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Tom Carment Born Sydney 1954 Studies Julian Ashton Art School
Tom Carment Born Sydney 1954 Studies Julian Ashton Art School, Sydney, 1973 Solo Exhibitions 2007 Depot Gallery, Sydney 2006 Council House 2, Melbourne 2005 Depot Gallery, Sydney 2003 Depot Gallery, Sydney 2000 King Street gallery, Sydney 1998 King Street Gallery on Burton, Sydney 1997 King Street Gallery on Burton - Landscapes King Street Gallery‘ - ‘Friends, Family, Places’ 1995 King Street Gallery on Burton 1993 King Street Gallery on Burton 1991 Julie Green Gallery, Sydney 1989 Robin Gibson Gallery, Sydney - Landscapes Robin Gibson Gallery – Portraits 1988 Robin Gibson Gallery 1987 Galerie Cannibal Pierce, Paris 1985 Mori Gallery, Sydney 1983 Hogarth Gallery, Sydney 1980 Robin Gibson Gallery 1978 38 Oxford Street, Sydney 1976 Nicholson Street Gallery, Sydney Group Exhibitions 2007 Salon des Refuses S.H. Ervin Gallery, Sydney Just Imagine, Wollongong City Art Gallery Mosman Art Prize, Mosman Regional Gallery Hula Dreaming, Gallery East Clovelly Artist’s Books, King’s Cross Book Fair 2006 Archibald Prize, Art Gallery of N.S.W. Salon des Refuses, S.H. Ervin Gallery, Sydney May Day, The Cross Art Projects Art on the Rocks, Sydney Archibald Prize Regional Tour, NSW & VIC Fireworks, Regional Tour Paddington Art Prize, Sydney 2005 Paddington Art Prize, Sydney 2005 The Year in Art. S.H. Ervin Gallery, Sydney Kedumba Drawing Prize, Wentworth Falls, NSW Art on the Rocks, Sydney Mosman Art Prize, Mosman Regional Art Gallery (winner) Tattersall's Art Prize, Brisbane Australian Icons, National Trust, Sydney Salon des Refuses, S.H. Ervin Gallery, Sydney Small Offerings: Sri Lankan and Australian artists exhibition for Tsunami Relief in Sri Lanka, The Cross Art Projects, Sydney Fireworks, Mackay Regional Art Gallery and Museum and touring regional galleries in Queensland, New South Wales and Victoria Dugongs of Hinchinbrook Art Show, Centre of Contemporary Arts, Cairns 2004 Archibald Prize. -
Emu Island: Modernism in Place 26 August — 19 November 2017
PenrithIan Milliss: Regional Gallery & Modernism in Sydney and InternationalThe Lewers Trends Bequest Emu Island: Modernism in Place 26 August — 19 November 2017 Emu Island: Modernism in Place Penrith Regional Gallery & The Lewers Bequest 1 Spring Exhibition Suite 26 August — 19 November 2017 Introduction 75 Years. A celebration of life, art and exhibition This year Penrith Regional Gallery & The Lewers Bequest celebrates 75 years of art practice and exhibition on this site. In 1942, Gerald Lewers purchased this property to use as an occasional residence while working nearby as manager of quarrying company Farley and Lewers. A decade later, the property became the family home of Gerald and Margo Lewers and their two daughters, Darani and Tanya. It was here the family pursued their individual practices as artists and welcomed many Sydney artists, architects, writers and intellectuals. At this site in Western Sydney, modernist thinking and art practice was nurtured and flourished. Upon the passing of Margo Lewers in 1978, the daughters of Margo and Gerald Lewers sought to honour their mother’s wish that the house and garden at Emu Plains be gifted to the people of Penrith along with artworks which today form the basis of the Gallery’s collection. Received by Penrith City Council in 1980, the Neville Wran led state government supported the gift with additional funds to create a purpose built gallery on site. Opened in 1981, the gallery supports a seasonal exhibition, education and public program. Please see our website for details penrithregionalgallery.org Cover: Frank Hinder Untitled c1945 pencil on paper 24.5 x 17.2 Gift of Frank Hinder, 1983 Penrith Regional Gallery & The Lewers Bequest Collection Copyright courtesy of the Estate of Frank Hinder Penrith Regional Gallery & The Lewers Bequest 2 Spring Exhibition Suite 26 August — 19 November 2017 Introduction Welcome to Penrith Regional Gallery & The of ten early career artists displays the on-going Lewers Bequest Spring Exhibition Program. -
