DOCSLIB.ORG

JAMES GLEESON INTERVIEWS: GRACE CROWLEY 25 August 1978 JAMES GLEESON: Miss Crowley, Will We Begin with Some of the Drawings You, Did in Your Earlier Period

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
JAMES GLEESON INTERVIEWS: GRACE CROWLEY 25 August 1978 JAMES GLEESON: Miss Crowley, Will We Begin with Some of the Drawings You, Did in Your Earlier Period 25 August 1978 JAMES GLEESON INTERVIEWS: GRACE CROWLEY 25 August 1978 JAMES GLEESON: Miss Crowley, will we begin with some of the drawings you, did in your earlier period. Could you tell us about this drawing of the horse? GRACE CROWLEY: Thatʼs my favourite model. Her name is Flower. She was called Flower because of the dapples, the dappled grey mare. I thought, ʻMy father, after all, is a bit poetic; he christened her because of the dapples. I love drawing draught horses. This one is 1937, is it? Has it a date? Or is it the bull, 1937—Prince Imperial? JAMES GLEESON: Prince Imperial is 1937. We donʼt have a date for— GRACE CROWLEY: I think this one would be somewhere about the mid-thirties. JAMES GLEESON: Were you living in the country at that time? Obviously you had horses and cattle. GRACE CROWLEY: I was born in the country. JAMES GLEESON: Whereabouts? GRACE CROWLEY: At Cobbadah, New South Wales. JAMES GLEESON: Whereabouts is that? I canʼt recall. GRACE CROWLEY: Perhaps you know Barraba? JAMES GLEESON: Yes, on the northern tablelands? GRACE CROWLEY: You certainly know Tamworth. JAMES GLEESON: Yes, I know Tamworth. GRACE CROWLEY: I really donʼt know how far. JAMES GLEESON: But it is in the New England area? GRACE CROWLEY: Thatʼs right. JAMES GLEESON: And you spent all your earlier life up there? GRACE CROWLEY: I was born there. From my earliest recollections I remember being very interested in watching the horses and the cows and the men harvesting. I longed to do a thing of the shearers, but father would not let me much into the shed. I did do two or three sketches of the shearers, but I just gave them to the shearers. 25 August 1978 JAMES GLEESON: I see. But obviously when you drew Flower you had been well trained in drawing. You had been to art school by the time you made this drawing of Flower? Is that so? GRACE CROWLEY: Yes. I had been to Andre LʼHote. JAMES GLEESON: This was after you had come back from Ireland? GRACE CROWLEY: I came back in 1931. I left in 1926, and spent four years abroad studying, but only three of those years with Andre LʼHote. JAMES GLEESON: Did you study at all in Sydney before you went abroad? GRACE CROWLEY: Oh yes, with Julian Ashton, at the Sydney Art School. I was a student there. In 1912 I became a full-time student. Then, when Elioth Gruner resigned, Julian asked me to be an assistant teacher in his place. JAMES GLEESON: I see. So you were teaching at the school before you went overseas? GRACE CROWLEY: I taught there for four and a half years. JAMES GLEESON: And this was done after your return from Europe. Your father still had the property up there? GRACE CROWLEY: Yes. JAMES GLEESON: And you would go up for holidays? GRACE CROWLEY: Thatʼs right. The place was sold after my parentsʼ death in 1953. JAMES GLEESON: So up to that time you were quite often up there? GRACE CROWLEY: Yes. I did many drawings of horses and cows and things like that before I even had a lesson. JAMES GLEESON: Was there any history in your family of artistic interest? Did you have brothers, sisters or parents interested in art? GRACE CROWLEY: They were all quite sane, except me! JAMES GLEESON: I see. So you were the only one who had this interest in art, and it was a very early interest? GRACE CROWLEY: Yes. JAMES GLEESON: You knew from the beginning what you wanted to do? GRACE CROWLEY: I do not know whether you could put it that way. You do things because you canʼt help doing them. 2 25 August 1978 JAMES GLEESON: Yes. We do not have any of your very early drawings from the country before you went to an art school, but could you tell me about Prince Imperial? That is a different medium. That is ink and watercolour, is it? GRACE CROWLEY: Firstly, I drew him in pencil. I remember way back when I was in Paris and Albert Gleizes showed me a beautiful drawing of a bull. JAMES GLEESON: Another bull? A Courbet? GRACE CROWLEY: A Courbet. He was very pleased with it; he admired the beautiful line that Courbet had. Courbet, too, was very interested in drawing animals. So when I saw Prince Imperial lying on the grass one morning in the sunlight, I thought, ʻCourbet!