10works in focus Paintings from the Collection VOLUME 3

10 WORKS IN FOCUS: PAINTINGS FROM THE COLLECTION / VOLUME 3 1 This is the third in a series of 10 Works in Focus publications accompanying the State Library of NSW’s Paintings from the Collection permanent exhibition.

The State Library’s exhibitions onsite, online and on tour aim to connect audiences across NSW and beyond to our collections and the stories they tell. www.sl.nsw.gov.au/galleries

Members of Aboriginal and Torres Strait Islander communities are respectfully advised that this exhibition and related materials contain the names and images of people who have passed away.

ACKNOWLEDGMENT OF COUNTRY

The State Library of acknowledges the Gadigal people of the Eora Nation, the traditional custodians of the land on which the Library stands. We pay respect to Aboriginal Elders past, present and emerging, and extend that respect to other First Nations people. We celebrate the diversity of Aboriginal cultures and languages across NSW. 10works in focus Paintings from the Collection VOLUME 3 Contents

5 Foreword

7 About the exhibition

8 Mr Stanley’s House

10 On a high horse!

12 Shades of grey

14 A rare and honest portrait

16 Acrid smoke and nervous excitement

18 Boys’ day out

22 A standing disgrace to

24 Poet and painter

26 Miss Mary

28 Affectionately ‘Mullum’

30 List of works

A free exhibition at the State Library of NSW.

Macquarie Street Sydney NSW 2000 Telephone +61 2 9273 1414 www.sl.nsw.gov.au @statelibrarynsw

Curators: Louise Anemaat, Elise Edmonds, Richard Neville, Margot Riley Creative producer: Mary-Elizabeth Andrews Creative producer, multimedia: Sabrina Organo Exhibition designer: Elin Thomas Graphic designer: Simon Leong Editor: Cathy Hammer Senior conservators: Felicity Corkill, Kate Hughes Unless otherwise stated all photographic work is by Digitisation & Imaging, State Library of NSW

ISBN 978-1-925831-11-5 (print) ISBN 978-1-925831-12-2 (pdf)

E&D-5416-11/2019 Print run: 10,000 Printed by Lighthouse Print Group on Ball & Doggett HannoArt Plus Gloss 350 gsm and 150 gsm

© State Library of NSW 2019

4 10 WORKS IN FOCUS: PAINTINGS FROM THE COLLECTION / VOLUME 3 Foreword

A painting is like a poem, as the old This exhibition has been made saying goes. possible through the extraordinary collaboration of staff across the The State Library holds one of Library, from Research and Discovery the nation’s richest collections of to Exhibitions and Design, Collection . Together, these works Care, Digitisation and Imaging, Digital have a great deal to tell us about Channels, Learning Services and the who we are and where we are from. Mitchell and Dixson Librarians. The They have significant documentary support of the Library Foundation and value but their interest to us goes the generosity of individual donors well beyond this. Many of them has also been integral to bringing our have not been seen in public before. remarkable collection and the poetry Like poetry, they will mean different of our history to a wider audience. things to different people. Dr John Vallance faha With its permanent exhibition, State Librarian Paintings from the Collection, the Library presents more than three hundred of the one thousand two hundred paintings in its collection. Two main genres predominate. Landscape studies, directly influenced by European models, which reflect the developing tastes and training of painters and their patrons as they gradually adjust to a new world. And portraits, initially of colonial officials, moving on to members of prominent families, aspirational emancipated convicts and finally literary and society figures.

This is the third in a series, 10 Works in Focus, which highlights selected pictures, drawing on external subject specialists and Library expertise to provide a greater understanding of the works on display and the stories they tell.

10 WORKS IN FOCUS: PAINTINGS FROM THE COLLECTION / VOLUME 3 5 6 10 WORKS IN FOCUS: PAINTINGS FROM THE COLLECTION / VOLUME 3 About the exhibition

The artworks in Paintings from the Room 3 works are predominantly Collection have been grouped together portraits, with the western wall to highlight their thematic, geographic featuring personalities from art, and temporal relationships. Beginning literature and politics. Family groups, in Room 1, we see works showing the related works and a handful of animal development of Sydney, from 1790s portraits make up the remaining walls. to a view of the newly constructed Barangaroo Reserve, Visitors can access captions for opened in 2015. all works on display via the digital screens in each room. A list of works The eastern wall focuses on images of is also included in this volume, and in Sydney Harbour and the keen observer large-print format for use within the will spot two works looking across galleries. Darling Harbour made more than 130 years apart. People populate Each of these paintings offers many of these views — bathers at a glimpse into the artist’s world — a harbourside swimming enclosure, how they saw it, or how they were picnickers at Mrs Macquarie’s Chair, commissioned to portray it. They are workers at the Atlas locomotive works, a window into the past, but they also and local identity , who gave prompt us to ask what, and who, is his name to Blues Point. not visible. These paintings are not impartial records. They often depict This room also features a recent an idealised view, favour particular acquisitions wall where you can see subjects and marginalise others. the latest paintings added to the Library’s collection. This is true both of individual works and collections as a whole. In many Room 2 takes us from Sydney to cases, what has and hasn’t been regional New South Wales, Australia preserved reveals as much about and beyond. The southern wall is the past as the works themselves. arranged by region, beginning with Together these paintings provide the NSW South Coast and moving a sense of the way many Australians through the Hunter Region, Port saw themselves, but they do Macquarie, Central West, Mid North not reflect the experiences of all and North Coast. Mostly featuring Australians. They are a powerful landscapes and streetscapes, these reminder of how collections both are interspersed with portraits of reflect and inform our understanding people who have regional affiliations. of history and ourselves.

The remaining walls are arranged in clusters, including a group illustrating the history of the Library, early governors and officials, a series of paintings from the goldfields; and works related to other states, the Pacific and New Zealand.

10 WORKS IN FOCUS: PAINTINGS FROM THE COLLECTION / VOLUME 3 7 Mr Slaney’s house

This view of the house of former convict, Richard Slaney, on was possibly commissioned from a convict on the island to mark the expiry of Slaney’s sentence. However it is equally possible that Slaney, or a later occupant, had it painted after returning to . The date, although uncertain, is from the earliest period of European settlement on Norfolk Island, so this is likely to be one of the earliest known oil paintings relating to colonial era Australia.

Slaney arrived at Sydney Cove with Two servants, dressed in similar the in June 1790 and striped jackets, are portrayed equally in August was transferred to Norfolk in the foreground suggesting that for Island, a secondary penal settlement. the artist the distinction was between Convicts were encouraged to farm and the top-hatted man and his two become self-sufficient, and by 1796 servants, rather than between black Slaney and his wife, fellow convict and white. Elizabeth Barker, had been granted 60 acres of land where he built this The inclusion of a black servant house. No longer recorded on Norfolk tending a horse in the foreground is Island after 1798 when his sentence intriguing and while his identity cannot officially ended, the establishment be proven, it could suggest a slightly of a charity in Slaney’s name in 1827 later date for the painting. In August in Lichfield suggests he returned to 1805, two Indigenous resistance England and led a respectable life. fighters, Musquito and Bull Dog, were exiled to Norfolk Island. If this painting With the awkward perspective and depicts either of those two men, the simplicity of naive art, the small top-hatted figure wearing a tailcoat vignettes possibly represent Slaney is unlikely to be Richard Slaney, as he in top hat, his convict servants and left the Island before they arrived. livestock. This painting of a well- The house, however, remained standing kept house, smoke rising from the and perhaps continued to be referred chimneys, typifies the desire to to as Slaney’s house. display pride and success, even in a challenging and unfamiliar Louise Anemaat environment. Executive Director, Library & Information Services and Dixson Librarian, State Library of NSW

View of Mr Slaney’s House, Norfolk Island, Lat. 29 1 – South Long. 168 East, c 1800 by unknown artist oil on canvas acquired 2010 ML 1254 | refer to wall no. 160, p 34

8 10 WORKS IN FOCUS: PAINTINGS FROM THE COLLECTION / VOLUME 3 10 WORKS IN FOCUS: PAINTINGS FROM THE COLLECTION / VOLUME 3 9 On a high horse!

