p. : plates, with index.
Bendigo Institute of Technologyview full entry
Reference: see Canvas to campus : a history of the Bendigo Institute of Technology / by Frank Cusack

Publishing details: Melbourne : Hawthorn Press, 1973, 146p. : plates, with index.
Bendigo artistsview full entry
Reference: see Canvas to campus : a history of the Bendigo Institute of Technology / by Frank Cusack

Publishing details: Melbourne : Hawthorn Press, 1973, 146p. : plates, with index.
Waschat Otto art and modelling instructor p64, 70, biography, portrait opp p85view full entry
Reference: see Canvas to campus : a history of the Bendigo Institute of Technology / by Frank Cusack

Publishing details: Melbourne : Hawthorn Press, 1973, 146p. : plates, with index.
Woodward Arthur T art instructor p83, 93, 108, 135 portrait opp p85view full entry
Reference: see Canvas to campus : a history of the Bendigo Institute of Technology / by Frank Cusack

Publishing details: Melbourne : Hawthorn Press, 1973, 146p. : plates, with index.
Darvall Charles art instructor p71 biography, 134 portrait opp p85view full entry
Reference: see Canvas to campus : a history of the Bendigo Institute of Technology / by Frank Cusack

Publishing details: Melbourne : Hawthorn Press, 1973, 146p. : plates, with index.
Panton Joseph Anderson p2, 7, 8, 16, 52view full entry
Reference: see Canvas to campus : a history of the Bendigo Institute of Technology / by Frank Cusack

Publishing details: Melbourne : Hawthorn Press, 1973, 146p. : plates, with index.
Brown David drawing instructor 1860s p 28, 29view full entry
Reference: see Canvas to campus : a history of the Bendigo Institute of Technology / by Frank Cusack

Publishing details: Melbourne : Hawthorn Press, 1973, 146p. : plates, with index.
Tayler Frederick drawing instructor p38-9, 59view full entry
Reference: see Canvas to campus : a history of the Bendigo Institute of Technology / by Frank Cusack

Publishing details: Melbourne : Hawthorn Press, 1973, 146p. : plates, with index.
Love Mr architect and art teacher 1871 p39view full entry
Reference: see Canvas to campus : a history of the Bendigo Institute of Technology / by Frank Cusack

Publishing details: Melbourne : Hawthorn Press, 1973, 146p. : plates, with index.
Townsend Mr drawing instructor 1871 p39view full entry
Reference: see Canvas to campus : a history of the Bendigo Institute of Technology / by Frank Cusack

Publishing details: Melbourne : Hawthorn Press, 1973, 146p. : plates, with index.
Bell Mr art teacher 1871 p39view full entry
Reference: see Canvas to campus : a history of the Bendigo Institute of Technology / by Frank Cusack

Publishing details: Melbourne : Hawthorn Press, 1973, 146p. : plates, with index.
Bryant Mr art teacher 1871 p39view full entry
Reference: see Canvas to campus : a history of the Bendigo Institute of Technology / by Frank Cusack

Publishing details: Melbourne : Hawthorn Press, 1973, 146p. : plates, with index.
Thomas Mr art teacher 1871 p39view full entry
Reference: see Canvas to campus : a history of the Bendigo Institute of Technology / by Frank Cusack

Publishing details: Melbourne : Hawthorn Press, 1973, 146p. : plates, with index.
Ripper J art teacher 1880s p59view full entry
Reference: see Canvas to campus : a history of the Bendigo Institute of Technology / by Frank Cusack

Publishing details: Melbourne : Hawthorn Press, 1973, 146p. : plates, with index.
Nicolai W H architect and art teacher 1880s p39, 82view full entry
Reference: see Canvas to campus : a history of the Bendigo Institute of Technology / by Frank Cusack

Publishing details: Melbourne : Hawthorn Press, 1973, 146p. : plates, with index.
Vahland Carl Wilhelm architect 1853-1870s p39, 82view full entry
Reference: see Canvas to campus : a history of the Bendigo Institute of Technology / by Frank Cusack

Publishing details: Melbourne : Hawthorn Press, 1973, 146p. : plates, with index.
Nicolai Robert architect and art teacher1880s p82view full entry
Reference: see Canvas to campus : a history of the Bendigo Institute of Technology / by Frank Cusack

Publishing details: Melbourne : Hawthorn Press, 1973, 146p. : plates, with index.
White W art teacher 1880s p59view full entry
Reference: see Canvas to campus : a history of the Bendigo Institute of Technology / by Frank Cusack

Publishing details: Melbourne : Hawthorn Press, 1973, 146p. : plates, with index.
Bendigo Art Gallery p73view full entry
Reference: see Canvas to campus : a history of the Bendigo Institute of Technology / by Frank Cusack

Publishing details: Melbourne : Hawthorn Press, 1973, 146p. : plates, with index.
photography Bendigo p79view full entry
Reference: see Canvas to campus : a history of the Bendigo Institute of Technology / by Frank Cusack

Publishing details: Melbourne : Hawthorn Press, 1973, 146p. : plates, with index.
Fegan Hugh Head of Art p82, 134view full entry
Reference: see Canvas to campus : a history of the Bendigo Institute of Technology / by Frank Cusack

Publishing details: Melbourne : Hawthorn Press, 1973, 146p. : plates, with index.
Ovey E G Head of Art p82, 134view full entry
Reference: see Canvas to campus : a history of the Bendigo Institute of Technology / by Frank Cusack

Publishing details: Melbourne : Hawthorn Press, 1973, 146p. : plates, with index.
Eathorne Godfrey architect 1940sview full entry
Reference: see Canvas to campus : a history of the Bendigo Institute of Technology / by Frank Cusack

Publishing details: Melbourne : Hawthorn Press, 1973, 146p. : plates, with index.
Ainsworth E 1953 Head of Art p122view full entry
Reference: see Canvas to campus : a history of the Bendigo Institute of Technology / by Frank Cusack

Publishing details: Melbourne : Hawthorn Press, 1973, 146p. : plates, with index.
Paynter S E pottery teacher p122view full entry
Reference: see Canvas to campus : a history of the Bendigo Institute of Technology / by Frank Cusack

Publishing details: Melbourne : Hawthorn Press, 1973, 146p. : plates, with index.
Paynter S E pottery teacher p122view full entry
Reference: see Canvas to campus : a history of the Bendigo Institute of Technology / by Frank Cusack

Publishing details: Melbourne : Hawthorn Press, 1973, 146p. : plates, with index.
Painters and Decorators Society p37, 38, 104view full entry
Reference: see Canvas to campus : a history of the Bendigo Institute of Technology / by Frank Cusack

Publishing details: Melbourne : Hawthorn Press, 1973, 146p. : plates, with index.
women artistsAngeloro collection of women artistsview full entry
Reference: see AASD website July, 2019: By David Hulme & Brigitte Banziger, on 17-Jul-2019
It is hard not to bediggins inspired by one man’s art collection passion, especially when it comes from the ebullient David James Angeloro, who was born and raised in Syracuse, New York, but has called Australia home since 1971. Angeloro’s enthusiasm for Australian women artists and in particular many who have been forgotten is unabated. After nearly 50 years pursuing his deeply held views about the museum quality of these paintings, his collection of close to 100 works (almost a quarter of the total of 475 lots) is to be sold at a Davidson Auctions fine art sale this Sunday 21 July from 12 noon, in Annandale, Sydney.
We spoke with David Angeloro, and he tells us that he is moving back to New York for family reasons, saying that “it is time for new art lovers to appreciate and cherish these items”.
Accompanying this impressive collection is an equally impressive academic analysis titled An Australian Woman’s Impression and its Influence (a more complete picture) written by David Angeloro, a part of a manuscript for a book to be published next year, and now available online at the Davidson Auctions website. Angeloro makes some strong points there which make for very interesting reading, in particular on how well known and appreciated women artists from 1890 to 1940 were at the time – see  
https://www.davidsonauctions.com.au/files/a_womans_impression_and_its_influences_2019_july.pdf
Of course, David Angeloro is not the only collector of Australian female artists, as the well known and highly regarded Sheila Cruthers Collection of Women’s Art is testament to – see https://sheila.org.au/collection/ and https://www.smh.com.au/entertainment/art-and-design/the-art-world-angel-her-son-the-countess-and-the-detective-20190519-p51p2z.html
Both the National Gallery of Victoria State and the Ballarat Art Gallery have currently shows on women artists, see https://www.ngv.vic.gov.au/exhibition/modern-australian-women/
 and https://artgalleryofballarat.com.au/, and commercial dealers like Lauraine Diggins who sadly passed away earlier this year, and Christopher Day amongst other have promoted early Australian women artists exhibitions, see https://www.diggins.com.au/exhibition/australian-women-artists-between-the-wars/ and
http://dayfineart.com/exhibitions/progression-women-in-australian-art/
Art museums are taking a very visible stand in this regard: The National Gallery of Australia under the auspices of its director Nick Mitzevich has launched a campaign in acknowledgment that only one quarter of its own collection comprise works by female artists, see https://nga.gov.au/knowmyname/ and https://www.smh.com.au/entertainment/art-and-design/know-my-name-the-new-push-for-female-artists-20190524-p51qpb.html
For International Women’s Day this year, the Museum of Contemporary Art in Sydney, held a symposium “Unfinished Business: Women’s Representation in the Arts”, and in Perth on Saturday 3rd August, at the Perth Institute of Contemporary Arts, leading female artists discuss the history of women’s art including those forgotten, see https://www.mca.com.au/stories-and-ideas/womens-representation-in-the-arts/ and https://www.artshub.com.au/whats-on/western-australia/panels-lectures-ideas/women-in-art-241571.
The Portia Geach Prize has always been about women portrait painters, and the recent Ravenswood School Art Prize is also trying to redress the gender imbalance by offering its $35,000 art prize only open to the most talented women artists, see https://www.shervingallery.com.au/event/portia-geach-memorial-award-2019/ and https://www.ravenswoodartprize.com.au/2019/artprize/home
Perhaps it is Janine Burke’s 1980 publication “Australian Women Artists 1840 – 1940” that helped start the momentum, and it looks like that this has finally turned into a torrent of action from many different places, see also https://art150.unimelb.edu.au/articles/women-and-art
Some of the (very reasonably priced) highlights from the Angeloro Family Collection offered on Sunday with Davidson Auctions include:
• Elaine Coghlan, Self Portrait at Easel, c1917 (Lot 105 ), est. $600-$1,000
• Sybil Craig, Chinese Jar and Black-Berry Leaves, 1934 (Lot 112 ), est. $800-$1,200
• Aline Cusack, Moored Ships, Darling Harbour, 1895 (Lot 114 ), est. $500-$800
• Portia Geach, Autumn Idyll, Cremorne Point (Lot 118 ), est. $450-$750
• Jessie Laver Evans, Little Wanderers in the Bush, c.1898 (Lot 117 ), est. $800-$1,500
• Elaine Haxton, Boathouse, Pittwater, c1960 (Lot 123 ), est. $5,000-$8,000
• Ellen Adye Hume, Still Life (Lot 125 ), est. $500-$800
• Alice J. Muskett, The Horse Ferry, Sydney Harbour, 1908 (Lot 137 ), est. $1,500-2,500
• Florence Rodway, Profile Portrait of a Woman in a Fur-lined Coat (Lot 146 ), est. $1,200-2,500
• Jessie Scarvell, Sheep Grazing, 1898 (Lot 147 ), $600-$1,000
• Ethel A. Stephens, Garden Arch (Lot 150 ), est. $350-$550
• Jessie Traill, Lantern Light (Lot 153 ), est. $1,300-2,250
Sale Referenced: Australian & International Art, Davidson Auctions, Sydney, 21/07/2019
Zofrea Salvaroreview full entry
Reference: Salvatore Zofrea : days of summer / Anne Ryan. "The publication of this book follows the exhibition Days of Summer woodcuts by Salvatore Zofrea at Mosman Art Gallery, Sydney 14 June - 20 July 2008 and touring regional galleries from April 2009" - T. p. verso. Includes bibliographical references: p. 92-93.
Publishing details: Mosman, N.S.W. : Mosman Art Gallery, [2009] 
96 p. : ill. (chiefly col.), ports. ; 28 cm. 
Ref: 1000
Zofrea Salvaroreview full entry
Reference: Salvatore Zofrea : forest flowers. Notes Text by Desmond Murphy.
Catalogue of an exhibition held at Australian Galleries, Sydney, 1 - 20 November 2011.
Publishing details: Sydney : Australian Galleries, 2011 
1 folded sheet [6] p. : chiefly col. ill. ; 30 cm. 

Ref: 1000
Zofrea Salvaroreview full entry
Reference: Salvatore Zofrea : days of spring : 24 August - 16 September 2018
by Zofrea, Salvatore, 1946-

Publishing details: Collingwood, VIC : Australian Galleries, [2018]
Ref: 1000
Zofrea Salvaroreview full entry
Reference: Salvatore Zofrea - Master of Light,
[’This film tells the life story of SALVATORE ZOFREA, one of Australia’s great painters.  Our campaign target is $15,000.
This is an intimate portrait of a remarkable Australian artist whose journey has taken him from war torn Italy as a child, to his search for a new life in Australia. Adolescence, loss, and discovery are all part of this coming of age in a new land where Salvatore discovers his great skills as an artist.
The film unfolds as a narrative shared between the artist and the film-maker, a life story shared into camera, recording Salvatore’s life and art since arriving in Australia from Southern Italy at the age of nine.
From his studios in Sydney and the Blue Mountains to his birthplace in Southern Italy, we follow Salvatore’s story as he creates Morning Light, a monumental artwork, 100 feet long, reminiscent of Monet’s panoramas that he did at the end of his life.
Inspired by Da Vinci, Zofrea is a 3 times winner of the Sulman Art Prize and his work is featured in some of the worlds most important collections. He has been awarded the Medal of Order of Australia and an Italian knighthood for his services to art in Australia.
‘Salvatore draws feeling and that’s the rarest gifts of all, he draws like an angel’.
As with all great artists, Salvatore has created a remarkable self portrait of his life, drawing and painting all the significant stages of his life. His three major life projects have been his Psalms of Life series of 150 paintings which he began after recovering in hospital from a fatal illness which nearly killed him.
Secondly, his Appassionata series of 100 woodblocks describing his early life in Italy and arriving in Australia.
Thirdly, the first of three 100 foot long panoramas, Morning Light, depicts the arrival of the day. Two years in the making, this spectacular panorama is of such beauty and epic scale it defies expectations about contemporary art. Morning Light was the centrepiece of Salvatore’s exhibition at the Australian Galleries in Sydney and subsequently sold to an overseas collector for an undisclosed figure.
We have filmed throughout the making of Morning Light and interviewed key people who have been part of Salvatore’s life.
Richard Mordaunt is the Producer and Director of the film. He is an award winning film-maker and has made over 40 films.
Franco Di Chiera is the Executive Producer. Franco is a multi award winning Director and Producer.
Kim Mordaunt is also a Producer of the film. Kim is Writer and Director of the feature film the Rocket, which was Australia’s entry into 2013 Academy Awards and won 47 International awards.
Diana Mordaunt who is an artist and a film-maker, is also a Producer of this film.
Milos Ludajic is Co-Producer. Milos had a Co-Executive Producer role on the Rocket and is currently involved in various documentary and feature film projects.’]
Publishing details: Art Films, DVD, 2016, 49 mins
Ref: 1000
Seeing Saltwater Countryview full entry
Reference: Seeing Saltwater Country. Written by Dale Kentwell and Sally Mayman. [’The Dampier Peninsula in Australia’s north-west is home to many remote Aboriginal communities. Painter Dale Kentwell and photographer Sally Mayman have collaborated with the people of the region in a series of portraits that depicts remote community life and celebrates the beauty of a place unlike any other. At the heart of these portraits is a strong and enduring connection to country.’]
Publishing details: Fremantle Press, 2017, Pages 104
Ref: 1000
Kentwell Dale view full entry
Reference: see Seeing Saltwater Country. Written by Dale Kentwell and Sally Mayman. [’The Dampier Peninsula in Australia’s north-west is home to many remote Aboriginal communities. Painter Dale Kentwell and photographer Sally Mayman have collaborated with the people of the region in a series of portraits that depicts remote community life and celebrates the beauty of a place unlike any other. At the heart of these portraits is a strong and enduring connection to country.’]
Publishing details: Fremantle Press, 2017, Pages 104
Mayman Sally view full entry
Reference: see Seeing Saltwater Country. Written by Dale Kentwell and Sally Mayman. [’The Dampier Peninsula in Australia’s north-west is home to many remote Aboriginal communities. Painter Dale Kentwell and photographer Sally Mayman have collaborated with the people of the region in a series of portraits that depicts remote community life and celebrates the beauty of a place unlike any other. At the heart of these portraits is a strong and enduring connection to country.’]
Publishing details: Fremantle Press, 2017, Pages 104
Batten Theoview full entry
Reference: from DAAO: Theo Batten b. 11 June 1918
Also known as Theo Harley Batten
Artist (Cartoonist / Illustrator)
Late 20th century Sydney comic strip artist and illustrator and the creator of the 'Lucky Cat' strip that appeared in the Sun Herald in the late 1970s/early 1980s. In 1972 Batten won an Walkley Award for an Australian Women's Weekly illustration.
Name
Theo Batten
Also known as Theo Harley Batten
Gender
Male
Roles
• Artist
• Artist (Cartoonist / Illustrator)
Birth date
11 June 1918
Birth place
Cremorne, Sydney, NSW
Death date
2 May 2003
Death place
Manly, Sydney, NSW
Active Period
• c.1945 - c.2006
Residence
• c.1985 - c.2003 Manly, Sydney, NSW
• c.1918 - c.1940 Cremorne, Sydney, NSW
• Sydney, NSW
Languages
• English
Initial Record Data Source
• Black and white artists
Batten Theo 1918-2003view full entry
Reference: Theo Batten is represented in the Manly Art Gallery.with works gifted by the Theo Batten estate, 2005
Robertson Robert Hay (1844-1936)view full entry
Reference: represented in the Manly Art Gallery Robertson, R. H. (Robert Hay) (1844-1936)
Also known as
R. F. R. (1844-1936)
R. F. R. (Robert Hay Robertson) (1844-1936)
Robertson, R. H. (1844-1936)
Robertson, Robert Hay (1844-1936)
Dittmar Peterview full entry
Reference: Between Cultures, Peter Dittmar. [’Text in English and German. Dittmar, a German born artist moved to Bali and created abstract paintings and compositions based on this cultural influence.’] [’German born Dittmar moved to Bali in 1982and has created made abstratc gesture paintings, abstract calligraphic compositions, Bali-inspired symbolic paintings and landscape paintings.’]

Publishing details: self-published, Munich 2005, 2005
Ref: 1000
Carter Robertview full entry
Reference: Paint me a ship / Robert Carter OAM. Includes bibliographical references (page 195) and index.
[’A unique full colour luxurious publications for maritime artists and those with an interest in art generally

Part 1 shows how to approach marine painting and explains how to create the sea, sky and weather conditions that dictate what the sailing ship is doing and how it is behaving. Robert Carter uses his own magnificent paintings and wonderful paintings by many other marine artists to illustrate the techniques and he includes a gallery of 30 of his own paintings.

Part 2 tells of the founding of the Australian Society of Marine Artists and celebrates some seventy oil and watercolour works from members of ASMA with descriptive commentaries and includes examples of sculptures, models, and scrimshaw.

About the Author

Robert Carter, Fellow, Honorary Life Member and Founder of the Australian Society of Marine Artists, and Fellow of the International Society of Marine Painters is the author and artist of Windjammers: the Final Story. His work is known and exhibited all over the world. He lives in the Hunter Region of NSW.’]
Publishing details: Rosenberg, 2016 
©2016 
200 pages : colour illustrations, portraits, 1 facsimile. Slipcase.

Ref: 1000
Destination Sydney re-imaginedview full entry
Reference: Destination Sydney : re-imagined / foreword, Michael Hedger, John Cheeseman, Jane Watters ; introduction, Lou Klepac ; with essays by Scott Bevan, Michael Hedger, Katherine Roberts, Anna Johnson, Katrina Cashman, Ken Wach, David Marr, Jane Watters, Barry Pearce. Extensive information on the 9 artists included in the exhibition.
[’The second in the Destination Sydney exhibition series: a unique collaborative project across three dynamic Sydney public galleries presenting the work of nine eminent artists to celebrate the important influence of Sydney as subject and theme. Manly Art Gallery & Museum, Mosman Art Gallery and S.H. Ervin Gallery. In 2015, three of Sydney's key public galleries, Manly Art Gallery and Museum, Mosman Art Gallery and S.H. Ervin Gallery produced the first Destination Sydney exhibition, working together to bring a new visual interpretation of Sydney inspired by the city's irresistible siren call to (and influence on) key 20th century Australian artists. The exhibition was well-received, receiving critical acclaim, multiple awards and blockbuster levels of visitation. Seeking both to emulate and build upon this success, our institutions have renewed this partnership with the development of the second exhibition in this series, Destination Sydney: re-imagined. The initial Destination Sydney exhibition drew from the power of Sydney and its harbour to inspire and attract artists. This second exhibition revisits this central concept, celebrating the power of Sydney's landscape, while also following the evolutionary art practices and creative spirit that embody the visual culture of Sydney. Destination Sydney: re-imagined has retained the successful format used in the original exhibition with each gallery displaying a critical mass of well-loved works as well as revealing secret treasures by three key artists. The selection of artists has been based on holdings in the collections of the three galleries, on our exhibition histories and on the sympathies of our curators and institutional staff. Artists at Mosman include Roy de Maistre, Robert Klippel and Michael Johnson. Manly Art Gallery & Museum artists: Ethel Carrick Fox, Ken Done and Adrian Feint. S. H. Ervin Gallery artists: Nicholas Harding, Jeffrey Smart and Wendy Sharpe.
Full contents • Ken Done
• Ethel Carrick Fox
• Asrian Feint
• Michael Johnson
• Roy de Maistre
• Robert Kippel
• Nicholas Harding
• Wendy Sharpe
• Jeffrey Smart.
Ken Done
 
Notes Published in conjunction with the exhibition 'Destination Sydney : re-imagined'; 7 December 2018 - 17 March 2019, Manly Art Gallery & Museum, Mosman Art Gallery, S.H. Ervin Gallery."-- Title page verso.’]
Publishing details: Manly Art Gallery & Museum ; [Mosman, New South Wales] : Mosman Art Gallery ; [Millers Point, New South Wales] : S.H. Ervin Gallery, 2018 
120 pages : colour illustrations ; 28 cm 
Fox Ethel Carrick
view full entry
Reference: see Destination Sydney : re-imagined / foreword, Michael Hedger, John Cheeseman, Jane Watters ; introduction, Lou Klepac ; with essays by Scott Bevan, Michael Hedger, Katherine Roberts, Anna Johnson, Katrina Cashman, Ken Wach, David Marr, Jane Watters, Barry Pearce. Extensive information on the 9 artists included in the exhibition.
[’The second in the Destination Sydney exhibition series: a unique collaborative project across three dynamic Sydney public galleries presenting the work of nine eminent artists to celebrate the important influence of Sydney as subject and theme. Manly Art Gallery & Museum, Mosman Art Gallery and S.H. Ervin Gallery. In 2015, three of Sydney's key public galleries, Manly Art Gallery and Museum, Mosman Art Gallery and S.H. Ervin Gallery produced the first Destination Sydney exhibition, working together to bring a new visual interpretation of Sydney inspired by the city's irresistible siren call to (and influence on) key 20th century Australian artists. The exhibition was well-received, receiving critical acclaim, multiple awards and blockbuster levels of visitation. Seeking both to emulate and build upon this success, our institutions have renewed this partnership with the development of the second exhibition in this series, Destination Sydney: re-imagined. The initial Destination Sydney exhibition drew from the power of Sydney and its harbour to inspire and attract artists. This second exhibition revisits this central concept, celebrating the power of Sydney's landscape, while also following the evolutionary art practices and creative spirit that embody the visual culture of Sydney. Destination Sydney: re-imagined has retained the successful format used in the original exhibition with each gallery displaying a critical mass of well-loved works as well as revealing secret treasures by three key artists. The selection of artists has been based on holdings in the collections of the three galleries, on our exhibition histories and on the sympathies of our curators and institutional staff. Artists at Mosman include Roy de Maistre, Robert Klippel and Michael Johnson. Manly Art Gallery & Museum artists: Ethel Carrick Fox, Ken Done and Adrian Feint. S. H. Ervin Gallery artists: Nicholas Harding, Jeffrey Smart and Wendy Sharpe.
Full contents • Ken Done
• Ethel Carrick Fox
• Asrian Feint
• Michael Johnson
• Roy de Maistre
• Robert Kippel
• Nicholas Harding
• Wendy Sharpe
• Jeffrey Smart.
Ken Done
 
Notes Published in conjunction with the exhibition 'Destination Sydney : re-imagined'; 7 December 2018 - 17 March 2019, Manly Art Gallery & Museum, Mosman Art Gallery, S.H. Ervin Gallery."-- Title page verso.’]
Publishing details: Manly Art Gallery & Museum ; [Mosman, New South Wales] : Mosman Art Gallery ; [Millers Point, New South Wales] : S.H. Ervin Gallery, 2018 
120 pages : colour illustrations ; 28 cm 
Feint Adrian
view full entry
Reference: see Destination Sydney : re-imagined / foreword, Michael Hedger, John Cheeseman, Jane Watters ; introduction, Lou Klepac ; with essays by Scott Bevan, Michael Hedger, Katherine Roberts, Anna Johnson, Katrina Cashman, Ken Wach, David Marr, Jane Watters, Barry Pearce. Extensive information on the 9 artists included in the exhibition.
[’The second in the Destination Sydney exhibition series: a unique collaborative project across three dynamic Sydney public galleries presenting the work of nine eminent artists to celebrate the important influence of Sydney as subject and theme. Manly Art Gallery & Museum, Mosman Art Gallery and S.H. Ervin Gallery. In 2015, three of Sydney's key public galleries, Manly Art Gallery and Museum, Mosman Art Gallery and S.H. Ervin Gallery produced the first Destination Sydney exhibition, working together to bring a new visual interpretation of Sydney inspired by the city's irresistible siren call to (and influence on) key 20th century Australian artists. The exhibition was well-received, receiving critical acclaim, multiple awards and blockbuster levels of visitation. Seeking both to emulate and build upon this success, our institutions have renewed this partnership with the development of the second exhibition in this series, Destination Sydney: re-imagined. The initial Destination Sydney exhibition drew from the power of Sydney and its harbour to inspire and attract artists. This second exhibition revisits this central concept, celebrating the power of Sydney's landscape, while also following the evolutionary art practices and creative spirit that embody the visual culture of Sydney. Destination Sydney: re-imagined has retained the successful format used in the original exhibition with each gallery displaying a critical mass of well-loved works as well as revealing secret treasures by three key artists. The selection of artists has been based on holdings in the collections of the three galleries, on our exhibition histories and on the sympathies of our curators and institutional staff. Artists at Mosman include Roy de Maistre, Robert Klippel and Michael Johnson. Manly Art Gallery & Museum artists: Ethel Carrick Fox, Ken Done and Adrian Feint. S. H. Ervin Gallery artists: Nicholas Harding, Jeffrey Smart and Wendy Sharpe.
Full contents • Ken Done
• Ethel Carrick Fox
• Asrian Feint
• Michael Johnson
• Roy de Maistre
• Robert Kippel
• Nicholas Harding
• Wendy Sharpe
• Jeffrey Smart.
Ken Done
 
Notes Published in conjunction with the exhibition 'Destination Sydney : re-imagined'; 7 December 2018 - 17 March 2019, Manly Art Gallery & Museum, Mosman Art Gallery, S.H. Ervin Gallery."-- Title page verso.’]
Publishing details: Manly Art Gallery & Museum ; [Mosman, New South Wales] : Mosman Art Gallery ; [Millers Point, New South Wales] : S.H. Ervin Gallery, 2018 
120 pages : colour illustrations ; 28 cm 
Johnson Michael
view full entry
Reference: see Destination Sydney : re-imagined / foreword, Michael Hedger, John Cheeseman, Jane Watters ; introduction, Lou Klepac ; with essays by Scott Bevan, Michael Hedger, Katherine Roberts, Anna Johnson, Katrina Cashman, Ken Wach, David Marr, Jane Watters, Barry Pearce. Extensive information on the 9 artists included in the exhibition.
[’The second in the Destination Sydney exhibition series: a unique collaborative project across three dynamic Sydney public galleries presenting the work of nine eminent artists to celebrate the important influence of Sydney as subject and theme. Manly Art Gallery & Museum, Mosman Art Gallery and S.H. Ervin Gallery. In 2015, three of Sydney's key public galleries, Manly Art Gallery and Museum, Mosman Art Gallery and S.H. Ervin Gallery produced the first Destination Sydney exhibition, working together to bring a new visual interpretation of Sydney inspired by the city's irresistible siren call to (and influence on) key 20th century Australian artists. The exhibition was well-received, receiving critical acclaim, multiple awards and blockbuster levels of visitation. Seeking both to emulate and build upon this success, our institutions have renewed this partnership with the development of the second exhibition in this series, Destination Sydney: re-imagined. The initial Destination Sydney exhibition drew from the power of Sydney and its harbour to inspire and attract artists. This second exhibition revisits this central concept, celebrating the power of Sydney's landscape, while also following the evolutionary art practices and creative spirit that embody the visual culture of Sydney. Destination Sydney: re-imagined has retained the successful format used in the original exhibition with each gallery displaying a critical mass of well-loved works as well as revealing secret treasures by three key artists. The selection of artists has been based on holdings in the collections of the three galleries, on our exhibition histories and on the sympathies of our curators and institutional staff. Artists at Mosman include Roy de Maistre, Robert Klippel and Michael Johnson. Manly Art Gallery & Museum artists: Ethel Carrick Fox, Ken Done and Adrian Feint. S. H. Ervin Gallery artists: Nicholas Harding, Jeffrey Smart and Wendy Sharpe.
Full contents • Ken Done
• Ethel Carrick Fox
• Asrian Feint
• Michael Johnson
• Roy de Maistre
• Robert Kippel
• Nicholas Harding
• Wendy Sharpe
• Jeffrey Smart.
Ken Done
 