ʼ and I ran for my sketchbook. JAMES GLEESON: This is worked in ink and wash, is it? GRACE CROWLEY: It was so long ago. This is ink. JAMES GLEESON: It doesnʼt matter because we can always check that back in the Gallery. GRACE CROWLEY: My draught horses were very patient. JAMES GLEESON: From there can we move to this one? In time, that would perhaps be the next one of yours that we have. GRACE CROWLEY: This one went into Exhibition I in David Jones Gallery. JAMES GLEESON: I notice it has two titles: sometimes Woman and sometimes Annunciation. Do you accept both titles, or would you prefer it to be known as one or the other? GRACE CROWLEY: I donʼt see any annunciation in anything! JAMES GLEESON: No—I donʼt know how it got that title. Shall we call it Woman? GRACE CROWLEY: It doesnʼt look much like one. JAMES GLEESON: It does. I think it is a very beautiful painting. It is travelling now in the Aspects exhibition. GRACE CROWLEY: Yes, I know. JAMES GLEESON: It is dated 1939. GRACE CROWLEY: Thatʼs right. JAMES GLEESON: You mentioned that it was shown in that first exhibition, Exhibition I. GRACE CROWLEY: Yes. JAMES GLEESON: And from there it went into the Evatt collection? 3 25 August 1978 GRACE CROWLEY: Yes. JAMES GLEESON: We acquired it from the Evatt collection. GRACE CROWLEY: Canberra acquired it from the Evatt collection. JAMES GLEESON: Thatʼs right. At that stage, in 1939, had you begun working on a completely abstract— GRACE CROWLEY: I was just beginning. Balson was one influence. In 1937 the school at 215 George Street closed, so I lost the big room. At my place it was not so good to pose a nude model. So there were those two influences. Gradually from this I began to paint completely abstract, like these things here. There is one in the corridor that is a bit like this. JAMES GLEESON: Yes, I remember it from last visit. So the complete abstract began around 1940 or 1941? GRACE CROWLEY: Yes. I would have to check on that. JAMES GLEESON: But it was around that period. This was towards the end of your really figurative period? GRACE CROWLEY: Yes. Balson put on a show at Anthony Hordens in 1941 which was completely non-objective. That gave me a tremendous lift. JAMES GLEESON: That must have been the first non-objective show in Australia. GRACE CROWLEY: It was, I believe. That has never been contradicted. JAMES GLEESON: No. Compared to earlier works in your figurative style, which are more forcibly architecturally modelled, this seems much freer in approach. This one seems to be much freer in the way you have applied the paint. GRACE CROWLEY: Yes, I agree with that. I painted the portrait of Gwen Wrigley in 1930, or 1931. I sent in to the Archibald and it was hung, but it didnʼt get the prize. Soselles saw it. I think that is one reason why he wanted to meet me when I came back from abroad in 1930. According to what I understand from your book, he came back in 1931. JAMES GLEESON: Was it a deliberate attempt to move from the more architectural type of treatment in this picture? GRACE CROWLEY: Yes, it was. It was difficult for me, because I had been tremendously interested in the figure in itself, and anatomically interested. JAMES GLEESON: The structure of the form. GRACE CROWLEY: Yes. The structure of the human figure absolutely fascinated me. So I guess I paid more attention to that sort of thing than did any of the other students in the Sydney Art when I was there. We had the skeleton and the anatomical figure, and I would trot along to the museum and make drawings there of hands—that sort of thing. 4 25 August 1978 JAMES GLEESON: A thorough training. GRACE CROWLEY: Tremendously interested. Then, when I went abroad and studied under Andre LʼHote, he knocked me to pieces for a while. In the end he told me I was one of his best students. JAMES GLEESON: So that background of training was useful, after all. GRACE CROWLEY: I think so. I have never regretted my study in the Sydney Arts. Nor have I regretted those lovely sketching trips that Julian would take us on where we would look at a landscape from an Impressionist point of view. I donʼt know which Andre LʼHote hated the most—what he called ʻles beaux artsʼ or lʼImpressionisme. JAMES GLEESON: He didnʼt like either? GRACE CROWLEY: He hated them. On the sketching trip at Maremond, Anne Dangar, Dorrit Black and I were there. The first thing he said when he saw my landscape was ʻlʼImpressionisme!ʼ JAMES GLEESON: And it wasnʼt a congratulatory remark. GRACE CROWLEY: Oh dear, no. I painted that one there at that time. JAMES GLEESON: But thatʼs not Impressionistic. GRACE CROWLEY: And the girl with the goats in the Melbourne gallery. I think he was very pleased with both paintings in the end. JAMES GLEESON: Ah, yes. GRACE CROWLEY: But I had to suffer.