In this unusual portrait, publican Stephen Butts sits astride his horse in the middle of Macquarie Street, proudly flaunting both his fine steed and his fashionable residence. When this portrait was painted in the early 1850s, Butts was at the summit of a mercurial career and living in desirable Macquarie Street North (now nos 139–141, between Bent and Bridge streets). While it is not clear which of the terraces was his, we do know from contemporary advertisements that it contained three rooms, a kitchen, a servant’s room, a three-stall stable, a coach house and a large yard, with water laid on. (shorthand for a flash horse and buggy) was a contemporary jibe alluding to the The rectangular building in the middle superficiality of society — particularly distance was the Treasury building, ‘new money’ — those said to be more now the Intercontinental Hotel, on interested in outward display than inner the corner of Bridge and Macquarie worth, confusing material possessions Streets. The harbour can be seen at with moral substance. Colonial society the end of the street. was scaffolded around class and social The portrait is a celebration of Butts’ position — people were expected to success. He was obviously proud of understand the codes and markers of his horse, and probably for this reason their class and not deviate from them. engaged Sydney artist, Joseph Fowles, Butts’ choice of artist makes it clear a well-regarded animal and maritime he was not aspiring to the codes of the artist. Fowles was not known as a professional classes. An upper middle painter of people, however, and his class patron would have commissioned unfamiliarity with the genre is evident a sober and conventional head-and- in this work — the most successful shoulders portrait, to denote gravitas portrait here is surely that of the horse. and substance. Whether the woman and the child It is also likely that Butts, who would are related to Butts is not clear — have been pigeon-holed as a successful curiously, they have their backs to the shopkeeper by the professional viewer, which suggests they are not. classes, was happy to proclaim his Butts’ contemporaries may well have material success, and would have felt seen this portrait, with its focus on a uncomfortable being depicted as a horse, as unbecomingly flamboyant. gentleman, and risking the accusation Indeed, the phrase ‘keeping a gig’ of moving ‘above his station’. Richard Neville Stephen Butts, in Macquarie Street Sydney Mitchell Librarian and Director, c 1851 Engagement by Joseph Fowles oil on canvas State Library of NSW presented by Sir William Dixson, 1938 DG 250 | refer to wall no. 30, pp. 30–31

10 10 WORKS IN FOCUS: PAINTINGS FROM THE COLLECTION / VOLUME 3 10 WORKS IN FOCUS: PAINTINGS FROM THE COLLECTION / VOLUME 3 11 Shades of grey

This painting stands out from most in the Library’s collection for two reasons — its lack of colour and its industrial subject matter.

The artist’s unusual choice of colour palette and theme also drew the eye of the Sydney Daily Telegraph critic who reviewed the painting when it was first displayed, at the Art Society of NSW’s third exhibition held in the in March 1883. The paper noted that ‘Mr Collingridge … has sent, amongst others, a very clever black-and-white study, The Atlas workshop in the early 1880s “The Atlas Engineering Works”’. was located on Hay Street West in The Sydney Morning Herald further Sydney’s Haymarket district, now the described this picture the next day, site of Paddy’s Market. The view from as ‘a very powerful study in black and the workshop’s rear window shows the white, as elaborate as a photograph, recently completed Sydney Town Hall, and much more expressive than any which remained without its clock for photograph can ever be’.* a further three years.

English-born, French-trained graphic Several factors may have influenced artist Arthur Collingridge (1853–1907) Collingridge’s decision to render this painted this scene not long after gritty, industrial scene in a reduced the Atlas Engineering Company colour palette. During the 19th century, successfully tendered to build 48 new black and white came increasingly locomotives for the New South Wales to signify modernity. Painting in Railway. The Atlas contract, worth monochrome, in the technique known over £160,000, was the largest single as ‘grisaille’ (from the French gris government order for work of this type meaning grey), focuses the viewer’s ever issued to an Australian company. attention on the picture’s subject by Nearly 6500 km of track had been laid eliminating the distraction of colour. around Australia after the launch of The visual power of black-and- the railway in Sydney in 1855, and the white art was certainly not lost on years from 1880 to 1885 witnessed a Collingridge, who earned his living further rapid expansion of the NSW as a newspaper illustrator. network. Margot Riley Curator, State Library of NSW

The Atlas Works Sydney — making the first locomotive engine, 1881 by Arthur Collingridge oil on canvas presented 1920 * Sydney Daily Telegraph, 20 March 1883, p 3; Sydney Morning ML 584 | refer to wall no. 40, pp. 30–31 Herald, 21 March 1883, p 11.

12 10 WORKS IN FOCUS: PAINTINGS FROM THE COLLECTION / VOLUME 3 10 WORKS IN FOCUS: PAINTINGS FROM THE COLLECTION / VOLUME 3 13 A rare and honest portrait

In 1840 brothers Edward and Frederick When Maria’s painting was included Ogilvie travelled from the Hunter in the 2017 exhibition Women of Valley to find new pastures for their Yulgilbar, archivists revealed that Maria sheep. They settled on prime real had worked in the laundry at Yulgilbar, estate near Grafton, adjacent to alongside her mother Queen Jinnie the Clarence River, the home of the Little. Contemporary conversations Bundjalung people. They called their with family further reveal that she was run Yulgilbar which means ‘a place more well-known as ‘Mariah’ and was of little fishes’ in local language. married to a man with the surname The Ogilvie family prospered — the of Charles. These complications with majestic 40-room Yulgilbar Castle, her name had made it difficult to trace which had taken German builders her identity for almost 100 years, six years to build was completed in effectively hiding this remarkable 1866, at a cost of £8000. Edward woman. She died in 1929 at Baryulgil, recognised early on the advantages of the local Aboriginal settlement, and working with, rather than against local was buried at Yulgilbar. community, and their success came with the assistance of Bundjalung Mariah Charles’ large extended family people as a readymade source of have always known about and shared unpaid labour. the story of the portrait and it holds fond memories for them. Paintings Tom Roberts visited Yulgilbar in 1894, like this are rare examples of when he was commissioned to paint honest and realistic depictions a portrait of Edward Ogilvie. While of Aboriginal people. on his commission, Roberts’ interest in painting a portrait of an Aboriginal Melissa Jackson (Bundjalung) person is recorded in a letter to his Librarian, Indigenous Engagement, lifelong friend Samuel Pring. Roberts’ State Library of NSW sketchbook from this time includes an exquisite preliminary pencil drawing of Maria. Born in 1854, Maria was 40 years old at the time.

Soon after completion, Maria’s painting was exhibited and listed for sale for £20 in the first Society of Artists exhibition of 1895. Roberts was the Society’s first President. The painting was clearly identified as ‘Maria, Yulgilbah’ but subsequently became ‘Portrait of an Aboriginal woman: Maria of Yulgilbar(?)’ in the definitive listing of Tom Roberts’ works.

Maria Little, c 1895 by Tom Roberts oil on canvas presented by Sir William Dixson DG 319 | refer to wall no 199, p 35

14 10 WORKS IN FOCUS: PAINTINGS FROM THE COLLECTION / VOLUME 3 10 WORKS IN FOCUS: PAINTINGS FROM THE COLLECTION / VOLUME 3 15 Acrid smoke and nervous excitement

On the morning of 10 July 1901, in her twenties, and a competent Anthony Hordern’s Palace Emporium home-carpenter in her seventies. (Sydney’s largest department store) She was, however, an artist by was destroyed by fire. The flames, first profession — painting oil portraits, noticed in the manchester department like her great-great uncle John just before opening time, spread Prescott Knight RA and watercolour quickly through the building. The miniatures, like her mother, Eva. scale and intensity of the fire forced the closure of George Street to all In painting Anthony Hordern’s Fire, vehicular and foot traffic, effectively Maclellan was in step with the shutting down the city for most of the same worldwide trend for loose day. Pedestrians unable to reach their brushwork and apparent spontaneity workplace watched as the building and famously adopted by the Australian a million pounds worth of stock were impressionists. Perhaps her choice of destroyed and a desperate employee an urban scene over bush landscape leapt to his death. was inspired by Italian expatriate Girolamo Nerli (friend and compatriot Several photographers and at least of her teacher Antonio Dattilo Rubbo) one cinematographer captured the whose Street Scene on a Rainy Night event in black and white. This vibrant not only shares its sketchy immediacy painting is the only record of the fire with Anthony Hordern’s Fire, but its in colour: the only one that allows exact dimensions too. us to feel the heat of the flames, to breathe the acrid smoke, and to Whatever prompted this hitherto share the nervous excitement of the unappreciated artist to stray outside onlookers. The sketchy imprecision her comfort zone, whatever prompted of the foreground figures — her to convince us that she had where individuals dissolve into the painted this on the spot (however collective anonymity of the crowd — unlikely), her painting remains a characterises this painting as ‘modern’. striking visual record of a commercial Yet none of the artist’s other known and human disaster that shocked work fits this description. a complacent Sydney — a city still basking in the afterglow of Federation Cecilia Maclellan (variously recorded celebrations six months earlier. as Cecelia, Cecille, Celia, Cecile — and ‘Dickie’ in the society columns) Dr Anita Callaway was born in New Zealand in 1876 and The Nelson Meers Foundation accompanied her mother and younger Lecturer in Australian Art siblings to Sydney in the 1880s. The Maclellan had many interests, being the only female officer of the British Astronomical Association (NSW)