Notes Published in conjunction with the exhibition 'Destination Sydney : re-imagined'; 7 December 2018 - 17 March 2019, Manly Art Gallery & Museum, Mosman Art Gallery, S.H. Ervin Gallery."-- Title page verso.’]
Publishing details: Manly Art Gallery & Museum ; [Mosman, New South Wales] : Mosman Art Gallery ; [Millers Point, New South Wales] : S.H. Ervin Gallery, 2018 
120 pages : colour illustrations ; 28 cm 
de Maistre Roy
view full entry
Reference: see Destination Sydney : re-imagined / foreword, Michael Hedger, John Cheeseman, Jane Watters ; introduction, Lou Klepac ; with essays by Scott Bevan, Michael Hedger, Katherine Roberts, Anna Johnson, Katrina Cashman, Ken Wach, David Marr, Jane Watters, Barry Pearce. Extensive information on the 9 artists included in the exhibition.
[’The second in the Destination Sydney exhibition series: a unique collaborative project across three dynamic Sydney public galleries presenting the work of nine eminent artists to celebrate the important influence of Sydney as subject and theme. Manly Art Gallery & Museum, Mosman Art Gallery and S.H. Ervin Gallery. In 2015, three of Sydney's key public galleries, Manly Art Gallery and Museum, Mosman Art Gallery and S.H. Ervin Gallery produced the first Destination Sydney exhibition, working together to bring a new visual interpretation of Sydney inspired by the city's irresistible siren call to (and influence on) key 20th century Australian artists. The exhibition was well-received, receiving critical acclaim, multiple awards and blockbuster levels of visitation. Seeking both to emulate and build upon this success, our institutions have renewed this partnership with the development of the second exhibition in this series, Destination Sydney: re-imagined. The initial Destination Sydney exhibition drew from the power of Sydney and its harbour to inspire and attract artists. This second exhibition revisits this central concept, celebrating the power of Sydney's landscape, while also following the evolutionary art practices and creative spirit that embody the visual culture of Sydney. Destination Sydney: re-imagined has retained the successful format used in the original exhibition with each gallery displaying a critical mass of well-loved works as well as revealing secret treasures by three key artists. The selection of artists has been based on holdings in the collections of the three galleries, on our exhibition histories and on the sympathies of our curators and institutional staff. Artists at Mosman include Roy de Maistre, Robert Klippel and Michael Johnson. Manly Art Gallery & Museum artists: Ethel Carrick Fox, Ken Done and Adrian Feint. S. H. Ervin Gallery artists: Nicholas Harding, Jeffrey Smart and Wendy Sharpe.
Full contents • Ken Done
• Ethel Carrick Fox
• Asrian Feint
• Michael Johnson
• Roy de Maistre
• Robert Kippel
• Nicholas Harding
• Wendy Sharpe
• Jeffrey Smart.
Ken Done
 
Notes Published in conjunction with the exhibition 'Destination Sydney : re-imagined'; 7 December 2018 - 17 March 2019, Manly Art Gallery & Museum, Mosman Art Gallery, S.H. Ervin Gallery."-- Title page verso.’]
Publishing details: Manly Art Gallery & Museum ; [Mosman, New South Wales] : Mosman Art Gallery ; [Millers Point, New South Wales] : S.H. Ervin Gallery, 2018 
120 pages : colour illustrations ; 28 cm 
KlippelRobert
view full entry
Reference: see Destination Sydney : re-imagined / foreword, Michael Hedger, John Cheeseman, Jane Watters ; introduction, Lou Klepac ; with essays by Scott Bevan, Michael Hedger, Katherine Roberts, Anna Johnson, Katrina Cashman, Ken Wach, David Marr, Jane Watters, Barry Pearce. Extensive information on the 9 artists included in the exhibition.
[’The second in the Destination Sydney exhibition series: a unique collaborative project across three dynamic Sydney public galleries presenting the work of nine eminent artists to celebrate the important influence of Sydney as subject and theme. Manly Art Gallery & Museum, Mosman Art Gallery and S.H. Ervin Gallery. In 2015, three of Sydney's key public galleries, Manly Art Gallery and Museum, Mosman Art Gallery and S.H. Ervin Gallery produced the first Destination Sydney exhibition, working together to bring a new visual interpretation of Sydney inspired by the city's irresistible siren call to (and influence on) key 20th century Australian artists. The exhibition was well-received, receiving critical acclaim, multiple awards and blockbuster levels of visitation. Seeking both to emulate and build upon this success, our institutions have renewed this partnership with the development of the second exhibition in this series, Destination Sydney: re-imagined. The initial Destination Sydney exhibition drew from the power of Sydney and its harbour to inspire and attract artists. This second exhibition revisits this central concept, celebrating the power of Sydney's landscape, while also following the evolutionary art practices and creative spirit that embody the visual culture of Sydney. Destination Sydney: re-imagined has retained the successful format used in the original exhibition with each gallery displaying a critical mass of well-loved works as well as revealing secret treasures by three key artists. The selection of artists has been based on holdings in the collections of the three galleries, on our exhibition histories and on the sympathies of our curators and institutional staff. Artists at Mosman include Roy de Maistre, Robert Klippel and Michael Johnson. Manly Art Gallery & Museum artists: Ethel Carrick Fox, Ken Done and Adrian Feint. S. H. Ervin Gallery artists: Nicholas Harding, Jeffrey Smart and Wendy Sharpe.
Full contents • Ken Done
• Ethel Carrick Fox
• Asrian Feint
• Michael Johnson
• Roy de Maistre
• Robert Kippel
• Nicholas Harding
• Wendy Sharpe
• Jeffrey Smart.
Ken Done
 
Notes Published in conjunction with the exhibition 'Destination Sydney : re-imagined'; 7 December 2018 - 17 March 2019, Manly Art Gallery & Museum, Mosman Art Gallery, S.H. Ervin Gallery."-- Title page verso.’]
Publishing details: Manly Art Gallery & Museum ; [Mosman, New South Wales] : Mosman Art Gallery ; [Millers Point, New South Wales] : S.H. Ervin Gallery, 2018 
120 pages : colour illustrations ; 28 cm 
Harding Nicholas
view full entry
Reference: see Destination Sydney : re-imagined / foreword, Michael Hedger, John Cheeseman, Jane Watters ; introduction, Lou Klepac ; with essays by Scott Bevan, Michael Hedger, Katherine Roberts, Anna Johnson, Katrina Cashman, Ken Wach, David Marr, Jane Watters, Barry Pearce. Extensive information on the 9 artists included in the exhibition.
[’The second in the Destination Sydney exhibition series: a unique collaborative project across three dynamic Sydney public galleries presenting the work of nine eminent artists to celebrate the important influence of Sydney as subject and theme. Manly Art Gallery & Museum, Mosman Art Gallery and S.H. Ervin Gallery. In 2015, three of Sydney's key public galleries, Manly Art Gallery and Museum, Mosman Art Gallery and S.H. Ervin Gallery produced the first Destination Sydney exhibition, working together to bring a new visual interpretation of Sydney inspired by the city's irresistible siren call to (and influence on) key 20th century Australian artists. The exhibition was well-received, receiving critical acclaim, multiple awards and blockbuster levels of visitation. Seeking both to emulate and build upon this success, our institutions have renewed this partnership with the development of the second exhibition in this series, Destination Sydney: re-imagined. The initial Destination Sydney exhibition drew from the power of Sydney and its harbour to inspire and attract artists. This second exhibition revisits this central concept, celebrating the power of Sydney's landscape, while also following the evolutionary art practices and creative spirit that embody the visual culture of Sydney. Destination Sydney: re-imagined has retained the successful format used in the original exhibition with each gallery displaying a critical mass of well-loved works as well as revealing secret treasures by three key artists. The selection of artists has been based on holdings in the collections of the three galleries, on our exhibition histories and on the sympathies of our curators and institutional staff. Artists at Mosman include Roy de Maistre, Robert Klippel and Michael Johnson. Manly Art Gallery & Museum artists: Ethel Carrick Fox, Ken Done and Adrian Feint. S. H. Ervin Gallery artists: Nicholas Harding, Jeffrey Smart and Wendy Sharpe.
Full contents • Ken Done
• Ethel Carrick Fox
• Asrian Feint
• Michael Johnson
• Roy de Maistre
• Robert Kippel
• Nicholas Harding
• Wendy Sharpe
• Jeffrey Smart.
Ken Done
 
Notes Published in conjunction with the exhibition 'Destination Sydney : re-imagined'; 7 December 2018 - 17 March 2019, Manly Art Gallery & Museum, Mosman Art Gallery, S.H. Ervin Gallery."-- Title page verso.’]
Publishing details: Manly Art Gallery & Museum ; [Mosman, New South Wales] : Mosman Art Gallery ; [Millers Point, New South Wales] : S.H. Ervin Gallery, 2018 
120 pages : colour illustrations ; 28 cm 
Sharpe Wendy
view full entry
Reference: see Destination Sydney : re-imagined / foreword, Michael Hedger, John Cheeseman, Jane Watters ; introduction, Lou Klepac ; with essays by Scott Bevan, Michael Hedger, Katherine Roberts, Anna Johnson, Katrina Cashman, Ken Wach, David Marr, Jane Watters, Barry Pearce. Extensive information on the 9 artists included in the exhibition.
[’The second in the Destination Sydney exhibition series: a unique collaborative project across three dynamic Sydney public galleries presenting the work of nine eminent artists to celebrate the important influence of Sydney as subject and theme. Manly Art Gallery & Museum, Mosman Art Gallery and S.H. Ervin Gallery. In 2015, three of Sydney's key public galleries, Manly Art Gallery and Museum, Mosman Art Gallery and S.H. Ervin Gallery produced the first Destination Sydney exhibition, working together to bring a new visual interpretation of Sydney inspired by the city's irresistible siren call to (and influence on) key 20th century Australian artists. The exhibition was well-received, receiving critical acclaim, multiple awards and blockbuster levels of visitation. Seeking both to emulate and build upon this success, our institutions have renewed this partnership with the development of the second exhibition in this series, Destination Sydney: re-imagined. The initial Destination Sydney exhibition drew from the power of Sydney and its harbour to inspire and attract artists. This second exhibition revisits this central concept, celebrating the power of Sydney's landscape, while also following the evolutionary art practices and creative spirit that embody the visual culture of Sydney. Destination Sydney: re-imagined has retained the successful format used in the original exhibition with each gallery displaying a critical mass of well-loved works as well as revealing secret treasures by three key artists. The selection of artists has been based on holdings in the collections of the three galleries, on our exhibition histories and on the sympathies of our curators and institutional staff. Artists at Mosman include Roy de Maistre, Robert Klippel and Michael Johnson. Manly Art Gallery & Museum artists: Ethel Carrick Fox, Ken Done and Adrian Feint. S. H. Ervin Gallery artists: Nicholas Harding, Jeffrey Smart and Wendy Sharpe.
Full contents • Ken Done
• Ethel Carrick Fox
• Asrian Feint
• Michael Johnson
• Roy de Maistre
• Robert Kippel
• Nicholas Harding
• Wendy Sharpe
• Jeffrey Smart.
Ken Done
 
Notes Published in conjunction with the exhibition 'Destination Sydney : re-imagined'; 7 December 2018 - 17 March 2019, Manly Art Gallery & Museum, Mosman Art Gallery, S.H. Ervin Gallery."-- Title page verso.’]
Publishing details: Manly Art Gallery & Museum ; [Mosman, New South Wales] : Mosman Art Gallery ; [Millers Point, New South Wales] : S.H. Ervin Gallery, 2018 
120 pages : colour illustrations ; 28 cm 
Smart Jeffrey .
view full entry
Reference: see Destination Sydney : re-imagined / foreword, Michael Hedger, John Cheeseman, Jane Watters ; introduction, Lou Klepac ; with essays by Scott Bevan, Michael Hedger, Katherine Roberts, Anna Johnson, Katrina Cashman, Ken Wach, David Marr, Jane Watters, Barry Pearce. Extensive information on the 9 artists included in the exhibition.
[’The second in the Destination Sydney exhibition series: a unique collaborative project across three dynamic Sydney public galleries presenting the work of nine eminent artists to celebrate the important influence of Sydney as subject and theme. Manly Art Gallery & Museum, Mosman Art Gallery and S.H. Ervin Gallery. In 2015, three of Sydney's key public galleries, Manly Art Gallery and Museum, Mosman Art Gallery and S.H. Ervin Gallery produced the first Destination Sydney exhibition, working together to bring a new visual interpretation of Sydney inspired by the city's irresistible siren call to (and influence on) key 20th century Australian artists. The exhibition was well-received, receiving critical acclaim, multiple awards and blockbuster levels of visitation. Seeking both to emulate and build upon this success, our institutions have renewed this partnership with the development of the second exhibition in this series, Destination Sydney: re-imagined. The initial Destination Sydney exhibition drew from the power of Sydney and its harbour to inspire and attract artists. This second exhibition revisits this central concept, celebrating the power of Sydney's landscape, while also following the evolutionary art practices and creative spirit that embody the visual culture of Sydney. Destination Sydney: re-imagined has retained the successful format used in the original exhibition with each gallery displaying a critical mass of well-loved works as well as revealing secret treasures by three key artists. The selection of artists has been based on holdings in the collections of the three galleries, on our exhibition histories and on the sympathies of our curators and institutional staff. Artists at Mosman include Roy de Maistre, Robert Klippel and Michael Johnson. Manly Art Gallery & Museum artists: Ethel Carrick Fox, Ken Done and Adrian Feint. S. H. Ervin Gallery artists: Nicholas Harding, Jeffrey Smart and Wendy Sharpe.
Full contents • Ken Done
• Ethel Carrick Fox
• Asrian Feint
• Michael Johnson
• Roy de Maistre
• Robert Kippel
• Nicholas Harding
• Wendy Sharpe
• Jeffrey Smart.
Ken Done
 
Notes Published in conjunction with the exhibition 'Destination Sydney : re-imagined'; 7 December 2018 - 17 March 2019, Manly Art Gallery & Museum, Mosman Art Gallery, S.H. Ervin Gallery."-- Title page verso.’]
Publishing details: Manly Art Gallery & Museum ; [Mosman, New South Wales] : Mosman Art Gallery ; [Millers Point, New South Wales] : S.H. Ervin Gallery, 2018 
120 pages : colour illustrations ; 28 cm 
Done Ken
view full entry
Reference: see Destination Sydney : re-imagined / foreword, Michael Hedger, John Cheeseman, Jane Watters ; introduction, Lou Klepac ; with essays by Scott Bevan, Michael Hedger, Katherine Roberts, Anna Johnson, Katrina Cashman, Ken Wach, David Marr, Jane Watters, Barry Pearce. Extensive information on the 9 artists included in the exhibition.
[’The second in the Destination Sydney exhibition series: a unique collaborative project across three dynamic Sydney public galleries presenting the work of nine eminent artists to celebrate the important influence of Sydney as subject and theme. Manly Art Gallery & Museum, Mosman Art Gallery and S.H. Ervin Gallery. In 2015, three of Sydney's key public galleries, Manly Art Gallery and Museum, Mosman Art Gallery and S.H. Ervin Gallery produced the first Destination Sydney exhibition, working together to bring a new visual interpretation of Sydney inspired by the city's irresistible siren call to (and influence on) key 20th century Australian artists. The exhibition was well-received, receiving critical acclaim, multiple awards and blockbuster levels of visitation. Seeking both to emulate and build upon this success, our institutions have renewed this partnership with the development of the second exhibition in this series, Destination Sydney: re-imagined. The initial Destination Sydney exhibition drew from the power of Sydney and its harbour to inspire and attract artists. This second exhibition revisits this central concept, celebrating the power of Sydney's landscape, while also following the evolutionary art practices and creative spirit that embody the visual culture of Sydney. Destination Sydney: re-imagined has retained the successful format used in the original exhibition with each gallery displaying a critical mass of well-loved works as well as revealing secret treasures by three key artists. The selection of artists has been based on holdings in the collections of the three galleries, on our exhibition histories and on the sympathies of our curators and institutional staff. Artists at Mosman include Roy de Maistre, Robert Klippel and Michael Johnson. Manly Art Gallery & Museum artists: Ethel Carrick Fox, Ken Done and Adrian Feint. S. H. Ervin Gallery artists: Nicholas Harding, Jeffrey Smart and Wendy Sharpe.
Full contents • Ken Done
• Ethel Carrick Fox
• Asrian Feint
• Michael Johnson
• Roy de Maistre
• Robert Kippel
• Nicholas Harding
• Wendy Sharpe
• Jeffrey Smart.
Ken Done
 
Notes Published in conjunction with the exhibition 'Destination Sydney : re-imagined'; 7 December 2018 - 17 March 2019, Manly Art Gallery & Museum, Mosman Art Gallery, S.H. Ervin Gallery."-- Title page verso.’]
Publishing details: Manly Art Gallery & Museum ; [Mosman, New South Wales] : Mosman Art Gallery ; [Millers Point, New South Wales] : S.H. Ervin Gallery, 2018 
120 pages : colour illustrations ; 28 cm 
24 years in glassview full entry
Reference: 24 years in glass / Benjamin Edols and Kathy Elliott ; Curator: Katherine Roberts. Exhibition catalogue: Manly Art Gallery & Museum, 28 October - 4 December 2016 
Publishing details: Manly Art Gallery & Museum, [2016] 
62 pages : colour illustrations
Edols Benjaminview full entry
Reference: see 24 years in glass / Benjamin Edols and Kathy Elliott ; Curator: Katherine Roberts. Exhibition catalogue: Manly Art Gallery & Museum, 28 October - 4 December 2016 
Publishing details: Manly Art Gallery & Museum, [2016] 
62 pages : colour illustrations
Elliott Kathyview full entry
Reference: see 24 years in glass / Benjamin Edols and Kathy Elliott ; Curator: Katherine Roberts. Exhibition catalogue: Manly Art Gallery & Museum, 28 October - 4 December 2016 
Publishing details: Manly Art Gallery & Museum, [2016] 
62 pages : colour illustrations
Zahalka Anneview full entry
Reference: Anne Zahalka : playground of the Pacific. Catalogue of an exhibition held at Manly Art Gallery and Museum, 4 September - 25 October 2015.
Publishing details: Manly Art Gallery and Museum, [2015] 
1 folded sheet (6 unnumbered pages) : colour photographs
Ref: 139
Tobin Georgeview full entry
Reference: Captain Bligh's second chance : an eyewitness account of his return to the south seas / by George Tobin ; edited by Roy Schreiber. [’George Tobin acted as Captain Bligh's third lieutenant on the second and successful voyage made to the South Seas to collect breadfruit. Tobin was a talented writer and a gifted artist and this is the first publication of his memoir of that voyage.’]
Publishing details: UNSW Press Ltd., 2007, vii, 184 p., [16] p. of plates : col. ill., facsims., maps ;
Best Marion Hallview full entry
Reference: Marion Hall Best: Interiors.


Publishing details: Museum of Sydney, Nov 2017
Ref: 1009
colonial furnitureview full entry
Reference: 1988 commemorative collection of fine colonial furniture / by Kornelia Vidler and Graeme Dodd.Bibliography: p. 120..
Publishing details: Rustic Charm, 1988 
120 p. : col. ill. ;
Ref: 1000
furnitureview full entry
Reference: see 1988 commemorative collection of fine colonial furniture / by Kornelia Vidler and Graeme Dodd.Bibliography: p. 120..
Publishing details: Rustic Charm, 1988 
120 p. : col. ill. ;
Living with artview full entry
Reference: Living with art : an environmental approach to understanding and teaching art / [by] Lionel Gailer [and] Jim Porter
Publishing details: McGraw-Hill, 1973 
163p.
Ref: 1000
art educationview full entry
Reference: see Living with art : an environmental approach to understanding and teaching art / [by] Lionel Gailer [and] Jim Porter
Publishing details: McGraw-Hill, 1973 
163p.
educationview full entry
Reference: see Living with art : an environmental approach to understanding and teaching art / [by] Lionel Gailer [and] Jim Porter
Publishing details: McGraw-Hill, 1973 
163p.
Tobin Georgeview full entry
Reference: Roy E. Schreiber. The Fortunate Adversities of William Bligh. [’William Bligh is best known as the cause of the mutiny on the Bounty. He was also the victim of two other mutinies. Yet when he died he was a vice-admiral of the British navy. How was that possible? If ever a person learned to profit from adversity, it was William Bligh.
ABOUT THE AUTHOR
Roy E. Schreiber has his PhD from London University. He visited many of the places William Bligh saw and like Bligh has been sailing since he was a teenager. Schreiber has skippered assorted boats in the U.S., Great Britain and Australia.’]
Publishing details: New York City: P. Lang. 1991. 257pp.
Ref: 1000
ship printsview full entry
Reference: see Catalogue of Ship Portraits. "Avon Print specializes in the reproduction, in strictly limited editions, of historical Australian, New Zealand and Pacific prints, maps and books of the highest quality."
Publishing details: Avon Print Pty Ltd, North Sydney. Pictorial Wraps. Condition: Very Good. Catalog of Old Ship & Shipping Prints, by Avon Print Pty Limited. Illustrated in b&w. No date. Staple-bound printed wraps. Unpaginated (18pp).
ship portraitsview full entry
Reference: see Catalogue of Ship Portraits. "Avon Print specializes in the reproduction, in strictly limited editions, of historical Australian, New Zealand and Pacific prints, maps and books of the highest quality."
Publishing details: Avon Print Pty Ltd, North Sydney. Pictorial Wraps. Condition: Very Good. Catalog of Old Ship & Shipping Prints, by Avon Print Pty Limited. Illustrated in b&w. No date. Staple-bound printed wraps. Unpaginated (18pp).
Nicholson Peterview full entry
Reference: Nicholson's Jabs. Cartoons by Peter Nicholson, whose cartoons appear daily in the Australian. Foreword by Gough Whitlam. Numerous b&w illustrations throughout. All cartoons are full page. With original published date printed below. Some cartoons with short explanation alongside date.
Publishing details: Mandarin, Port Melbourne, 1995. Pictorial Wraps.
Oblong volume.
drawingview full entry
Reference: see Backlash - The Australian Drawing Revival 1976-1986
Publishing details: National Gallery of Victoria, 1986, pb
Clay Statements 2view full entry
Reference: Clay Statements 2. Australian Contemporary Ceramics
Hoare, John (ed) Numerous colour illustrations throughout. Each double-page spread features full details on a particular artist, with a colour illustration of the artist's work on the opposing page. Presented in alphabetical order. Includes bibliography. [to be indexed]