Load more

Recommended publications
  • Appendices 2011–12
    Art GAllery of New South wAleS appendices 2011–12 Sponsorship 73 Philanthropy and bequests received 73 Art prizes, grants and scholarships 75 Gallery publications for sale 75 Visitor numbers 76 Exhibitions listing 77 Aged and disability access programs and services 78 Aboriginal and Torres Strait Islander programs and services 79 Multicultural policies and services plan 80 Electronic service delivery 81 Overseas travel 82 Collection – purchases 83 Collection – gifts 85 Collection – loans 88 Staff, volunteers and interns 94 Staff publications, presentations and related activities 96 Customer service delivery 101 Compliance reporting 101 Image details and credits 102 masterpieces from the Musée Grants received SPONSORSHIP National Picasso, Paris During 2011–12 the following funding was received: UBS Contemporary galleries program partner entity Project $ amount VisAsia Council of the Art Sponsors Gallery of New South Wales Nelson Meers foundation Barry Pearce curator emeritus project 75,000 as at 30 June 2012 Asian exhibition program partner CAf America Conservation work The flood in 44,292 the Darling 1890 by wC Piguenit ANZ Principal sponsor: Archibald, Japan foundation Contemporary Asia 2,273 wynne and Sulman Prizes 2012 President’s Council TOTAL 121,565 Avant Card Support sponsor: general Members of the President’s Council as at 30 June 2012 Bank of America Merill Lynch Conservation support for The flood Steven lowy AM, Westfield PHILANTHROPY AC; Kenneth r reed; Charles in the Darling 1890 by wC Piguenit Holdings, President & Denyse
    [Show full text]
  • 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.
    [Show full text]
  • Danks News Final
    Artworks where Resale Royalty is not applicable Artworks under $1,000 and so exempt from Resale Royalty Collectible Australian artists in this category include: consider works on paper including prints, smaller works, works by less mainstream or emerging artists, decorative arts Robert Clinch 1957 - Black and White 2008 suite of eight lithographs 19 x 20.5 cm each, edition of 40 These lithographs are available individually or in matching numbered sets. Troy Pieta Alice Ali Trudy Raggett Kemarr 1980 - Arrkerr 2007 synthetic polymer on carved wood height: 40 cm David and Goliath Empire Trudy Raggett Kemarr 1980 - Arrkerr 2007 synthetic polymer on carved wood height: 40 cm Richard III Alien Artworks where Resale Royalty is not applicable Deceased Artists who have been deceased for more than 70 years Collectible Australian artists in this category include: Clarice Beckett, Merric Boyd, Penleigh Boyd, Henry Burn, Abram Louis Buvelot, Nicholas Chevalier, Charles Conder, David Davies, John Glover, William Buelow Gould, Elioth Gruner, Haughton Forrest, Emmanuel Phillips Fox, A.H. Fullwood, Henry Gritten, Bernard Hall, J.J. Hilder, Tom Humphrey, Bertram Mackennal, John Mather, Frederick McCubbin, G.P. Nerli, W.C. Piguenit, John Skinner Prout, Hugh Ramsay, Charles Douglas Richardson, Tom Roberts, John Peter Russell, J.A. Turner, William Strutt, Eugene Von Guerard, Isaac Whitehead, Walter Withers Bernard Hall 1859 - 1935 Model with Globe oil on canvas 67x 49 cm William Buelow Gould 1803 - 1853 Still Life of Flowers c.1850 oil on canvas 41 x 50 cm
    [Show full text]
  • 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 .