Anthony Hordern’s Fire, c 1901 by Cecilia Maclellan presented 1954 oil on canvas ML 348 | refer to wall no. 38, pp. 30–31

16 10 WORKS IN FOCUS: PAINTINGS FROM THE COLLECTION / VOLUME 3 10 WORKS IN FOCUS: PAINTINGS FROM THE COLLECTION / VOLUME 3 17 Boys’ day out

At the Annual Art Society of NSW the unique light that Streeton and exhibition in 1887, Alfred James Daplyn his contemporaries made famous. (1844–1926) exhibited The Boating Streeton, too, painted the Hawkesbury. Season, Woolloomooloo Bay alongside works by some of his students. Daplyn Daplyn was particularly fond of French was the first paid instructor of the Art culture and lifestyle, travelling to Society of NSW and also its secretary France many times to study and paint. for 15 years. The Art Society became These influences can be seen in the the Royal Art Society in 1903 and study of Woolloomooloo Bay, with continues to this day. several of the young men wearing Breton-style sailing shirts. These shirts One of a number of classically trained had become fashionable after their European artists who arrived in inclusion as part of the French naval Australia during the 1870s and 80s, uniform. The stripes focus attention Daplyn had studied in Paris, London, around the young men; their laconic New York and Rome. He and others postures, nonchalance, and headwear brought with them their experience point to them being young gentlemen, of art innovation, including the plein setting out for a day of leisure on the air movement. Through teaching harbour. and artistic practice, they contributed to the exciting artistic climate that The grand three-masted ship in the nourished the development of background of the painting, flying the a modern style in Australia. white ensign, is possibly the training ship HMS Wolverine. The focus of the Although not achieving the notoriety artwork however is on the six young or lasting impact of Charles Condor men, their crate of champagne, black or Sydney Long, both of whom he kettle and jugs of beer and rum — taught, one of Daplyn’s paintings was suggesting a rather liquid day on purchased by the Art Gallery of NSW the bay! in 1900 (although it was sold again in 1946). A participant in the artists’ Megan Perry camps which flourished at Mosman Manager, Learning Services, State Library of NSW Bay, he was also, intriguingly, a friend of Arthur Streeton. Did his knowledge of French painting influence the much more talented Streeton?

Daplyn’s passion for painting in the open air, particularly in the Hawkesbury River region, saw his style broaden. His work began to be influenced by the grand scale of the Australian landscape and reflected

The Boating Season, Woolloomooloo Bay by Alfred James Daplyn presented 1961 oil on canvas ML 495 | refer to wall no. 83, p 32

18 10 WORKS IN FOCUS: PAINTINGS FROM THE COLLECTION / VOLUME 3 10 WORKS IN FOCUS: PAINTINGS FROM THE COLLECTION / VOLUME 3 19 20 10 WORKS IN FOCUS: PAINTINGS FROM THE COLLECTION / VOLUME 3 10 WORKS IN FOCUS: PAINTINGS FROM THE COLLECTION / VOLUME 3 21 A standing disgrace to Sydney*

This interior view of the Public Library The Herald considered each of its of NSW — now the State Library of 13 figures distinct and individual NSW — depicts the old, cramped portraits. reading room of its previous building, on the corner of Bent Street and Baker capitalised on the cramped and Macquarie Street, diagonally opposite inadequate reading room to create the current complex. By 1931, when a complex interplay of figures and this painting was made, the room was architecture. Each element — from nearly 90 years old, and completely people’s faces to book spines — is inadequate for a modern reading carefully examined and painstakingly room. One reader declared it a recorded, while Baker’s technical ‘standing disgrace to Sydney. It stamps virtuosity is evident across the details that city as barbarian in outlook, of the painting. materialistic in habit, if it blazons the Sydney Public Library, an intense and glories of a bridge [the Harbour Bridge thoughtful painting, was very much then being constructed] over the at odds with the unadventurous whole of the civilised globe and cannot portraits and sunny landscapes which even give decent conditions to its predominated in the Sydney art scene students for research and discovery’. at the time. Some recognition of its The Bent Street reading room closed contemporary merit was marked by its in 1942 when the grand new reading inclusion in the exhibition celebrating room (now the Mitchell Library reading of 150 years of Australian art, held in room) was opened on the current site. the Art Gallery of New South Wales Sydney Public Library was painted in 1938. It is said, however, that Baker’s by Normand Henry Baker (1908–55), diffident personality sabotaged his an up-and-coming Sydney artist, talent, and he died in 1955 largely who in 1937 became the youngest unnoticed. Sydney Public Library artist to win the Archibald Prize. was sold to the Library by his mother Baker exhibited Sydney Public Library in 1963 for £100. in the 1931 Royal Art Society of NSW Richard Neville exhibition with a substantial sale price Mitchell Librarian & Director, of 200 guineas, which suggests the Engagement importance Baker placed upon it. The State Library of NSW Sydney Morning Herald was impressed, describing it on 1 August 1931 as excellent. ‘The posing is natural’, its reviewer wrote, ‘and the modelling of the heads, the flesh painting of the faces, and the composition of the whole picture give evidence of careful study and technical competence’.

Sydney Public Library, 1931 (detail) by Normand Baker oil on canvas purchased 1963 DG 354 | Refer to wall no. 207 on p 35 * Sydney Morning Herald, 10 January 1933

22 10 WORKS IN FOCUS: PAINTINGS FROM THE COLLECTION / VOLUME 3 10 WORKS IN FOCUS: PAINTINGS FROM THE COLLECTION / VOLUME 3 23 Poet and painter

At first sight Hayward Veal’s life-size A student of the influential and portrait of the Australian poet Roderic irascible tonal realist Max Meldrum Quinn (1867–1949) is captivating. (and AD Colquhuon, another follower of Meldrum) in , Veal Seated in warm interior light in a directed the Meldrum school of Victorian round-backed tub chair painting in Rowe Street in Sydney and facing left, knees crossed, in the 1940s. In 1941, the year in holding hat and walking stick, Quinn’s which he painted Quinn, Veal became countenance, eyes staring, is inward. Vice President of the Fellowship of A Japanese woodcut is prominent Australian Writers of which Quinn on the wall alongside him, recalling was a founding member. late 19th century enthusiasm for the Orient when Quinn’s poetry was Some years after the death of Quinn first published. It is an evocative, and Veal, the Fellowship presented sympathetic and intimate portrayal the portrait to the State Library where of the once much-loved and reserved it is available for study and exhibition, ‘dreamer-poet’ in his twilight years, a fitting tribute to both. with an unmistakable undercurrent of melancholy. Hendrik Kolenberg

The ubiquity of photographs, of photographic imagery, hasn’t negated the mysterious power of painted portraits to immortalise an individual. The manipulation of paint on linen, considering tone, colour and composition — the very craft of painting — engages ‘our’ senses and emotion as no other art form. Paintings can transcend time and place and just as effectively situate any one of us in a particular moment, as in Veal’s exceptional portrait.

The intermingling of muted brick red to burgundy with pale grey to blue- grey creates the mood of introspection — broad brushmarks further animate the interior space and its occupant; one hand, fingers parted, suggests arrested movement.

Rod Quinn, 1941 by Hayward Veal presented by the Fellowship of Australian Writers, 1971 oil on canvas courtesy Karina and Lowana Veal ML 801 | refer to wall no. 253, p 36

24 10 WORKS IN FOCUS: PAINTINGS FROM THE COLLECTION / VOLUME 3 10 WORKS IN FOCUS: PAINTINGS FROM THE COLLECTION / VOLUME 3 25 Miss Mary

This vibrant painting of the first female member of the NSW Legislative Assembly, Millicent Preston-Stanley, is signed ‘Mary Edwards’. The artist had gone by this name since she was a child. But in 1955 Mary reclaimed the name on her birth certificate and added a hyphen to become Mary Edwell-Burke — acknowledging her recently deceased mother and great supporter, Rose Burke, and her father, Henry Edwell. As a child, Mary would have known Henry, though perhaps not as her father. Henry and Rose had a long association, but Henry was already married with a family.