Publishing details: Published by Darling Downs Institute Press, Toowoomba (1987) Pictorial Wraps.
Ref: 1000
Glacierview full entry
Reference: Glacier - various authors; Ruth Duncan (foreword); Suzanne Davies & Darren Wardle (introduction); Linda Williams (essay); Chris Bond, Judith Duquemin, Craig Easton, Clare Firth-Smith, Juan Ford, Mark Galea, Helga Groves, Stephen Haley, David Harley, et al (artists). Includes list of works, plus artist biographies. Exhibition catalogue for the art exhibition titled "Glacier", which took place at RMIT Gallery, Melbourne, in September 2001.
Publishing details: RMIT Gallery, RMIT University, Melbourne, 2001. Wraps. Condition: Near Fine. First Edition. Printed in an edition of 2000 copies. Illustrated in colour.
Ref: 1000
Bond Chris view full entry
Reference: see Glacier - various authors; Ruth Duncan (foreword); Suzanne Davies & Darren Wardle (introduction); Linda Williams (essay); Chris Bond, Judith Duquemin, Craig Easton, Clare Firth-Smith, Juan Ford, Mark Galea, Helga Groves, Stephen Haley, David Harley, et al (artists). Includes list of works, plus artist biographies. Exhibition catalogue for the art exhibition titled "Glacier", which took place at RMIT Gallery, Melbourne, in September 2001.
Publishing details: RMIT Gallery, RMIT University, Melbourne, 2001. Wraps. Condition: Near Fine. First Edition. Printed in an edition of 2000 copies. Illustrated in colour.
Duquemin Judith view full entry
Reference: see Glacier - various authors; Ruth Duncan (foreword); Suzanne Davies & Darren Wardle (introduction); Linda Williams (essay); Chris Bond, Judith Duquemin, Craig Easton, Clare Firth-Smith, Juan Ford, Mark Galea, Helga Groves, Stephen Haley, David Harley, et al (artists). Includes list of works, plus artist biographies. Exhibition catalogue for the art exhibition titled "Glacier", which took place at RMIT Gallery, Melbourne, in September 2001.
Publishing details: RMIT Gallery, RMIT University, Melbourne, 2001. Wraps. Condition: Near Fine. First Edition. Printed in an edition of 2000 copies. Illustrated in colour.
Easton Craig view full entry
Reference: see Glacier - various authors; Ruth Duncan (foreword); Suzanne Davies & Darren Wardle (introduction); Linda Williams (essay); Chris Bond, Judith Duquemin, Craig Easton, Clare Firth-Smith, Juan Ford, Mark Galea, Helga Groves, Stephen Haley, David Harley, et al (artists). Includes list of works, plus artist biographies. Exhibition catalogue for the art exhibition titled "Glacier", which took place at RMIT Gallery, Melbourne, in September 2001.
Publishing details: RMIT Gallery, RMIT University, Melbourne, 2001. Wraps. Condition: Near Fine. First Edition. Printed in an edition of 2000 copies. Illustrated in colour.
Firth-Smith Clare view full entry
Reference: see Glacier - various authors; Ruth Duncan (foreword); Suzanne Davies & Darren Wardle (introduction); Linda Williams (essay); Chris Bond, Judith Duquemin, Craig Easton, Clare Firth-Smith, Juan Ford, Mark Galea, Helga Groves, Stephen Haley, David Harley, et al (artists). Includes list of works, plus artist biographies. Exhibition catalogue for the art exhibition titled "Glacier", which took place at RMIT Gallery, Melbourne, in September 2001.
Publishing details: RMIT Gallery, RMIT University, Melbourne, 2001. Wraps. Condition: Near Fine. First Edition. Printed in an edition of 2000 copies. Illustrated in colour.
Ford Juan view full entry
Reference: see Glacier - various authors; Ruth Duncan (foreword); Suzanne Davies & Darren Wardle (introduction); Linda Williams (essay); Chris Bond, Judith Duquemin, Craig Easton, Clare Firth-Smith, Juan Ford, Mark Galea, Helga Groves, Stephen Haley, David Harley, et al (artists). Includes list of works, plus artist biographies. Exhibition catalogue for the art exhibition titled "Glacier", which took place at RMIT Gallery, Melbourne, in September 2001.
Publishing details: RMIT Gallery, RMIT University, Melbourne, 2001. Wraps. Condition: Near Fine. First Edition. Printed in an edition of 2000 copies. Illustrated in colour.
Galea Mark view full entry
Reference: see Glacier - various authors; Ruth Duncan (foreword); Suzanne Davies & Darren Wardle (introduction); Linda Williams (essay); Chris Bond, Judith Duquemin, Craig Easton, Clare Firth-Smith, Juan Ford, Mark Galea, Helga Groves, Stephen Haley, David Harley, et al (artists). Includes list of works, plus artist biographies. Exhibition catalogue for the art exhibition titled "Glacier", which took place at RMIT Gallery, Melbourne, in September 2001.
Publishing details: RMIT Gallery, RMIT University, Melbourne, 2001. Wraps. Condition: Near Fine. First Edition. Printed in an edition of 2000 copies. Illustrated in colour.
Groves Helga view full entry
Reference: see Glacier - various authors; Ruth Duncan (foreword); Suzanne Davies & Darren Wardle (introduction); Linda Williams (essay); Chris Bond, Judith Duquemin, Craig Easton, Clare Firth-Smith, Juan Ford, Mark Galea, Helga Groves, Stephen Haley, David Harley, et al (artists). Includes list of works, plus artist biographies. Exhibition catalogue for the art exhibition titled "Glacier", which took place at RMIT Gallery, Melbourne, in September 2001.
Publishing details: RMIT Gallery, RMIT University, Melbourne, 2001. Wraps. Condition: Near Fine. First Edition. Printed in an edition of 2000 copies. Illustrated in colour.
Haley Stephen view full entry
Reference: see Glacier - various authors; Ruth Duncan (foreword); Suzanne Davies & Darren Wardle (introduction); Linda Williams (essay); Chris Bond, Judith Duquemin, Craig Easton, Clare Firth-Smith, Juan Ford, Mark Galea, Helga Groves, Stephen Haley, David Harley, et al (artists). Includes list of works, plus artist biographies. Exhibition catalogue for the art exhibition titled "Glacier", which took place at RMIT Gallery, Melbourne, in September 2001.
Publishing details: RMIT Gallery, RMIT University, Melbourne, 2001. Wraps. Condition: Near Fine. First Edition. Printed in an edition of 2000 copies. Illustrated in colour.
Harley David view full entry
Reference: see Glacier - various authors; Ruth Duncan (foreword); Suzanne Davies & Darren Wardle (introduction); Linda Williams (essay); Chris Bond, Judith Duquemin, Craig Easton, Clare Firth-Smith, Juan Ford, Mark Galea, Helga Groves, Stephen Haley, David Harley, et al (artists). Includes list of works, plus artist biographies. Exhibition catalogue for the art exhibition titled "Glacier", which took place at RMIT Gallery, Melbourne, in September 2001.
Publishing details: RMIT Gallery, RMIT University, Melbourne, 2001. Wraps. Condition: Near Fine. First Edition. Printed in an edition of 2000 copies. Illustrated in colour.
Kinney Kieran view full entry
Reference: see Glacier - various authors; Ruth Duncan (foreword); Suzanne Davies & Darren Wardle (introduction); Linda Williams (essay); Chris Bond, Judith Duquemin, Craig Easton, Clare Firth-Smith, Juan Ford, Mark Galea, Helga Groves, Stephen Haley, David Harley, et al (artists). Includes list of works, plus artist biographies. Exhibition catalogue for the art exhibition titled "Glacier", which took place at RMIT Gallery, Melbourne, in September 2001.
Publishing details: RMIT Gallery, RMIT University, Melbourne, 2001. Wraps. Condition: Near Fine. First Edition. Printed in an edition of 2000 copies. Illustrated in colour.
Marburg Amanda view full entry
Reference: see Glacier - various authors; Ruth Duncan (foreword); Suzanne Davies & Darren Wardle (introduction); Linda Williams (essay); Chris Bond, Judith Duquemin, Craig Easton, Clare Firth-Smith, Juan Ford, Mark Galea, Helga Groves, Stephen Haley, David Harley, et al (artists). Includes list of works, plus artist biographies. Exhibition catalogue for the art exhibition titled "Glacier", which took place at RMIT Gallery, Melbourne, in September 2001.
Publishing details: RMIT Gallery, RMIT University, Melbourne, 2001. Wraps. Condition: Near Fine. First Edition. Printed in an edition of 2000 copies. Illustrated in colour.
Misic Mark view full entry
Reference: see Glacier - various authors; Ruth Duncan (foreword); Suzanne Davies & Darren Wardle (introduction); Linda Williams (essay); Chris Bond, Judith Duquemin, Craig Easton, Clare Firth-Smith, Juan Ford, Mark Galea, Helga Groves, Stephen Haley, David Harley, et al (artists). Includes list of works, plus artist biographies. Exhibition catalogue for the art exhibition titled "Glacier", which took place at RMIT Gallery, Melbourne, in September 2001.
Publishing details: RMIT Gallery, RMIT University, Melbourne, 2001. Wraps. Condition: Near Fine. First Edition. Printed in an edition of 2000 copies. Illustrated in colour.
Saad Nuha view full entry
Reference: see Glacier - various authors; Ruth Duncan (foreword); Suzanne Davies & Darren Wardle (introduction); Linda Williams (essay); Chris Bond, Judith Duquemin, Craig Easton, Clare Firth-Smith, Juan Ford, Mark Galea, Helga Groves, Stephen Haley, David Harley, et al (artists). Includes list of works, plus artist biographies. Exhibition catalogue for the art exhibition titled "Glacier", which took place at RMIT Gallery, Melbourne, in September 2001.
Publishing details: RMIT Gallery, RMIT University, Melbourne, 2001. Wraps. Condition: Near Fine. First Edition. Printed in an edition of 2000 copies. Illustrated in colour.
Soraya Carmen view full entry
Reference: see Glacier - various authors; Ruth Duncan (foreword); Suzanne Davies & Darren Wardle (introduction); Linda Williams (essay); Chris Bond, Judith Duquemin, Craig Easton, Clare Firth-Smith, Juan Ford, Mark Galea, Helga Groves, Stephen Haley, David Harley, et al (artists). Includes list of works, plus artist biographies. Exhibition catalogue for the art exhibition titled "Glacier", which took place at RMIT Gallery, Melbourne, in September 2001.
Publishing details: RMIT Gallery, RMIT University, Melbourne, 2001. Wraps. Condition: Near Fine. First Edition. Printed in an edition of 2000 copies. Illustrated in colour.
Wardle Darren view full entry
Reference: see Glacier - various authors; Ruth Duncan (foreword); Suzanne Davies & Darren Wardle (introduction); Linda Williams (essay); Chris Bond, Judith Duquemin, Craig Easton, Clare Firth-Smith, Juan Ford, Mark Galea, Helga Groves, Stephen Haley, David Harley, et al (artists). Includes list of works, plus artist biographies. Exhibition catalogue for the art exhibition titled "Glacier", which took place at RMIT Gallery, Melbourne, in September 2001.
Publishing details: RMIT Gallery, RMIT University, Melbourne, 2001. Wraps. Condition: Near Fine. First Edition. Printed in an edition of 2000 copies. Illustrated in colour.
Wellm Irene view full entry
Reference: see Glacier - various authors; Ruth Duncan (foreword); Suzanne Davies & Darren Wardle (introduction); Linda Williams (essay); Chris Bond, Judith Duquemin, Craig Easton, Clare Firth-Smith, Juan Ford, Mark Galea, Helga Groves, Stephen Haley, David Harley, et al (artists). Includes list of works, plus artist biographies. Exhibition catalogue for the art exhibition titled "Glacier", which took place at RMIT Gallery, Melbourne, in September 2001.
Publishing details: RMIT Gallery, RMIT University, Melbourne, 2001. Wraps. Condition: Near Fine. First Edition. Printed in an edition of 2000 copies. Illustrated in colour.
Zhiyuan Wang .view full entry
Reference: see Glacier - various authors; Ruth Duncan (foreword); Suzanne Davies & Darren Wardle (introduction); Linda Williams (essay); Chris Bond, Judith Duquemin, Craig Easton, Clare Firth-Smith, Juan Ford, Mark Galea, Helga Groves, Stephen Haley, David Harley, et al (artists). Includes list of works, plus artist biographies. Exhibition catalogue for the art exhibition titled "Glacier", which took place at RMIT Gallery, Melbourne, in September 2001.
Publishing details: RMIT Gallery, RMIT University, Melbourne, 2001. Wraps. Condition: Near Fine. First Edition. Printed in an edition of 2000 copies. Illustrated in colour.
Hollingworth Robert view full entry
Reference: Nature Boy by Robert Hollingworth. "Robert Hollingworth is best known as an Australian artist, having held more than 25 solo exhibitions in Australia and overseas. Nature Boy is his first book". Includes references printed at rear.
Publishing details: Self-Published, Melbourne (2004), 285pp
Ref: 1000
Boissevain Williamview full entry
Reference: Killing Cats and Karma by Maureen Addenbrooke, (Illustrations by Wim Boissevain). Poetry by Maureen Addenbrooke, combined with fine erotic artwork of women, in the vein of Rodin's nude watercolor drawings. Illustrations by Wim Boissevain, "one of Australia's most distinguished artists, whose paintings hang in galleries and major collections in many countries and in 1978 he was awarded the Order of the British Empire". The Australian author's first volume of collected poetry.
Publishing details: Artlook Books, Perth, 1983. Hard Cover.
Ref: 1000
Gibbons Tomview full entry
Reference: Time + Machine - Tom Gibbons: Art Works + Words 1955-1998 by Phillip McNamara, With an introductory essay by Patrick Hutchings. Includes 7pp EXHIBITION CATALOG titled "The Image Processor" laid in. Two related item sold together. Illustrated in colour and b&w. Includes appendices. Published on the occasion of the Tom Gibbons Retrospective Exhibition, held at the Lawrence Wilson Art Gallery/The University of Western Australia, 18 September - 1 November 1998.
Publishing details: The O.K. Image Factory / Lawrence Wilson Art Gallery / The University of Western Australia, Western Australia, 1998. Pictorial Wraps, 46pp
Ref: 1000
Smart Jeffreyview full entry
Reference: Jeffrey Smart: Paintings and Studies 2006-2010, and One Drawing from 1946
Beresford, Bruce [Jeffrey Smart]. Art exhibition catalogue for the exhibition titled "Jeffrey Smart: Paintings and Studies 2006-2010, and One Drawing from 1946", which took place in Melbourne & Sydney from 11 May - 10 July 2010. Illustrated in colour. With an essay by Bruce Beresford. Includes biographical details, exhibitions, selected bibliography, plus list of works.
Publishing details: Australian Galleries, Collingwood, Victoria, 2010. Pictorial Wraps.
Ref: 1000
Clark Marcview full entry
Reference: Another Colonial Boy by Marc Clark, Numerous b&w and colour illustrations and photographs throughout. Autobiography. Includes appendices, about the author, bibliography, plus various works. Includes some short chapters on other artists. From rear cover (in part): "Marc Clark came to Australia from England in 1962, responded happily to an Australian way of life and has lived and worked in Melbourne ever since. Marc Clark is widely acknowledged to be a very accomplished and versatile sculptor who has created with equal assurance a succession of commissioned memorial works on a monumental scale and a large number of other sculptures more personally conceived and motivated by his own powers of observation and invention".
Publishing details: CopyRight Publishing Company, Brisbane, 2005, 176pp, pb.
Manggalili Artview full entry
Reference: Manggalili Art: Paintings by the Aboriginal Artists Narritjin & Banapana Maymuru
Narritjin & Banapana Maymuru (art); Howard Morphy (text); Stephen Cole (catalogue design). Paintings by the Aboriginal Artists Narritjin & Banapana Maymuru. Illustrated in b&w. With map to inside front cover. Text by Howard Morphy. Catalogue design by ANU Graphic Design/Stephen Cole. Photographs by Doug Jervis. "The paintings illustrated were produced by Narritjin & Banapana Maymuru during their time as Visiting Artists to the Faculty of Arts, Australian National University."
Publishing details: Faculty of Arts, ANU (Australian National University), Canberra, 1978.12pp
Ref: 1000
Aboriginal Artview full entry
Reference: Manggalili Art: Paintings by the Aboriginal Artists Narritjin & Banapana Maymuru
Narritjin & Banapana Maymuru (art); Howard Morphy (text); Stephen Cole (catalogue design). Paintings by the Aboriginal Artists Narritjin & Banapana Maymuru. Illustrated in b&w. With map to inside front cover. Text by Howard Morphy. Catalogue design by ANU Graphic Design/Stephen Cole. Photographs by Doug Jervis. "The paintings illustrated were produced by Narritjin & Banapana Maymuru during their time as Visiting Artists to the Faculty of Arts, Australian National University."
Publishing details: Faculty of Arts, ANU (Australian National University), Canberra, 1978.12pp
Maymuru Narritjin & Banapana view full entry
Reference: Manggalili Art: Paintings by the Aboriginal Artists Narritjin & Banapana Maymuru
Narritjin & Banapana Maymuru (art); Howard Morphy (text); Stephen Cole (catalogue design). Paintings by the Aboriginal Artists Narritjin & Banapana Maymuru. Illustrated in b&w. With map to inside front cover. Text by Howard Morphy. Catalogue design by ANU Graphic Design/Stephen Cole. Photographs by Doug Jervis. "The paintings illustrated were produced by Narritjin & Banapana Maymuru during their time as Visiting Artists to the Faculty of Arts, Australian National University."
Publishing details: Faculty of Arts, ANU (Australian National University), Canberra, 1978.12pp
Maymuru Banapana view full entry
Reference: Manggalili Art: Paintings by the Aboriginal Artists Narritjin & Banapana Maymuru
Narritjin & Banapana Maymuru (art); Howard Morphy (text); Stephen Cole (catalogue design). Paintings by the Aboriginal Artists Narritjin & Banapana Maymuru. Illustrated in b&w. With map to inside front cover. Text by Howard Morphy. Catalogue design by ANU Graphic Design/Stephen Cole. Photographs by Doug Jervis. "The paintings illustrated were produced by Narritjin & Banapana Maymuru during their time as Visiting Artists to the Faculty of Arts, Australian National University."
Publishing details: Faculty of Arts, ANU (Australian National University), Canberra, 1978.12pp
Textaqueen Arleenview full entry
Reference: Arlene TextaQueen's Colour-In 2007 Calendar (Texta Queen)
TextaQueen, Arlene (Texta Queen). Arlene TextaQueen's Colour-In 2007 Calendar. All images are female nudes, or at least in various stages of undress. Limited Edition, hand-numbered 105 (of 200). From rear cover: "Texta is Australian for felt-tip marker and Arlene TextaQueen likes her tips felt. She spends her life as a marker super-heroine, exposing real women and queer performers un-dressed-up in accessories and surrounds of their own desire. Originally drawn directly from life in life-size marker line and eventually detailed in vivid colour, TextaQueen's portraits re-con-texta-ualise the tradition of the salon nude as she intimately uncovers the unique character of her select subjects". See Texta Queen's website for further details & images of the pin-up-girl colour-ins.
Publishing details: TextaQueen, Carlton, Victoria, 2007. Pictorial Wraps. spiral bound
Ref: 1000
Aboriginal artview full entry
Reference: see The Inspired Dream: Life as Art in Aboriginal Australia [Catalogue for the exhibition of Aboriginal Art, Qld Art Gallery 1988, held to coincide with World Expo '88; chapters on rock art, Western Arnhem Land rock paintings, women's acrylic paintings from Yuendumu, men's painting in Papunya, Namatjira and the Hermannsburg School, and more]
Publishing details: Queensland Art Gallery, 1988. 112 pages with colour illustrations. .
Third Metropolis Theview full entry
Reference: The Third Metropolis: Imagining Brisbane Through Art and Literature 1940-1970 by William Hatherell, Foreword by Thomas Shapcott. Includes endnotes, bibliography, plus index. "For the first time, The Third Metropolis places Brisbane within wider debates about Australian cultural history."
[to be indexed thoroughly]
Publishing details: University of Queensland Press, St Lucia, Queensland, 2007. 312pp
Lindsay Norman view full entry
Reference: Norman Lindsay: His Books, Manuscripts and Autograph Letters in the Library of, and Annotated by Harry F. Chaplin (Studies in Australian & Pacific Bibliographies - No. 18). Norman Lindsay: His Books, Manuscripts and Autograph Letters in the Library of, and Annotated by Harry F. Chaplin. Foreword by Norman Lindsay. Studies in Australian & Pacific Bibliographies - No. 18. General editor: Walter W. Stone. Illustrated in b&w. Includes b&w photographic portrait frontispiece of Norman Lindsay with facsimile signature below. Typescripts of letters and original documents are included.
Publishing details: The Wentworth Press, Sydney, 1969. Wraps.
Nillumbik Art Collectionview full entry
Reference: Writing Art: A Series of Essays on the Nillumbik Art Collection by Barb Whiter, & Chris Marks (eds) [’Contains six essays on the Nillumbik Art Collection. At the time of writing the collection consisted of 167 works valued at one million dollars. ‘]
Publishing details: Nillumbik Shire Council, Greensborough, Victoria, 2006. Pictorial Wraps. , 129pp
Ref: 1000
Dickins Barryview full entry
Reference: Ron Truffle: His Life & Bump Out by
Barry Dickins,

Publishing details: Published by Pascoe Publishing, Fairfield (1988)
Ref: 1000,
Moffatt Frankview full entry
Reference: Stuffed Parrots by Frank Moffatt, [’Uncommon collection of cartoons by Australian cartoonist Frank Moffatt. Illustrated in b&w. Mostly no text. Colour wraparound cover art, also by Frank Moffatt. By the author/artist of "Pippy: A Day in the Life of the Artist's Dog". ‘]
Publishing details: Pegasus Books, South Melbourne, 1979. Pictorial Wraps.
Ref: 1000
McNamara Phillipview full entry
Reference: To Bring All Circles Full (Just Ordinary Life to Treasure) by Phillip McNamara, Contains 18 poems. Also includes ORIGINAL PAINTING laid in. The original painting is a zen-style purple painting of an abstract Buddhist face, signed "PM" & with "To Come Full Circle", all in purple paint. The West Australian artist is represented in both the Art Gallery of Western Australia State Collection, & Edith Cowan University Collection.
Publishing details: Eureka Books, East Victoria Park, Western Australia, 2009.
Ref: 1000
Tattoo Candyview full entry
Reference: Tattoo Candy: Tattoos Down Under (Tattoo Candy #4). Wilson, Geoff (ed). No date (circa 2006). Contains hundreds (1000+) of full-colour photographs of tattoos throughout by Australian tattoo artists, grouped into the following sections: animals, aquatic, art, automotive, birds, cartoons, cultural, fairies, flowers, girls, hearts, insects, mixed, monsters, music, oriental, portraits, religious, skulls, space, weapons, & words. Includes interviews with tattoo artists. Middle section with tattoo studio ads & directory. Large format volume. Green front cover featuring a tattoo of a skull & roses titled "Tattoo"
Publishing details: Gereen, Australia. c2006Pictorial Wraps. 174pp
Ref: 1000
Thaliaview full entry
Reference: A Loose Thread by Thalia (Introduced & Edited by Pi O) (Peter Oustabasides). Numerous b&w and colour photographs & illustrations throughout. Includes index. With bibliography at rear. From rear cover: "Thalia has been writing visual poetry as of the early seventies. She is living, writing, and playing in Melbourne, Australia".
Publishing details: Collective Effort Press, Melbourne, 2015. Pictorial Wraps, 208 pp
Ref: 1000
Australian national journalview full entry
Reference: Australian National Journal to be indexed [’Australian World War Two periodical, published once a month. Several contributors. Edited by Sydney Ure Smith & Gwen Morton Spencer. Contains stories & articles, verse, photographs, drawings, & film reviews. Numerous b&w photographs & illustrations throughout. ‘]
Publishing details: Ure Smith, Sydney, 1940s
Ref: 1000
Lyssiotis Peter view full entry
Reference: From Douglas Stewart Fine Books catalogue, May, 2014.

Dancing over dark waters : the chapbook
HARRISON, Gwen; ANDERSON, Sue and LYSSIOTIS, Peter
# 7697
Sydney : the artists, 2012. Quarto, hand-printed linocut wrappers, pp. [32], illustrated with original linocuts. Edition limited to 30 signed copies, each copy varies somewhat in colour. A smaller format edition of the artist's book 'Dancing over Dark Waters', limited to 7 copies, in larger format. The textual content in both editions are the same.
A chapbook based on the artists' book, Dancing over dark waters. The text is reset, and different images unique to this book appear, except for the cover, which reproduces part of an etching from the main work. The other images comprise linocut relief prints, and an interleaved etching on acid free tissue, which varies in different copies of the edition. The work reveals the three artists' response to one of Sydney's darkest historical colonial sites, Cockatoo Island, an imperial prison, industrial school, reformatory and jail. The text also invokes the present day situation of refugees and refers to "those other islands we use as a noose -- Nauru, Christmas Island, Timor, Malaysia," asking: "When will the time come ... when compassion will span the dark waters like an indestructible bridge uniting us and the best part of our dreams for the future with the best part of their dreams for the future." - NLA website.
$ 400.00 AUD
Anderson Sueview full entry
Reference: From Douglas Stewart Fine Books catalogue, May, 2014.

Dancing over dark waters : the chapbook
HARRISON, Gwen; ANDERSON, Sue and LYSSIOTIS, Peter
# 7697
Sydney : the artists, 2012. Quarto, hand-printed linocut wrappers, pp. [32], illustrated with original linocuts. Edition limited to 30 signed copies, each copy varies somewhat in colour. A smaller format edition of the artist's book 'Dancing over Dark Waters', limited to 7 copies, in larger format. The textual content in both editions are the same.
A chapbook based on the artists' book, Dancing over dark waters. The text is reset, and different images unique to this book appear, except for the cover, which reproduces part of an etching from the main work. The other images comprise linocut relief prints, and an interleaved etching on acid free tissue, which varies in different copies of the edition. The work reveals the three artists' response to one of Sydney's darkest historical colonial sites, Cockatoo Island, an imperial prison, industrial school, reformatory and jail. The text also invokes the present day situation of refugees and refers to "those other islands we use as a noose -- Nauru, Christmas Island, Timor, Malaysia," asking: "When will the time come ... when compassion will span the dark waters like an indestructible bridge uniting us and the best part of our dreams for the future with the best part of their dreams for the future." - NLA website.
$ 400.00 AUD
Dickins Barryview full entry
Reference: The Crookes of Epping by Barry Dickins,

Publishing details: Published by Pascoe Publishing, Carlton (1984)
Ref: 1000
Dickins Barryview full entry
Reference: You'll Only Go In For Your Mates'
Dickins, Barry

Publishing details: Published by Allen & Unwin, North Sydney (1991)
Ref: 1000
Henson Bill view full entry
Reference: Bill Henson (Exhibition Catalogue): XLVI Esposizione Internazionale d'Arte La Biennale Di Venezia 1995 - Australian Pavilion 11 June - 15 October 1995 (46th Venice Biennale)
Henson, Bill (Edited by Penny Hueston) (Foreword by Ann Lewis & Doug Hall) (Essays by Isobel Crombie & Michael Heyward) [’Uncommon exhibition catalogue for controversial photographer Bill Henson, published for the 46th Venice Biennale, Australian Pavilion, 11 June - 15 October, 1995. XLVI Esposizione Internazionale d'Arte La Biennale Di Venezia 1995. Contains 14 colour "cut-up" photographic plates featuring young nudes with descriptive captions, plus 11 text illustrations (colour and b&w). Includes lists of selected individual exhibitions, selected group exhibitions, plus selected bibliography. Bill Henson's "Untitled" works from 1994/1995. Edited by Penny Hueston. Foreword by Ann Lewis & Doug Hall. Essays by Isobel Crombie & Michael Heyward. Curator for the Australian Exhibition: Isobel Crombie. Exhibition managed by Australian Exhibitions Touring Agency Ltd (AETA), a non-profit company which manages the touring of Australian contemporary art and craft exhibitions within Australia and internationally. Bilingual text in English & Italian. Italian translation by Stephan Riedel & Maurice Riverso. Contains nudity. Bill Henson was born in 1955 in Melbourne, Australia.’]

Publishing details: Published by Australian Exhibitions Touring Agency Ltd (AETA), South Melbourne (1995)
Ref: 1000
Eager Willview full entry
Reference: from eBay listing, July, 2019: William Henry Eager b1909 to ? studied art in Melbourne , he won a number of awards including the 1968 Arthur Streeton Award.

Armstrong Stephenview full entry
Reference: Stephen Armstrong: Survey Exhibition 1986-2006 - 29th March - 16th April, 2006 - Pollock Gallery - Richmond
Armstrong, Stephen

Publishing details: Published by Pollock Gallery, Richmond (2006)
Ref: 1000
Fashionview full entry
Reference: See Rose Grainger Costume Collection selected by Elinor Wrobel. (Selection & preparation by Elinor Wrobel; Photographs by Jim Sheldon; Edited by Rosemary Florrimell; Introduction by Kay Dreyfus). Exhibition catalogue for the Rose Grainger Costume Collection. Selection & preparation by Elinor Wrobel. Photographs by Jim Sheldon. Edited by Rosemary Florrimell. Introduction by Kay Dreyfus. Illustrated in colour and b&w. Includes selected bibliography. Published in conjunction with the Australian Bicentenary 1788-1988.
Publishing details: University of Melbourne, 1988, 36pp
costumeview full entry
Reference: See Rose Grainger Costume Collection selected by Elinor Wrobel. (Selection & preparation by Elinor Wrobel; Photographs by Jim Sheldon; Edited by Rosemary Florrimell; Introduction by Kay Dreyfus). Exhibition catalogue for the Rose Grainger Costume Collection. Selection & preparation by Elinor Wrobel. Photographs by Jim Sheldon. Edited by Rosemary Florrimell. Introduction by Kay Dreyfus. Illustrated in colour and b&w. Includes selected bibliography. Published in conjunction with the Australian Bicentenary 1788-1988.
Publishing details: University of Melbourne, 1988, 36pp
clothingview full entry
Reference: See Rose Grainger Costume Collection selected by Elinor Wrobel. (Selection & preparation by Elinor Wrobel; Photographs by Jim Sheldon; Edited by Rosemary Florrimell; Introduction by Kay Dreyfus). Exhibition catalogue for the Rose Grainger Costume Collection. Selection & preparation by Elinor Wrobel. Photographs by Jim Sheldon. Edited by Rosemary Florrimell. Introduction by Kay Dreyfus. Illustrated in colour and b&w. Includes selected bibliography. Published in conjunction with the Australian Bicentenary 1788-1988.
Publishing details: University of Melbourne, 1988, 36pp
Scorfield Tedview full entry
Reference: A mixed grill by Ted Scorfield [cartoons]
Publishing details: Bulletin Newspaper, Sydney, [T. Scorfield?, 1943?] 
67 p. : chiefly ill.
Ref: 1009
Spofforth Miss D V view full entry
Reference: see CLARKE AND SIMPSON AUCTIONS
24 July, 2019, lot 325: D.V. Spofforth, "A grey day Waberswick", signed watercolour, 21cm x 31.5cm, Royal Institute of painters in watercolour exhibitors label verso, dated March 1936 No.337. Miss D.V. Spofforth was the daughter of Fred Spofforth,  Australian fast bowler
Underhill Tonyview full entry
Reference: see EWBANK'S auction 25 Juy 2019, lot 1258: Richard Turneramon (British, 1940-2013). 'The Rainbow', oil on canvas, signed, 102cm x 153cm. Richard Turneramon (1940 - 2013) was a British Artist and Author. He studied at the Royal College of Art in London where he was tutored by Carol Weight and Sir Peter Blake. His inspiration and technique coming from the Old Masters, his intention all along was to create allegorical works about the human experience. As well as having his paintings exhibited internationally including the US and Egypt, Turneramon worked as a lecturer, created environmental installation projects with Australian artist Tony Underhill and was employed as an epigraphic artist in Luxor, Egypt..
Fiveash Rosaview full entry
Reference: The forest flora of South Australia / by J.E. Brown (John Ednie), 1848-1899
[ the Fiveash plates display her signed initials. Described as the foremost botanical artist of her day ... accompanying plate our artist has given us excellent representations of the principal distinguishing features
Ref: 1000
Duryeaview full entry
Reference: see The South Australian Advertiser (Adelaide, SA : 1858 - 1889) Wed 31 May 1871, Page 2 [unedited text: from Trove: The painting of the Emperor William
of Germany, which was exhibited at the peace demonstration on Monday night, was executed at the establishment of Mr. Duryea, and the enthusiasm with which its appearance was greeted on the occasion referred to was not only
indicative of the loyalty of the Germans to their Emperor, but was a high compliment to the artist for his faithful portraiture. The paint
ing, which show- simply the bust of the figure, is more than life-sizej and the face is three quarter. The of the veteran
Hmperor, which by picture and photograph
has been made so familiar, ";i« well "pre
served by the artist. His .Majesty appears
in military costume, but care has been taken to
subdue the colors of the uniform, so that the
face may be the prominent feature of the figure.
There is a warm, fresh tint in the face, which
it very life-like, and the whole of the details of
the picture are worked out with artistic skill
and finish. The portrait, which is elegantly
framed, has, we hear, been painted to order for disposal by lottery.