Education Resource
Education Resource This education resource has been developed by the Art Gallery of New South Wales and is also available online An Art Gallery of New South Wales exhibition toured by Museums & Galleries NSW DRAWING ACTIVITIES Draw with black pencil on white paper then with white pencil on black paper. How does the effect differ? Shade a piece of white paper using a thick piece of charcoal then use an eraser to draw into the tone to reveal white lines and shapes. Experiment with unconventional materials such as shoe polish and mud on flattened cardboard boxes. Use water on a paved surface to create ephemeral drawings. Document your drawings before they disappear. How do the documented forms differ from the originals? How did drawing with an eraser, shoe polish, mud and water compare to drawing with a pencil? What do you need to consider differently as an artist? How did handling these materials make you feel? Did you prefer one material to another? Create a line drawing with a pencil, a tonal drawing with charcoal and a loose ink drawing with a brush – all depicting the same subject. Compare your finished drawings. What were some of the positive and negatives of each approach? Is there one you prefer, and why? Draw without taking your drawing utensil off the page. What was challenging about this exercise? Draw something from observation without looking down at your drawing. Are you pleased with the result? What did you learn? Create a series of abstract pencil drawings using colours that reflect the way you feel. -
….../ Cardholders Name
Timetable Day Monday to Friday Day Saturday Beginners Welcome Advanced students taught at own level ROCKS ENROLMENT TEN WEEK TERM ....… YEAR 20...... am 9.15 am - 12 noon 10 am - 12.45pm Individual tuition Progress at your own pace pm 12.45 pm - 3.30 pm 1.30pm - 4.15pm Name ...................................................................................... All Daytime classes have the same tutor- am and pm. Mastering Landscape Address.................................................................................... Day classes 1 — 7 COURSES AT ROCKS CAMPUS Explore composition, concept, tone, colour and ......................................................................Postcode……..….. perspective in oil paint with Paul Delprat Phone: Home..........................… Work .................................... Enjoy Painting “en Plein air” at the Harbour Email ………………………………………………………. 1 Basic Drawing 2 Life Drawing, Life Painting, Entrance at Georges Heights How did you hear about the school? ……………………………….…… and Painting and Portraiture Discount Fees: 10 day classes per week for four terms (1 year) are: Training coordination of hand and Saturday morning: Georges Heights studio $9990.00, 8 classes per week ($8640) and 6 classes per week ($7128) eye. Proportion, direction, form, Monday and Tuesday - Drawing: See Georges Heights Prospectus For term enrolment see schedule below - structure and perspective lead to Systematic analysis of anatomy from the Tonal Still life studies in graphic live model. Monday poses range from a 7 Fundamentals of MON TUE WED THU FRI SAT media and oil paint providing the few minutes to one day. Tuesday poses Life Drawing am 1 2 4 1 2 1 2 3 1 2 1 2 1 2 7 basis for tonal anatomical studies range from a few minutes to half an hour. and colour analysis. Achieve A structured course – from the basics pm 1 2 4 1 2 1 2 3 1 2 1 2 1 2 7 to advanced anatomy over 5 terms using confidence handling materials. -
Barjai, Miya Studio and Young Brisbane Artists of the 1940S;