    [Show full text]
  • PRIMARY Education Resource
    A break away! painted at Corowa, New South Wales, and Melbourne, 1891 oil on canvas 137.3 x 167.8 cm Art Gallery of South Australia, Adelaide, Elder Bequest Fund, 1899 PRIMARY Education resource Primary Education Resource 1 For teachers How to use this learning resource for primary students Tom Roberts is a major INTRODUCTION exhibition of works from the National Gallery of Australia’s ‘All Australian paintings are in some way a homage to Tom Roberts.’ Arthur Boyd collection as well as private and Tom Roberts (1856–1931) is arguably one of Australia’s public collections from around best-known and most loved artists, standing high among his talented associates at a vital moment in local painting. Australia. His output was broad-ranging, and includes landscapes, figures in the landscape, industrial landscapes and This extraordinary exhibition brings together Roberts’ cityscapes. He was also Australia’s leading portrait most famous paintings loved by all Australians. Paintings painter of the late nineteenth and early twentieth such as Shearing the rams 1888–90 and A break away! centuries. In addition he made a small number of etchings 1891 are among the nation’s best-known works of art. and sculptures and in his later years he painted a few nudes and still lifes. This primary school resource for the Tom Roberts exhibition explores the themes of the 9 by 5 Impression Roberts was born in Dorchester, Dorset, in the south of exhibition, Australia and the landscape, Portraiture, England and spent his first 12 years there. However he Making a nation, and Working abroad.
    [Show full text]
  • Smith & Singer Lead the Market Following
    Melbourne | +61 (0)3 9508 9900 | Thomas Austin | [email protected] SMITH & SINGER LEAD THE MARKET FOLLOWING SEPTEMBER AUCTION TOTAL OF $6,304,375, WITH 149% SOLD BY VALUE AND 87% BY VOLUME Smith & Singer (Formerly Trading as Sotheby’s Australia) Achieves the Highest Sold Rates at the Company in More than a Decade Whiteley Masterpiece ‘White Corella’ 1987 Leads Auction with $750,000 Monumental Shoalhaven Canvas by Arthur Boyd Realises $550,000 Auction Records for Elioth Gruner & Russell Drysdale (Work on Paper) BRETT WHITELEY 1939-1992 White Corella 1987 oil on canvas, 106.3 x 91.1 cm frame: original, Brett Lichtenstein, Sydney Estimate $600,000–800,000 Sold for $750,000 © Wendy Whiteley SYDNEY, 3 September 2020 – Bidders from across Australia and the around the globe vied for the works of art on offer at Smith & Singer’s auction of Important Australian & International Art last night. Clients in the Sydney saleroom competed against those watching the auction online and speaking via telephones, resulting in an outstanding sold rate of 149.43% by value and 87% by volume – the highest in more than a decade at Smith & Singer (formerly trading as Sotheby’s Australia). Totalling $6,304,375, the auction far exceeded the pre-sale low estimate with strong results for leading Australian traditional, modern and contemporary artists – including Arthur Boyd, Rupert Bunny, Ethel Carrick, Elioth Gruner, Melbourne | +61 (0)3 9508 9900 | Thomas Austin | [email protected] Akio Makigawa, Frederick McCubbin, William Robinson, Arthur Streeton, and Brett Whiteley, amongst others. The evening sale commenced with a delicate duo of Arthur Boyd Shoalhaven small-scale oils on board, which sold for $53,750 and $52,500 respectively, both exceeding their pre-sale $40,000 high estimates.
    [Show full text]
  • 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
    [Show full text]
  • Australian Art
    Australian Art Josef Lebovic Gallery 103a Anzac Parade (cnr Duke Street) Kensington (Sydney) NSW Ph: (02) 9663 4848; Fax: (02) 9663 4447 Email: [email protected] Web: www.joseflebovicgallery.com JOSEF LEBOVIC GALLERY Established 1977 103a Anzac Parade, Kensington (Sydney) NSW Post: PO Box 93, Kensington NSW 2033, Australia Tel: (02) 9663 4848 • Fax: (02) 9663 4447 • Intl: (+61-2) Email: [email protected] • Web: joseflebovicgallery.com Open: Wed to Fri by appointment, Sat 12-5pm • ABN 15 800 737 094 Member of • Association of International Photography Art Dealers Inc. International Fine Print Dealers Assoc. • Australian Art & Antique Dealers Assoc. 1. Anon. Antipodeans - Victorian Artists Society, 1959. Lithograph, inscribed in ink in an unknown hand verso, 35.3 x 43cm COLLECTORS’ LIST No. 145, 2010 (paper). Some stains and soiling overall. $1,250 Text continues “[On show] 4th August to 15th August. Charles Blackman, Arthur Boyd, David 2. Normand Baker (Australian, 1908- Australian Art Boyd, John Brack, Bob Dickerson, John Perceval, 1955). [George Chew Lee’s Produce Store], Clifton Pugh, Bernard Smith.” Inscription reads c1930. Pencil drawing with colour notations, “Dear Sir, Would it be possible if you could please put this poster in your window. Yours sincerely, accompanied by a handwritten note of Compiled by Josef & Jeanne Lebovic, Lenka Miklos, Mariela Brozky The Antipodeans. P.S. The Antipodeans would be authenticity, 34 x 24.2cm. Slight foxing, On exhibition from Saturday, 16 October to Saturday, 20 November and thankful.” minor soiling to edges. The artists mentioned in this poster formed the $880 on our website from 23 October. Antipodean group to show work by figurative The note reads “I declare that this pencil sketch All items have been illustrated in this catalogue.