AND

Frederic William op Germany. — The
splendid portrait of the Emperor of Germany,
exhibited on Monday evening at the National
Hotel j$te, may now be seen at the studio of Mr.
Duiyea, by whom it has been jrainted. It has
been taken from a carte-de-visite, enlarged by the solar camera, and executed in oil. It is considerably above life-size, being intended
to be- viewed as_ such at a distance of
about 100 feet. His Majesty .is in full
military uniform, the gay colouring of which
has, however, been toned down so as not to
attract the attention from the features. As a
work of art the painting is admirable. It Lag
been bought by the German Club. His Majesty is, we believe, 75 years of age; but the portrait gives him the appearance of a person of about 60. The original carte-de-visite is by a Parisian artist*
Patterson Nellieview full entry
Reference: see COTSWOLD AUCTION COMPANY, UK, 6 August 2019, lot 276: Nellie Patterson (20th century) bronze bust, study of aboriginee, 33cm (Nellie Patterson was the niece of Nelly Melba and was given to present owner in 1979 in Melbourne, Australia) 
 
Nikulinsky Philippaview full entry
Reference: Flowering Plants of the Eastern Goldfields of Western Australia By Philippa Nikulinsky
Publishing details: Published 1983, Carr Boyd Minerals Limited, Perth WA 50 tipped-in large colour plates. Includes loose copies of two plates Number 812 of 1,000 Numbered and signed by the artist With slipcase
Ref: 1000
Ball Adam Gustavusview full entry
Reference: see DAAO: ‘Like so many artists of the period, Ball's job as a civil engineer allowed him to travel throughout South Australia recording scenes of outback life and the Australian landscape.
sketcher, explorer and civil engineer, was born on 7 April 1821 in Dublin, third son of Major Benjamin Ball of the 40th Regiment of Foot. He was educated at Trinity College, Dublin. Early in 1839 he came to Sydney where he practised his profession of civil engineer for eight years. Ball’s lifestyle was bohemian and somewhat nomadic, unlike his elder brother, the Right Honourable J.T. Ball, whose distinguished career included the position of lord chancellor of Ireland. In 1847 Adam Gustavus Ball helped overland a mob of cattle to Adelaide, then remained in South Australia working as a surveyor and taking part in expeditions of exploration. He was known on every outlying sheep and cattle station for his genial disposition and his skill with a pencil. His sketches include incidents such as cattle musters, kangaroo hunts and camp scenes, all executed with verve in a bold, free style. Unfortunately, an accident prevented the continuation of these sorties into the bush. Ball exhibited with the Society of Arts at Adelaide in 1859 and 1860. Many of his sketches were reproduced as photographs by Townsend Duryea and G.J. Freeman in the 1860s and early 1870s and apparently sold well. Numerous originals survive, including at least two large watercolours of a kangaroo hunt (NLA). The Art Gallery of South Australia holds The Cattle Run (c.1865, w/c), Dog Chasing a Kangaroo (1860, w/c), and two pencil drawings wryly captioned ' Ah! By the By! Do you want many wool bales this season? ' and ...
• 1839 Sydney, NSW
Flourished fl. 1859 - 1882
View the full record at Design and Art Australia Online’
Caney Ebenezer and his wife Kate Agnes Caney (nee Barrett) photographersview full entry
Reference: see Antipodean Books, elist 37, ‘Banking; Civil War; Photography; Slavery; Australia’ , 2019:variopus works including "BLACK TRACKERS", ABORIGINES, [WITH] 'PULPIT ROCK, MT. VICTORIA', 'ROCK OF AGES', 'THE ORPHAN, KATOOMBA'. PHOTOGRAPHS.
Ca. 1880. A striking studio portrait of two Aboriginal trackers captioned in ink below the print in a period hand, by an unidentified photographer, accompanied by 3 photographs by Caney & Co., laid down on thick album stock.

The trackers are viewed about three quarter length, in Western attire, seen against a landscape backdrop, one at the left seen in profile and gesturing with the index finger of his right hand, the second tracker facing the camera and also gesturing with his index finger, his hat held in the other hand.

The three landscape views of noted rock formations are captioned in white inside the print, and signed "Caney Photo". The company was founded in 1883 by Ebenezer Caney and his wife Kate Agnes Caney (nee Barrett). Caney was born in England and emigrated to New Zealand, where he and his wife established the photography firm in Palmerston. Mrs. Caney is credited with numerous impressive New Zealand images (Manawatu Gorge, Hawke's Bay, town of Palmerston). Caney & Co moved to Australia circa 1883, and are noted for their early images of Australia.

The image titled "Black Trackers" not found in Trove. Trove 10715174 records a Caney & Co. album of photographs of landscape views of the Blue Mts and scenes around Sydney which includes Katoomba. Very good overall. Item #25073
Caney Kate Agnes (nee Barrett) photographerview full entry
Reference: see Antipodean Books, elist 37, ‘Banking; Civil War; Photography; Slavery; Australia’ , 2019: "BLACK TRACKERS", ABORIGINES, [WITH] 'PULPIT ROCK, MT. VICTORIA', 'ROCK OF AGES', 'THE ORPHAN, KATOOMBA'. PHOTOGRAPHS.
Ca. 1880. A striking studio portrait of two Aboriginal trackers captioned in ink below the print in a period hand, by an unidentified photographer, accompanied by 3 photographs by Caney & Co., laid down on thick album stock.

The trackers are viewed about three quarter length, in Western attire, seen against a landscape backdrop, one at the left seen in profile and gesturing with the index finger of his right hand, the second tracker facing the camera and also gesturing with his index finger, his hat held in the other hand.

The three landscape views of noted rock formations are captioned in white inside the print, and signed "Caney Photo". The company was founded in 1883 by Ebenezer Caney and his wife Kate Agnes Caney (nee Barrett). Caney was born in England and emigrated to New Zealand, where he and his wife established the photography firm in Palmerston. Mrs. Caney is credited with numerous impressive New Zealand images (Manawatu Gorge, Hawke's Bay, town of Palmerston). Caney & Co moved to Australia circa 1883, and are noted for their early images of Australia.

The image titled "Black Trackers" not found in Trove. Trove 10715174 records a Caney & Co. album of photographs of landscape views of the Blue Mts and scenes around Sydney which includes Katoomba. Very good overall. Item #25073
Bayliss Charlesview full entry
Reference: see Antipodean Books, elist 37, ‘Banking; Civil War; Photography; Slavery; Australia’ , 2019: various works including A Sydney Botanic Garden image by Charles Bayliss, with a large albumen panorama of Coogee Bay from the rocks, ("Coogee Bay 162"), laid down on a sheet with an image of Philae Island, Egypt.

The Botanic Garden image by Bayliss depicts large tree ferns in the foreground, with diagonal paths leading towards the conservatory in the distance. "C. Bayliss, photo, Sydney", photographer's blind stamp, at the lower left corner; titled in period ink below the print. Trove 42542536 at the National Library of Australia. 7 7/8 x 6 1/8". Small chip at upper right corner.

The Coogee Bay photograph is a dramatic view of the rocks of the Gap, from the top of the ocean cliff on South Head. A blind stamp is at the right edge with the papermaker's imprint. 11 x 8 1/2. Slightly chipped at lower corners. Not found in Trove.

The Philae Island image depicts the ruins of the Temple of Isis in Aswan, Egypt, taken from within the temple and showing the distinctive columns with tops shaped like papyrus flowers and with Hathor heads above. Although unidentified, possibly by Antonio Beato.
(Trove locates 2 images of the Temple of Isis by Beato: 25161670 and 25161661). 7 x 4 1/2" Very good overall. Item #25077
Bertini Joview full entry
Reference: Land of Shining Stone, exhibition invite with short essay.
Publishing details: Arthouse Gallery, 2019, 6pp folding card
Ref: 1000
Larter Patview full entry
Reference: Hidden women of history: Pat Larter, pioneering ‘femail’ artist who gave men the Playboy treatment. Published in The Conversation, July 26, 2019
Author: Joanna Mendelssohn, Honorary Principal Fellow, University of Melbourne. Editor in Chief, Design and Art of Australia Online, University of Melbourne. Disclosure statement: Joanna Mendelssohn was the curator for Larter Family Values. She has in the past received funding from the Australian Research Council.

Ten images of a woman screaming with theatrical rage, pasted onto board, decorated with glitter paint. The faces she makes are almost comic, but there is an intensity to them. The title, Pat’s Anger, says it all.

In 1992, the year of her first exhibition, Australian artist Pat Larter wanted her husband, the artist Richard Larter, to understand how his unconscious selfishness made her feel.

She asked her son, Nicholas, to make multiple digital close-up photographs of her face as she lay on the carpet, and arranged the subsequent prints to show to Richard with the comment: “This is how you make me feel.” It was about this time that Richard’s diaries stopped referring to “my house” and changed to “our house”.

Images of Pat dominate Richard Larter’s figurative work. Deborah Hart, now Head of Australian Art at the National Gallery, once described her as “one of the most painted, drawn, photographed and filmed artist-partners in the entire history of art”.

In 1971, Richard’s Pop-influenced paintings of Pat’s body in various guises led the art historian Bernard Smith to describe him as “probably the most original talent to emerge in Australia in recent years”. Even though Richard regularly spoke of Pat’s importance, Smith did not notice her.

It took many years for Pat to be recognised both as a major influence on her husband’s work and as an artist in her own right.

Pat met Richard when she was 15, on her first day of work as an office junior. She was from a poor London family; he was the discontented son of a politically conservative, artistically aware family. He introduced her to cinema, she introduced him to theatrics and burlesque humour.

In 1962, with three children in tow, the Larters emigrated to Australia. Richard had unsuccessfully tried to exhibit his art in London, but here he came to the attention of Frank Watters and Geoffrey Legge, who were interested in new artists for their recently opened Watters Gallery in Sydney.

Pat Larter, ‘Lets get with it’, 1993, 122x91. Courtesy Diane Larter
The Larters bought a house at Luddenham in the hinterland south-west of Sydney. Two more children were born. While Richard painted after finishing his day job, Pat entertained the children with dress-ups, tap dancing and performances as “the world’s worst ballerina”. These continued after they bought a television, but stopped when Richard commandeered the living room so he could make larger paintings.

She had always posed nude for him, but now he began to incorporate elements of her costume in his paintings. She appeared as a stripper, a risqué schoolgirl, a naughty maid. Sometimes he painted her full-frontal – challenging viewers to comment on her exposure.

In 1969 they began to make experimental films, initially on a super-eight camera. Stills from these, showing Pat in various poses, were incorporated into the subject matter for Richard’s paintings.

Although Pat initiated many of the performances, the (male) critics and curators who admired the result gave credit to Richard Larter alone. This was not unusual for the time.

She was nobody’s Pat

In 1974 Richard was appointed visiting artist at the Elam School of Art in Auckland. Pat participated in his lectures here, which evolved into performances.

The head of sculpture at Elam at the time, Jim Allen, attracted many international visitors. In 1974 one of these was Terry Reid, a visiting Canadian artist who initiated the international mail art event for Auckland.

International Mail Art had its origins in postcards exchanged by Dada artists in the 1920s. It had grown into a significant movement of creative anarchy where artists, many of them from countries under political oppression, would exchange postcards. The recipients would sometimes add to them before forwarding the cards on. By the 1970s, dominant figures in the movement would stage thematic mail art events.

In Auckland, artists were invited to send works of precisely one inch in size. Pat’s entry was called “Barely an Inch Dared”. Reid said of her work:

[it was] perfect … She had actually made prints from her body and each was a perfect inch … an inch of elbow, or clitoris or whatever and so … No part of the body became more important or more special than any other part which I thought was a really nice thing to do.
When the Larters returned to Luddenham, Pat began to send and receive mail art in an ever-growing practice. She enjoyed exploring and ridiculing sexual politics, inventing the feminist mail art term, “Femail Art”.

She used children’s stamp sets to make punning slogans: “Oh Pun Legs”, “Mamaries”, “Self Exposure”. When a Brazilian artist assumed her explicit works were an invitation for mutual masturbation, she incorporated his offer into her reply, stencilling, “She’s nobody’s Pat”.

Pat was also involved in a mailart show protesting French nuclear tests in the Pacific, the promotional poster for which shows her screaming face, encouraging artists from around the world to protest against nuclear power.

She also continued to make films. Most were with Richard, but Men (1975) is a solo effort where the viewer is taken from the sign on a toilet block to linger over bronzed bodies on a beach. She described this as giving men “the Playboy treatment”, where the final contrast was between a muscle-bound man’s torso and a classical marble statue.

This challenge of the nature of gaze influenced her sexualised political performances in the anarchic Mahouly-Utzon Performance Troupe. Most dramatic of all was Tailored Maids, a critique of female circumcision where she sat behind a sheet, using shadow play so that as the implements of destruction – including secateurs – approached her body, she threw pieces of raw meat into the audience.

An artist in her own right

In 1982 the Larters sold the property at Luddenham and moved to the centre of Yass township. The departure is recorded in a mail art postcard showing Pat’s celebratory performance. Tellingly, the National Gallery of Australia’s catalogue credits this work as being solely by Richard Larter.

In 1989, on a visit to Canberra, Pat saw an exhibition of work by Aboriginal women from Utopia in the Northern Territory. She was fascinated both by their art and the fact that they painted with the work flat on the ground. By this time Pat had ceased to model for Richard. Her knees especially were too painful for any more posing.

Inspired by the Utopia artists she began a series of abstract paintings as visual reactions to music, placing the boards flat on the kitchen table. She did not want to use Richard’s colours, but instead bought craft paints and glitter from the local craft shop. In 1992 she held her first exhibition at Legge Gallery.

Both Pat and Richard were enthusiasts for the newly available Super Scan laser printer, which enabled giant colour photographs. Pat’s subjects were men, photographed in a Sydney brothel, posing as beefcake, confronting the viewer, enhanced with glitter paint. Her work was included, along with that of her husband, in the 1996 Adelaide Biennial at the Art Gallery of South Australia.

Later that year, a persistent pain in her back, along with her aching legs, led her to seek a specialist’s opinion in Canberra. By the time a diagnosis of lymphoma was made, she only had weeks to live. Pat Larter died on October 14 1996.

Following her death, her family and friends, especially Richard, were concerned that she be remembered as an artist in her own right. He gave the Pat Larter archive to the Art Gallery of New South Wales. In 1999 Steven Miller, the Head Research Librarian, curated the first exhibition of Pat’s mail art and Larter films. The Legge and Watters galleries continued to exhibit her work, and gradually her paintings have entered public collections.

In 2006 Casula Powerhouse Arts Centre organised a touring exhibition Larter Family Values, honouring both Pat and Richard Larter. More recently a new generation of feminist artists have come to appreciate the radical nature of her art, which still challenges (some) of today’s viewer

Publishing details: Published in The Conversation, July 26, 2019
Western Australian Art numbers 1 - 8view full entry
Reference: Western Australian art nos. 1 - 8 / [edited by Barbara Cotter and Ted Snell?] To be indexed


Publishing details: Description [Bentley, W.A.] : Visual Culture Research Unit, School of Art, Curtin University of Technology, from c2000?
Ref: 1000
Western Australia photographers 1 - 3view full entry
Reference: Western Australian photographers
Publishing details: AGWA, 1979 - 82,
photographyview full entry
Reference: see Western Australian photographers
Publishing details: AGWA, 1979 - 82,
Dupain Rexview full entry
Reference: Rex Dupain : Australian images

Publishing details: French Forest, N.S.W. : New Holland Publishers, 2002 
160 p. : ill. (chiefly plates)
Ref: 1000
Barton Del Kathryn view full entry
Reference: Del Kathryn Barton by Del Kathryn Barton


Publishing details: Thames & Hudson,
May 2019,
Hardback, Mini Monographs series is a celebration of Australia’s most captivating female artists, featuring a collection of their best loved works.

Ref: 1000
Papapetrou Polixeniview full entry
Reference: Polixeni Papapetrou by Polixeni Papapetrou
The new Mini Monographs series is a celebration of Australia’s most captivating female artists, featuring a collection of their best loved works.

Publishing details: Thames & Hudson,
May 2019, hb.
Ref: 1000
McGregor Alasdair view full entry
Reference: A collection of the best of Australian Geographic's natural history and
By: Alasdair McGregor. ]’Twenty seven years of excellence in illustration is celebrated in this sumptuously illustrated book from Australian Geographic. The illustrator’s art has been one of the cornerstones of Australian Geographic since Banjo the platypus graced the cover of the first issue in 1986. Photo-realistic illustrations of native fauna appeared on each cover for the first 83 issues. Inside the pages of Australian Geographic, illustration has been used to explain complex data, recreate scenes from our ancient past or simply to show us nature in all its detailed glory and continues to be a vital storytelling tool. This gorgeous book boasts 224 pages of beautiful images from many of Australia’s finest natural history artists. Enjoy the chance to see many familiar scenes in a whole new light as they feature as artworks in their own right. The book is packed with depictions of Australia’s fauna and flora as rendered by the finest illustrators and features words from award winning writer and artist Alasdair McGregor.

About the Author :Alasdair McGregor was born in Sydney in 1954. He studied architecture at the University of New South Wales, gaining a Bachelor of Science (Arch.) in 1976 and a Bachelor of Architecture (Hons.) in 1979. After a year working in the Government Architect’s Branch of the New South Wales Department of Public Works, Alasdair decided to pursue a long held dream of becoming a painter. Since the early 1980s he has devoted himself almost exclusively to his artistic self-development, first as a painter, but later also directing his energies to writing and photography.’] [to be indexed]
Publishing details: 2013. Pages: 224
Ref: 1000
Australia Modernview full entry
Reference: Australia Modern - Architecture, Landscape & Design 1925-1975. By: Hannah Lewi, Philip Goad. [to be indexed] [’From the Sydney Opera House and the National Gallery of Victoria to sought-after homes across the country, the pervasive presence of modernism is inescapable in Australia. Led by the likes of Robin Boyd, Harry Seidler and Walter Burley Griffin, modernist architects and designers set out to rebuild at all scales, from vast infrastructure projects, to public health and education institutions, to new centres of culture, consumption and leisure.

Australia Modern vividly captures this architectural legacy with a survey of 100 significant modern sites, richly illustrated with archival images and newly commissioned photographs. Contextual essays by leading voices in architecture and conservation explore modernism’s influence on every facet of life in Australia and the ongoing challenges facing preservation. Showcasing projects from the iconic and the urban to the everyday, the regional and the lesser known, Australia Modern cultivates an appreciation for the modern architects and buildings that will increasingly constitute the heritage of tomorrow.

About the Authors

Hannah Lewi is a professor of architecture at the University of Melbourne. Her research interests include modern and Australian architecture, new and old media for history and heritage, and heritage and conservation theory. She is a co-director of the Australian Centre for Architectural History, Urban and Cultural Heritage and current deputy chair of DOCOMOMO Australia.

Philip Goad is Chair of Architecture, Redmond Barry Distinguished Professor and co-director of Australian Centre for Architectural History, Urban and Cultural Heritage. He is co-editor of The Encyclopedia of Australian Architecture (2012) and co-author of An Unfinished Experiment in Living: Australian Houses 1950-65 (2017).’] [to be indexed]
Publishing details: Melbourne : Thames & Hudson, 2019. Quarto, illustrated boards, pp. 336, illustrated.
Ref: 1000
architectureview full entry
Reference: see Australia Modern - Architecture, Landscape & Design 1925-1975. By: Hannah Lewi, Philip Goad. [’From the Sydney Opera House and the National Gallery of Victoria to sought-after homes across the country, the pervasive presence of modernism is inescapable in Australia. Led by the likes of Robin Boyd, Harry Seidler and Walter Burley Griffin, modernist architects and designers set out to rebuild at all scales, from vast infrastructure projects, to public health and education institutions, to new centres of culture, consumption and leisure.

Australia Modern vividly captures this architectural legacy with a survey of 100 significant modern sites, richly illustrated with archival images and newly commissioned photographs. Contextual essays by leading voices in architecture and conservation explore modernism’s influence on every facet of life in Australia and the ongoing challenges facing preservation. Showcasing projects from the iconic and the urban to the everyday, the regional and the lesser known, Australia Modern cultivates an appreciation for the modern architects and buildings that will increasingly constitute the heritage of tomorrow.

About the Authors

Hannah Lewi is a professor of architecture at the University of Melbourne. Her research interests include modern and Australian architecture, new and old media for history and heritage, and heritage and conservation theory. She is a co-director of the Australian Centre for Architectural History, Urban and Cultural Heritage and current deputy chair of DOCOMOMO Australia.

Philip Goad is Chair of Architecture, Redmond Barry Distinguished Professor and co-director of Australian Centre for Architectural History, Urban and Cultural Heritage. He is co-editor of The Encyclopedia of Australian Architecture (2012) and co-author of An Unfinished Experiment in Living: Australian Houses 1950-65 (2017).’]
Publishing details: Thames & Hudson, 2019
designview full entry
Reference: see Australia Modern - Architecture, Landscape & Design 1925-1975. By: Hannah Lewi, Philip Goad. [’From the Sydney Opera House and the National Gallery of Victoria to sought-after homes across the country, the pervasive presence of modernism is inescapable in Australia. Led by the likes of Robin Boyd, Harry Seidler and Walter Burley Griffin, modernist architects and designers set out to rebuild at all scales, from vast infrastructure projects, to public health and education institutions, to new centres of culture, consumption and leisure.

Australia Modern vividly captures this architectural legacy with a survey of 100 significant modern sites, richly illustrated with archival images and newly commissioned photographs. Contextual essays by leading voices in architecture and conservation explore modernism’s influence on every facet of life in Australia and the ongoing challenges facing preservation. Showcasing projects from the iconic and the urban to the everyday, the regional and the lesser known, Australia Modern cultivates an appreciation for the modern architects and buildings that will increasingly constitute the heritage of tomorrow.

About the Authors

Hannah Lewi is a professor of architecture at the University of Melbourne. Her research interests include modern and Australian architecture, new and old media for history and heritage, and heritage and conservation theory. She is a co-director of the Australian Centre for Architectural History, Urban and Cultural Heritage and current deputy chair of DOCOMOMO Australia.

Philip Goad is Chair of Architecture, Redmond Barry Distinguished Professor and co-director of Australian Centre for Architectural History, Urban and Cultural Heritage. He is co-editor of The Encyclopedia of Australian Architecture (2012) and co-author of An Unfinished Experiment in Living: Australian Houses 1950-65 (2017).’]
Publishing details: Thames & Hudson, 2019
Kovaks Ildikoview full entry
Reference: THE DNA OF COLOUR: ILDIKO KOVACS AT THE DRILL HALL GALLERY

Publishing details: ANU Drill Hall Gallery, 22 Jun - 11 Aug 2019
Ref: 1000
Waller Sydney photographerview full entry
Reference: According to inscriptions on photographs, Sydney Waller had his studio at 385 George Street, Syndey. However, he also had premises at 383 George Street. see ALLEGED DAMAGE TO A STUDIO.
Waller v Thomas.
Sydney Waller, photographer, of 383 George-
street, Sydney, was the plaintiff in an action
against Lewis Thomas, builder, of City-road,
Sydney, for the recovery of £400 for damage
to his studio, which he alleged had been oc-
casioned by the defendant in blasting and
building operations, that were carried on by
defendant in the erection of premises adjoining
thoso occupied by plaintiff.
Mr. Wyndham Davies, instructed by Mr.
A. B. Davies, appeared for plaintiff; and Mr.
Curtis, instructed by Messrs. Deane and Deane,
for defendant.
The case for the plaintiff was that he had
his studio on the top floor of 383 George-
street, and the defendant was engaged in the
erection of a building on land adjoining his
premises. He alleged that the defendant, by
his servants, carried on the blasting and
building operations in such a careless and
negligent manner that the walls of , the
studio became cracked, large quantities of
building material and rubbish were cast upon
the glass roof of the studio, causing it to
break, and rain water found its way into the
studio, damaging the wall, floor coverings,
and furniture, and seriously Interfering with
the light, wherely plaintiff was injured in his
business.
The defendant denied the alleged negli-
gence, and stated that there was an agree-
ment between him and plaintiff that in the
event of any damage belng occasioned to the
studio, he would repair it when the bullding
on which he was occupied had been com-
pleted. The case stands part heard.

Waller Valentine S photographerview full entry
Reference: In 1954, Valentine Waller, then owner of Freeman Studios, donated 400 early glass plate negatives and modern prints made from them to the Mitchell Library. This was the start of the Freeman Collection at the State Library of New South Wales. When William Pooley bought the business in 1968, he donated a further 60,000 portrait negatives and the sitters' books, detailing the names of the subjects and the date of each photograph. Further donations and purchases over the years have swelled the number of negatives to well over 100,000.

Wednesday 5th December 1928 Page 12 - The Brisbane Courier (QLD)
AUSTRALIAN PHOTOGRAPHERS
In the field of photographic art Australians are well to the fore. Advice has now been received that Mr. Val. S. Waller, of Sydney, has won the Eastman Gold Medal - the premier award - in connection with the third annual Kodak International Salon of Photography, which was opened at Kodak Hall, Harrow, England, on November 12. Mr. H.A. Snape, of Brisbane, won the silver medal and a certificate. The exhibition is open to all members of the Kodak organization.

July 1953 Page 446 - Australasian Photo-Review
SYDNEY CAMERA CIRCLE
HAROLD PIERCE CAZNEAUX
(1878-1953)
It is with sincere regret that we record the passing, late on the morning of June 19, of Australia’s veteran pictorialist and grand old man of photography.
At the funeral there was a full representation of members of the Sydney Camera Circle, with which group our good friend had been associated from its inception, while the profession was represented by Val Waller, Monte Luke and Laurence Le Guay.

Cazneaux Harold Pierce 1878-1953view full entry
Reference: see July 1953 Page 446 - Australasian Photo-Review
SYDNEY CAMERA CIRCLE
HAROLD PIERCE CAZNEAUX
(1878-1953)
It is with sincere regret that we record the passing, late on the morning of June 19, of Australia’s veteran pictorialist and grand old man of photography.
At the funeral there was a full representation of members of the Sydney Camera Circle, with which group our good friend had been associated from its inception, while the profession was represented by Val Waller, Monte Luke and Laurence Le Guay.

Freeman Studiosview full entry
Reference: In 1954, Valentine Waller, then owner of Freeman Studios, donated 400 early glass plate negatives and modern prints made from them to the Mitchell Library. This was the start of the Freeman Collection at the State Library of New South Wales. When William Pooley bought the business in 1968, he donated a further 60,000 portrait negatives and the sitters' books, detailing the names of the subjects and the date of each photograph. Further donations and purchases over the years have swelled the number of negatives to well over 100,000.

Wednesday 5th December 1928 Page 12 - The Brisbane Courier (QLD)
AUSTRALIAN PHOTOGRAPHERS
In the field of photographic art Australians are well to the fore. Advice has now been received that Mr. Val. S. Waller, of Sydney, has won the Eastman Gold Medal - the premier award - in connection with the third annual Kodak International Salon of Photography, which was opened at Kodak Hall, Harrow, England, on November 12. Mr. H.A. Snape, of Brisbane, won the silver medal and a certificate. The exhibition is open to all members of the Kodak organization.

July 1953 Page 446 - Australasian Photo-Review
SYDNEY CAMERA CIRCLE
HAROLD PIERCE CAZNEAUX
(1878-1953)
It is with sincere regret that we record the passing, late on the morning of June 19, of Australia’s veteran pictorialist and grand old man of photography.
At the funeral there was a full representation of members of the Sydney Camera Circle, with which group our good friend had been associated from its inception, while the profession was represented by Val Waller, Monte Luke and Laurence Le Guay.