BARJAI, MIYA STUDIO AND YOUNG BRISBANE ARTISTS OF THE 1940S; TOWARDS A RADICAL PRACTICE by MICHELE ELIZABETH ANDERSON A thesis submitted in fulfilment of the requirements for the degree of Bachelor of Arts with Honours DEPARTMENT OF ART HISTORY UNIVERSITY OF QUEENSLAND JULY 1987 n To the late Laurence Collinson m We can no more allow the warped wills of old men to fashion for us the future. It is ours. Cast off the leaden weights that make the drab decrees. Climb the high heart's wall and cry out Action. Barrie Reid, "These Leaden Weights", Barjai, No. 13, March 1944, p. 3. w TABLE OF CONTENTS LIST OF ILLUSTRATIONS V ACKNOWLEDGMENTS ix INTRODUCTION 1 CHAPTER ONE Barjai and the Barjai Group, 1943-1947: Art and Literature / Youth, War and Politics 10 CHAPTER TWO Young Brisbane Artists at War's End and The Younger Artists' Group of 1945 61 CHAPTER THREE Miya Studio and The Artists' Group of the New Theatre Club: The Studio Base 1945-1950 110 CHAPTER FOUR Miya Studio and The Artists' Group of The New Theatre Club: Exhibitions 1945-1950 157 CONCLUSION 204 APPENDICES 206 ILLUSTRATIONS 214 BIBLIOGRAPHY ' 254 LIST OF ILLUSTRATIONS 1 Ian Gall, Cartoon, The Courier-Mail, 11 May 1942, p. 4 (Photograph courtesy of John Uxley Library). 2 Cover, Barjai, No. 5, 1943 (Photographic access courtesy of John Oxley Library). 3 Cover, Barjai, No. 8, 1943 (Photographic access courtesy of John Oxley Library). 4 Cover, Barjai, No. 12, January 1944 (Photographic access courtesy of John Oxley Library). 5 Cover, Barjai, No. 14, May 1944 (Photographic access courtesy of John Oxley Library). -
RALPH BALSON a Grand Vision in Active Colours
RALPH BALSON A Grand Vision in Active Colours KEVIN HEGARTY copyright 2005 A Thesis submitted in fulfilment of the requirements for the degree of Master of Art Theory School of Art History and Theory College of Fine Arts University of New South Wales June,2005 ABSTRACT Building on important studies of Ralph Balson (1890-1964) by, amongst others, Bruce Adams, Daniel Thomas and Paul McGillick, this thesis argues that colour played a central role in Balson's oeuvre. Although commented upon by a number of scholars and critics both during Balson's lifetime and since his death, colour for the most part has been considered relatively insignificant. As influences on his art, Cubism has often been cited. Additionally, the literature abounds with references to scientific theories and their impact. Parting company with these views, this thesis examines critical phases in Balson's career and suggests how in each case an intuitive understanding of colour helped create works that occupy a (still largely) underestimated place in the history of abstraction in Australia. Special attention is drawn to Balson's works in pastels (1951- 59). Overlooked for the most part, these allowed Balson to develop new expressive directions; ones in which colour, as always, was a determining factor. ACKNOWLEDGEMENTS I would like to thank my supervisor, Dr Alan Krell for his patience, advice and guidance during my candidature. I wish to also acknowledge support from Dr David McNeill and Dr Jill Bennett. In addition I would like to acknowledge the generous assistance given by William Balson (Balson Estate), Anne Lewis (past Director of Gallery A, Sydney) and the late Robert Klippel. -
Australian Art P: (02) 9663 4848 E: [email protected] W: Joseflebovicgallery.Com 1
Collectors’ List No. 183, 2016 Josef Lebovic Gallery 103a Anzac Parade (cnr Duke St) Kensington (Sydney) NSW Australian Art P: (02) 9663 4848 E: [email protected] W: joseflebovicgallery.com 1. Anon. [Gnome Fairies], c1920s. Gouache JOSEF LEBOVIC GALLERY with ink, partially obscured initials “A.J.[?]” in Established 1977 gouache lower right, 21.6 x 17.9cm. Laid down Member: AA&ADA • A&NZAAB • IVPDA (USA) • AIPAD (USA) • IFPDA (USA) on original backing. $1,350 Address: 103a Anzac Parade, Kensington (Sydney) NSW In the style of Ida Rentoul Outhwaite (Aust., 1888-1960). Postal: PO Box 93, Kensington NSW 2033, Australia Phone: +61 2 9663 4848 • Mobile: 0411 755 887 • ABN 15 800 737 094 Email: [email protected] • Website: joseflebovicgallery.com Open: Monday to Saturday by chance or please make an appointment. COLLECTORS’ LIST No. 183, 2016 Australian Art 2. John Baird (Aust., 1902-c1988). [Young Wo man], On exhibition from Wed., 6 July to Sat., 26 August. c1930. Pencil drawing, signed lower right, 30 x 7cm All items will be illustrated on our website from 22 