This was the start of Mary’s unconventional journey which produced a fiercely independent and brilliantly gold frame in the same year confident artist. Born in Bondi in 1894, as she made headlines for suggesting Mary’s career spans the 20th century. the harbour bridge should be painted At just 18 she studied sculpture in gold to complement the blue sea Paris and had a painting selected for and sky! the Salon; at 19 she had her first solo exhibition in Tahiti. Her wanderlust The painting was a finalist in the took her to Fiji, New Guinea, India, 1950 Archibald prize. Mary was one Sri Lanka, Canada and the US. Mary of the most exhibited artists in the had a passion for colour and nature history of the Archibald, entering — her portraits were surrounded by 56 paintings from 1921–61. At least a cacophony of colour and a flower 40 of her entries were paintings of or foliage was often included. women and, of those, 12 were self- portraits. Mary’s entries were always A trained sculptor, Mary carved her finalists, but she never won. Mastery own frames and repurposed old of form and keen likenesses meant frames to enhance her paintings. her work was well received by the The ornate 19th century gilt frame Sydney art establishment but her that surrounds Preston-Stanley brightly coloured palette and organic was cut down in 12 places to fit the flourishes set her apart. painting. At the joins, the decorative patterning often comes to a dead end In 1988 Mary died in Fiji, where she mid-flourish, yet it creates a grand had lived since 1955 and was simply impression. Mary worked on this known as ‘Miss Mary’.

Helen Casey Millicent Preston-Stanley, 1950 Senior Conservator, State Library by Mary Edwards (Edwell-Burke) of NSW acquired 1968 oil on canvas DG 396 | refer to wall no. 252, p 36

26 10 WORKS IN FOCUS: PAINTINGS FROM THE COLLECTION / VOLUME 3 10 WORKS IN FOCUS: PAINTINGS FROM THE COLLECTION / VOLUME 3 27 Affectionately ‘Mullum’

My art practice excavates the Originally settled when the surrounding complexities of Australian identity rainforest timbers were being logged, and place by responding to the the area was later used for farming. In suburban mundane of rural and urban the 1960s and 70s it became a mecca environments. I am drawn to the for people seeking alternative ways quirkiness of the Australian landscape of living. Currently it is experiencing a and how homes and streetscapes boom in population, with new estates function as aesthetic incarnations of expanding rapidly. Once spacious and the belief structures influencing human open blocks are being divided to build behaviours on emotional, intellectual more accommodation. and spiritual levels. I painted these particular two modest The painting Neighbourhood Watch houses as they reflect something of depicts two houses on the corner the character of the town that I am of Banksia Place and Pine Avenue, connected and attached to. It is an Mullumbimby. The soccer fields are everyday suburban scene with the situated in Pine Ave, along with an only evidence of life the bird on a array of modest suburban houses in wire seemingly watching over the a variety of architectural styles, that neighbourhood. I was also attracted make up the town that I have called to the composition and the subtle ‘home’ for the past 31 years. juxtaposition between the postwar house that sold local produce Affectionately referred to as ‘Mullum’ immediately alongside its neighbour’s by locals, Mullumbimby is a small rural very neat and controlled garden. town on the far north coast of NSW, just inland from the busy and popular The painting was made over a number coastal tourist towns of Byron Bay of weeks in acrylic paint on linen, and Brunswick Heads. using very small brushes. The benefit of using acrylic paint is that it is quick drying — ideal for my detailed, layered Neighbourhood Watch, 2009 work and thin glazing. by Robyn Sweaney acrylic on linen Robyn Sweaney acquired 2009 ML 1431 | refer to wall no. 189, p 35 Artist

28 10 WORKS IN FOCUS: PAINTINGS FROM THE COLLECTION / VOLUME 3 10 WORKS IN FOCUS: PAINTINGS FROM THE COLLECTION / VOLUME 3 29 List of works All works are oil on canvas unless otherwise specified

WEST WALL

WEST WALL NORTH WALL WEST WALL NORTH WALL

ROOM 1 ROOM 2 ROOM 3 SOUTH WALL SOUTH WALL

EAST WALL NORTH WALL EAST WALL

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EAST WALL The 10 Works in Focus are shown in yellow

ROOM 1 – WEST WALL

6 14 41 52 1 27 28 18 24 32 35 45 48 7 56 11 53 2 3 19 20 42 15 36 37 8 25 29 57 21 22 33 46 49 4 54 38 39 43 9 16 58 12 13 23 5 26 30 31 34 40 10 17 44 47 50 51 55

1 New Government House, 6 South Head [The Gap], 12 Picnic at Mrs Macquarie’s 18 View of Miller’s Point and 1841 c 1855 Chair, c 1855 Darling Harbour, c 1870 by Conrad Martens by unknown artist, by unknown artist by unknown artist presented by Sir William after FC Terry presented by Sir William oil on board Dixson, 1929 oil on canvas on board Dixson, 1935 acquired 1965 DG 55 unknown provenance DG 265 DG 392 ML 623 2 View of old Government 13 City and Harbour of Sydney 19 Garden Island from the House, Sydney, NSW as it 7 Sydney Cove, c 1855 New South Wales from Domain, June 24th, 1841 appeared when vacated by by unknown artist, above Vaucluse, c 1855 by Maurice Felton Sir in 1845, after FC Terry by George Edwards Peacock oil on tin 1845 oil on canvas on board acquired 1943 presented by Mrs Edward by George Edwards Peacock unknown provenance ML 155 Bundock, 1945 oil on board ML 624 ML 640 14 Government House, 1854 acquired 1937 8 Sydney Heads, c 1850 by Joseph Fowles 20 Government House Sydney ML 658 by unknown artist oil on board NSW from the statue of 3 View of Lyons Terrace, Hyde presented by Mrs F Pearson, acquired 1939 Sir , c 1845 Park, Sydney, NSW, 1849 1951 ML 434 by George Edwards Peacock by George Edwards Peacock ML 257 oil on board 15 Old Domain Baths, 1881 oil on commercial artists acquired 1979 9 Sydney Cove, after 1845 by ‘E F B’ board ML 657 by Mrs Heriot Anley acquired 1966 presented by Sir William presented by Colonel Barnett DG 388 21 Old St Phillip’s, Church Hill, Dixson, 1949 N Anley, 1935 undated DG 218 16 A family group with canoe, ML 374 by unknown artist possibly near Clovelly, 1886 4 Old Government House, 1841 oil on board 10 View of the town of by William Pitt Wilshire by Conrad Martens unknown provenance from May’s Hill, oil on board presented by Sir William ML 456 c 1840 presented by Mrs John Dixson, 1929 attributed to George Bibb, 1919 22 View in Woolloomooloo Bay DG 65 Edwards Peacock ML 569 ... taken from lower Domain 5 Woolloomooloo Bay, c 1875 oil on board Road, 1849 17 Emu Hall, Penrith, 1866 by unknown artist acquired 2001 by George Edwards Peacock by Joseph Fowles acquired 1982 ML 1226 oil on board acquired 1990 DG 469 presented by Sir William 11 A day’s picnic on Clark ML 1009 Dixson, 1949 Island, 1870 DG 219 by Montagu Scott presented by Miss EA Hill, 1930 ML 3

30 10 WORKS IN FOCUS: PAINTINGS FROM THE COLLECTION / VOLUME 3 23 Sydney from St Leonards, 32 Millers Point from Balmain, 41 Argyle Street looking 50 Bank of New South Wales 1841 c 1840 towards the Observatory Sydney [George Street by Conrad Martens, by unknown artist Hill, c 1902 Sydney], c 1855 presented by Sir William acquired 1984 by Julian Rossi Ashton by unknown artist Dixson 1929 ML 919 oil on wood acquired 1997 DG 62 acquired 1933 ML 1168 33 View from the window, 1842 ML 861 24 Woolloomooloo Bay and by Conrad Martens 51 Garden Island, 1924 Grantham, c 1855 presented by Sir William 42 Old St Mary’s Cathedral, by Douglas Dundas possibly by Henry Robinson Dixson, 1929 undated presented by Mrs H Gallop, Smith DG 41 by Norman Carter 1973 presented 1970 presented by Norman Carter, ML 737 34 George Street, Sydney, 1883 ML 805 1962 by Alfred Tischbauer 52 United States Military ML 175 25 Explorers on river bank, presented by Sir William Police encamped at c 1920s Dixson, 1935–36 43 The Sailors Return Hotel, Sydney University, 1944 by John Samuel Watkins DG 210 c 1902 by Isabel MacKenzie acquired 2016 by Sydney Long oil on canvas on board 35 Marshalling Yards, ML 1485 transferred from the presented by Isabel White Bay, 1952 Art Gallery of NSW, 1920 MacKenzie, 1971 26 The Founding of Australia. by George Lawrence ML 853 ML 686 By Capt RN oil on card on composition Sydney Cove, Jan 26th 1788, board 44 5 pm aboard South Steyne, 53 Argyle Street and Cut, 1937 acquired 2012 1938–74 c 1902 by Algernon Talmage RA ML 1281 by JS Cornelius by Sydney Long presented by Mr Robert O acquired 1978 transferred from the 36 Burdekin House, Macquarie Albert AM, 2000 DG 435 Art Gallery of NSW, 1920 Street, Sydney, undated ML 1222 ML 854 by Portia Geach 45 The Sussex and the Vicar, 27 Vineyard, Castle Hill, 1927 presented by Miss FK Geach, 1965 54 Ferry Lane, c 1902 by Robert Johnson 1961 by Colin Sykes by Sydney Long oil on board ML 444 acquired 1991 transferred from the acquired 2016 ML 1035 Art Gallery of NSW, 1920 37 Design for a fresco for ML 1487 ML 855 the children’s chapel in 46 Clyde Street, c 1901 28 Howells’ Mill Parramatta, St James’ Church, 1929 by Sydney Long 55 Palm Beach, 1945 1849 by Ethel Anderson transferred from the by Adrian Feint by George Wickham acquired 1989 Art Gallery of NSW, 1920 oil on canvas on board acquired 1992 ML 1078 ML 318 acquired 2011 ML 1050 ML 1260 38 Anthony Hordern’s fire, 47 In Cumberland Street, c 1902 29 A direct north general view c 1901 by Alice Muskett 56 Macquarie Street, Sydney of Sydney Cove…, 1794 by Cecelia Maclellan acquired 1920 c 1916–35 by unknown artist presented by the Misses ML 1040 by Frances Payne presented by Sir William Maclellan, 1954 oil on board 48 Barangaroo Headland Park Dixson, 1929 ML 348 acquired 2016 from the Stamford on Kent, DG 60 ML 1504 39 Old Houses in Wentworth 2015 30 Stephen Butts on a white Street, c 1901 by Jane Bennett 57 Oxford Street interior, 1942 horse, Macquarie Street, by Howard Ashton acquired 2015 by Herbert Badham Sydney, c 1850 Transferred from the ML 1457 oil on board by Joseph Fowles Art Gallery of NSW, acquired 1991 49 Fairy Bower, Manly, 1956 presented by Sir William date unknown ML 1019 by Alan Grieve Dixson, 1938 ML 1435 oil on masonite 58 War Memorial, c 1934 DG 250 40 The Atlas Works Sydney — acquired 1984 by Herbert Reginald Gallop 31 Pitt Street, Sydney, making the first locomotive DG 463 presented by Mrs H Gallop, c 1864–80 engine, 1881 1973 by unknown artist by Arthur Collingridge ML 735 acquired 1960 presented 1920 DG 347 ML 584