Hall Anneview full entry
Reference: see website of Despard Gallery, Level 1 – 15 Castray Esplanade. Hobart Tasmania: ‘Born in Melbourne in 1945, Hall studied painting at R.M.I.T. from 1960 until 1963.
Her first solo exhibition was held at South Yarra Gallery in 1968. This was followed by further shows ay Sydney’s Holdsworth Gallery in 1970, the Bonython Art Gallery, Adelaide in 1971 and again in that same year at South Yarra Gallery. In 1975 a retrospective of her work was mounted at Avant Galleries. Melbourne. A further large exhibition of Hall’s drawings paintings and ceramics was held at the Powell Street Gallery in 1981.
During this period she married fellow arist John Perceval (1923-2000) and became part of his turmultuous life. In 1976 she painted a noted portrait of Perceval. Her work drew attention from the critics. Art commentator Alan McCulloch described her paintings and drawings from this period as ” highly imaginative and strong in observation of character and understanding of distortion”. In 1971 the art critic for The Age, Patrick McCaughey, assessed her show at South Yarra Gallery as a reflection of the influence which German Expressionism was having upon Australian art at that time. McCaughey commended Hall’s treatment of her subjects – for taking animals and familiar domestic surroundings and weaving them into what he described as ” heraldic decorativeness”. McCulloch also comments on the major influence upon Hall’s work by artist John Perceval who, after their initial meeting in 1967, she married in 1972.
Barrett Reid in his 1992 biography, Of Dark and Light:The Art of John Perceval, records that Perceval’s first wife, Mary Boyd, left him to live in England in 1967 as the artists alcoholism worsened. Not only did Hall become Perceval’s wife but, in a previously little credited role, she also became his creative partner. A partnership with a troubled painter, an artist who has been described as the Vincent van Gogh of Australian art. A second Perceval biographer, Traudi Allen, writing in her 1992 work John Perceval, credits Anne Hall for playing a role in the creation of Perceval’s major 1967 painting, Veronica and the Conspirators. The painting was based on Dutch Master Hieronymus Bosch’s acclaimed work Christ Carrying the Cross. Perceval had Hall copy the right corner detail of the Bosch painting, which he then continued his work around. When art historian Margaret Plant described this work in her 1978 study of the artist, entitled John Perceval, she reveals an indication of the intrinsic value of Hall’s contribution.
” The climax of these lyrical holocaust paintings is a strange work, a painting large in scale for Perceval, Veronica and the Conspirators of 1967. The wheat fields, dragonflies and rainbows…feature and Jacob’s ladder climbs up to the sky where the dragonflies are again like helicopters. The paint is urgent, raised up more thickly, more lurid and hectic than in any other Perceval painting”.
The works by Anne Hall on show at Melbourne Fine Art Gallery are testament to her talent as a painter, her position in the Melbourne art world during the 1960’s, and the influence that John Perceval had upon her work. However, the overriding factor in the exhibition is that Anne Hall’s own path as an artist remains clear, reflecting her own strong individuality and personal beliefs.Her highly figurative work, the psychological portraits, meditative nudes, and sharp figure studies, allows us to enter world of a woman with a deep intensity for her subject. These works show Anne hall as a highly talented and dedicated artist who strove to release her innermost feelings.
Please contact the Gallery for more information on prices and availability
 

ANNE HALL #8 Figure Charcoal on paper SOLD


Charcoal drawing 1966 SOLD


ANNE HALL #6 Figure and Flute Charcoal on paper SOLD


ANNE HALL # 5 Woman and Child Hand coloured work on paper


ANNE HALL #2 Perceval Portrait Charcoal on paper


ANNE HALL #1 Hand coloured work on paper unsigned

 
Solo Exhibitions
1968         South Yarra Gallery, Melbourne
1970        Holdsworth Gallery, Sydney
1971         South Yarra Gallery, Melbourne
1971       Kim Bonython Gallery, Adelaide
Major Group Exhibitions
1966         ” 4 Young Melbourne Artists ” –  Gallery A, Melbourne, Sydney
1966         ” The Nude In Australian Art ” – Gallery A, Melbourne
1966         ” Summer Exhibition” – Gallery A, Melbourne
1967         ” Group Exhibition ” – Tolarno Gallery, Melbourne
1967         ” Georges Invitation Exhibition ” – Melbourne
1971         ” 9 x 5 ” – Rosalind Humphries Gallery, Melbourne
1972         ” Portraiture ” – Joe Brown Gallery, Melbourne
1972        ” Georges Invitation Exhibition ” – Melbourne
1972         ” Australian Art Today ” – South East Asian Tour organised by James Mollison of The National Council Of The Arts, Canberra
1973         ” Artists Born After 1930 ” – Realities, Melbourne
1974         ” Artists Born After 1930 ” – Realities, Melbourne
1975         ” Recent Drawings ” – National Gallery
1975        ” Mornington Peninsula Gallery ” – Mornington
 
Bauhaus Diaspora and Beyondview full entry
Reference: Bauhaus Diaspora and Beyond -
Transforming Education through Art, Design and Architecture by Philip Goad, Ann Stephen, Andrew McNamara, Harriet Edquist, Isabel Wünsche. [’A history of Bauhaus in Australia and New Zealand.
Bauhaus Diaspora and Beyond: Transforming Education through Art, Design and Architecture presents an extraordinary new Australasian cultural history. It is a migrant and refugee story: from 1930, the arrival of so many emigre, internee and refugee educators helped to transform art, architecture and design in Australia and New Zealand. Fifteen thematic essays and twenty individual case studies bring to light a tremendous amount of new archival material in order to show how these innovative educators, exiled from Nazism, introduced Bauhaus ideas and models to a new world. As their Bauhaus model spanned art, architecture and design, the book provides a unique cross-disciplinary, emigre history of art education in Australia and New Zealand. It offers a remarkable and little-known chapter in the wider Bauhaus venture, which has multiple legacies and continues to inform our conceptions of progressive education, creativity and the role of art and design in the wider community.
A co-production by MUP with Power Publications’]
Publishing details: Miegunyah Press, an imprint of Melbourne University Publishing ; published with Power Publications, 2019, v, 279 pages : colour illustrations ; (paperback)
Series Miegunyah Press series. Series 2 ; no. 185. 2019. Includes bilbliographical references and index.
Ngallametta Mrs Waal-Waalview full entry
Reference: Mrs Waal-Waal Ngallametta : show me the way to go home / Bruce Johnson McLean (author) ; Katina Davidson (author)
Mrs Waal-Waal Ngallametta (Kugu-Uwanh people, Putch clan, 1944 - 2019), one of Queensland's most esteemed artists, was a senior Cape York artist who was born 'out bush' near Aurukun in 1944. Her traditional country is around Kendall River, south of Aurukun. Mrs Ngallametta's career was very short, but highly influential. She is remembered for her rich legacy to her community and to art and culture nationally. Mrs Ngallametta is renowned for her large-scale paintings created during the last ten years - artworks in which she mastered figurative scenes combined with meandering dotted patterns over bold ochre fields, and where a multitude of perspectives and stories are woven together in a glimmering fabric. However, her creative journey began decades earlier with explorations of traditional weaving techniques. This timely publication will illustrate the artist's richly detailed, large-scale paintings and woven works, and will feature photographs of the artist and her country.
Notes Prepublication record (machine generated from publisher information)
Publishing details: Queensland Art Gallery, 2020. Quarto, illustrated boards, pp. 144, edges stained blue, illustrated.
Ref: 1000
Gladwell Shaunview full entry
Reference: Shaun gladwell: pacific undertow / Museum of Contemporary Art Australia (author) ; Shaun Gladwell ; Blair French ; Natasha Bullock

Publishing details: The Rocks, NSW : Museum of Contemporary Art Australia, 2019
Ref: 1000
Painting war view full entry
Reference: Painting war : a history of Australia's First World War art scheme / Margaret Hutchison. Includes bibliographical references (pages 247-258), note and index. ‘During the First World War the Australian Government established an official war art scheme, sending artists to the front lines to create a visual record of the Australian experience of the war. Around two thousand sketches and paintings were commissioned and acquired between 1916 and 1922. In Painting War, Margaret Hutchison examines the official art scheme as a key commemorative practice of the First World War and argues that the artworks had many makers beyond the artists. Government officials' selection of artists and subjects for the war paintings and their emphasis on the eyewitness value of the images over their aesthetic merit profoundly shaped the character of the art collection. Richly illustrated, Painting War provides an important understanding of the individuals, institutions and the politics behind the war art scheme that helped shape a national memory of the First World War for Australia.’

Publishing details: Cambridge University Press, 2019, xvii, 268 pages, [32] pages of plates : illustrations (some colour)
Gordon Catherine view full entry
Reference: Reflections : the art of catherine gordon / Catherine Gordon (author)

Publishing details: Griffith, ACT : Echo Books, 2019
Ref: 1000
Throsby Davidview full entry
Reference: Art, politics, money : revisiting Australia's cultural policy / David Throsby
Publishing details: Strawberry Hills, NSW : Currency House, 2018 
©2018 
vi, 78 pages
Ref: 1000
Rethinking Australia's art historyview full entry
Reference: Rethinking Australia's art history : the challenge of Aboriginal art by Lowish, Susan. [
Cover; Title; Copyright; Dedication; Contents; List of Illustrations; Acknowledgements; Introduction; 1 Writing a History of Encounters; i Aboriginal Art in Australian Art Histories; ii Anthropological Studies of Aboriginal Art History; iii Legacies of Primitivism; iv New Art Histories; v Current Directions in Writing on Aboriginal Art; 2 Exploration and 'Discovery'; i First Encounters: Baudin, Flinders and King, Grey and Stokes; ii Secondary Accounts: Hull, Tenison-Woods, Wake, Smyth and Curr; 3 Searching for the Origin of Art; i Early Science: Darwin, Howitt and Tylor
• Ii Following Grey: Bradshaw, Brockman and House, Greig and Walsh4 Seeing the Art of the First Australians; i Early Australian Anthropology and Ethnology: between Science and Christianity: Roth, Worsnop, Thornton and Mathew; 5 Evolutionists and Australian Aboriginal Art; i Science and Art History: Ruskin, Decorative Art and Grosse; ii Spencer's Anthropological Influences: Balfour, Haddon, Lang and Frazer; 6 'Aboriginal Art' in the Writings of Baldwin Spencer; i Spencer and Anthropology: Horn Expedition, Native Tribes of Central Australia and Northern Tribes of Central Australia
• Ii Spencer and Art: Across Australia, Native Tribes of the Northern Territory, The Arunta and Wanderings in Wild Australia7 Collecting and Exhibiting: The Dawn of 'Primitive Art'; i The First Collections: International and Colonial Exhibitions and the Changing Content of Displays; ii Aboriginal Art and Museums: A Defining Relationship: The Influence of Pitt Rivers on Australian Museum Displays, the Australian Museum in Sydney and from Weapons to Art; Conclusion; Bibliography; Index’]
'This book aims to redefine Australia's earliest art history by chronicling for the first time the birth of the category Aboriginal art, tracing the term's use through published literature in the late eighteenth, nineteenth and early twentieth centuries. Susan Lowish reveals how the idea of Aboriginal art developed in the European imagination, manifested in early literature, and became a distinct classification with its own criteria and form. Part of the larger story of Aboriginal/European engagement, this book provides a new vision for an Australian art history reconciled with its colonial origins and in recognition of what came before the contemporary phenomena of Aboriginal art.'

Publishing details: New York : Routledge, 2018, hc, 221pp
Ref: 1000
Mortensen Kevinview full entry
Reference: The alchemist / Kevin Mortensen
Publishing details: Gippsland Art Gallery, [2018] 
1 folded sheet (8 unnumbered pages): colour illustrations
Ref: 1000
Duxbury Lesleyview full entry
Reference: Echo: a survey / Lesley Duxbury
by Duxbury, Lesley

Publishing details: Sale, Victoria : Gippsland Art Gallery
Ref: 1000
Hannaford Marlie view full entry
Reference: Marlie Hannaford : a life in art / Martin Basedow by Hannaford, Marlie, 1927-2017. A catalogue of some of the art created by Marlie Hannaford (1927-2017). Includes a brief biography of the artist.

Publishing details: [Myrtle Bank, South Australia] : Martin Basedow, [2018] , 199 pages : chiefly colour illustrations, portraits (some colour) ; (hardback)

Ref: 1000
Withers Walter1000view full entry
Reference: [WITHERS, Walter]. “WAYFARER” [ie: PUETTMANN, Herman Willhelm].
Pen and Pencil in Collins Street. With original illustrations by Walter Withers.illustrated with charming vignettes by the Australian Impressionist. A delightful and fragile little Victorian volume with skilled sketches by the artist.
Publishing details:
Melbourne: Melville, Mullen & Slade, n.d. [1891]. Small quarto, original illustrated wrappers (edges rubbed, a couple of light creases), 32 pp.
Tucker Albertview full entry
Reference: see [POSTER] Paintings by Albert Tucker 11th April – 7th May 1957. South Kensington [London] : Imperial Institute, 1957. Large broadsheet poster, 380 x 250 mm, on yellow paper with red and black lettering, featuring a reproduction of one of Tucker’s figurative paintings. Catalogue for the exhibition extant?
Bell Richardview full entry
Reference: Richard Bell : Positivity. Brisbane aboriginal artist Richard Bell’s work develops out of protest politics, responding to a history of oppression and discrimination. While he challenges non-aboriginal artists who appropriate aboriginal imagery, he is an appropriation artist himself, borrowing from artists like Imants Tillers and Emily Kngwarreye to score his points. His recent works draw extensively on the comics-appropriating pop art of Roy Lichtenstein, who made dot canvasses before Papunya.
Bell’s work is a series of timely provocations: he critiques the appropriators of aboriginal art, he challenges the perceived divide between traditional and modern aboriginal art, and he inverts black/white stereotypes. He is famous for Bell’s Theorem: ‘Aboriginal Art—it’s a white thing’. After winning the 2003 National Aboriginal and Torres Strait Islander Art Award, he generated a national controversy by collecting his award in a T-shirt with the slogan ‘White Girls Can’t Hump’. Positivity surveys Bell’s agit-pop work from the early 1990s to now.

Publishing details: Brisbane : Institute of Modern Art, c. 2007.
My Countryview full entry
Reference: McLEAN, Bruce (editor)
My Country, I still call Australia home : Contemporary art from Black Australia. Published to coincide with a major exhibition of the same name, My Country features the work of over 130 artists around Australia and makes an important contribution to writing on Aboriginal art. Interviews with exhibiting artists highlight their experiences and approach to art practice, while essays by respected writers Hetti Perkins, Brenda L Croft, Glenn Iseger-Pilkington and Bruce McLean provide insights into the connections Aboriginal and Torres Strait Islander artists have with land and country. Arranged according to the exhibition’s themes — my country, my history, my life — this publication is rich in imagery, ideas and narrative.

Publishing details: Brisbane : Queensland Art Gallery/ Gallery of Modern Art, 2013. Quarto, illustrated wrappers, pp. 192, illustrated.

Ref: 1000
Aboriginal artview full entry
Reference: McLEAN, Bruce (editor)
My Country, I still call Australia home : Contemporary art from Black Australia. Published to coincide with a major exhibition of the same name, My Country features the work of over 130 artists around Australia and makes an important contribution to writing on Aboriginal art. Interviews with exhibiting artists highlight their experiences and approach to art practice, while essays by respected writers Hetti Perkins, Brenda L Croft, Glenn Iseger-Pilkington and Bruce McLean provide insights into the connections Aboriginal and Torres Strait Islander artists have with land and country. Arranged according to the exhibition’s themes — my country, my history, my life — this publication is rich in imagery, ideas and narrative.

Publishing details: Brisbane : Queensland Art Gallery/ Gallery of Modern Art, 2013. Quarto, illustrated wrappers, pp. 192, illustrated.

