Arts Program for Conference of Ecological Society of Australia
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1 AFANADOR, Ruven. Torero. with an Introduction by Hector Abad Faciolince
1 AFANADOR, Ruven. Torero. With an introduction by Hector Abad Faciolince. Poems by Gloria Maria Pardo Vargas. (Thalwil/Zurich and New York): Edition Stemmle, (2001). Large 4to. Orig. boards. Dustjacket. Unpaginated. Copiously illustrated with full-page b/w photographic images, and text-illusts. Title-page printed in orange and black ink. Fine. $150 2 AMIS, Kingsley. The James Bond Dossier. London: Cape, (1965). 8vo. Orig. black cloth with blind-stamped stylised “007” on front cover. Spine gilt. Dustjacket designed by Jan Pienkowski, based on Richard Chopping’s famous trompe l’oeil Bond dustjackets. (160pp.). 1st ed. Tabular reference guide to the Bond novels at end. Some light foxing to endpapers, otherwise fine. $125 3 ANDERSON, D.G. Australia’s Contribution to the Development of International Civil Aviation. (Being) the Second Sir Ross and Sir Keith Smith Memorial Lecture delivered to the Adelaide Branch of the Royal Aeronautical Society - Australian Division. (Adelaide April 1960). 4to. Orig. printed wrapper. Unpaginated. Illustrated. Text printed in double-column. Ex-library copy. $50 4 ANGAS, George French. Savage Life and Scenes in Australia and New Zealand: Being an Artist’s impressions of Countries and People at the Antipodes. 2 vols. London 1847. (Facs. Adelaide 1969). 8vo. Orig.cloth. With col. frontispiece, title-vignettes, 12 full-page plates, and text-illusts. (Aust. Facsimile Editions, No. 184). Fine. The original prospectus loosely inserted. $100 5 ARNOLD, Matthew. The Scholar Gipsy & Thyrsis. London: Phillip Lee Warner, 1910. Large 4to. Orig. full gilt-illust. vellum with bevelled boards. Spine gilt titled. T.e.g. other edges uncut. (x, 68pp.). -
Thesis Title
Creating a Scene: The Role of Artists’ Groups in the Development of Brisbane’s Art World 1940-1970 Judith Rhylle Hamilton Bachelor of Arts (Hons) University of Queensland Bachelor of Education (Arts and Crafts) Melbourne State College A thesis submitted for the degree of Doctor of Philosophy at The University of Queensland in 2014 School of English, Media Studies and Art History ii Abstract This study offers an analysis of Brisbane‘s art world through the lens of artists‘ groups operating in the city between 1940 and 1970. It argues that in the absence of more extensive or well-developed art institutions, artists‘ groups played a crucial role in the growth of Brisbane‘s art world. Rather than focusing on an examination of ideas about art or assuming the inherently ‗philistine‘ and ‗provincial‘ nature of Brisbane‘s art world, the thesis examines the nature of the city‘s main art institutions, including facilities for art education, the art market, conservation and collection of art, and writing about art. Compared to the larger Australian cities, these dimensions of the art world remained relatively underdeveloped in Brisbane, and it is in this context that groups such as the Royal Queensland Art Society, the Half Dozen Group of Artists, the Younger Artists‘ Group, Miya Studios, St Mary‘s Studio, and the Contemporary Art Society Queensland Branch provided critical forms of institutional support for artists. Brisbane‘s art world began to take shape in 1887 when the Queensland Art Society was founded, and in 1940, as the Royal Queensland Art Society, it was still providing guidance for a small art world struggling to define itself within the wider network of Australian art. -
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Illustrating Mobility: Networks of Visual Print Culture and the Periodical Contexts of Modern Australian Writing VICTORIA KUTTAINEN James Cook University The history of periodical illustration offers a rich example of the dynamic web of exchange in which local and globally distributed agents operated in partnership and competition. These relationships form the sort of print network Paul Eggert has characterised as being shaped by everyday exigencies and ‘practical workaday’ strategies to secure readerships and markets (19). In focussing on the history of periodical illustration in Australia, this essay seeks to show the operation of these localised and international links with reference to four case studies from the early twentieth century, to argue that illustrations offer significant but overlooked contexts for understanding the production and consumption of Australian texts.1 The illustration of works published in Australia occurred within a busy print culture that connected local readers to modern innovations and technology through transnational networks of literary and artistic mobility in the years also defined by the rise of cultural nationalism. The nationalist Bulletin (1880–1984) benefited from a newly restricted copyright scene, while also relying on imported technology and overseas talent. Despite attempts to extend the illustrated material of the Bulletin, the Lone Hand (1907–1921) could not keep pace with technologically superior productions arriving from overseas. The most graphically impressive modern Australian magazines, the Home (1920–1942) and the BP Magazine (1928–1942), invested significant energy and capital into placing illustrated Australian stories alongside commercial material and travel content in ways that complicate our understanding of the interwar period. One of the workaday practicalities of the global book trade which most influenced local Australian producers and consumers prior to the twentieth century was the lack of protection for international copyright. -