    [Show full text]
  • Important Australian Art from the Estate of John Cuningham
    IMPORTANT AUSTRALIAN ART FROM THE ESTATE OF JOHN CUNINGHAM IMPORTANT AUSTRALIAN ART FROM THE ESTATE OF JOHN CUNINGHAM FROM THE ESTATE AUSTRALIAN ART IMPORTANT Tuesday 22 November at 6:30pm NCJWA Hall, Sydney | Sydney, 22 November 2016 22 November 2016 Sydney, 23536 INSIDE FRONT COVER IMPORTANT AUSTRALIAN ART FROM THE ESTATE OF JOHN CUNINGHAM Tuesday 22 November at 6:30pm NCJWA Hall, Sydney MELBOURNE VIEWING BIDS ENQUIRIES PRESS ENQUIRIES Como House Online bidding will be available Mark Fraser Emma Miller Como Avenue for the auction. For further Chairman +61 (0) 401 642 535 South Yarra VIC 3141 information please visit: +61 (0) 430 098 802 mob [email protected] www.bonhams.com [email protected] Friday 4 – Sunday 6 November PHYSICAL CONDITION 10am – 5pm All bidders are advised to Alex Clark OF LOTS IN THIS AUCTION read the important information Australian and International PLEASE NOTE THAT THERE SYDNEY VIEWING on the following pages relating Art Specialist IS NO REFERENCE IN THIS NCJWA Hall to bidding, payment, collection, +61 (0) 413 283 326 mob CATALOGUE TO THE PHYSICAL 111 Queen Street and storage of any purchases. [email protected] CONDITION OF ANY LOT. Woollahra NSW 2025 INTENDING BIDDERS MUST IMPORTANT INFORMATION Merryn Schriever SATISFY THEMSELVES AS Bonhams The United States Government Australian and International TO THE CONDITION OF ANY 97-99 Queen Street has banned the import of ivory Art Specialist LOT AS SPECIFIED IN CLAUSE Woollahra NSW 2025 into the USA. Lots containing +61 (0) 414 846 493 mob 14 OF THE NOTICE TO ivory are indicated by the symbol [email protected] BIDDERS CONTAINED AT THE Friday 18 – Monday 21 November Ф printed beside the lot number END OF THIS CATALOGUE.
    [Show full text]
  • Australia: a Cultural History (Third Edition)
    AUSTRALIA A CULTURAL HISTORY THIRD EDITION JOHN RICKARD AUSTRALIA Australia A CULTURAL HISTORY Third Edition John Rickard Australia: A Cultural History (Third Edition) © Copyright 2017 John Rickard All rights reserved. Apart from any uses permitted by Australia’s Copyright Act 1968, no part of this book may be reproduced by any process without prior written permission from the copyright owners. Inquiries should be directed to the publisher. Monash University Publishing Matheson Library and Information Services Building 40 Exhibition Walk Monash University Clayton, Victoria 3800, Australia www.publishing.monash.edu Monash University Publishing brings to the world publications which advance the best traditions of humane and enlightened thought. Monash University Publishing titles pass through a rigorous process of independent peer review. www.publishing.monash.edu/books/ach-9781921867606.html Series: Australian History Series Editor: Sean Scalmer Design: Les Thomas Cover image: Aboriginal demonstrators protesting at the re-enactment of the First Fleet. The tall ships enter Sydney Harbour with the Harbour Bridge in the background on 26 January 1988 during the Bicentenary celebrations. Published in Sydney Morning Herald 26 January, 1988. Courtesy Fairfax Media Syndication, image FXJ24142. National Library of Australia Cataloguing-in-Publication entry: Creator: Rickard, John, author. Title: Australia : a cultural history / John Rickard. Edition: Third Edition ISBN: 9781921867606 (paperback) Subjects: Australia--History. Australia--Civilization. Australia--Social conditions. ISBN (print): 9781921867606 ISBN (PDF): 9781921867613 First published 1988 Second edition 1996 In memory of John and Juan ABOUT THE AUTHOR John Rickard is the author of two prize-winning books, Class and Politics: New South Wales, Victoria and the Early Commonwealth, 1890-1910 and H.B.