de Nemes Georgeview full entry
Reference: see Australiana Magazine, August, 2019, vol 41, no, 3, p13 - 29, ‘The ‘Paris Studio’ of George de Nemes’, article by Dr Rob La Nauze
Lyon, Cottier & Co., stained glass artistsview full entry
Reference: see Australiana Magazine, August, 2019, vol 41, no, 3, p30-42 ‘Lyon, Cottier & Co., stained glass artists’, article by Andrew Montana
Lyon John Lamb view full entry
Reference: see Australiana Magazine, August, 2019, vol 41, no, 3, p30-42 ‘Lyon, Cottier & Co., stained glass artists’, article by Andrew Montana
Cottier Danielview full entry
Reference: see Australiana Magazine, August, 2019, vol 41, no, 3, p30-42 ‘Lyon, Cottier & Co., stained glass artists’, article by Andrew Montana
Early Australian Town Viewsview full entry
Reference: Early Australian Town Views, A distinguished collection of high quality prints in full colour and limited editions. Includes reproductions of 14 colonial prints with some information on each of the original prints. (A promotional booklet by Avon Prints, Suite 4 Bridge House. 127-129 Walker Street, North Sydney.)
Publishing details: Avon Prints, 16pp [1970s?] 16pp
Ref: 2
Eyre John view of Sydney Cove 1804view full entry
Reference: see Early Australian Town Views, A distinguished collection of high quality prints in full colour and limited editions. Includes reproductions of 14 colonial prints with some information on each of the original prints. (A promotional booklet by Avon Prints, Suite 4 Bridge House. 127-129 Walker Street, North Sydney.)
Publishing details: Avon Prints, 16pp [1970s?] 16pp
prints colonialview full entry
Reference: see Early Australian Town Views, A distinguished collection of high quality prints in full colour and limited editions. Includes reproductions of 14 colonial prints with some information on each of the original prints. (A promotional booklet by Avon Prints, Suite 4 Bridge House. 127-129 Walker Street, North Sydney.)
Publishing details: Avon Prints, 16pp [1970s?] 16pp
Eyre John views of Sydney Cove 1810view full entry
Reference: see Early Australian Town Views, A distinguished collection of high quality prints in full colour and limited editions. Includes reproductions of 14 colonial prints with some information on each of the original prints. (A promotional booklet by Avon Prints, Suite 4 Bridge House. 127-129 Walker Street, North Sydney.)
Publishing details: Avon Prints, 16pp [1970s?] 16pp
Troedel Charles 1835-1906 4 Melbourne views c1864view full entry
Reference: see Early Australian Town Views, A distinguished collection of high quality prints in full colour and limited editions. Includes reproductions of 14 colonial prints with some information on each of the original prints. (A promotional booklet by Avon Prints, Suite 4 Bridge House. 127-129 Walker Street, North Sydney.)
Publishing details: Avon Prints, 16pp [1970s?] 16pp
Huggins W J Hobart Town 1830view full entry
Reference: see Early Australian Town Views, A distinguished collection of high quality prints in full colour and limited editions. Includes reproductions of 14 colonial prints with some information on each of the original prints. (A promotional booklet by Avon Prints, Suite 4 Bridge House. 127-129 Walker Street, North Sydney.)
Publishing details: Avon Prints, 16pp [1970s?] 16pp
Lloyd H G Hobart Town c1857 ‘a protege of Conrad Martens’view full entry
Reference: see Early Australian Town Views, A distinguished collection of high quality prints in full colour and limited editions. Includes reproductions of 14 colonial prints with some information on each of the original prints. (A promotional booklet by Avon Prints, Suite 4 Bridge House. 127-129 Walker Street, North Sydney.)
Publishing details: Avon Prints, 16pp [1970s?] 16pp
Lloyd H G Hobart Town c1857 ‘a protege of Conrad Martens’view full entry
Reference: see Early Australian Town Views, A distinguished collection of high quality prints in full colour and limited editions. Includes reproductions of 14 colonial prints with some information on each of the original prints. (A promotional booklet by Avon Prints, Suite 4 Bridge House. 127-129 Walker Street, North Sydney.)
Publishing details: Avon Prints, 16pp [1970s?] 16pp
Huggins W J Swan River 1827view full entry
Reference: see Early Australian Town Views, A distinguished collection of high quality prints in full colour and limited editions. Includes reproductions of 14 colonial prints with some information on each of the original prints. (A promotional booklet by Avon Prints, Suite 4 Bridge House. 127-129 Walker Street, North Sydney.)
Publishing details: Avon Prints, 16pp [1970s?] 16pp
Writing Artview full entry
Reference: see Writing Art: A Series of Essays on the Nillumbik Art Collection by Barb Whiter, & Chris Marks (eds) [’Contains six essays on the Nillumbik Art Collection. At the time of writing the collection consisted of 167 works valued at one million dollars. ‘]
Publishing details: Nillumbik Shire Council, Greensborough, Victoria, 2006. Pictorial Wraps. , 129pp
Timms Peter contributor to Writing Art - includes biographyview full entry
Reference: see Writing Art: A Series of Essays on the Nillumbik Art Collection by Barb Whiter, & Chris Marks (eds) [’Contains six essays on the Nillumbik Art Collection. At the time of writing the collection consisted of 167 works valued at one million dollars. ‘]
Publishing details: Nillumbik Shire Council, Greensborough, Victoria, 2006. Pictorial Wraps. , 129pp
Ford Gwen contributor to Writing Art - includes biographyview full entry
Reference: see Writing Art: A Series of Essays on the Nillumbik Art Collection by Barb Whiter, & Chris Marks (eds) [’Contains six essays on the Nillumbik Art Collection. At the time of writing the collection consisted of 167 works valued at one million dollars. ‘]
Publishing details: Nillumbik Shire Council, Greensborough, Victoria, 2006. Pictorial Wraps. , 129pp
Jackman Hilary contributor to Writing Art - includes biographyview full entry
Reference: see Writing Art: A Series of Essays on the Nillumbik Art Collection by Barb Whiter, & Chris Marks (eds) [’Contains six essays on the Nillumbik Art Collection. At the time of writing the collection consisted of 167 works valued at one million dollars. ‘]
Publishing details: Nillumbik Shire Council, Greensborough, Victoria, 2006. Pictorial Wraps. , 129pp
Clode Danielle contributor to Writing Art - includes biographyview full entry
Reference: see Writing Art: A Series of Essays on the Nillumbik Art Collection by Barb Whiter, & Chris Marks (eds) [’Contains six essays on the Nillumbik Art Collection. At the time of writing the collection consisted of 167 works valued at one million dollars. ‘]
Publishing details: Nillumbik Shire Council, Greensborough, Victoria, 2006. Pictorial Wraps. , 129pp
Lucas Helen contributor to Writing Art - includes biographyview full entry
Reference: see Writing Art: A Series of Essays on the Nillumbik Art Collection by Barb Whiter, & Chris Marks (eds) [’Contains six essays on the Nillumbik Art Collection. At the time of writing the collection consisted of 167 works valued at one million dollars. ‘]
Publishing details: Nillumbik Shire Council, Greensborough, Victoria, 2006. Pictorial Wraps. , 129pp
Evans Megan contributor to Writing Art - includes biographyview full entry
Reference: see Writing Art: A Series of Essays on the Nillumbik Art Collection by Barb Whiter, & Chris Marks (eds) [’Contains six essays on the Nillumbik Art Collection. At the time of writing the collection consisted of 167 works valued at one million dollars. ‘]
Publishing details: Nillumbik Shire Council, Greensborough, Victoria, 2006. Pictorial Wraps. , 129pp
Crowle Christine contributor to Writing Art - includes biographyview full entry
Reference: see Writing Art: A Series of Essays on the Nillumbik Art Collection by Barb Whiter, & Chris Marks (eds) [’Contains six essays on the Nillumbik Art Collection. At the time of writing the collection consisted of 167 works valued at one million dollars. ‘]
Publishing details: Nillumbik Shire Council, Greensborough, Victoria, 2006. Pictorial Wraps. , 129pp
Boddy Janet contributor to Writing Art - includes biographyview full entry
Reference: see Writing Art: A Series of Essays on the Nillumbik Art Collection by Barb Whiter, & Chris Marks (eds) [’Contains six essays on the Nillumbik Art Collection. At the time of writing the collection consisted of 167 works valued at one million dollars. ‘]
Publishing details: Nillumbik Shire Council, Greensborough, Victoria, 2006. Pictorial Wraps. , 129pp
Jenkins John contributor to Writing Art - includes biographyview full entry
Reference: see Writing Art: A Series of Essays on the Nillumbik Art Collection by Barb Whiter, & Chris Marks (eds) [’Contains six essays on the Nillumbik Art Collection. At the time of writing the collection consisted of 167 works valued at one million dollars. ‘]
Publishing details: Nillumbik Shire Council, Greensborough, Victoria, 2006. Pictorial Wraps. , 129pp
Trembath Tony contributor to Writing Art - includes biographyview full entry
Reference: see Writing Art: A Series of Essays on the Nillumbik Art Collection by Barb Whiter, & Chris Marks (eds) [’Contains six essays on the Nillumbik Art Collection. At the time of writing the collection consisted of 167 works valued at one million dollars. ‘]
Publishing details: Nillumbik Shire Council, Greensborough, Victoria, 2006. Pictorial Wraps. , 129pp
Wakefield Johnview full entry
Reference: see Writing Art: A Series of Essays on the Nillumbik Art Collection by Barb Whiter, & Chris Marks (eds). A work by the artist is illustrated and there may be biographical or other information. [’Contains six essays on the Nillumbik Art Collection. At the time of writing the collection consisted of 167 works valued at one million dollars. ‘]
Publishing details: Nillumbik Shire Council, Greensborough, Victoria, 2006. Pictorial Wraps. , 129pp
Ben-Meir Judithview full entry
Reference: see Writing Art: A Series of Essays on the Nillumbik Art Collection by Barb Whiter, & Chris Marks (eds). A work by the artist is illustrated and there may be biographical or other information. [’Contains six essays on the Nillumbik Art Collection. At the time of writing the collection consisted of 167 works valued at one million dollars. ‘]
Publishing details: Nillumbik Shire Council, Greensborough, Victoria, 2006. Pictorial Wraps. , 129pp
Bowen Deanview full entry
Reference: see Writing Art: A Series of Essays on the Nillumbik Art Collection by Barb Whiter, & Chris Marks (eds). A work by the artist is illustrated and there may be biographical or other information. [’Contains six essays on the Nillumbik Art Collection. At the time of writing the collection consisted of 167 works valued at one million dollars. ‘]
Publishing details: Nillumbik Shire Council, Greensborough, Victoria, 2006. Pictorial Wraps. , 129pp
Hook Peterview full entry
Reference: see Writing Art: A Series of Essays on the Nillumbik Art Collection by Barb Whiter, & Chris Marks (eds). A work by the artist is illustrated and there may be biographical or other information. [’Contains six essays on the Nillumbik Art Collection. At the time of writing the collection consisted of 167 works valued at one million dollars. ‘]
Publishing details: Nillumbik Shire Council, Greensborough, Victoria, 2006. Pictorial Wraps. , 129pp
Bateman Piersview full entry
Reference: see Writing Art: A Series of Essays on the Nillumbik Art Collection by Barb Whiter, & Chris Marks (eds). A work by the artist is illustrated and there may be biographical or other information. [’Contains six essays on the Nillumbik Art Collection. At the time of writing the collection consisted of 167 works valued at one million dollars. ‘]
Publishing details: Nillumbik Shire Council, Greensborough, Victoria, 2006. Pictorial Wraps. , 129pp
Armfield Davidview full entry
Reference: see Writing Art: A Series of Essays on the Nillumbik Art Collection by Barb Whiter, & Chris Marks (eds). A work by the artist is illustrated and there may be biographical or other information. [’Contains six essays on the Nillumbik Art Collection. At the time of writing the collection consisted of 167 works valued at one million dollars. ‘]
Publishing details: Nillumbik Shire Council, Greensborough, Victoria, 2006. Pictorial Wraps. , 129pp
Amor Rickview full entry
Reference: see Writing Art: A Series of Essays on the Nillumbik Art Collection by Barb Whiter, & Chris Marks (eds). A work by the artist is illustrated and there may be biographical or other information. [’Contains six essays on the Nillumbik Art Collection. At the time of writing the collection consisted of 167 works valued at one million dollars. ‘]
Publishing details: Nillumbik Shire Council, Greensborough, Victoria, 2006. Pictorial Wraps. , 129pp
Sinclair Lesleyview full entry
Reference: see Writing Art: A Series of Essays on the Nillumbik Art Collection by Barb Whiter, & Chris Marks (eds). A work by the artist is illustrated and there may be biographical or other information. [’Contains six essays on the Nillumbik Art Collection. At the time of writing the collection consisted of 167 works valued at one million dollars. ‘]
Publishing details: Nillumbik Shire Council, Greensborough, Victoria, 2006. Pictorial Wraps. , 129pp
Wright Dougview full entry
Reference: see Writing Art: A Series of Essays on the Nillumbik Art Collection by Barb Whiter, & Chris Marks (eds). A work by the artist is illustrated and there may be biographical or other information. [’Contains six essays on the Nillumbik Art Collection. At the time of writing the collection consisted of 167 works valued at one million dollars. ‘]
Publishing details: Nillumbik Shire Council, Greensborough, Victoria, 2006. Pictorial Wraps. , 129pp
Boddy Janetview full entry
Reference: see Writing Art: A Series of Essays on the Nillumbik Art Collection by Barb Whiter, & Chris Marks (eds). A work by the artist is illustrated and there may be biographical or other information. [’Contains six essays on the Nillumbik Art Collection. At the time of writing the collection consisted of 167 works valued at one million dollars. ‘]
Publishing details: Nillumbik Shire Council, Greensborough, Victoria, 2006. Pictorial Wraps. , 129pp
Pryor Anthonyview full entry
Reference: see Writing Art: A Series of Essays on the Nillumbik Art Collection by Barb Whiter, & Chris Marks (eds). A work by the artist is illustrated and there may be biographical or other information. [’Contains six essays on the Nillumbik Art Collection. At the time of writing the collection consisted of 167 works valued at one million dollars. ‘]
Publishing details: Nillumbik Shire Council, Greensborough, Victoria, 2006. Pictorial Wraps. , 129pp
Pugh Cliftonview full entry
Reference: see Writing Art: A Series of Essays on the Nillumbik Art Collection by Barb Whiter, & Chris Marks (eds). A work by the artist is illustrated and there may be biographical or other information. [’Contains six essays on the Nillumbik Art Collection. At the time of writing the collection consisted of 167 works valued at one million dollars. ‘]
Publishing details: Nillumbik Shire Council, Greensborough, Victoria, 2006. Pictorial Wraps. , 129pp
Wadelton Davidview full entry
Reference: see Writing Art: A Series of Essays on the Nillumbik Art Collection by Barb Whiter, & Chris Marks (eds). A work by the artist is illustrated and there may be biographical or other information. [’Contains six essays on the Nillumbik Art Collection. At the time of writing the collection consisted of 167 works valued at one million dollars. ‘]
Publishing details: Nillumbik Shire Council, Greensborough, Victoria, 2006. Pictorial Wraps. , 129pp
Nedelkopoulos Nicholasview full entry
Reference: see Writing Art: A Series of Essays on the Nillumbik Art Collection by Barb Whiter, & Chris Marks (eds). A work by the artist is illustrated and there may be biographical or other information. [’Contains six essays on the Nillumbik Art Collection. At the time of writing the collection consisted of 167 works valued at one million dollars. ‘]
Publishing details: Nillumbik Shire Council, Greensborough, Victoria, 2006. Pictorial Wraps. , 129pp
Leti Brunoview full entry
Reference: see Writing Art: A Series of Essays on the Nillumbik Art Collection by Barb Whiter, & Chris Marks (eds). A work by the artist is illustrated and there may be biographical or other information. [’Contains six essays on the Nillumbik Art Collection. At the time of writing the collection consisted of 167 works valued at one million dollars. ‘]
Publishing details: Nillumbik Shire Council, Greensborough, Victoria, 2006. Pictorial Wraps. , 129pp
French Leonardview full entry
Reference: see Writing Art: A Series of Essays on the Nillumbik Art Collection by Barb Whiter, & Chris Marks (eds). A work by the artist is illustrated and there may be biographical or other information. [’Contains six essays on the Nillumbik Art Collection. At the time of writing the collection consisted of 167 works valued at one million dollars. ‘]
Publishing details: Nillumbik Shire Council, Greensborough, Victoria, 2006. Pictorial Wraps. , 129pp
Baldessin Georgeview full entry
Reference: see Writing Art: A Series of Essays on the Nillumbik Art Collection by Barb Whiter, & Chris Marks (eds). A work by the artist is illustrated and there may be biographical or other information. [’Contains six essays on the Nillumbik Art Collection. At the time of writing the collection consisted of 167 works valued at one million dollars. ‘]
Publishing details: Nillumbik Shire Council, Greensborough, Victoria, 2006. Pictorial Wraps. , 129pp
Begg Julieview full entry
Reference: see Writing Art: A Series of Essays on the Nillumbik Art Collection by Barb Whiter, & Chris Marks (eds). A work by the artist is illustrated and there may be biographical or other information. [’Contains six essays on the Nillumbik Art Collection. At the time of writing the collection consisted of 167 works valued at one million dollars. ‘]
Publishing details: Nillumbik Shire Council, Greensborough, Victoria, 2006. Pictorial Wraps. , 129pp
Williams Williamsview full entry
Reference: see Writing Art: A Series of Essays on the Nillumbik Art Collection by Barb Whiter, & Chris Marks (eds). A work by the artist is illustrated and there may be biographical or other information. [’Contains six essays on the Nillumbik Art Collection. At the time of writing the collection consisted of 167 works valued at one million dollars. ‘]
Publishing details: Nillumbik Shire Council, Greensborough, Victoria, 2006. Pictorial Wraps. , 129pp
Kahans Jillview full entry
Reference: see Writing Art: A Series of Essays on the Nillumbik Art Collection by Barb Whiter, & Chris Marks (eds). A work by the artist is illustrated and there may be biographical or other information. [’Contains six essays on the Nillumbik Art Collection. At the time of writing the collection consisted of 167 works valued at one million dollars. ‘]
Publishing details: Nillumbik Shire Council, Greensborough, Victoria, 2006. Pictorial Wraps. , 129pp
Margocsy Paulview full entry
Reference: see Writing Art: A Series of Essays on the Nillumbik Art Collection by Barb Whiter, & Chris Marks (eds). A work by the artist is illustrated and there may be biographical or other information. [’Contains six essays on the Nillumbik Art Collection. At the time of writing the collection consisted of 167 works valued at one million dollars. ‘]
Publishing details: Nillumbik Shire Council, Greensborough, Victoria, 2006. Pictorial Wraps. , 129pp
Carrigy Peterview full entry
Reference: see Writing Art: A Series of Essays on the Nillumbik Art Collection by Barb Whiter, & Chris Marks (eds). A work by the artist is illustrated and there may be biographical or other information. [’Contains six essays on the Nillumbik Art Collection. At the time of writing the collection consisted of 167 works valued at one million dollars. ‘]
Publishing details: Nillumbik Shire Council, Greensborough, Victoria, 2006. Pictorial Wraps. , 129pp
Croyer-Pederson Margoview full entry
Reference: see Writing Art: A Series of Essays on the Nillumbik Art Collection by Barb Whiter, & Chris Marks (eds). A work by the artist is illustrated and there may be biographical or other information. [’Contains six essays on the Nillumbik Art Collection. At the time of writing the collection consisted of 167 works valued at one million dollars. ‘]
Publishing details: Nillumbik Shire Council, Greensborough, Victoria, 2006. Pictorial Wraps. , 129pp
Martin Alanview full entry
Reference: see Writing Art: A Series of Essays on the Nillumbik Art Collection by Barb Whiter, & Chris Marks (eds). A work by the artist is illustrated and there may be biographical or other information. [’Contains six essays on the Nillumbik Art Collection. At the time of writing the collection consisted of 167 works valued at one million dollars. ‘]
Publishing details: Nillumbik Shire Council, Greensborough, Victoria, 2006. Pictorial Wraps. , 129pp
Armstrong Brianview full entry
Reference: see Writing Art: A Series of Essays on the Nillumbik Art Collection by Barb Whiter, & Chris Marks (eds). A work by the artist is illustrated and there may be biographical or other information. [’Contains six essays on the Nillumbik Art Collection. At the time of writing the collection consisted of 167 works valued at one million dollars. ‘]
Publishing details: Nillumbik Shire Council, Greensborough, Victoria, 2006. Pictorial Wraps. , 129pp
Page Markview full entry
Reference: see Writing Art: A Series of Essays on the Nillumbik Art Collection by Barb Whiter, & Chris Marks (eds). A work by the artist is illustrated and there may be biographical or other information. [’Contains six essays on the Nillumbik Art Collection. At the time of writing the collection consisted of 167 works valued at one million dollars. ‘]
Publishing details: Nillumbik Shire Council, Greensborough, Victoria, 2006. Pictorial Wraps. , 129pp
Henderson Onaview full entry
Reference: see Writing Art: A Series of Essays on the Nillumbik Art Collection by Barb Whiter, & Chris Marks (eds). A work by the artist is illustrated and there may be biographical or other information. [’Contains six essays on the Nillumbik Art Collection. At the time of writing the collection consisted of 167 works valued at one million dollars. ‘]
Publishing details: Nillumbik Shire Council, Greensborough, Victoria, 2006. Pictorial Wraps. , 129pp
Hook Peterview full entry
Reference: see Writing Art: A Series of Essays on the Nillumbik Art Collection by Barb Whiter, & Chris Marks (eds). A work by the artist is illustrated and there may be biographical or other information. [’Contains six essays on the Nillumbik Art Collection. At the time of writing the collection consisted of 167 works valued at one million dollars. ‘]
Publishing details: Nillumbik Shire Council, Greensborough, Victoria, 2006. Pictorial Wraps. , 129pp
Moynihan Danielview full entry
Reference: see Writing Art: A Series of Essays on the Nillumbik Art Collection by Barb Whiter, & Chris Marks (eds). A work by the artist is illustrated and there may be biographical or other information. [’Contains six essays on the Nillumbik Art Collection. At the time of writing the collection consisted of 167 works valued at one million dollars. ‘]
Publishing details: Nillumbik Shire Council, Greensborough, Victoria, 2006. Pictorial Wraps. , 129pp
Kossatz Lesview full entry
Reference: see Writing Art: A Series of Essays on the Nillumbik Art Collection by Barb Whiter, & Chris Marks (eds). A work by the artist is illustrated and there may be biographical or other information. [’Contains six essays on the Nillumbik Art Collection. At the time of writing the collection consisted of 167 works valued at one million dollars. ‘]
Publishing details: Nillumbik Shire Council, Greensborough, Victoria, 2006. Pictorial Wraps. , 129pp
Robb Kenview full entry
Reference: see Writing Art: A Series of Essays on the Nillumbik Art Collection by Barb Whiter, & Chris Marks (eds). A work by the artist is illustrated and there may be biographical or other information. [’Contains six essays on the Nillumbik Art Collection. At the time of writing the collection consisted of 167 works valued at one million dollars. ‘]
Publishing details: Nillumbik Shire Council, Greensborough, Victoria, 2006. Pictorial Wraps. , 129pp
Brack Johnview full entry
Reference: see Writing Art: A Series of Essays on the Nillumbik Art Collection by Barb Whiter, & Chris Marks (eds). A work by the artist is illustrated and there may be biographical or other information. [’Contains six essays on the Nillumbik Art Collection. At the time of writing the collection consisted of 167 works valued at one million dollars. ‘]
Publishing details: Nillumbik Shire Council, Greensborough, Victoria, 2006. Pictorial Wraps. , 129pp
Smart Sallyview full entry
Reference: see Writing Art: A Series of Essays on the Nillumbik Art Collection by Barb Whiter, & Chris Marks (eds). A work by the artist is illustrated and there may be biographical or other information. [’Contains six essays on the Nillumbik Art Collection. At the time of writing the collection consisted of 167 works valued at one million dollars. ‘]
Publishing details: Nillumbik Shire Council, Greensborough, Victoria, 2006. Pictorial Wraps. , 129pp
Young Johnview full entry
Reference: see Writing Art: A Series of Essays on the Nillumbik Art Collection by Barb Whiter, & Chris Marks (eds). A work by the artist is illustrated and there may be biographical or other information. [’Contains six essays on the Nillumbik Art Collection. At the time of writing the collection consisted of 167 works valued at one million dollars. ‘]
Publishing details: Nillumbik Shire Council, Greensborough, Victoria, 2006. Pictorial Wraps. , 129pp
Wei Guanview full entry
Reference: see Writing Art: A Series of Essays on the Nillumbik Art Collection by Barb Whiter, & Chris Marks (eds). A work by the artist is illustrated and there may be biographical or other information. [’Contains six essays on the Nillumbik Art Collection. At the time of writing the collection consisted of 167 works valued at one million dollars. ‘]
Publishing details: Nillumbik Shire Council, Greensborough, Victoria, 2006. Pictorial Wraps. , 129pp
Murray Janview full entry
Reference: see Writing Art: A Series of Essays on the Nillumbik Art Collection by Barb Whiter, & Chris Marks (eds). A work by the artist is illustrated and there may be biographical or other information. [’Contains six essays on the Nillumbik Art Collection. At the time of writing the collection consisted of 167 works valued at one million dollars. ‘]
Publishing details: Nillumbik Shire Council, Greensborough, Victoria, 2006. Pictorial Wraps. , 129pp
Baigent Simon Icarusview full entry
Reference: see Writing Art: A Series of Essays on the Nillumbik Art Collection by Barb Whiter, & Chris Marks (eds). A work by the artist is illustrated and there may be biographical or other information. [’Contains six essays on the Nillumbik Art Collection. At the time of writing the collection consisted of 167 works valued at one million dollars. ‘]
Publishing details: Nillumbik Shire Council, Greensborough, Victoria, 2006. Pictorial Wraps. , 129pp
Edgoose Markview full entry
Reference: see Writing Art: A Series of Essays on the Nillumbik Art Collection by Barb Whiter, & Chris Marks (eds). A work by the artist is illustrated and there may be biographical or other information. [’Contains six essays on the Nillumbik Art Collection. At the time of writing the collection consisted of 167 works valued at one million dollars. ‘]
Publishing details: Nillumbik Shire Council, Greensborough, Victoria, 2006. Pictorial Wraps. , 129pp
Skipper Myraview full entry
Reference: see Writing Art: A Series of Essays on the Nillumbik Art Collection by Barb Whiter, & Chris Marks (eds). A work by the artist is illustrated and there may be biographical or other information. [’Contains six essays on the Nillumbik Art Collection. At the time of writing the collection consisted of 167 works valued at one million dollars. ‘]
Publishing details: Nillumbik Shire Council, Greensborough, Victoria, 2006. Pictorial Wraps. , 129pp
Szonyi Stefanview full entry
Reference: see Writing Art: A Series of Essays on the Nillumbik Art Collection by Barb Whiter, & Chris Marks (eds). A work by the artist is illustrated and there may be biographical or other information. [’Contains six essays on the Nillumbik Art Collection. At the time of writing the collection consisted of 167 works valued at one million dollars. ‘]
Publishing details: Nillumbik Shire Council, Greensborough, Victoria, 2006. Pictorial Wraps. , 129pp
Williams Lizview full entry
Reference: see Writing Art: A Series of Essays on the Nillumbik Art Collection by Barb Whiter, & Chris Marks (eds). A work by the artist is illustrated and there may be biographical or other information. [’Contains six essays on the Nillumbik Art Collection. At the time of writing the collection consisted of 167 works valued at one million dollars. ‘]
Publishing details: Nillumbik Shire Council, Greensborough, Victoria, 2006. Pictorial Wraps. , 129pp
Kahans Jillview full entry
Reference: see Writing Art: A Series of Essays on the Nillumbik Art Collection by Barb Whiter, & Chris Marks (eds). A work by the artist is illustrated and there may be biographical or other information. [’Contains six essays on the Nillumbik Art Collection. At the time of writing the collection consisted of 167 works valued at one million dollars. ‘]
Publishing details: Nillumbik Shire Council, Greensborough, Victoria, 2006. Pictorial Wraps. , 129pp
Aitken-Khunen Helenview full entry
Reference: see Writing Art: A Series of Essays on the Nillumbik Art Collection by Barb Whiter, & Chris Marks (eds). A work by the artist is illustrated and there may be biographical or other information. [’Contains six essays on the Nillumbik Art Collection. At the time of writing the collection consisted of 167 works valued at one million dollars. ‘]
Publishing details: Nillumbik Shire Council, Greensborough, Victoria, 2006. Pictorial Wraps. , 129pp
Venables Prueview full entry
Reference: see Writing Art: A Series of Essays on the Nillumbik Art Collection by Barb Whiter, & Chris Marks (eds). A work by the artist is illustrated and there may be biographical or other information. [’Contains six essays on the Nillumbik Art Collection. At the time of writing the collection consisted of 167 works valued at one million dollars. ‘]
Publishing details: Nillumbik Shire Council, Greensborough, Victoria, 2006. Pictorial Wraps. , 129pp
Dall’Ava Augustineview full entry
Reference: see Writing Art: A Series of Essays on the Nillumbik Art Collection by Barb Whiter, & Chris Marks (eds). A work by the artist is illustrated and there may be biographical or other information. [’Contains six essays on the Nillumbik Art Collection. At the time of writing the collection consisted of 167 works valued at one million dollars. ‘]
Publishing details: Nillumbik Shire Council, Greensborough, Victoria, 2006. Pictorial Wraps. , 129pp
Delves Robertview full entry
Reference: see Writing Art: A Series of Essays on the Nillumbik Art Collection by Barb Whiter, & Chris Marks (eds). A work by the artist is illustrated and there may be biographical or other information. [’Contains six essays on the Nillumbik Art Collection. At the time of writing the collection consisted of 167 works valued at one million dollars. ‘]
Publishing details: Nillumbik Shire Council, Greensborough, Victoria, 2006. Pictorial Wraps. , 129pp
Stoner Markview full entry
Reference: see Writing Art: A Series of Essays on the Nillumbik Art Collection by Barb Whiter, & Chris Marks (eds). A work by the artist is illustrated and there may be biographical or other information. [’Contains six essays on the Nillumbik Art Collection. At the time of writing the collection consisted of 167 works valued at one million dollars. ‘]
Publishing details: Nillumbik Shire Council, Greensborough, Victoria, 2006. Pictorial Wraps. , 129pp
Jackman Hilaryview full entry
Reference: see Writing Art: A Series of Essays on the Nillumbik Art Collection by Barb Whiter, & Chris Marks (eds). A work by the artist is illustrated and there may be biographical or other information. [’Contains six essays on the Nillumbik Art Collection. At the time of writing the collection consisted of 167 works valued at one million dollars. ‘]
Publishing details: Nillumbik Shire Council, Greensborough, Victoria, 2006. Pictorial Wraps. , 129pp
Wegner Peterview full entry
Reference: see Writing Art: A Series of Essays on the Nillumbik Art Collection by Barb Whiter, & Chris Marks (eds). A work by the artist is illustrated and there may be biographical or other information. [’Contains six essays on the Nillumbik Art Collection. At the time of writing the collection consisted of 167 works valued at one million dollars. ‘]
Publishing details: Nillumbik Shire Council, Greensborough, Victoria, 2006. Pictorial Wraps. , 129pp
Kelly Williamview full entry
Reference: see Writing Art: A Series of Essays on the Nillumbik Art Collection by Barb Whiter, & Chris Marks (eds). A work by the artist is illustrated and there may be biographical or other information. [’Contains six essays on the Nillumbik Art Collection. At the time of writing the collection consisted of 167 works valued at one million dollars. ‘]
Publishing details: Nillumbik Shire Council, Greensborough, Victoria, 2006. Pictorial Wraps. , 129pp
Cowcher Joseph Scottview full entry
Reference: see Writing Art: A Series of Essays on the Nillumbik Art Collection by Barb Whiter, & Chris Marks (eds). A work by the artist is illustrated and there may be biographical or other information. [’Contains six essays on the Nillumbik Art Collection. At the time of writing the collection consisted of 167 works valued at one million dollars. ‘]
Publishing details: Nillumbik Shire Council, Greensborough, Victoria, 2006. Pictorial Wraps. , 129pp
Moore Davidview full entry
Reference: see Writing Art: A Series of Essays on the Nillumbik Art Collection by Barb Whiter, & Chris Marks (eds). A work by the artist is illustrated and there may be biographical or other information. [’Contains six essays on the Nillumbik Art Collection. At the time of writing the collection consisted of 167 works valued at one million dollars. ‘]
Publishing details: Nillumbik Shire Council, Greensborough, Victoria, 2006. Pictorial Wraps. , 129pp
Lincioln Kevinview full entry
Reference: see Writing Art: A Series of Essays on the Nillumbik Art Collection by Barb Whiter, & Chris Marks (eds). A work by the artist is illustrated and there may be biographical or other information. [’Contains six essays on the Nillumbik Art Collection. At the time of writing the collection consisted of 167 works valued at one million dollars. ‘]
Publishing details: Nillumbik Shire Council, Greensborough, Victoria, 2006. Pictorial Wraps. , 129pp
Cavell Paulview full entry
Reference: see Writing Art: A Series of Essays on the Nillumbik Art Collection by Barb Whiter, & Chris Marks (eds). A work by the artist is illustrated and there may be biographical or other information. [’Contains six essays on the Nillumbik Art Collection. At the time of writing the collection consisted of 167 works valued at one million dollars. ‘]
Publishing details: Nillumbik Shire Council, Greensborough, Victoria, 2006. Pictorial Wraps. , 129pp
Danko Aleksview full entry
Reference: see Writing Art: A Series of Essays on the Nillumbik Art Collection by Barb Whiter, & Chris Marks (eds). A work by the artist is illustrated and there may be biographical or other information. [’Contains six essays on the Nillumbik Art Collection. At the time of writing the collection consisted of 167 works valued at one million dollars. ‘]
Publishing details: Nillumbik Shire Council, Greensborough, Victoria, 2006. Pictorial Wraps. , 129pp
Burrt Cliffview full entry
Reference: see Writing Art: A Series of Essays on the Nillumbik Art Collection by Barb Whiter, & Chris Marks (eds). A work by the artist is illustrated and there may be biographical or other information. [’Contains six essays on the Nillumbik Art Collection. At the time of writing the collection consisted of 167 works valued at one million dollars. ‘]
Publishing details: Nillumbik Shire Council, Greensborough, Victoria, 2006. Pictorial Wraps. , 129pp
Fries Ernestview full entry
Reference: see Writing Art: A Series of Essays on the Nillumbik Art Collection by Barb Whiter, & Chris Marks (eds). A work by the artist is illustrated and there may be biographical or other information. [’Contains six essays on the Nillumbik Art Collection. At the time of writing the collection consisted of 167 works valued at one million dollars. ‘]
Publishing details: Nillumbik Shire Council, Greensborough, Victoria, 2006. Pictorial Wraps. , 129pp
Bird Terriview full entry
Reference: see Writing Art: A Series of Essays on the Nillumbik Art Collection by Barb Whiter, & Chris Marks (eds). A work by the artist is illustrated and there may be biographical or other information. [’Contains six essays on the Nillumbik Art Collection. At the time of writing the collection consisted of 167 works valued at one million dollars. ‘]
Publishing details: Nillumbik Shire Council, Greensborough, Victoria, 2006. Pictorial Wraps. , 129pp
Skipper Marcusview full entry
Reference: see Writing Art: A Series of Essays on the Nillumbik Art Collection by Barb Whiter, & Chris Marks (eds). A work by the artist is illustrated and there may be biographical or other information. [’Contains six essays on the Nillumbik Art Collection. At the time of writing the collection consisted of 167 works valued at one million dollars. ‘]
Publishing details: Nillumbik Shire Council, Greensborough, Victoria, 2006. Pictorial Wraps. , 129pp
Bodycomb Helen and Enver Camdalview full entry
Reference: see Writing Art: A Series of Essays on the Nillumbik Art Collection by Barb Whiter, & Chris Marks (eds). A work by the artist is illustrated and there may be biographical or other information. [’Contains six essays on the Nillumbik Art Collection. At the time of writing the collection consisted of 167 works valued at one million dollars. ‘]
Publishing details: Nillumbik Shire Council, Greensborough, Victoria, 2006. Pictorial Wraps. , 129pp
Camdal Enver and Bodycomb Helen view full entry
Reference: see Writing Art: A Series of Essays on the Nillumbik Art Collection by Barb Whiter, & Chris Marks (eds). A work by the artist is illustrated and there may be biographical or other information. [’Contains six essays on the Nillumbik Art Collection. At the time of writing the collection consisted of 167 works valued at one million dollars. ‘]
Publishing details: Nillumbik Shire Council, Greensborough, Victoria, 2006. Pictorial Wraps. , 129pp
Halpern Deborah with Malcolm Laurenceview full entry
Reference: see Writing Art: A Series of Essays on the Nillumbik Art Collection by Barb Whiter, & Chris Marks (eds). A work by the artist is illustrated and there may be biographical or other information. [’Contains six essays on the Nillumbik Art Collection. At the time of writing the collection consisted of 167 works valued at one million dollars. ‘]
Publishing details: Nillumbik Shire Council, Greensborough, Victoria, 2006. Pictorial Wraps. , 129pp
Laurence Malcolm with Halpern Deborah view full entry
Reference: see Writing Art: A Series of Essays on the Nillumbik Art Collection by Barb Whiter, & Chris Marks (eds). A work by the artist is illustrated and there may be biographical or other information. [’Contains six essays on the Nillumbik Art Collection. At the time of writing the collection consisted of 167 works valued at one million dollars. ‘]
Publishing details: Nillumbik Shire Council, Greensborough, Victoria, 2006. Pictorial Wraps. , 129pp
Ginger Edwardview full entry
Reference: see Writing Art: A Series of Essays on the Nillumbik Art Collection by Barb Whiter, & Chris Marks (eds). A work by the artist is illustrated and there may be biographical or other information. [’Contains six essays on the Nillumbik Art Collection. At the time of writing the collection consisted of 167 works valued at one million dollars. ‘]
Publishing details: Nillumbik Shire Council, Greensborough, Victoria, 2006. Pictorial Wraps. , 129pp
Smith Cathyview full entry
Reference: see Writing Art: A Series of Essays on the Nillumbik Art Collection by Barb Whiter, & Chris Marks (eds). A work by the artist is illustrated and there may be biographical or other information. [’Contains six essays on the Nillumbik Art Collection. At the time of writing the collection consisted of 167 works valued at one million dollars. ‘]
Publishing details: Nillumbik Shire Council, Greensborough, Victoria, 2006. Pictorial Wraps. , 129pp
Kumar Naomi and Susie Kumarview full entry
Reference: see Writing Art: A Series of Essays on the Nillumbik Art Collection by Barb Whiter, & Chris Marks (eds). A work by the artist is illustrated and there may be biographical or other information. [’Contains six essays on the Nillumbik Art Collection. At the time of writing the collection consisted of 167 works valued at one million dollars. ‘]
Publishing details: Nillumbik Shire Council, Greensborough, Victoria, 2006. Pictorial Wraps. , 129pp
Baines Robertview full entry
Reference: see Writing Art: A Series of Essays on the Nillumbik Art Collection by Barb Whiter, & Chris Marks (eds). A work by the artist is illustrated and there may be biographical or other information. [’Contains six essays on the Nillumbik Art Collection. At the time of writing the collection consisted of 167 works valued at one million dollars. ‘]
Publishing details: Nillumbik Shire Council, Greensborough, Victoria, 2006. Pictorial Wraps. , 129pp
Marks Chrisview full entry
Reference: see Writing Art: A Series of Essays on the Nillumbik Art Collection by Barb Whiter, & Chris Marks (eds). A work by the artist is illustrated and there may be biographical or other information. [’Contains six essays on the Nillumbik Art Collection. At the time of writing the collection consisted of 167 works valued at one million dollars. ‘]
Publishing details: Nillumbik Shire Council, Greensborough, Victoria, 2006. Pictorial Wraps. , 129pp
Brisbane artistsview full entry
Reference: see The Third Metropolis: Imagining Brisbane Through Art and Literature 1940-1970 by William Hatherell, Foreword by Thomas Shapcott. Includes endnotes, bibliography, plus index. "For the first time, The Third Metropolis places Brisbane within wider debates about Australian cultural history."

Publishing details: University of Queensland Press, St Lucia, Queensland, 2007. 312pp
Queensland artists view full entry
Reference: see The Third Metropolis: Imagining Brisbane Through Art and Literature 1940-1970 by William Hatherell, Foreword by Thomas Shapcott. Includes endnotes, bibliography, plus index. "For the first time, The Third Metropolis places Brisbane within wider debates about Australian cultural history."

Publishing details: University of Queensland Press, St Lucia, Queensland, 2007. 312pp
Fairweather Ian p134-54 etcview full entry
Reference: see The Third Metropolis: Imagining Brisbane Through Art and Literature 1940-1970 by William Hatherell, Foreword by Thomas Shapcott. Includes endnotes, bibliography, plus index. "For the first time, The Third Metropolis places Brisbane within wider debates about Australian cultural history."

Publishing details: University of Queensland Press, St Lucia, Queensland, 2007. 312pp
Blackman Charlesview full entry
Reference: see The Third Metropolis: Imagining Brisbane Through Art and Literature 1940-1970 by William Hatherell, Foreword by Thomas Shapcott. Includes endnotes, bibliography, plus index. "For the first time, The Third Metropolis places Brisbane within wider debates about Australian cultural history."

Publishing details: University of Queensland Press, St Lucia, Queensland, 2007. 312pp
Churcher Bettyview full entry
Reference: see The Third Metropolis: Imagining Brisbane Through Art and Literature 1940-1970 by William Hatherell, Foreword by Thomas Shapcott. Includes endnotes, bibliography, plus index. "For the first time, The Third Metropolis places Brisbane within wider debates about Australian cultural history."

Publishing details: University of Queensland Press, St Lucia, Queensland, 2007. 312pp
Churcher Royview full entry
Reference: see The Third Metropolis: Imagining Brisbane Through Art and Literature 1940-1970 by William Hatherell, Foreword by Thomas Shapcott. Includes endnotes, bibliography, plus index. "For the first time, The Third Metropolis places Brisbane within wider debates about Australian cultural history."

Publishing details: University of Queensland Press, St Lucia, Queensland, 2007. 312pp
Collinson Laurence numerous referencesview full entry
Reference: see The Third Metropolis: Imagining Brisbane Through Art and Literature 1940-1970 by William Hatherell, Foreword by Thomas Shapcott. Includes endnotes, bibliography, plus index. "For the first time, The Third Metropolis places Brisbane within wider debates about Australian cultural history."

Publishing details: University of Queensland Press, St Lucia, Queensland, 2007. 312pp
Cottew Vera 197-202, 215view full entry
Reference: see The Third Metropolis: Imagining Brisbane Through Art and Literature 1940-1970 by William Hatherell, Foreword by Thomas Shapcott. Includes endnotes, bibliography, plus index. "For the first time, The Third Metropolis places Brisbane within wider debates about Australian cultural history."

Publishing details: University of Queensland Press, St Lucia, Queensland, 2007. 312pp
Fullbrook Sam p137view full entry
Reference: see The Third Metropolis: Imagining Brisbane Through Art and Literature 1940-1970 by William Hatherell, Foreword by Thomas Shapcott. Includes endnotes, bibliography, plus index. "For the first time, The Third Metropolis places Brisbane within wider debates about Australian cultural history."

Publishing details: University of Queensland Press, St Lucia, Queensland, 2007. 312pp
Grant Gwendolyn p46, 85view full entry
Reference: see The Third Metropolis: Imagining Brisbane Through Art and Literature 1940-1970 by William Hatherell, Foreword by Thomas Shapcott. Includes endnotes, bibliography, plus index. "For the first time, The Third Metropolis places Brisbane within wider debates about Australian cultural history."