THE HARVEST of a QUIET EYE.Pdf
li1 c ) 1;: \l} i e\ \. \ .\ The University of Sydney Copyright in relation to this thesis* Unde r the Copyright Act 1968 (several provision of which are referred to below), this thesis must be used only under the normal conditions of scholarly fair dealing for the purposes of research, criticism or review. In particular no results or conclusions should be extracted (rom it, nor should it be copied or closely paraphrased in whole or in part without the written consent of the author. Proper written acknowledgement should be made for any assistance obtained from this thesis. Under Section 35(2) of the Copyright Act 1968 'the .uthor of a literary, dramatic. musical or artistic work is the owner of any copyright subsisting in the work', By virtUe of Section 32( I) copyright 'subsists in an original literary, dramatic. musical or artistic work that is unpublished' and of which the author was an Australian citizen, an Australian protected person or a person resident in Australia. The Act. by Section 36( I) provides: 'Subject to this Act. the copyright in a literary, dramatic, musical or artistic work is infringed by a person who. not being the owner of the copyright and without the licence of the owner of the copyright, does in Australia, or authorises the doing in Australia of, any act comprised in the copyright'. Section 31 (I )(.)(i) provides thot copyright includes the exclusive right to'reproduce the work. in a material form'.Thus, copyright is infringed by a person who, not being the owner of the copyright, reproduces or authorises the reproduction of a work., or of more than a reasonable part of the work, in a material form, unless the reproduction is a 'fair dealing' with the work 'for the purpose of research or swdy' as further defined in Sections 40 and . -
Ocean to Outback: Australian Landscape Painting 1850–1950
travelling exhibition Ocean to Outback: Australian landscape painting 1850–1950 4 August 2007 – 3 May 2009 … it is continually exciting, these curious and strange rhythms which one discovers in a vast landscape, the juxtaposition of figures, of objects, all these things are exciting. Add to that again the peculiarity of the particular land in which we live here, and you get a quality of strangeness that you do not find, I think, anywhere else. Russell Drysdale, 19601 From the white heat of our beaches to the red heart of 127 of the 220 convicts on board died.2 Survivors’ accounts central Australia, Ocean to Outback: Australian landscape said the ship’s crew fired their weapons at convicts who, in painting 1850–1950 conveys the great beauty and diversity a state of panic, attempted to break from their confines as of the Australian continent. Curated by the National Gallery’s the vessel went down. Director Ron Radford, this major travelling exhibition is The painting is dominated by a huge sky, with the a celebration of the Gallery’s twenty-fifth anniversary. It broken George the Third dwarfed by the expanse. Waves features treasured Australian landscape paintings from the crash over the decks of the ship while a few figures in the national collection and will travel to venues throughout each foreground attempt to salvage cargo and supplies. This is Australian state and territory until 2009. a seascape that evokes trepidation and anxiety. The small Encompassing colonial through to modernist works, the figures contribute to the feeling of human vulnerability exhibition spans the great century of Australian landscape when challenged by the extremities of nature. -
Portrait of a Collector: Dr Samuel Arthur
Portrait of a collector Dr Samuel Arthur Ewing and the Ewing Collection Cathleen Rosier A portrait of significance to the history of art collections at the University of Melbourne is that of Dr Samuel Arthur Ewing (1864– 1941) by John Longstaff (pictured right).1 Painted in 1922, this portrait features Longstaff ’s characteristic dark palette to tell the tale of one of Melbourne’s prominent surgeons- cum-art-collectors of the time. The sparing use of white first spotlights the face, highlighting the discerning yet shadowed eyes of a collector. The viewer’s gaze is then drawn downwards along the white scarf to rest on Ewing’s hand, the most important tool of a surgeon. Best known during his life as an ear, nose and throat surgeon, Ewing was also considered one of the leading collectors of Australian art of his day. But today the narrative has changed, and the portrait tells the story of Ewing the art philanthropist. In 1938 Ewing donated this painting and 55 other works of art to the University of Melbourne for the newly opened Student Union. The Ewing Collection became one of the founding collections of what is now known as the University of Melbourne Art Collection, which is managed by the Ian Potter Museum of Art.2 By understanding Ewing through the art and artists of his collection, his tale transforms even Cathleen Rosier, ‘Portrait of a collector’ 21 Previous page: John Longstaff, Dr Samuel Arthur Ewing MRCS DPH FRACS, c. 1922, oil on canvas, 88.9 × 68.9 cm. 1938.0012, gift of Dr Samuel Arthur Ewing 1938, University of Melbourne Art Collection. -