ROOM 1 – NORTH WALL

Recent acquisitions Panoramic view of Sydney 63 64 Harbour and the city skyline, 59 61 1894 by Arthur Streeton 65 acquired 2019 62 60 ML 1513

66

59 Sydney Cove, c 1800 61 Wynyard Park during 63 Demolition 76 Pitt Street, 65 Picnic at The Rocks, 1952 by unknown artist Wynyard Station 1927 by Roland Wakelin acquired 1923 excavations, 1927 by Norman Carter acquired 1997 ML 443 by AE Macdonald presented by Norman Carter, ML 1169 acquired 1951 1962 60 Sydney — Capital New 66 View of Sydney Harbour ML 938 ML 209 South Wales, c 1800 Bridge under construction, by unknown artist 62 Barrack Street, Sydney, 1942 64 Wynyard Park & the c 1930 presented by Sir William by Roland Wakelin Old Scots Church by MK Smyth Dixson, 1929 acquired 2016 during Wynyard Station presented by Mrs MK Burnell, DG 56 ML 1486 excavations, 1927 1961 by AE Macdonald ML 302 acquired 1951 ML 936

10 WORKS IN FOCUS: PAINTINGS FROM THE COLLECTION / VOLUME 3 31 ROOM 1 – EAST WALL

67 90 95 101 71 76 81 84 96 77 91 68 72 102 82 85 97 73 78 92 98 103 69 74 79 86 87 88 93 83 99 75 80 104 70 89 94 100

67 Sydney Harbour near 78 Morning at the Heads 88 Government House and 97 View of the Heads of Watson’s Bay, 1851 of Port Jackson, or the Fort Macquarie Sydney NSW Port Jackson NSW looking by George Edwards Peacock Pilot’s Look-out, 1850 from the Botanical Gardens, north from a hill above presented by Sir William by George Edwards Peacock 1846 Vaucluse Bay, 1846 Dixson, 1932 oil on board by George Edwards Peacock by George Edwards Peacock DG 205 presented by Sir William oil on board oil on board Dixson, 1932 presented by Sir William bequeathed by Sir William 68 Billy Blue, 1834 DG 204 Dixson, 1929 Dixson, 1952 by John B East DG 336 DL 12 oil on board 79 Fig Tree Bridge, Lane Cove, possibly presented 1933 before 1954 89 Looking west from the roof, 98 Residence of the Hon ED ML 560 by Herbert Reginald Gallop 204 Clarence Street, 1986 Thomson, Sydney, NSW, oil on canvas on plywood by Jeff Rigby 1845 69 Vaucluse from the hill, 1841 bequeathed by Dr RJ Pope, acrylic on canvas by George Edwards Peacock by Conrad Martens 1954 acquired 1990 oil on commercial artists presented by Sir William ML 733 ML 1015 board Dixson, 1929 acquired 1963 DG 159 80 Fort Denison, 1923 90 Sydney Harbour, 1888 DG 355 by George F Harris by Charles Edward Conder 70 Government House, Sydney acquired 1972 unknown provenance 99 Supreme Court House, c 1860 DG 407 DG 428 Sydney, NSW, 1845 by unknown artist by George Edwards Peacock oil on board 81 View in Sydney Harbour, 91 Government House, c 1850 oil on board presented by Dr AH Marks, c 1880 by George Edwards Peacock acquired 1931 1932 by Margaret I Coulter oil on board ML 659 ML 998 presented by W Chambers, presented by Sir William 1957 Dixson, 1932 100 Port Jackson NSW. View 71 View from Craigend looking ML 391 DG 206 in Double Bay South Side over Government House Middle Head in the distance and Domain, 1845 82 Sydney Harbour looking 92 Dawes Point showing (near sunset), undated by George Edwards Peacock west, 1848 in by George Edwards Peacock acquired 1966 by Jacob Janssen the course of construction, oil on board DL 14 acquired 1932 c 1927 presented by Sir William ML 45 by Herbert Reginald Gallop 72 View north from Dixson, 1929 oil on canvas on plywood Craigend looking over 83 The boating season, DG 37 presented by L Parker in Woolloomooloo and Woolloomooloo Bay memory of Mrs Nan Keesing, 101 The Harbour, Neutral Bay, Port Jackson, 1845 by Alfred James Daplyn 1949 Sydney, c 1930–40s by George Edwards Peacock presented by Miss M Dowe, ML 437 by James Ranalph Jackson oil on board 1961 bequeathed by Helen Selle, bequeathed by Sir William ML 495 93 Sydney NSW from Garden 2012 Dixson, 1952 Island. Government House 84 Port Jackson from Dawes ML 1295 DL 15 to the left, 1846 Point, c 1842 by George Edwards Peacock 102 Milsons Point, c 1960s 73 Darling Point, 1886 by unknown artist, bequeathed by Sir William by James Ranalph Jackson by Gother Victor Fyers Mann after John Skinner Prout Dixson, 1952 oil on board presented by Sir William unknown provenance DL 7 from the estate of Sir Erik Dixson, c 1950 ML 625 Langker, c 1980s DG 246 94 Pyrmont, Barker’s Mills, 85 Sydney Harbour looking ML 967 Sydney 1859 74 Parsley Bay, c 1845 towards the Heads, 1848 by Christie 103 Sydney from Sandy [Rose] by George Edwards Peacock by Jacob Janssen presented by Mrs E Bay, 1840 oil on board acquired 1932 Ewington, 1934 by Conrad Martens presented by Sir William ML 46 ML 1426 bequeathed by Sir William Dixson, 1929 86 The Heads of Port Jackson Dixson, 1952 DG 34 95 Custom House and part NSW from off the North DL 23 of Circular Wharf, Sydney 75 Vaucluse, 1851 Head ­— a squall, 1846 NSW, 1845 104 The Swimming Enclosure, by George Edwards Peacock by George Edwards Peacock by George Edwards Peacock 1941 bequeathed by David Scott oil on board oil on board by Herbert Badham Mitchell, 1907 presented by Sir William presented by Sir William oil on board ML 236 Dixson, 1929 Dixson, 1929 bequeathed by Dr RJ Pope, DG 333 76 Mosman Bay, 1916 DG 38 1954 by John Campbell 87 Port Jackson NSW. The ML 573 96 Customs House and Circular acquired 1984 Floating Light — (Morning), Quay, Sydney NSW, 1845 DG 464 1846 by George Edwards Peacock by George Edwards Peacock 77 View of part of oil on board oil on board Woolloomooloo and presented by Sir William presented by Sir William Mr Barker’s house and mills Dixson, 1929 Dixson, 1929 with Bradleys Point, 1844 DG 35 DG 334 by George Edwards Peacock oil on board acquired 1965 DG 372