Publishing details: University of Queensland Press, St Lucia, Queensland, 2007. 312pp
Harwood Gwen taught art bt Vera Cottewview full entry
Reference: see The Third Metropolis: Imagining Brisbane Through Art and Literature 1940-1970 by William Hatherell, Foreword by Thomas Shapcott. Includes endnotes, bibliography, plus index. "For the first time, The Third Metropolis places Brisbane within wider debates about Australian cultural history."

Publishing details: University of Queensland Press, St Lucia, Queensland, 2007. 312pp
Hope Laurence p78, 118. 123, 127-8view full entry
Reference: see The Third Metropolis: Imagining Brisbane Through Art and Literature 1940-1970 by William Hatherell, Foreword by Thomas Shapcott. Includes endnotes, bibliography, plus index. "For the first time, The Third Metropolis places Brisbane within wider debates about Australian cultural history."

Publishing details: University of Queensland Press, St Lucia, Queensland, 2007. 312pp
Lahey Vida numerous referencesview full entry
Reference: see The Third Metropolis: Imagining Brisbane Through Art and Literature 1940-1970 by William Hatherell, Foreword by Thomas Shapcott. Includes endnotes, bibliography, plus index. "For the first time, The Third Metropolis places Brisbane within wider debates about Australian cultural history."

Publishing details: University of Queensland Press, St Lucia, Queensland, 2007. 312pp
Lindsay Norman p10, 41view full entry
Reference: see The Third Metropolis: Imagining Brisbane Through Art and Literature 1940-1970 by William Hatherell, Foreword by Thomas Shapcott. Includes endnotes, bibliography, plus index. "For the first time, The Third Metropolis places Brisbane within wider debates about Australian cultural history."

Publishing details: University of Queensland Press, St Lucia, Queensland, 2007. 312pp
Miya Studio p122-8 etcview full entry
Reference: see The Third Metropolis: Imagining Brisbane Through Art and Literature 1940-1970 by William Hatherell, Foreword by Thomas Shapcott. Includes endnotes, bibliography, plus index. "For the first time, The Third Metropolis places Brisbane within wider debates about Australian cultural history."

Publishing details: University of Queensland Press, St Lucia, Queensland, 2007. 312pp
Molvig John numerous referencesview full entry
Reference: see The Third Metropolis: Imagining Brisbane Through Art and Literature 1940-1970 by William Hatherell, Foreword by Thomas Shapcott. Includes endnotes, bibliography, plus index. "For the first time, The Third Metropolis places Brisbane within wider debates about Australian cultural history."

Publishing details: University of Queensland Press, St Lucia, Queensland, 2007. 312pp
Nolan Sidneyview full entry
Reference: see The Third Metropolis: Imagining Brisbane Through Art and Literature 1940-1970 by William Hatherell, Foreword by Thomas Shapcott. Includes endnotes, bibliography, plus index. "For the first time, The Third Metropolis places Brisbane within wider debates about Australian cultural history."

Publishing details: University of Queensland Press, St Lucia, Queensland, 2007. 312pp
Olley Margaret view full entry
Reference: see The Third Metropolis: Imagining Brisbane Through Art and Literature 1940-1970 by William Hatherell, Foreword by Thomas Shapcott. Includes endnotes, bibliography, plus index. "For the first time, The Third Metropolis places Brisbane within wider debates about Australian cultural history."

Publishing details: University of Queensland Press, St Lucia, Queensland, 2007. 312pp
Rigby John p112, 118, 135view full entry
Reference: see The Third Metropolis: Imagining Brisbane Through Art and Literature 1940-1970 by William Hatherell, Foreword by Thomas Shapcott. Includes endnotes, bibliography, plus index. "For the first time, The Third Metropolis places Brisbane within wider debates about Australian cultural history."

Publishing details: University of Queensland Press, St Lucia, Queensland, 2007. 312pp
Rees Lloyd p26, 189, 191view full entry
Reference: see The Third Metropolis: Imagining Brisbane Through Art and Literature 1940-1970 by William Hatherell, Foreword by Thomas Shapcott. Includes endnotes, bibliography, plus index. "For the first time, The Third Metropolis places Brisbane within wider debates about Australian cultural history."

Publishing details: University of Queensland Press, St Lucia, Queensland, 2007. 312pp
Roggenkamp Joyview full entry
Reference: see The Third Metropolis: Imagining Brisbane Through Art and Literature 1940-1970 by William Hatherell, Foreword by Thomas Shapcott. Includes endnotes, bibliography, plus index. "For the first time, The Third Metropolis places Brisbane within wider debates about Australian cultural history."

Publishing details: University of Queensland Press, St Lucia, Queensland, 2007. 312pp
Sibley Andrewview full entry
Reference: see The Third Metropolis: Imagining Brisbane Through Art and Literature 1940-1970 by William Hatherell, Foreword by Thomas Shapcott. Includes endnotes, bibliography, plus index. "For the first time, The Third Metropolis places Brisbane within wider debates about Australian cultural history."

Publishing details: University of Queensland Press, St Lucia, Queensland, 2007. 312pp
Tucker Albert p39, 61view full entry
Reference: see The Third Metropolis: Imagining Brisbane Through Art and Literature 1940-1970 by William Hatherell, Foreword by Thomas Shapcott. Includes endnotes, bibliography, plus index. "For the first time, The Third Metropolis places Brisbane within wider debates about Australian cultural history."

Publishing details: University of Queensland Press, St Lucia, Queensland, 2007. 312pp
Anderson Walter J (1868 - 1956)view full entry
Reference: Walter J Anderson (1868 - 1956) exhibited at the Victoria Arts Society.
Lungley Dorothyview full entry
Reference: with Day Fine Art, July, 2019: Deep Blue Sea c1930
Dorothy Lungley
10 cm x 14 cm. Colour woodcut
Possibly a print exhibited in Melbourne in 1932 Everman’s Library on 332 Collins street. The exhibition included 15 colour prints by Lungley, one titled,  At the Bottom of The Deep Blue Sea’ other works by Allan Jordan were in the exhibition.
The Age – Tuesday 29th November 1932- page 5 Art Notes
Scott Ericview full entry
Reference: see Day Fine Art: Eric Scott
Born: 1893, Bega, NSW
Died: 1978, USA
After a stint in the Australian Armed forces, Scott studied at the Sydney Art school. In 1920 he went to Paris to seek a new environment and subjects to draw and etch. Whilst there he meet a Mrs Davenport of the American women’s club who was arranging an exhibition of etchings. He exhibited several at the Old Salon and one of his etchings was bought for the collection of the Chicago Art Institute.
Scott was a wonderful draftsman and was described by ‘Art In Australia, edition 18, December 1st 1926’ as having “good knowledge of his medium and a free manner of drawing”.
Scott signed much of his work with a Kangaroo monogram, Indicating that although he lived and worked abroad he wanted his work to be recognised as Australian.
Magenta Emmaview full entry
Reference: see Day Fine Art: Emma Magenta. Outsider. Artist. Author. Director
Emma Magenta was born in Sydney and began her career drawing and writing her thoughts down on brown paper bags whilst working at a book shop in Paddington. After pinning the illustrative thoughts to the front window, they began to be noticed and revered. Soon she was offered a publishing deal, and her creative career began.
She has gone on to write and illustrate several adult picture books, mostly dealing with aspects of the female Psyche, and illustrate books for other prominent creatives such at Toni Collette.
Emma uses her left hand to paint and draw, as a way to tap into the present unconscious mind. Her works are created as an exercise of personal and public alchemy, dealing with contemporary issues associated with being human!
Emma Magenta’s works are held in collections all over Australia and the world.
Hawthorne Dore or Heliodoreview full entry
Reference: see Day Fine Art: Heliodore, also known as Brendorah or ‘Dore’  Hawthorne, was a modernist Painter born in Sydney on the 31 August 1895, ninth child in a family of 10.
In 1920-21 she enrolled at Julian Ashton’s Sydney Art School as an evening student while supporting herself by working as a designer of patterns in an embroidery factory during the day. Her teachers at the school included Grace Crowley and Anne Dangar.
A promising student, she was quickly promoted from the Antique to the Life Class. The 1920s were exciting years, with knowledge of overseas developments in art filtering back to Australia. Dore was an early member of the Art Students’ Club, formed in 1923 as a forum for discussion of new art trends. In 1925 she and Nancy Hall established Undergrowth: A Magazine of Youth and Ideals , which came out bi-monthly until its demise in 1929. Dore’s November-December 1927 cover shows a woman watching a man at an easel (ill. Butler, SBD , 8).From humble beginnings Undergrowth became the voice of modernism in Sydney. During this time Dore also attended Roland Wakelin’s drawing and painting classes.
Like many women artists of her generation Dore Hawthorne never married. Unlike many others, however, she had no independent means of support and lived frugally. She possessed a strong social conscience and was particularly interested in C.H. Douglas’s economic theory of Social Credit, which stated that mal-distribution of wealth was the cause of economic depressions and had led the world into a long series of wars.
In the mid-1930s she obtained a position teaching art at Frensham School in Mittagong but found the routine stifling and left after several years (cf. Ruth Ainsworth ). About this time she built a cottage for herself in the Burragorang Valley, northwest of Sydney, an area in which she had made many walking trips with friends. Soon after the outbreak of World War II she applied for a job at the Lithgow Small Arms Factory, which manufactured Bren guns. She painted her Factory Folk series under the pseudonym ‘Brendorah’, conflating her name and the gun that dominated her life.
When her employment was terminated in April 1945 she returned to Sydney.
In Sydney Dore ‘lived with excruciating frugality, great creative energy and a Spartan spirit’ and this may have contributed to her collapse in 1968. Afterwards she lived in a convalescent home in Manly until her death on 23 July 1977. Nancy Hall wrote in a tribute to her friend in 1978:
Dore felt the ugliness of materialism and pollution as keenly as she felt everything that was fine and beautiful and much of her painting and writing was a great cry of protest.
 
Brendorah or Hawthorne Dore or Heliodoreview full entry
Reference: see Day Fine Art: Heliodore, also known as Brendorah or ‘Dore’  Hawthorne, was a modernist Painter born in Sydney on the 31 August 1895, ninth child in a family of 10.
In 1920-21 she enrolled at Julian Ashton’s Sydney Art School as an evening student while supporting herself by working as a designer of patterns in an embroidery factory during the day. Her teachers at the school included Grace Crowley and Anne Dangar.
A promising student, she was quickly promoted from the Antique to the Life Class. The 1920s were exciting years, with knowledge of overseas developments in art filtering back to Australia. Dore was an early member of the Art Students’ Club, formed in 1923 as a forum for discussion of new art trends. In 1925 she and Nancy Hall established Undergrowth: A Magazine of Youth and Ideals , which came out bi-monthly until its demise in 1929. Dore’s November-December 1927 cover shows a woman watching a man at an easel (ill. Butler, SBD , 8).From humble beginnings Undergrowth became the voice of modernism in Sydney. During this time Dore also attended Roland Wakelin’s drawing and painting classes.
Like many women artists of her generation Dore Hawthorne never married. Unlike many others, however, she had no independent means of support and lived frugally. She possessed a strong social conscience and was particularly interested in C.H. Douglas’s economic theory of Social Credit, which stated that mal-distribution of wealth was the cause of economic depressions and had led the world into a long series of wars.
In the mid-1930s she obtained a position teaching art at Frensham School in Mittagong but found the routine stifling and left after several years (cf. Ruth Ainsworth ). About this time she built a cottage for herself in the Burragorang Valley, northwest of Sydney, an area in which she had made many walking trips with friends. Soon after the outbreak of World War II she applied for a job at the Lithgow Small Arms Factory, which manufactured Bren guns. She painted her Factory Folk series under the pseudonym ‘Brendorah’, conflating her name and the gun that dominated her life.
When her employment was terminated in April 1945 she returned to Sydney.
In Sydney Dore ‘lived with excruciating frugality, great creative energy and a Spartan spirit’ and this may have contributed to her collapse in 1968. Afterwards she lived in a convalescent home in Manly until her death on 23 July 1977. Nancy Hall wrote in a tribute to her friend in 1978:
Dore felt the ugliness of materialism and pollution as keenly as she felt everything that was fine and beautiful and much of her painting and writing was a great cry of protest.
 
Warren Guyview full entry
Reference: From The Saturday Paper, Aug 3, 2019 as "The artist as an old man - A visit to the studio of nonagenarian artist Guy Warren.’ By Sarah Price.

Artist Guy Warren
At the end of a long driveway off a busy road in Sydney’s north, you reach his studio first. It’s in the garage: brown brick, ’70s style, flat-roofed carport off the front. At the door is an arrow pointing to his house. The house is set behind, like an afterthought. He prefers the studio: most days he is out here, painting.
The ceiling is panelled with timber, the air acrid with turpentine. Drawings and paintings are tacked on every wall space. There are palettes smeared with colour, canvases leaning against tables, tins and hats, memorabilia from New Guinea, an old cassette player. Brushes in every size and shape hang from hooks on a wall. Lined in rows on timber shelves are his sketchbooks, dating back to the 1940s. The metal spirals of the sketchbooks are rusted, cloth covers faded or frayed, and the pages browning. Against the far wall is an antique sideboard covered with art books and papers, and a birthday card with red lettering that reads: What do you wish a 96-year-old? The card is a few years old now. In May this year Guy Warren turned 98.
“How did that happen?” he says, shaking his head and laughing. He wears a purple shirt and reading glasses hanging from a cord around his neck. “It is extraordinary. I don’t know where it’s gone. When I was 95 I realised that I was perhaps getting old, but at 98… It’s absurd.”
At his age, Guy tells me, there is more time to think. When you can no longer look very far ahead you start looking back, thinking about the other things you might have done but will never get the chance to do. ‘‘I could certainly have done some things better. You only get one chance … sometimes you stuff it up and sometimes you don’t. The things you are proud of still stand firm, but inevitably of course – this sounds like an old man – one wonders how worthwhile they were. Does it really matter? Not just art, but everything.”
What does matter at 98? “Working still, making things. I don’t like the word creating: it is one of those pompous words. Making things, doing things…” Guy never doubted he would always be drawing and painting. He left school during the Depression, at age 14, worked at a newspaper and became interested in words and drawings. The newspaper’s art editor took him by the hand up Sydney’s George Street to an art school. It changed his life. He took as many art classes as he could afford and drew whenever he could. He started illustrating and writing for magazines. At 21 he joined the army and went to New Guinea, taking a sketchbook. “I lost my 20s to the war and my young 30s were in London. I’ve known the Alice for a long time – hitchhiked there in 1940, sleeping rough all the way. Ever since I was a small boy I have walked in the landscape. I know the Australian landscape pretty bloody well. I’ve slept on every square inch of it.
“One wants to make a mark – I don’t mean a mark in society. Literally making a mark I suspect is a primal urge. When some man or woman picked up a stick from a fire and made a mark on a cave wall – it started from there. At the same time it is the most abstract of things and the most human of things. On one hand it means no more than ‘this is a mark’, and on the other hand it means ‘I am here, I am alive, I am human. Perhaps there are other people also like me here.’ ”
Guy has another studio in Leichhardt, storing an accumulation of 80 years’ worth of work. In the collection is a self-portrait he did at 18, and the paintings he made at art school, after the war. He is currently working from notes he took in Alice Springs last year, but, he says, a painting can start with anything – not necessarily notes or a drawing. “I still browse through my sketchbooks occasionally, but I don’t have to do that. My art is less realistic now than it was many years ago, but I was brought up in that realist tradition. I get my ideas from landscape, from people. Sometimes things are no more than ideas … it’s a strange business.
“The creative process becomes much more difficult with age. I suspect that is because you know a lot more, or you expect a lot more. You know how short of your expectations you are falling. It’s not anxiety in relation to what other people think – you’ve reached a point where it doesn’t matter a stuff any longer, frankly. It is freeing, but you still have the same doubts. We all suffer from great doubts, which is why I paint over things constantly, and why I have been advised many times to leave them alone … but they’re not quite right, and you think you can do better. There is no yardstick, no God-given voice to say, ‘Stop now.’ There are no rules, so you keep trying – uncertain as you are – you keep trying.
“It is not that one makes a decision to paint, be an artist, to make things. It is a dumb urge that you know you have to do. I know artists in Sydney and they don’t start painting until they have a deadline. That’s not what making art is. Art is getting up in the morning and knowing you have to do it. For what reason? I have no idea. You just have to start making marks. Writers get up at 6 o’clock and make words and musicians write music. Among certain people it is essential to make something that you can either hear or look at.”
For 80 years Guy has been asking himself: What is the role of an artist? “I think the job of an artist is to be inventive, to be curious, to take risks. I don’t want to paint the same bloody painting year after year. I’d rather be broke than do that.”
He calls me honey. I don’t mind: he’s 98. He says he wants to go north, into the desert, to make marks. He wants to play jazz with a group of guys. He could have been a muso, a writer. He says there are too many things he wants to learn, too many things he wants to do. He wants another 50 years, then another 50 after that.
This article was first published in the print edition of The Saturday Paper on Aug 3, 2019 as "The artist as an old man".
Hagan Robertview full entry
Reference: Robert Hagan’s Images of Australia
Publishing details: International Art Services, 1994. Illusts. in colour. (illustrator). 4to.or.cl, hc, (96pages). First and only edition.
Hagan Robertview full entry
Reference: see Bluethumb Gallery website: ‘Robert was born in 1947 in Murwillumbah, NSW and graduated with an Arts degree in Economics and a Diploma in Education from Newcastle University. He is one of Australia's best known and accomplished impressionist painters. His artistic presence is firmly established in the United Kingdom and America. Widely travelled with studios in Suffolk (England), San Diego (USA), Southport (Australia) and Pattaya (Thailand). Robert's paintings have been featured in the International Fine Art Collector (1992 and 1994). He was awarded the America's Cup International Artist Gold Medal and the coveted Mystic Yachting Award in 1995. Robert's rise to International fame began in the Perth where he had a sell out exhibition and met the America's Cup Team which went on to make Australian Yachting history. This led Robert to move to San Diego in 1991 to paint the American's Cup battle and publish his second of several books of Australian paintings. In 1995 he again painted the Cup Race and won the prestigious Mystic International maritime painting competition. By that time Robert had established a firm presence in select U.S. galleries. About this time he had two more books published which led to his incredibly successful career in the U.S.A Robert gave seminars on painting and judged art competitions in Los Angeles and appeared on TV talk shows here and there. He worked between Australia and the U.S.A with galleries in Carmel, Boston, Aspen and Vail doing particularly well. Robert extended his paintings to the Thompson Galleries in London. Apart from authoring several books Robert threw his hat into film making and successfully produced a TV Series for Discovery HD called 'A Splash of Colour'. He is renowned for his Outback horse scenes, full of action and unique Romantic paintings which are held in numerous corporate and private collections worlwide.(PLEASE NOTE ONLINE SALES ONLY AVAILABLE THROUGH BLUETHUMB)’
Hagan Robertview full entry
Reference: see artist’s website: ‘I’ve been pushing paint around for about 30 years and still enjoy every moment of it- so its still a hobby I guess. My boyhood was spent exploring the rainforests of the Tweed Valley in Australia while stepping around snakes that basked in the midday sun. School was as little bookwork as possible and moments of unconsciousness on the football field. A 16 hour steam train trip to the ‘big smoke’ and 4 years later I graduated from University with a bit of knowledge about history, economics and drinking. Painting started about the same time as I started working and it increasingly challenged the latter as the most relaxing and rewarding way forward. It finally took over and traveling the world followed. A number of great relationships later, 2 fabulous boys and painting in USA, the UK and Asia and the years slipped by. A few books about painting then a glancing shot at a TV series and I’m here!’
Leak Billview full entry
Reference: Trigger Warning - Deplorable Cartoons by Bill Leak. [’Bill Leak's daily cartoons in The Australian newspaper have been variously described as the works of a genius and Australia's most insightful and thought-provoking arbiter of the main story of the day. Thumbing through Trigger Warning, a collection of Bill's cartoons from 2016, it's easy to argue that those terms have t been used loosely. When one of the cartoons is this collection prompted the Human Rights Commission to take action under law 18C of the Racial Discrimination Act, it sparked a national debate on free speech, the right to laugh and the right to offend. While one side of the Leak brain was outraged at this action, the other side saw it as manna from heaven. He used the ensuing debate to defend his rights through more brilliant cartoons, most featuring the Human Rights Commission's Gillian Triggs and Tim Soutphommasane, the main protagonists in the case brought against him. Bill was eventually justified when the case was withdrawn, sparking yet ather hilarious (and jarring) cartoon to wind up the issue. In true cartoonist style, he had the first and last laugh while bringing a taboo issue (in this instance the demeaning behaviour of many Indigeus men in remote Aboriginal communities) to national prominence. Sparking debate while making people laugh is what he does best and that's why he's a nine-time Walkley Award winner. Trigger Warning features a host of other insights on the stories of the day, covering a wide range of political and cultural topics and key moments from the year that was. They're all in the unique Leak style - beautifully drawn and coloured, with erudite, telling word bubbles - and when thumbed through in a bound collection, offer a humorous and thought-provoking take on 2016, from the demise of Labor attack dog Sam Dastyari, through to the introduction of the Safe Schools program, the election of Donald Trump, and onto the death of Fidel Castro. And, they're all drawn without fear or favour. As 2017 unfolds with the US on tenterhooks, the UK post-Brexit, refugee hordes flooding into Europe, the Middle East being the Middle East, China making inspection tours of the South Seas and a rogue Senate in Australia, the rights to laugh and offend might be the best way ahead. For a cartoonist like Bill, all bad news is Bleak.
Author Biography: Bill Leak was Australias best-known and most controversial cartoonist as well as an acclaimed artist and writer. A frequent finalist in the Archibald Prize, Bills portraits hang in Parliament House and the National Portrait Gallery in Canberra and his cartoons have appeared in newspapers and magazines throughout Australia and around the world. He is the daily editorial cartoonist on The Australian.’]
Publishing details: Wilkinson Publishing, 2017, pb, 160pp
Arkley Howardview full entry
Reference: Carnival in Suburbia. The art of Howard Arkley by John Gregory. ‘When he died suddenly in Melbourne in July 1999, at the age of 48, Australian painter Howard Arkley had just achieved his greatest successes, receiving international critical acclaim for his work at the Venice Biennale and in Los Angeles. Arkley enjoyed pop themes and imagery, like many of his ‘postmodern’ generation, but he also developed an idiosyncratic individual style, using heavy, air-brushed lines and vivid colour to produce stylised representations of everyday subjects. Carnival in Suburbia covers Arkley’s work thematically, beginning with his best-known works of suburban imagery. Subsequent chapters examine his fascination with pattern, colour and line; a full account for the first time of his creative use of source material; and his collaborations with Juan Davila and other contemporaries. Finally, Arkley is identified as a ‘carnivalesque’ painter, intrigued by death, grotesque body imagery and masks. John Gregory, an art-historian by profession, was Arkley’s brother-in-law.’ – the publisher

Publishing details: Melbourne : Cambridge University Press, 2006. Folio, illustrated boards with acetate dustjacket (slight chip to head of spine), pp. 214, extensively illustrated.
Ref: 1000
Black Stuartview full entry
Reference: Still life Stuart Black, by Craig Judd.
Scarce monograph on the painter Stuart Black (1937 – 2007), prominent member of the gay community and pioneer of Melbourne’s leather scene.
Publishing details: Melbourne] : Trustees of the Estate of Stuart Alan Black, 2012. Quarto, illustrated wrappers, pp. 84, illustrated.
Ref: 1000
Bergner Yoslview full entry
Reference: RUBIN, Carmela
Yosl Bergner : a retrospective by Carmela Rubin.

Publishing details: Tel Aviv : Tel Aviv Museum of Art, 2000. Quarto, illustrated wrappers, pp. 294, illustrated, text in Hebrew and English.
Ref: 1000
Boyd Arthurview full entry
Reference: Arthur Boyd and the exile of the imagination
Touring exhibition catalogue.
Publishing details: Canberra : National Gallery of Australia, 1999. Quarto, illustrated wrappers, pp.12, illustrated.
Ref: 1000
Brack Johnview full entry
Reference: John Brack

Publishing details: Melbourne : Tolarno Galleries, 1983.
Ref: 1000
Clinch Robertview full entry
Reference: Robert Clinch. Fanfare for the common man
Essay by David Thomas, interview by Julie Collett.
Publishing details: Ballarat : Art Gallery of Ballarat, 2013. Quarto, boards in dustjacket, pp. 108, illustrated.
Ref: 1000
Bott G Wview full entry
Reference: G. W. Bot. Field of glyphs
Text by Jason Smith.
Publishing details: London : Hart Gallery, c. 2009. Quarto, illustrated wrappers, pp. 32, illustrated.
Ref: 1000
Brew-Bevan Peterview full entry
Reference: Shoot : studio sessions
“This is a very personal selection of approximately 47 celebrity photographic portraits taken by Peter Brew-Bevan. The book begins with introduction which outlines Peter Brew-Bevan’s career as both fine artist and photographer, and places his work in context. The portraits section follows. Nearly all the subjects are well-known celebrities (Australian and international) working in sport, film, literature, music, television, theatre and fine arts. Each finished portrait is accompanied by a short description summarising the shoot brief, the evolution of the concept, events on the day and post production notes. Also for every portrait there are accompanying reproductions/ facsimiles of Peter Brew-Bevan’s handwritten journals that outline the concept for the shoot, the styling, lighting set-up, his interaction with the artist, which include sketches and tearsheets from magazines etc. that inspired him in creating the portrait. The book is highly illustrated, features tip-ins on transparent film, and journal pages that appear on distinctive pages that differ in size and stock from the larger portrait pages.” (Trove)

Publishing details: Sydney : Murdoch Books, 2007. Folio (33 x 36 cm), illustrated cloth boards, pp. 392, colour illustrations throughout.
Ref: 1000
Adams Tateview full entry
Reference: Tate Adams - Diary of a vintage. The work cycle of the year 1979 at Wynns Coonawarra estate in South Australia. Depicted in twenty-six wood engravings and text by Tate Adams. With an Introduction by David Wynn.
Publishing details: Melbourne : Lyre Bird Press, 1981. Small quarto, gilt-lettered burgandy cloth in matching slipcase, pp. xvi; 42; (2), illustrated with original wood-engravings by Tate Adams.Limited to 375
Ref: 1000
Ciccarone Juliaview full entry
Reference: Julia Ciccarone : fictitious voyages, 7 May 1991 to 1 June 1996
Exhibition catalogue, with introduction by Robert Lindsay and biographical notes on the artist.
Publishing details: Melbourne : Robert Lindsay Gallery, 1996. Quarto, blue illustrated wrappers, [pp. 24], colour illustrations throughout.
Ref: 1000
Annett-Thomas Karen view full entry
Reference: Out of winter : Karen Annett-Thomas
Catalogue of works with essay by visual artist Robyn Burgess.
Publishing details: Melbourne : Bendigo Art Gallery, 2015. Quarto, grey wrappers, pp. 24, some colour illustrations.
Ref: 1000
Boston Paulview full entry
Reference: Paul Boston : works on paper 1982 – 1986
Catalogue of 49 works featuredinthe exhibition. Includes a loose note  from Vivian Anderson of Deutscher Gallery drawing attention to lot number 5 (Wall 1983).
Publishing details: [Melbourne : Deutscher Gertrude Street, 1988]. Quarto, folding card, 3 pages, illustrations of 15 works.
Ref: 1000
Cartwright Michaelview full entry
Reference: Cartwright
Text by Joan Swift, 5 works illustrated.
Publishing details: [Australia : C & N Studios, 199?]. Quarto, illustrated folding card, 3 pages.
Ref: 1000
Bromley Davidview full entry
Reference: David Bromley : recent works 2004
Exhibition catalogue of 35 works from the “Holly” collection.
Publishing details: Melbourne : Scott Livesey Art Dealer, 2004. Quarto, illustrated wrappers, pp. 69, colour illustrations throughout.
Ref: 1000
Dall’Ava Augustineview full entry
Reference: Journey : the sculpture of Augustine Dall’ava 1975 – 2008
Publishing details: McClelland Gallery + Sculpture Park, 2009. Quarto, pictorial wrappers, pp. 52, colour illustrations and pictures throughout. Features an essay by Penny Teale and a catalogue of works.
Ref: 1000
Crawford Marianview full entry
Reference: Memory Work. A contemporary photobook created by Melbourne artist Marian Crawford, drawing on her memories growing up on Babana, or Ocean Island (contemporary Kiribati) and using historical photographs of what was at the time known as the Gilbert and Ellice Islands.