Chapter 4. Australian Art at Auction: the 1960S Market
Pedigree and Panache a history of the art auction in australia Pedigree and Panache a history of the art auction in australia Shireen huda Published by ANU E Press The Australian National University Canberra ACT 0200, Australia Email: [email protected] This title is also available online at: http://epress.anu.edu.au/pedigree_citation.html National Library of Australia Cataloguing-in-Publication entry National Library of Australia Cataloguing-in-Publication entry: Author: Huda, Shireen Amber. Title: Pedigree and panache : a history of the art auction in Australia / Shireen Huda. ISBN: 9781921313714 (pbk.) 9781921313721 (web) Notes: Includes index. Bibliography. Subjects: Art auctions--Australia--History. Art--Collectors and collecting--Australia. Art--Prices--Australia. Dewey Number: 702.994 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying or otherwise, without the prior permission of the publisher. Cover design by Teresa Prowse Cover image: John Webber, A Portrait of Captain James Cook RN, 1782, oil on canvas, 114.3 x 89.7 cm, Collection: National Portrait Gallery, Canberra. Purchased by the Commonwealth Government with the generous assistance of Robert Oatley and John Schaeffer 2000. Printed by University Printing Services, ANU This edition © 2008 ANU E Press Table of Contents Preface ..................................................................................................... ix Acknowledgements -
Australian & International Medley
Josef Lebovic Gallery 103a Anzac Parade (cnr Duke St) Australian & International Medley Kensington (Sydney) NSW Collectors’ List No. 199, 2020 p: (02) 9663 4848 e: [email protected] e-catalogue w: joseflebovicgallery.com 1.| |Book Of Hours Manuscript Page (Large Script),| JOSEF LEBOVIC GALLERY c1480.| Ink on vellum with illuminated initials in blue, red Celebrating 43 Years • Established 1977 and black, 26 x 20.2cm (sheet). Double-sided frame.| Member: AA&ADA • A&NZAAB • IVPDA (USA) • AIPAD (USA) • IFPDA (USA) $880| “The book of hours is a Christian devotional book popular in the Address: 103a Anzac Parade, Kensington (Sydney), NSW Middle Ages. It is the most common type of surviving medieval Postal: PO Box 93, Kensington NSW 2033, Australia illuminated manuscript.” Ref: Wiki. Phone: +61 2 9663 4848 • Mobile: 0411 755 887 • ABN 15 800 737 094 Email: [email protected] • Website: joseflebovicgallery.com Hours: Wednesday to Saturday by chance or by appointment. COLLECTORS’ LIST No. 199, 2020 Australian & International Medley 2.| |Book Of Hours Manuscript Page (Fine Script),| c1490s.| Ink on vellum with illuminated initials in blue, red and brown, and marginalia in brown ink, 17 x 13.3cm (sheet). Double-sided frame.| On exhibition from Saturday, 4 April to Saturday, 30 June 2020. $880| All items will be illustrated on our website. Prices are in Aust. dollars, incl. GST. “The book of hours is a Christian devotional book popular in the Middle Ages. It is the most common type of surviving medieval Exchange rates at the time of compilation: AUD 1.00 = USD 0.61¢; UK 0.49p. -
J.J. Hilder and the Languages of Art J.J
J.J. Hilder and the Languages of Art J.J. Hilder and the Languages of Art Kerry Heckenberg Writing in a book published in 1918 in honour of Jesse Jewhurst Hilder (1881–1916), shortly after the artist’s tragic early death from tuberculosis, Bertram Stevens declared: Australia may well be proud of Jesse Hilder, for he is entirely her own by birth and training. His art was intuitive; what instruction he received, and the inspiration he got from other men’s work, helped him but little towards self-development. His water-colours show the strong individual note of the true romantic artist; they are not like anything done previously in Australia or elsewhere.1 Born and educated in colonial Queensland and forced by family circumstances to work in a bank from the age of seventeen, Hilder had few opportunities for a traditional artistic training. These facts underlie Stevens’ pronouncement and have led others to posit alternative explanations for the artist’s style. For example, D.H. Souter argued in 1909 that: ‘J.J. drew his inspiration from Mother Nature direct, and studied sea and sky with a wonder tempered by such art publications as happened to drift his way.’ In a subsequent commemorative volume published in 1966, on the fiftieth anniversary of Hilder’s death, one of his sons, Brett Hilder, presents an elaborate genealogy of Hilders with artistic talent in order to justify his claim of a genetic basis for his father’s art. Another commentator at this time, Edgar A. Ferguson, writing in the Brisbane Courier-Mail under the headline ‘Great Queensland Painter Honoured’, suggests that the environment must have played a role. -