32 10 WORKS IN FOCUS: PAINTINGS FROM THE COLLECTION / VOLUME 3 ROOM 2 – WEST WALL

114 105 106 118 124 121 115 117 119 107 108 109 125 120 122 123 110 111 112 113 116

105 Portrait of Mrs William 110 Governor King, undated 116 Scene inside Newgate 122 Governor Richard Bourke, Paterson, after 1799 by unknown artist Prison, 1812 c 1835 by unknown artist presented by P Parker King, by by unknown artist presented by Sir William Esq., 1965 acquired 1990 oil on canvas on panel Dixson, 1929 ML 546 ML 1003 bequeathed by David Scott DG 172 Mitchell, 1907 111 George William Evans, 117 Sir Joseph Banks, c 1808–09 ML 125 106 Colonel William Paterson, (possibly) 1847 by Thomas Phillips c 1799 by Thomas James Lempriere presented by Sir William 123 Midshipman Edward Riou, after William Owen oil on canvas on board Dixson, 1929 1776 presented by Sir William acquired 1911 DG 25 by Daniel Gardner Dixson, 1929 ML 33 acquired 2011 118 The ‘Vineyard’, Parramatta, DG 175 ML 1263 112 Captain Arthur Phillip, c 1787 1840 107 Portrait of Governor by Francis Wheatley by Conrad Martens 124 Elizabeth Macarthur, , c 1800 acquired 1908 presented by EH Macarthur, undated by unknown artist ML 124 1945 by unknown artist oil on canvas on board ML 48 presented by Sir William 113 Phillip Parker King, c 1817 donated through the Dixson, 1935 by unknown artist 119 Sydney from Bell Mount, Australian Government’s DG 221 oil on canvas on board 1813 Cultural Gifts Program by donated through the by Stephen Taylor 125 Untitled, possibly Lachlan Philip King and David King, Australian Government’s presented by Sir William Macquarie, c 1805–24 2010 Cultural Gifts Program by Dixson, 1948 by unknown artist ML 1257 Philip King and David King, DG 100 presented by Lt Col Charles 108 Portrait of Anna Josepha 2014 Greenhill, 1914 120 Governor Bourke’s statue, King, c 1800 ML 1318 ML 37 overlooking the Harbour, by unknown artist 114 The mock trial, 1812 1842 oil on canvas on board by Francis Greenway by Conrad Martens donated through the acquired 1990 transferred from the Art Australian Government’s ML 1002 Gallery of NSW, 1926 Cultural Gifts Program by ML 99 Philip King and David King, 115 Thomas Townshend, 2010 1st Viscount Sydney, c 1785 121 John Macarthur, c 1850 ML 1258 attributed to Gilbert Stuart by unknown artist presented by Sir William presented by Sir William 109 Phillip Parker King, c 1816 Dixson, 1929 Dixson, 1935 by unknown artist DG 214 DG 222 acquired 1933 ML 11

ROOM 2 – NORTH WALL

152 136 148 153 131 143 126 127 134 140 145

132 154 155 156 137 138 149 150 133 135 141 142 144 146 147 128 129 130 139 151 157 158

126 Commander Robert 130 Major James Nunn, 133 Gold diggings, Ararat, c 1858 137 Goldminer, 1861 Johnston RN, 1856 Australian Mounted Infantry, by Edward Roper by James Anderson by Richard Noble c 1840 presented by Sir William acquired 2004 presented by Mrs Robert attributed to Joseph Fowles Dixson, 1929 ML 1349 Johnston, 1926 acquired 2014 DG 15 138 Mr E Hargraves the gold ML 462 ML 1321 134 Stoneleigh, Beaufort near discoverer of Australia Feb 127 Governor Charles Augustus 131 Bush fire [a view at night], Ararat, , 1866 12th 1851 returning the salute FitzRoy, c 1855 undated by Eugene von Guérard of the gold miners [5th] by Henry Robinson Smith by Naylor Gill acquired 1953 of the ensuing May 1851, unknown provenance oil on board DG 231 undated ML 159 bequeathed by Sir William by Thomas Balcombe 135 The Gold Commissioner’s Dixson, 1952 bequeathed by Clare Annie 128 Captain , station at Timbarra, DL 3 Marsden, 1964 c 1825 New South Wales, c 1870 ML 532 by unknown artist 132 The shepherd, undated by Louisa Green-Emmott acquired 1934 by Samuel Thomas Gill acquired 2011 139 Mining camp, possibly ML 13 oil on board ML 1262 Victorian, c 1855–60 bequeathed by Sir William attributed to David Tulloch 129 Military review, probably in 136 A gleam of light, c 1910 Dixson, 1952 oil on board New South Wales, after 1860 by Frederick McCubbin DL 43 presented by Sir William by unknown artist bequeathed by Helen Selle, Dixson, 1929 oil on board 2012 DG 17 acquired 1938 ML 1293 ML 574

10 WORKS IN FOCUS: PAINTINGS FROM THE COLLECTION / VOLUME 3 33 140 William Romaine Govett, 145 Andrew Hamilton Hume, 150 A mountain inn, 1862 155 Port Arthur, , 1833 1843 1843–49 by Joseph Fowles by unknown artist by C Day by Joseph Backler presented by Sir William oil on board oil on board oil on canvas on masonite Dixson, 1929 acquired 1941 presented by Sir William presented 1963 DG 18 ML 185 Dixson, 1934 ML 504 151 View of Proposed Town 156 Hobart Town, 1857 DG 223 146 The Macdonald River, of Adelaide, c 1836 by Henry Gritten 141 William Charles Wentworth, Wiseman’s Road, 1840 by William Light presented by Sir William 1872 by Conrad Martens oil on board Dixson, 1943 by James Anderson presented by Sir William presented by Sir William DG 345 presented by Fitzwilliam Dixson, 1933 Dixson, 1929 157 Natives at a corrobory, Wentworth, 1910 DG 346 DG 157 c 1835 ML 411 147 Residence of George 152 Launceston, 1860 by John Glover 142 Solomon Wiseman, Augustus Robinson on Yarra, by Frederick Strange acquired 1939 c 1820–38 c 1840 presented by David Scott ML 154 by unknown artist attributed to GA Gilbert Mitchell, 1903 158 Patterdale landscape, oil on board acquired 1939 ML 110 Tasmania, 1833–34 presented by Mrs DJD ML 330 153 Hobart Town, taken from the by John Glover Litchfield, 1994 148 Chief Derah Mat [Derrimut] garden where I lived, 1832 acquired 1958 ML 1086 of Port Philip, 1836 by John Glover DG 230 143 Arrival of Burke & Wills at by Benjamin Duterrau presented by Sir William Flinders River 1861, 1862 presented by Sir William Dixson, 1938 by Edward Jukes Greig Dixson, 1938 DG 6 presented by James Best, DG 371 154 George Augustus Robinson, 1923 149 Captain William Hilton 1853 ML 807 Hovell, 1866 attributed to Bernardino 144 Sir Thomas Livingstone by unknown artist Giani Mitchell, c 1830s presented by Mrs CF acquired 1939 by unknown artist Roberts, 1921 ML 27 bequeathed by Livingston F ML 34 Mann, 1933 ML 24

ROOM 2 – EAST WALL

160 159 161

162 163 166 169 168 171 167 170 164 165

159 Castle Rock, Cape Schanck, 162 Landing in Bounty Bay, 165 Portrait of Il Netunno, 168 Aboriginal hunting, undated Victoria, 1865 c 1825 later Marquis Cornwallis, attributed to Thomas by Nicholas Chevalier by Frederick William under sail, 1793 Balcombe bequeathed by David Scott Beechey by Frans Balthazar Solvyns acquired 1920 Mitchell, 1907 acquired 1934 oil on panel ML 568 ML 693 ML 114 acquired 2004 169 Aborigine fishing, c 1853 ML 1353 160 View of Mr Slaney’s House, 163 Mr Hapuku, 1877 by Thomas Balcombe Norfolk Island, Lat. 29 1 – by Gottfried Lindauer 166 A group of Australian oil on board South Long. 168 East, c 1800 acquired c 1960 Aborigines, possibly acquired 2015 by unknown artist DG 302 in Sydney, c 1849 ML 1453 acquired 2010 by unknown artist 164 The Lady Nelson, undated 170 Aborigine fishing by ML 1254 oil on board by unknown artist torchlight, c 1853 acquired 2010 161 The memory of what has presented by Captain GN by Thomas Balcombe ML 1253 been and never more will Hector, 1922 oil on board be. Harieta, an Arawa ML 86 167 Aboriginal hunting acquired 2015 chieftainess, 1916 kangaroos, 1840s ML 1454 by Charles Frederick Goldie by unknown artist 171 Aborigines hunting, 1858 acquired 1960 oil on cardboard by Thomas Balcombe DG 301 acquired 2006 acquired 2008 ML 1394 ML 1410