    [Show full text]
  • IMPORTANT AUSTRALIAN and ABORIGINAL ART Including Works from the Estate of Mary Macha AM Sunday 19 November 2017 Sydney
    IMPORTANT AUSTRALIAN AND ABORIGINAL ART Including works from the Estate of Mary Macha AM Sunday 19 November 2017 Sydney IMPORTANT AUSTRALIAN AND ABORIGINAL ART Including works from the estate of Mary Macha AM Sunday 19 November 2017 at 4pm NCJWA Hall, Sydney MELBOURNE VIEWING BIDS ENQUIRIES PRESS ENQUIRIES Como House Online bidding will be available Merryn Schriever - Director Emma Miller Como Avenue for the auction. For further Australian and International +61 (0) 401 642 535 South Yarra VIC 3141 information please visit: Art Specialist [email protected] www.bonhams.com +61 (0) 414 846 493 mob Friday 10 – Sunday [email protected] PHYSICAL CONDITION 12 November All bidders are advised to OF LOTS IN THIS AUCTION 10am to 5pm read the important information Alex Clark PLEASE NOTE THAT THERE on the following pages relating Australian and International IS NO REFERENCE IN THIS SYDNEY VIEWING to bidding, payment, collection, Art Specialist CATALOGUE TO THE PHYSICAL NCJWA Hall and storage of any purchases. +61 (0) 413 283 326 mob CONDITION OF ANY LOT. 111 Queen Street [email protected] INTENDING BIDDERS MUST Woollahra NSW 2025 IMPORTANT INFORMATION SATISFY THEMSELVES AS The United States Government Francesca Cavazzini TO THE CONDITION OF ANY Bonhams has banned the import of ivory Aboriginal and International LOT AS SPECIFIED IN CLAUSE 97-99 Queen St into the USA. Lots containing Art Specialist 14 OF THE NOTICE TO Woollahra NSW 2025 ivory are indicated by the symbol +61 (0) 416 022 822 mob BIDDERS CONTAINED AT THE Ф printed beside the lot number francesca.cavazzini@bonhams.
    [Show full text]
  • Appendices 2011–12
    Art GAllery of New South WaleS appendices 2011–12 Sponsorship 73 Philanthropy and bequests received 73 Art prizes, grants and scholarships 75 Gallery publications for sale 75 Visitor numbers 76 Exhibitions listing 77 Aged and disability access programs and services 78 Aboriginal and Torres Strait Islander programs and services 79 Multicultural policies and services plan 80 Electronic service delivery 81 Overseas travel 82 Collection – purchases 83 Collection – gifts 85 Collection – loans 88 Staff, volunteers and interns 94 Staff publications, presentations and related activities 96 Customer service delivery 101 Compliance reporting 101 Image details and credits 102 masterpieces from the Musée Grants received SPONSORSHIP National Picasso, Paris During 2011–12 the following funding was received: UBS Contemporary galleries program partner entity Project $ amount VisAsia Council of the Art Sponsors Gallery of New South Wales Nelson Meers foundation Barry Pearce curator emeritus project 75,000 as at 30 June 2012 Asian exhibition program partner CAf America Conservation work The flood in 44,292 the Darling 1890 by wC Piguenit ANZ Principal sponsor: Archibald, Japan foundation Contemporary Asia 2,273 wynne and Sulman Prizes 2012 President’s Council TOTAL 121,565 Avant Card Support sponsor: general Members of the President’s Council as at 30 June 2012 Bank of America Merill Lynch Conservation support for The flood Steven lowy AM, Westfield PHILANTHROPY AC; Kenneth r reed; Charles in the Darling 1890 by wC Piguenit Holdings, President & Denyse
    [Show full text]