Adelaide Perry Prize for Drawing 2006
Adelaide Perry Prize for Drawing 2006 The Inaugural Adelaide Perry Prize for Drawing Exhibition of Finalists Adelaide Perry Girl with kit bag. c. 1920s Officially Opened by Nicholas Harding Ballarat Fine Art Gallery Friday March 3rd 2006 Gift of John Brackenreg, 1974. The Inaugural Adelaide Perry Prize for Drawing was judged by Hendrik Kolenberg Senior Curator of Australian Drawing, Prints and Watercolours at the Art Gallery of New South Wales “The prize is on par with any other of its kind. It has been such a difficult choice to choose a winner but it came down to three. Each of the three are remarkable draughtsmen and women that really celebrate drawing…but in the end, the winner is of such fine quality.” Adelaide Elizabeth Perry was a remarkable woman with an eventful career. She studied under Bernard Hall and Frederick McCubbin and experienced early success by winning the National Gallery of Victoria Travelling Scholarship to study at the Royal Academy in London in 1918. During her three year sojourn abroad she exhibited at the Salon des Artistes Francais in Paris and upon returning to Sydney in the late 1920s exhibited with the Society of Artists, Academy of Art and the Contemporary Group as a founding member. Like many women artists she remained single and thus devoted much of her life to teaching art. She taught at Sydney Art School with Julian Ashton, Henry Gibbons and Thea Proctor and later established her own Chelsea Art School that continued for twenty years. She was an active and productive artist exhibiting her paintings, drawings and printmaking for over forty years. -
A Nation Imagined: the Artists of the Picturesque Atlas National Library of Australia 12 March 2021 to 11 July 2021
A Nation Imagined: The Artists of the Picturesque Atlas National Library of Australia 12 March 2021 to 11 July 2021 Exhibition Checklist Frank Mahony (1862–1916) Rounding up a Straggler c.1887, inscribed 1889 preparatory drawing for the engraving Rounding up a Straggler on a Cattle-run in Picturesque Atlas of Australasia January 1888 pencil and monochrome gouache on thin card Private Collection, Courtesy Smith & Singer Fine Art Arthur Hayman (engraver, 1856–1915) after Frank Mahony (1862–1916) Rounding up a Straggler on a Cattle-run in Picturesque Atlas of Australasia January 1888 wood engraving National Library of Australia Rex Nan Kivell Collection (Rare Printed) nla.gov.au/nla.cat-vn1654251 Frank Mahony (1862–1916) Rounding up a Straggler 1889 oil on canvas Art Gallery of New South Wales Purchased 1889 artgallery.nsw.gov.au/collection/works/6104/ George Collingridge (engraver, 1847–1931), Alfred-Louis Martin (engraver, 1839–1903) and Don Antonio Pariz (engraver) after Daniel Urrabieta y Vierge (1851–1904) Les Grandes Travaux de l’Exposition in Le Monde Illustré 27 April 1878 wood engraving Collingridge Family Collection Daniel Urrabieta y Vierge, George Collingridge, Alfred-Louis Martin and Don Antonio Pariz c.1878 albumen print Collingridge Family Collection Sydney International Exhibition First Prize Medal Awarded to George Collingridge for Xylography 1879 bronze medallion Collingridge Family Collection George Collingridge (1847–1931) The Home of the Hermit 1920s wood engraving on Darug/Gadigal Country National Library of Australia -
AUSTRALIAN ETCHINGS & ENGRAVINGS S
ART GALLERY NSW AUSTRALIAN ETCHINGS & ENGRAVINGS s – s FROM THE GALLERY’S COLLECTION Art Gallery of New South Wales 5 May to 22 July 2007 INTRODUCTION This exhibition presents Australian etchings, engravings and groups, such as the Australian Painter Etchers’ Society were wood engravings from the Gallery’s collection, made between established – the Painter Etchers ran for over twenty years from the 1880s and 1930s. These decades saw a sustained period of 1921, providing a forum for the exhibition of artists’ prints, creativity, energy and activity in Australian art when artists’ prints classes in etching and a collectors’ club. began to invite serious engagement by artists and critics for the Artists’ prints attained a higher profile with the public. first time, attaining a new status among artists, critics, dealers In Britain, prints had developed a huge following with attendant and the collecting public. societies, publishers, dealers and publications. Hundreds of artists Mirroring the European etching revival of the 19th century, made prints for the first time to take advantage of a buoyant the 1880s saw the emergence of the ‘Painter-etcher’ in Australia market for prints; etchings in particular had achieved rapid – artists who produced prints as original works of art, inspired by escalations in price for the work of the most popular artists – ‘art for art’s sake’. Their work contrasted with the more familiar there were even instances of financial speculation on published reproductive prints of the preceding century which had been editions. Locally, there were similar developments, albeit on a created by skilled artisans interpreting the work of others to smaller scale.