34 10 WORKS IN FOCUS: PAINTINGS FROM THE COLLECTION / VOLUME 3 ROOM 2 – SOUTH WALL

195 178 185 188 192 206 172 201 174 176 179 180 196 197 203 204 205 186 189 193 173 175 181 182 198 199 207 177 202 183 184 187 190 191 194 200

172 View of a coastline, possibly 181 Stanwell Park, c 1935 189 Neighbourhood Watch, 198 Girl on a bike, Cudal, near the Illawarra, c 1845 attributed to Douglas 2009 Orange, New South Wales, by unknown artist Dundas by Robyn Sweaney 1945 bequeathed by Sir William acquired 2011 acrylic on linen by Herbert Badham Dixson, 1952 ML 1259 acquired 2009 oil on pulpboard DL 6 ML 1431 acquired 2010 182 Stanwell Park, before 1958 ML 1445 173 Collection day, 2011 by Herbert Reginald Gallop 190 Ford on the Lower Hunter, by John Bokor presented by Mrs H Gallop, c 1840s 199 Maria Little, c 1895 oil on board 1973 by Joseph Docker by Tom Roberts acquired 2013 ML 736 presented by Mrs K Brown, presented by Sir William ML 1304 1968 Dixson, 1943 183 Stockyard, near Jamberoo, ML 643 DG 319 174 Gibraltar Rocks, 1886 Arthursleigh, 1839 by Charles Edward Conder 191 St Thomas’s Church, 200 View at Burrundulla, farm by Conrad Martens oil on board , 1832–42 of George Cox, Mudgee, bequeathed by David Scott presented by Sir William by Joseph Backler New South Wales, 1841 Mitchell, 1907 Dixson, 1951 presented by Miss Amy by Conrad Martens ML 107 DG 263 Warlters, 1917 presented by Sir William ML 273 Dixson, 1929 175 View of Arthursleigh, 1839 184 The South Australian Alps DG 83 by Conrad Martens as first seen by Messrs. 192 Port Macquarie, c 1840 bequeathed by David Scott Hovell and Hume on the by Joseph Backler 201 View of Tenterfield, 1861 Mitchell, 1907 8th November 1824, undated unknown provenance by Joseph Backler ML 105 by George Edwards Peacock ML 354 acquired 1996 presented by Mrs CF ML 1124 176 Sunset in New South Wales, 193 Mount King George from Roberts, 1921 1865 the Bathurst Road, 1848 202 Edward DS Ogilvie, 1894–95 ML 144 by Eugene von Guérard by Conrad Martens by Tom Roberts acquired from Mr Bell, 1953 185 Port Macquarie, NSW, c 1840 bequeathed by David Scott presented by Mrs Giselda ML 258 by Joseph Backler Mitchell, 1907 Carson, 1972 presented by Sir William ML 106 ML 687 177 Cabbage trees near Dixson, 1929 the Shoalhaven River, 194 Port Macquarie, c 1840 203 The squatter, Dr R B Kelley, DG 107 New South Wales, 1860 by Joseph Backler 1939 by Eugene von Guérard 186 Northern entrance to presented by Thomas Dick by Norman Carter acquired 2007 Burrangalong Cavern Esq., 1915 presented by Norman Carter, ML 1398 (Abercrombie Caves), near ML 324 1962 Bathurst, New South Wales, ML 228 178 Unidentified landscape from 195 The road to Bathurst, 1946 1843–49 a drawing by Robert Hoddle, by Douglas Dundas 204 , c 1925 by Conrad Martens c 1837–81 acquired 2015 by Norman Carter bequeathed by David Scott by Thomas Clark ML 1455 acquired 1926 Mitchell 1907 presented by Sir William ML 104 ML 98 196 One of the NSW Aborigines Dixson, 1943 befriended by Governor 205 Dr James Mitchell, 1854 DG 256 187 Interior of Burrangalong Macquarie, c 1810–21 by Marshall Claxton Cavern (Abercrombie 179 View of Murrengenberg by unknown artist presented by the EC Caves), near Bathurst, Mountain and Bundawang oil on wood panel Merewether Estate Trustees, New South Wales, 1843–49 Mountain, from a drawing acquired c 1914 1965 by Conrad Martens by Robert Hoddle, c 1852–83 ML 696 ML 7 presented by Sir William by Thomas Clark Dixson, 1929 197 Henry Cox’s place, 206 In the reading room, presented by Sir William DG 163 Broombee, Mudgee, c 1931–42 Dixson, 1943 New South Wales, 1841 by Roland Wakelin DG 255 188 Corroboree at Newcastle, by Conrad Martens oil on board c 1818 180 Jimmy Read of Bowral, presented by Sir William acquired 1989 by undated Dixson, 1929 ML 1001 oil on wood panel by unknown artist DG 87 presented by Sir William 207 Sydney Public Library, c 1931 oil on board Dixson, 1938 by Normand Henry Baker presented by Mr AD DG 228 acquired 1963 Merewether Busby, 1947 DG 354 ML 439

10 WORKS IN FOCUS: PAINTINGS FROM THE COLLECTION / VOLUME 3 35 ROOM 3 – WEST WALL

219 223 255 211 245 229 230 238 248 208 232 253 259 215 217 241 243 251 227 224 256 212 220 235 246 249 209 233 239 260 257 225 231 236 213 221 242 244 252 254 210 216 218 228 234 250 237 247 261 240 258 214 222 226