Publishing details: [Melbourne : the artist, 2018]. Artist’s book. Octavo (21cm tall), self-wrappers, blue cellophane dustjacket, pp. [48], printed letterpress, relief and intaglio. Unique edition.
Ref: 1000
Arnold Rayview full entry
Reference: Raymond Arnold - Body Armour : Char Corps, essays by Katherine McDonald
Publishing details: Mt. Nelson [Tasmania] : Partners Press, c 2005. Octavo, embossed card wrappers, folding sheet in 15 sections each with an illustration. A fine artist’s private press book limited to 250 copies signed by the artist and the designer.
Ref: 1000
Ashton Willview full entry
Reference: Exhibition of pictures. Will Ashton, R.O.I. At David Jones’ George Street Store November 1936
Publishing details: Sydney : David Jones’, 1936. Octavo, lettered wrappers, pp. 8, foreword by Lionel Lindsay, catalogue of 67 works with prices, two black & white reproductions of Ashton’s paintings and one black & white reproduction of a photograph of Ashton
Ref: 1000
Ashton Willview full entry
Reference: Catalogue of an exhibition of oil paintings by Will Ashton, foreword by Lionel Lindsay, catalogue of 69 works with prices, two colour and two black & white reproductions
Publishing details: Painted on his recent tour in Europe, held in the galleries of Anthony Hordern & Sons Ltd. Sydney : Anthony Hordern & Sons Ltd, 1925. Quarto, lettered wrappers, pp. 8,
Ref: 1000
Bergner Yoslview full entry
Reference: Yosl Bergner. Paintings : 1955-1975 text in English and Hebrew. Illustrated in colour and black and white
Publishing details: Tel Aviv : The Tel Aviv Museum, 1975. Square octavo, illustrated wrappers,
Ref: 1000
Bergner Yoslview full entry
Reference: Yosl Bergner : Paintings of Flowers May-June 1979, text in English and Hebrew, illustrated in colour and black and white
Publishing details: Tel Aviv : Bineth Gallery, 1979. Square octavo, illustrated wrappers,
Ref: 1000
Ashton Willview full entry
Reference: Exhibition of French and Italian landscapes by Will Ashton, June 2nd to 14th, 1927, held at The Fine Art Society’s Gallery, foreword by Lionel Lindsay written in Monaco 1927, catalogue of forty-two works with prices,
Publishing details: Melbourne : The Fine Art Society’s Gallery, 1927. Octavo, lettered yellow wrappers, pp. 8, two black & white reproductions of Ashton’s work,
Ref: 1000
Banfield Elizabethview full entry
Reference: At Jupiter Creek (letters 9-12) Handmade book with black cloth covered board ends measuring 230 x 185 mm. The work becomes a concertina-fold diorama consisting of a folded sheet of rag paper with six illustrated panels.
Publishing details: [Melbourne: the artist, 2009]. Artist’s book. Edition 2/3, signed, titled and dated 2009 in pencil.
Ref: 1000
Brennan Angelaview full entry
Reference: Angela Brennan. Peas cooked the Roman way

Publishing details: Melbourne : Niagara Gallery, 2004. Quarto, half-cloth over laminated boards (lightly rubbed); pp. [28]; illustrated. 
Ref: 1000
Anderson Sueview full entry
Reference: ANDERSON, Sue and HARRISON, Gwen
Howl for a black cockatoo, designer binding of black kangaroo inlaid with etching by Sue Anderson and Wayne Stock, etched endpapers, pp. [28], each leaf being printed letterpress and with sugarlift or aquatint etching, some leaves folding and some shortened. Limited to 25 copies
Publishing details: Sydney : Impediment Press & Wand'Ring Bark, 2015. Folio (540 mm tall),
Ref: 1000
Stock Wayneview full entry
Reference: see ANDERSON, Sue and HARRISON, Gwen - Howl for a black cockatoo, designer binding of black kangaroo inlaid with etching by Sue Anderson and Wayne Stock, etched endpapers, pp. [28], each leaf being printed letterpress and with sugarlift or aquatint etching, some leaves folding and some shortened. Limited to 25 copies
Publishing details: Sydney : Impediment Press & Wand'Ring Bark, 2015. Folio (540 mm tall),
Christofides Andrewview full entry
Reference: CHRISTOFIDES, Andrew; MAHFOUZ, Naguib - Passage, being quotes from Mahfouz accompanied by an original watercolour by Christofides, housed in a clamshell box. Limited to 30 copies signed by the artist plus 6 hors commerce. This is number 7 of 30. A stunning artist's book, showcasing Christofides' artistic response to the sensitive writings of the Egyptian Nobel Laureate. 


Publishing details: Melbourne and Townsville : Lyre Bird Press & Zimmer Editions, 2005. Folio, lettered wrappers, 10 folded leaves, including title sheet and colophon sheet, 8 sheets
Ref: 1000
Swallow Rickyview full entry
Reference: BAKER, Alex; HOLTE, Michael Ned
The Bricoleur. Ricky Swallow

Publishing details: Melbourne : NGV, 2009. Octavo, cloth, pp. 88. illustrated.
Ref: 1000
Drysdale Russellview full entry
Reference: Drysdale in Albury
Catalogues 30 works, 21 of which are by Drysdale with the remainder by artists Geoffrey Mainwaring, George Browning, Donald Friend, and Elaine Haxton.
Publishing details: Albury : Albury Regional Art Centre, 1985. Oblong octavo, pictorial wrappers, [8pp].
Ref: 1000
Banfield Elizabethview full entry
Reference: Shyness
Artist’s book. Edition 2/3, signed, titled and dated 2013 in pencil. Handmade red cloth-covered boards measuring 105 x 85 mm with concertinafold rag paper fastened to the boards, hand-stitched with linocut illustrations of leaves and overlaid with further linocut designs. When opened, the book can either be extended in linear fashion or folded back upon itself to produce a wheel or star. The artwork deliberately conceals decorative elements from instant view to reflect the themes of veiling and concealment and the pursuit of beauty.  This complex paper construction is meticulously executed by hand and housed in a folding card box with string ties.
Elizabeth Banfield was born in the U.K. in 1963 and arrived in Australia in 1966. She received her Bachelor of Fine Art degree from the University of South Australia in 1984, majoring in printmaking. From a series of initial student exhibitions in Adelaide in the 1980s she went on to exhibit in national printmaking exhibitions in Melbourne, Adelaide, and New South Wales. Her print commission for the Print Council of Australia in 2010 quickly sold out, and she was a finalist at the important Libris Awards (Australian Artist Book Prize) at Artspace Mackay in 2013. Banfield is represented in various gallery collections including Burnie Regional Art Gallery, Monash University, South Australian School of Art, Tweed River Art Gallery and the Print Council of Australia. She is also represented in the artist book collection of the State Library of Queensland. 

Ref: 1000
Drysdale Russellview full entry
Reference: Round trip by Miles Little
Illustrated by Russell Drysdale.
Publishing details: Melbourne University Press, 1977. Octavo, gilt-illustrated leather in paper dustjacket, pp. 54, illustrated. Limited to 150 copies signed by Drysdale and Little. 
Ref: 1000
Charapanovskaia Marinaview full entry
Reference: Charapanovskaia, Marina (1961 - )
Black Box. Artists' book, four canvas boxes with folding sides and ribbon ties measuring 105 mm2; 70 mm2; 55 mm2; and 45 mm2, each containing a concertina folded paper artwork, being a series of photomontage of semi-abstract designs. Limited to 4 copies.
In this work, the artist creates the enigma of the unknown, what shape, content or format will be contained within these mysterious black boxes?
Marina Charapanovskaia was born in Krasnoyarsk in Eastern Siberia in 1961, and grew up in Vorkuta in the Komi Republic, far northern Russia. She studied art at the People's University, Moscow 1982 – 1984 and spent the rest of the decade working in design for government departments, including designing powerful Soviet propaganda posters. Upon the breakup of the Soviet Union,  Charapanovskaia emigrated to Melbourne where her grandmother had been living since the 1960s. She returned to study and completed her Bachelor of Fine Arts (Printmaking) at the Victorian College of the Arts (Melbourne University).  Since then she has participated in numerous group and solo exhibitions, and won awards from the Kingston City Arts Centre and National Gallery Women's Association.
 

Publishing details: Melbourne : the artist, c. 2000.
Ref: 1000
Billeter Walterview full entry
Reference: BILLETER, Walter (1943 - )
Australian novemberies
(Included in the seminal exhibition 'Artists books : bookworks', Ewing Paton Gallery, 1978)
Publishing details: Melbourne : Paper Castle mimeographs, 1979. Octavo, printed wrappers, pp. 48, [4],
Ref: 1000
Davies Julian view full entry
Reference: Julian Davies - A pile of hair

Publishing details: Sydney : Finlay Press, 2003. Octavo, printed wrappers in card clipcase, unpaginated. The standard edition, one of 150 copies signed by the author and artists. Charapanovskaia
Ref: 1000
Braund Dorothyview full entry
Reference: Dorothy Braund: a survey
Survey exhibition 1949-1974. May 29th to June 26th, 1994.
Publishing details: Melbourne : Eastgate Gallery, 1994. Quarto, lettered wrappers, unpaginated, illustrated in colour,
Ref: 1000
Daws Lawrenceview full entry
Reference: Anatomy of a relationship by Lawrence Daws.
illustrated with nine colour images. Includes text by P.A.E. Hutchings.
Publishing details: Brisbane : [Johnstone Gallery, 1972]. Quarto, pictorial wrappers trifold card,
Ref: 1000
Daws Lawrenceview full entry
Reference: “The 1913 mining disaster” : paintings by Lawrence Daws.

Publishing details: Brisbane : [Johnstone Gallery, 1970]. Quarto, pictorial wrappers (minor rubbing on rear wrapper), trifold card, illustrated with two large colour reproductions. Includes price list.
Ref: 1000
Browne Abdrewview full entry
Reference: Andrew Bowne - Apparition 2012

Publishing details: Photopolymer intaglio. Edition: 20. Image size: 200 mm x 150 mm. Paper size: 285 mm x 255 mm; image created by the artist and printed by APW printer Simon White at APW, Melbourne. 2012
Ref: 1000
Charapanovskaia Marinaview full entry
Reference: Ropes.
Artists' book, oblong folio (155 x 475 mm) bound in raw silk with ribbon tie, plain endpapers, 8 folded leaves printed with 14 original etchings, each signed and numbered, interlined with tissue. Limited to 4 copies.
In this exquisite book the artist explores the textural qualities of something as simple as fibre ropes remembered from her childhood, demonstrating an adept artistic talent in creating fine detail and organic movement in the series of 14 etchings which explores her subject.
Marina Charapanovskaia was born in Krasnoyarsk in Eastern Siberia in 1961, and grew up in Vorkuta in the Komi Republic, far northern Russia. She studied art at the People's University, Moscow 1982 – 1984 and spent the rest of the decade working in design for government departments, including designing powerful Soviet propoganda posters. Upon the breakup of the Soviet Union,  Charapanovskaia emigrated to Melbourne where her grandmother had been living since the 1960s. She returned to study and completed her Bachelor of Fine Arts (Printmaking) at the Victorian College of the Arts (Melbourne University).  Since then she has participated in numerous group and solo exhibitions, and won awards from the Kingston City Arts Centre and National Galery Women's Association. 
A fine contemporary artists' book from a migrant to Australia drawing upon her memories of childhood.

Ref: 1000
Banfield Elizabethview full entry
Reference: From the Red Box
Artist’s book. Edition 2/5, signed, titled, numbered and dated 2010 in pencil. Handmade book with bronze cloth covered board ends measuring 155 x 157 mm. The work folds out concertina-style, revealing the hand-crafted pages inside. The work becomes a concertina-fold diorama consisting of a folded sheet of rag paper with six illustrated panels. Each of the panels features hand-cut linocuts in the shape of leaves which are hand-stitched onto the paper with coloured cotton. This intricate paper construction stretches to approximately 1260mm. It combines vibrantly coloured Japanese papers with the artist’s fine linocuts.
Collections: held in The State Library of Queensland
Elizabeth Banfield was born in the U.K. in 1963 and arrived in Australia in 1966. She received her Bachelor of Fine Art degree from the University of South Australia in 1984, majoring in printmaking. From a series of initial student exhibitions in Adelaide in the 1980s she went on to exhibit in national printmaking exhibitions in Melbourne, Adelaide, and New South Wales. Her print commission for the Print Council of Australia in 2010 quickly sold out, and she was a finalist at the important Libris Awards (Australian Artist Book Prize) at Artspace Mackay in 2013. Banfield is represented in various gallery collections including Burnie Regional Art Gallery, Monash University, South Australian School of Art, Tweed River Art Gallery and the Print Council of Australia. She is also represented in the artist book collection of the State Library of Queensland. A full CV is available upon request. Douglas Stewart Fine Books, 2019.

Ref: 1000
Grahame Noreenview full entry
Reference: GRAHAME, Noreen and DAVIS, Jan
The case of the extremely glad gallerist [with] The case of the extremely sad gallerist
pair of flipbooks showing with the universally recognised symbol of a red sticker what really motivates the feelings of a commercial gallery director. Each limited to 200 signed and numbered copies. A fun and direct contemporary pair of artists' books. 
Publishing details: Brisbane : Numero Uno publications, 2001. 24mo, printed wrappers, each 24 leaves,
Ref: 1000
Davis Janview full entry
Reference: see GRAHAME, Noreen and DAVIS, Jan
The case of the extremely glad gallerist [with] The case of the extremely sad gallerist
pair of flipbooks showing with the universally recognised symbol of a red sticker what really motivates the feelings of a commercial gallery director. Each limited to 200 signed and numbered copies. A fun and direct contemporary pair of artists' books. 
Publishing details: Brisbane : Numero Uno publications, 2001. 24mo, printed wrappers, each 24 leaves,
Wright George Pview full entry
Reference: Brisbane and Environs Illustrated: Twelve Views of the Scenery of the City and Neighbourhood. [From Douglas Stewart Fine Books: Second Series … [Contents …] Photographed by Geo. P. Wright, Creek Street, (Opposite the Union Bank) Brisbane. MDCCCLXXVIII. At head of title: Under the Patronage of His Excellency the Governor. Brisbane : George P. Wright [printed by Cleghorn & Co.], 1878. Oblong folio, original half morocco over brown cloth boards with gilt lettering (boards marked and scuffed, corners worn, head of spine frayed), original marbled endpapers, title page printed in red and black (loss at upper right corner), [12] leaves of thick card, recto of each with a mounted albumen print photograph, 210 x 280 mm, centred within a printed purple border bearing the imprint of G.P. Wright, Photo. to His Excellency / Creek Street, Brisbane, and with a printed caption outside the lower border, all interleaving intact, versos blank, the albumen prints with slight yellowing but in very good condition, the leaves clean and with a minimal amount of pale foxing. Extremely rare.
The title page indicates that this edition of Wright’s Brisbane and Environs Illustrated is part of a second series. The only other recorded example of this series is held in the collection of the State Library of Queensland (examples of the first series, issued around 1875, are held in the State Library of Queensland, National Library of Australia and State Library of New South Wales). However, neither album is known to Holden (Holden, Robert. Photography in colonial Australia : the mechanical eye and the illustrated book), whose bibliography cites 130 Australian works to use original photographs that were published between 1865 and the early 1890s. Brisbane and Environs Illustrated is an album of major significance, not only for the early photographic record of Brisbane which it provides, but also for the fact that it represents a substantial example of the early photographically illustrated book in Australia.
The photographer George Parkinson Wright was active in Brisbane between 1874 and 1883. He is known for a large-scale panorama of Brisbane from New Farm, showing the serpentine course of the Brisbane River, taken around 1875, and his technical prowess was recognised in his appointment as official photographer to the Governor of Queensland. In 1878, the year in which Brisbane and Environs Illustrated was published, Wright moved from his Fortitude Valley studio to new premises in Creek Street.
The titles of the twelve views in the present album are:
On the River – at Milton / Brisbane – from Wickham Terrace, No. 1 / Portion of a Cattle Run / The River – Garden Reach, from St. Mary’s Church / Interior of the Legislative Council Chamber / Weeping Willow and Bamboos – Botanic Gardens / Brisbane – from the Milton Road / Government House and Grounds, with the Parliamentary Buildings / Brisbane – from Wickham Terrace, No. 2 / The Road through the Scrub – near Beaudesert / Queen Street, Brisbane / Cultivation on the River – from South Brisbane.’]
Ref: 1000
Ashton Julian essay byview full entry
Reference: see ‘An Aim for Australian Art’ in the Centennial Magazine, 1 August, 1888, essay reproduced in The Colonial Journals: and the emergence of Australian literary culture, by Ken Gelder, Rachael Weaver [’Colonial Australia produced a vast number of journals and magazines that helped to create an exuberant literary landscape. They were filled with lively contributions by many of the key writers and provocateurs of the day – and of the future. Writers such as Marcus Clarke, Rolf Boldrewood, Ethel Turner and Katharine Susannah Prichard published for the first time in these journals.

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

The Colonial Journals also includes 50 colour image plates of the journal covers, including Colonial Monthly, Australian Women’s Magazine and Domestic Journal, Sydney Quarterly Magazine, Cosmos, Bulletin, and New Idea for Australian Women.’]
Publishing details: UWA, 2014, pb, 240pp
Hopkins Livingstone essay onview full entry
Reference: see essay by Mrs Charles Bright in Cosmos, 30 March, 1895, reproduced in The Colonial Journals: and the emergence of Australian literary culture, by Ken Gelder, Rachael Weaver [’Colonial Australia produced a vast number of journals and magazines that helped to create an exuberant literary landscape. They were filled with lively contributions by many of the key writers and provocateurs of the day – and of the future. Writers such as Marcus Clarke, Rolf Boldrewood, Ethel Turner and Katharine Susannah Prichard published for the first time in these journals.

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

The Colonial Journals also includes 50 colour image plates of the journal covers, including Colonial Monthly, Australian Women’s Magazine and Domestic Journal, Sydney Quarterly Magazine, Cosmos, Bulletin, and New Idea for Australian Women.’]
Publishing details: UWA, 2014, pb, 240pp
Mahony Frank essay onview full entry
Reference: see essay by A. G. Stephens in Bookfellow, 23 March, 1899, reproduced in The Colonial Journals: and the emergence of Australian literary culture, by Ken Gelder, Rachael Weaver [’Colonial Australia produced a vast number of journals and magazines that helped to create an exuberant literary landscape. They were filled with lively contributions by many of the key writers and provocateurs of the day – and of the future. Writers such as Marcus Clarke, Rolf Boldrewood, Ethel Turner and Katharine Susannah Prichard published for the first time in these journals.

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

The Colonial Journals also includes 50 colour image plates of the journal covers, including Colonial Monthly, Australian Women’s Magazine and Domestic Journal, Sydney Quarterly Magazine, Cosmos, Bulletin, and New Idea for Australian Women.’]
Publishing details: UWA, 2014, pb, 240pp
Taylor George essay onview full entry
Reference: see essay on Taylor in All About Australians, 1 December, 1902, reproduced in The Colonial Journals: and the emergence of Australian literary culture, by Ken Gelder, Rachael Weaver [’Colonial Australia produced a vast number of journals and magazines that helped to create an exuberant literary landscape. They were filled with lively contributions by many of the key writers and provocateurs of the day – and of the future. Writers such as Marcus Clarke, Rolf Boldrewood, Ethel Turner and Katharine Susannah Prichard published for the first time in these journals.

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

The Colonial Journals also includes 50 colour image plates of the journal covers, including Colonial Monthly, Australian Women’s Magazine and Domestic Journal, Sydney Quarterly Magazine, Cosmos, Bulletin, and New Idea for Australian Women.’]
Publishing details: UWA, 2014, pb, 240pp
Taylor George caricatures essay onview full entry
Reference: see essay on Taylor in Steele Rudd’s Magazine April 1905, reproduced in The Colonial Journals: and the emergence of Australian literary culture, by Ken Gelder, Rachael Weaver [’Colonial Australia produced a vast number of journals and magazines that helped to create an exuberant literary landscape. They were filled with lively contributions by many of the key writers and provocateurs of the day – and of the future. Writers such as Marcus Clarke, Rolf Boldrewood, Ethel Turner and Katharine Susannah Prichard published for the first time in these journals.

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

The Colonial Journals also includes 50 colour image plates of the journal covers, including Colonial Monthly, Australian Women’s Magazine and Domestic Journal, Sydney Quarterly Magazine, Cosmos, Bulletin, and New Idea for Australian Women.’]
Publishing details: UWA, 2014, pb, 240pp
May Phil essay onview full entry
Reference: see essay in Our Swag, 22 December, 1905, reproduced in The Colonial Journals: and the emergence of Australian literary culture, by Ken Gelder, Rachael Weaver [’Colonial Australia produced a vast number of journals and magazines that helped to create an exuberant literary landscape. They were filled with lively contributions by many of the key writers and provocateurs of the day – and of the future. Writers such as Marcus Clarke, Rolf Boldrewood, Ethel Turner and Katharine Susannah Prichard published for the first time in these journals.

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

The Colonial Journals also includes 50 colour image plates of the journal covers, including Colonial Monthly, Australian Women’s Magazine and Domestic Journal, Sydney Quarterly Magazine, Cosmos, Bulletin, and New Idea for Australian Women.’]
Publishing details: UWA, 2014, pb, 240pp
May Phil in Sydney essay onview full entry
Reference: see essay in The Bulletin, 22 December, 1905, reproduced in The Colonial Journals: and the emergence of Australian literary culture, by Ken Gelder, Rachael Weaver [’Colonial Australia produced a vast number of journals and magazines that helped to create an exuberant literary landscape. They were filled with lively contributions by many of the key writers and provocateurs of the day – and of the future. Writers such as Marcus Clarke, Rolf Boldrewood, Ethel Turner and Katharine Susannah Prichard published for the first time in these journals.

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

The Colonial Journals also includes 50 colour image plates of the journal covers, including Colonial Monthly, Australian Women’s Magazine and Domestic Journal, Sydney Quarterly Magazine, Cosmos, Bulletin, and New Idea for Australian Women.’]
Publishing details: UWA, 2014, pb, 240pp
Dyson Edward essay onview full entry
Reference: see essay in The Lone Hand, 1 August, 1912, reproduced in The Colonial Journals: and the emergence of Australian literary culture, by Ken Gelder, Rachael Weaver [’Colonial Australia produced a vast number of journals and magazines that helped to create an exuberant literary landscape. They were filled with lively contributions by many of the key writers and provocateurs of the day – and of the future. Writers such as Marcus Clarke, Rolf Boldrewood, Ethel Turner and Katharine Susannah Prichard published for the first time in these journals.

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

The Colonial Journals also includes 50 colour image plates of the journal covers, including Colonial Monthly, Australian Women’s Magazine and Domestic Journal, Sydney Quarterly Magazine, Cosmos, Bulletin, and New Idea for Australian Women.’]
Publishing details: UWA, 2014, pb, 240pp
Lindsay Norman essay onview full entry
Reference: see essay in The Lone Hand, 1 August, 1912, reproduced in The Colonial Journals: and the emergence of Australian literary culture, by Ken Gelder, Rachael Weaver [’Colonial Australia produced a vast number of journals and magazines that helped to create an exuberant literary landscape. They were filled with lively contributions by many of the key writers and provocateurs of the day – and of the future. Writers such as Marcus Clarke, Rolf Boldrewood, Ethel Turner and Katharine Susannah Prichard published for the first time in these journals.

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

The Colonial Journals also includes 50 colour image plates of the journal covers, including Colonial Monthly, Australian Women’s Magazine and Domestic Journal, Sydney Quarterly Magazine, Cosmos, Bulletin, and New Idea for Australian Women.’]
Publishing details: UWA, 2014, pb, 240pp
Journals in Australiaview full entry
Reference: The Colonial Journals: and the emergence of Australian literary culture, by Ken Gelder, Rachael Weaver [’Colonial Australia produced a vast number of journals and magazines that helped to create an exuberant literary landscape. They were filled with lively contributions by many of the key writers and provocateurs of the day – and of the future. Writers such as Marcus Clarke, Rolf Boldrewood, Ethel Turner and Katharine Susannah Prichard published for the first time in these journals.

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

The Colonial Journals also includes 50 colour image plates of the journal covers, including Colonial Monthly, Australian Women’s Magazine and Domestic Journal, Sydney Quarterly Magazine, Cosmos, Bulletin, and New Idea for Australian Women.’]
Publishing details: UWA, 2014, pb, 240pp
magazines in Australiaview full entry
Reference: The Colonial Journals: and the emergence of Australian literary culture, by Ken Gelder, Rachael Weaver [’Colonial Australia produced a vast number of journals and magazines that helped to create an exuberant literary landscape. They were filled with lively contributions by many of the key writers and provocateurs of the day – and of the future. Writers such as Marcus Clarke, Rolf Boldrewood, Ethel Turner and Katharine Susannah Prichard published for the first time in these journals.

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

The Colonial Journals also includes 50 colour image plates of the journal covers, including Colonial Monthly, Australian Women’s Magazine and Domestic Journal, Sydney Quarterly Magazine, Cosmos, Bulletin, and New Idea for Australian Women.’]
Publishing details: UWA, 2014, pb, 240pp
newspapers in Australiaview full entry
Reference: The Colonial Journals: and the emergence of Australian literary culture, by Ken Gelder, Rachael Weaver [’Colonial Australia produced a vast number of journals and magazines that helped to create an exuberant literary landscape. They were filled with lively contributions by many of the key writers and provocateurs of the day – and of the future. Writers such as Marcus Clarke, Rolf Boldrewood, Ethel Turner and Katharine Susannah Prichard published for the first time in these journals.

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

The Colonial Journals also includes 50 colour image plates of the journal covers, including Colonial Monthly, Australian Women’s Magazine and Domestic Journal, Sydney Quarterly Magazine, Cosmos, Bulletin, and New Idea for Australian Women.’]
Publishing details: UWA, 2014, pb, 240pp
Field of Visionview full entry
Reference: Field of Vision, Shepparton Art Gallery, Monash University Museum of Art Melbourne 2003. Curated by Louise Tegart and Karen Hall. Includes essays and biographical information on the artists.
Publishing details: Shepparton Art Gallery, 2003, pb, edition of 500
Ref: 139
Bond Chrisview full entry
Reference: see Field of Vision, Shepparton Art Gallery, Monash University Museum of Art Melbourne 2003. Curated by Louise Tegart and Karen Hall. Includes essays and biographical information on the artists.
Publishing details: Shepparton Art Gallery, 2003, pb, edition of 500
Browne Andrewview full entry
Reference: see Field of Vision, Shepparton Art Gallery, Monash University Museum of Art Melbourne 2003. Curated by Louise Tegart and Karen Hall. Includes essays and biographical information on the artists.
Publishing details: Shepparton Art Gallery, 2003, pb, edition of 500
Hammond Kirrilyview full entry
Reference: see Field of Vision, Shepparton Art Gallery, Monash University Museum of Art Melbourne 2003. Curated by Louise Tegart and Karen Hall. Includes essays and biographical information on the artists.
Publishing details: Shepparton Art Gallery, 2003, pb, edition of 500
Hearman Louiseview full entry
Reference: see Field of Vision, Shepparton Art Gallery, Monash University Museum of Art Melbourne 2003. Curated by Louise Tegart and Karen Hall. Includes essays and biographical information on the artists.
Publishing details: Shepparton Art Gallery, 2003, pb, edition of 500
Johnson Matthewview full entry
Reference: see Field of Vision, Shepparton Art Gallery, Monash University Museum of Art Melbourne 2003. Curated by Louise Tegart and Karen Hall. Includes essays and biographical information on the artists.
Publishing details: Shepparton Art Gallery, 2003, pb, edition of 500
Kennedy Helenview full entry
Reference: see Field of Vision, Shepparton Art Gallery, Monash University Museum of Art Melbourne 2003. Curated by Louise Tegart and Karen Hall. Includes essays and biographical information on the artists.
Publishing details: Shepparton Art Gallery, 2003, pb, edition of 500
Langlois Chrisview full entry
Reference: see Field of Vision, Shepparton Art Gallery, Monash University Museum of Art Melbourne 2003. Curated by Louise Tegart and Karen Hall. Includes essays and biographical information on the artists.
Publishing details: Shepparton Art Gallery, 2003, pb, edition of 500
Langlois Chrisview full entry
Reference: see Field of Vision, Shepparton Art Gallery, Monash University Museum of Art Melbourne 2003. Curated by Louise Tegart and Karen Hall. Includes essays and biographical information on the artists.
Publishing details: Shepparton Art Gallery, 2003, pb, edition of 500
Lloyd Tonyview full entry
Reference: see Field of Vision, Shepparton Art Gallery, Monash University Museum of Art Melbourne 2003. Curated by Louise Tegart and Karen Hall. Includes essays and biographical information on the artists.
Publishing details: Shepparton Art Gallery, 2003, pb, edition of 500
Logue Joannaview full entry
Reference: see Field of Vision, Shepparton Art Gallery, Monash University Museum of Art Melbourne 2003. Curated by Louise Tegart and Karen Hall. Includes essays and biographical information on the artists.
Publishing details: Shepparton Art Gallery, 2003, pb, edition of 500


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