208 Self-portrait, 1952 222 Conrad Martens, 1853 236 Jean Sandro Russell, 1894 250 Faith Bandler, c 1957 by John Allcot by Pierre Nuyts by John Peter Russell by Elsa Russell acquired 1987 presented by Sir William presented by AJ Perier, 1954 oil on masonite ML 974 Dixson, 1943 ML 146 donated through the DG 266 Australian Government’s 209 Child in carrying cloak, 237 Al fresco, 1927 Cultural Gifts Program by c 1850 223 Dr JJ Streeter, c 1895 by Herbert Badham Faith Bandler, 1998 by unknown artist by Catherine Elizabeth oil on plywood ML 1175 acquired 2004 Streeter acquired 2010 ML 1351 acquired 1977 ML 1444 251 Portrait of a woman, DG 432 undated 210 Lieutenant JJ Peters, 238 Gladys (Mrs John) Moore, by George Washington late 28th Regiment, 1840 224 Hal Porter, c 1934 1931 Lambert by Maurice Felton by William Dargie by Norman Carter acquired 1931 presented by PJ Meyer, Esq., acquired 1966 presented by Norman Carter, ML 246 1922 DG 386 1962 ML 196 ML 322 252 Millicent Preston-Stanley, 225 Rosa Campbell Praed, 1884 1950 211 Dame Mary Gilmore, 1891 attributed to Emily Praed 239 Portrait of Margaret Coen, by Mary Edwards by Ethel Anna Stephens acquired 1991 1932 (Edwell-Burke) oil on canvas on board ML 1039 by Edmund Arthur Harvey acquired 1968 acquired 1986 acquired 2012 226 James Dunlop, c 1826 DG 396 ML 952 ML 1305 attributed to Augustus Earle 253 Rod Quinn, 1941 212 AB Paterson, ‘Banjo’, 1927 presented by Jessie 240 Ure Smith’s flat, 1939 by Hayward Veal by Agnes Noyes Goodsir Elizabeth and Robert Innes by Norman Carter presented by the Fellowship presented by Eadith Kay, 1966 acquired 2015 of Australia Writers, 1971 Campbell Walker, 1928 ML 554 ML 1474 ML 801 ML 269 227 Cornelius Delohery 241 Self-portrait, 1930 254 Margaret Fink, 1987 213 Conrad Martens, c 1840 Self-portrait, 1855 by Norman Carter by Judy Cassab by Maurice Felton by Cornelius Delohery presented by Norman Carter, acquired 2016 oil on board presented by HJ Delohery, 1962 ML 1477 presented by Miss Coombes, 1953 ML 168 1921–22 ML 216 255 Stuart Campbell Esq., c 1933 242 Florence Rodway, 1910 ML 28 by Nina Orloff 228 Benjamin Boyd, c 1830–40 by Norman Carter donated through the 214 Fancy self-portrait, 1840 by unknown artist presented by Norman Carter, Australian Government’s by Maurice Felton presented by Georgina 1962 Cultural Gifts Program by the oil on wood panel Brade, 2016 ML 339 Godson of Stuart Campbell, Transferred from the Art ML 1461 243 Self-portrait, 1940 2002 Gallery of NSW, 1922 229 Pixie O’Harris, 1938 by Jack Noel Kilgour ML 1240 ML 457 by Mary Edwards presented by JN Kilgour, 1981 256 Percy Reginald Stephensen, 215 Bernhardt Otto Holtermann, acquired 1988 ML 864 1943 1872–85 ML 982 244 Mr Hans Heysen, 1938 by Robert Grothey attributed to J Kemp 230 Gayfield Shaw, 1918 by Norman Carter acquired 1966 presented by BO by William Beckwith McInnes presented by Norman Carter, ML 567 Holtermann, 1952 acquired 1986 1962 ML 265 257 Randolph Hughes Esq., ML 953 ML 242 c 1916 216 Caroline Chisholm, 1852 231 Mrs Tryphena A Dibbs, 1897 245 Portrait of Nancy May by Edward H Wolfe by Angelo Collen Hayter by Tom Roberts Kilgour, 1932 acquired 1966 acquired 1983 presented by NSW Dept of by Jack Noel Kilgour DG 400 DG 459 Health in conjunction with presented by JN Kilgour, 1981 258 Elizabeth Riddell 217 Sarah Osborne, c 1860 Graythwaite Nursing Home, ML 865 with black cat, 1946 by unknown artist 1986 246 Dorothy in a lime jacket, by Dahl Collings presented 2001 ML 954 1940 oil on board ML 1232 232 Mrs WA Holman, 1917 by Douglas Dundas presented by Geoffrey 218 Henry Smithers Hayes of by John Samuel Watkins acquired 1997 Collings, 1997 the Brisbane [Steam] Mill, presented by U Kidgell, 1950 ML 1153 ML 1138 Parramatta Road, 1845 ML 286 247 A Man with a Rabbit, c 1910 259 Self-portrait, c 1940s by Joseph T Dennis 233 Beryl Whiteley, c 1940s by George Washington by Herbert Reginald Gallop acquired 1983 by unknown artist Lambert presented by Professor RA DG 458 oil on canvas on board acquired 1931 Gallop, 1974 219 Self-portrait, c 1895 presented by the State ML 357 ML 741 by Catherine Elizabeth Library of NSW Foundation 248 Portrait of Jack Kilgour 260 Douglas Stewart, 1941 Streeter in association with Mocopan sketching a model, c 1940s by Margaret Coen acquired 1977 and Seppelt’s Wines, 1997 by Nancy May Kilgour acquired 1995 DG 431 ML 1170 acquired 1986 ML 1091 220 Patrick White, 1965 234 Domesticity, 1959 ML 958 261 Winter self-portrait, 2000 by Desmond Digby by Herbert Badham 249 The convex mirror, c 1916 by Tom Carment oil on board oil on canvas board by George Washington acquired 2001 presented by Patrick White, acquired 2014 Lambert ML 1227 1978 ML 1310 oil and pencil on wood ML 813 235 Frances Cory (Mrs Edward bequeathed by Helen Selle, 221 Self-portrait, 1890s Gostwyck), c 1820s 2012 by Arthur Collingridge by unknown artist ML 1292 acquired 1969 acquired 1970 DG 397 DG 404

36 10 WORKS IN FOCUS: PAINTINGS FROM THE COLLECTION / VOLUME 3 ROOM 3 – NORTH WALL

265 266 262

267 268 269

263 264 270 272 273 271

262 Brush scene, Brisbane Water, 265 Kangaroo dog owned by 268 Race horse and jockey, 271 Old Jorrocks (age 16), 1848 1848 Mr Dunn of Castlereagh undated by Thomas Balcombe by Conrad Martens Street Sydney, 1853 by Joseph Fowles oil on board presented by Sir William by Thomas Balcombe presented by RJ Fawcett, acquired 2008 Dixson, 1929 presented by Mrs AL Bourke, 1960 ML 1408 DG 165 1943 ML 427 272 Robertson Royal Menagerie ML 335 263 Victoria 1st, 1841 269 Captain Frederick John – 9 Strand, c 1820 by Maurice Felton 266 Kangaroo dog owned by Butts and a fellow officer by unknown artist acquired 1989 Mr Dunn of Castlereagh of the 77th (East Middlesex) acquired 2012 ML 992 Street, Sydney, 1853 Regiment of Foot, Hyde ML 1354 by Thomas Balcombe Park, Sydney, 1858 264 Mrs F O’Brien, 1841 273 View of Bungarribee NSW, presented by Mrs AL Bourke, by Joseph Fowles by Maurice Felton 1858 1943 presented by Sir William acquired 1975 by Joseph Fowles ML 336 Dixson, 1938 DG 427 acquired 1999 DG 251 267 Male and female red ML 1193 kangaroos in a Liverpool 270 Plover (age 5), 1848 Plains landscape, c 1819 by Thomas Balcombe attributed to JW Lewin oil on board acquired 1979 acquired 2008 ML 852 ML 1407

ROOM 3 – EAST WALL

274 275 283 282 296 297 279 288 290 292 294

276 285 284 298 299 300 289 291 293 295 280 281 277 278 286 287

274 Alexander Macleay, 279 Thomas Chapman & Master 284 John Marquett Blaxland, 289 Emma, Harriet, and before 1848 Robert Cooper Tertius, 1840 c 1839 Fanny Samuell, c 1857 possibly by William Owen by Maurice Felton attributed to Maurice Felton by Fortescue Hitchins or Frederick Richard Say presented by Miss R bequeathed by Miss AO acquired 1999 presented by Evelyn, Lady Kirkwood, 1970 Walker, 1936 ML 1199 Macleay, 1943 ML 663 ML 423 290 Alexander Sinclair, 1846 ML 19 280 Margaret Moore Smail, 1858 285 Jane Elizabeth Blaxland, by Joseph Backler 275 Elizabeth Macleay, by Joseph Backler c 1835 presented by Mrs I Morris, before 1847 presented by Mrs D by unknown artist 1952 by unknown artist Rosemond and Mrs I oil on wood ML 165 presented by Evelyn, Lady Rosemond, 1969 bequeathed by Miss AO 291 Thomas Watson, 1859 Macleay, 1943 ML 647 Walker, 1936 by Joseph Backler ML 20 ML 446 281 Alexander Smail, 1860 presented by Mrs PF Talboys, 276 View above Rose Bay, 1841 by Joseph Backler 286 Quong Tart, c 1880s 1987 by Conrad Martens presented by Mrs D by unknown artist ML 970 presented by Sir William Rosemond and Mrs I oil on board 292 James Sinclair, 1846 Dixson, 1921 Rosemond, 1969 acquired 2004 by Joseph Backler DG 59 ML 646 ML 1346 presented by Mrs I Morris, 277 Portrait of Emily 282 Anna Elizabeth Walker, 1840 287 Ancestral portrait of Quong 1952 Macpherson, c 1870s by Maurice Felton Tart’s mother, c 1888 ML 190 by unknown artist bequeathed by Miss AO by unknown artist 293 Hannah Watson, 1849 oil on paper on canvas Walker, 1936 oil on canvas on board by Joseph Backler acquired 2010 ML 341 acquired 2004 presented by Mrs PF Talboys, ML 1441 ML 1347 283 Harriott Blaxland, c 1840 1987 278 Portrait of Isabel attributed to Maurice Felton 288 Christina Sinclair, 1846 ML 969 Macpherson c 1870s bequeathed by Alice O by Joseph Backler 294 Harriet King, nee Lethbridge, by unknown artist Walker, 1936 presented by Mrs I Morris, 1854 oil on paper on canvas ML 329 1952 by Marshall Claxton acquired 2010 ML 173 acquired 1993 ML 1442 ML 1074

10 WORKS IN FOCUS: PAINTINGS FROM THE COLLECTION / VOLUME 3 37 295 Sarah Cobcroft, 1856 297 Portrait of Sarah Scarvell 299 Sarah Scarvell, 1855 by Joseph Backler (nee Redmond), 1855 by Richard Noble presented by Lady Colin by Richard Noble acquired 2004 Davidson, 1962 acquired 2010 ML 1339 ML 169 ML 1251 300 Elizabeth Mary Scarvell, 1855 296 Portrait of John Larking 298 John Redmond Barnes by Richard Noble Scarvell, 1855 Scarvell, 1855 acquired 1999 by Richard Noble by Richard Noble ML 1195 acquired 2010 acquired 1999 ML 1250 ML 1194

ROOM 3 – SOUTH WALL

301 302

301 Ann Piper and her children, 302 Captain John Piper, c 1826 c 1826 by Augustus Earle attributed to Augustus Earle presented by Mrs B Dale presented by Mrs B Dale and Mr RH Cox, 1921 and Mr RH Cox, 1921 ML 6 ML 672

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