July. (image). $880 Prices are in Australian dollars and include GST. Exch. rates as at Painter and cartoonist John Baird was a foundation member of time of printing: AUD $1.00 = USD $0.74¢; UK £0.52p the Society of Australian Black and White Artists. Baird became known for his oil paintings, especially for his portrait of ‘Model © Licence by VISCOPY AUSTRALIA 2016 LRN 5523 of the Year’ Patricia “Bambi” Tuckwell in 1946. Ref: DAAO. Compiled by Josef & Jeanne Lebovic, Dimity Kasz, Takeaki Totsuka, Lenka Miklos NB: Artists’ birth and death dates in this list are based on currently available references and information from institutions, which can vary. -
A Curated Collection of Art to Celebrate Sydney Foreword
ICC Sydney Art Collection A curated collection of art to celebrate Sydney Foreword Built to connect minds, cultures and ideas, International Convention Centre Sydney (ICC Sydney) is the beating heart of Sydney’s new business and events precinct in Darling Harbour. Opened in December 2016, the venue is the centrepiece of a $3.4 billion rejuvenation of the precinct including a major upgrade to the facilities and public domain. Both inside and throughout the public areas, ICC Sydney is home to a superb collection of Australian art. The majority of the collection was commissioned in 1988 during the first major redevelopment of Darling Harbour to commemorate Australia’s bicentennial year and has been added to through the recent rejuvenation. An important part of Sydney’s heritage, the works have a Sydney emphasis with artists and their works initially chosen because of their connection to Sydney or the celebration of Sydney, its harbour and shorelines. There is no more appropriate place than a venue built for gatherings to celebrate the culture of our high performing, multinational, vibrant city, which includes Australia’s Aboriginal heritage. Thanks must go to the artists who donated their works or accepted only a small fee for their generosity. Thanks should also go to ICC Sydney’s venue manager for producing this book to celebrate and share a truly significant piece of Sydney heritage. The Hon. Don Harwin MLC Minister for the Arts 2 3 4 5 Contents 8 Welcome to Country 12 Charles Blackman 48 John Olsen 96 Public Art in 98 Maria Fernanda 122 -
TRAVELLING ART SCHOLARSHIP WINNERS 1999–2006 Education Kit
BRETT WHITELEY TRAVELLING ART SCHOLARSHIP WINNERS 1999–2006 Education Kit www.artgallery.nsw.gov.au/education Brett Whiteley Studio 15 September – 25 November 2007 BWTAS winners 1999–2006 Education Kit Art Gallery of New South Wales Contents SectiON 1 Brett Whiteley traVelliNG art schOlarshiP: A histOry Brett Whiteley (1939-92) awards, prizes and scholarships: selected biography ‘Young painters meet in Paris’: article by Brett Whiteley Selected references SectiON 2 artists IN PROFile Alice Byrne Marcus Wills Petrea Fellows Ben Quilty Karlee Rawkins Alan Jones Wayde Owen Samuel Wade Questions for consideration: K–6 looking and making activities, 7–12 framing questions EDUCATION KIT OUTLIne This education kit highlights the work of artists who have been awarded the Brett Whiteley Travelling Art Scholarship. As the scholarship is a painting prize, the primary focus for this kit is the contemporary painting practice of young emerging artists. It has been designed to provide a context for looking at previous winning works on display in the exhibition BWTAS winners 1999–2006. The kit has been written with reference to the NSW Visual Arts syllabus as a resource for K–6 and 7–12 education audiences. It may be used in conjunction with a visit to the exhibition or as pre-visit or post-visit resource material. It specifically targets teacher and student audiences but may also be of interest to a general audience. AckNOwleDGMENts Thank you to all the previous winners of the BWTAS for their assistance and support. Beryl Whiteley for her initial vision and generosity to establish the BWTAS, as well as her continued commitment. -
The Contribution of the Low Show Group of Artists MARGARET
CHANGING THE ART CULTURE OF NEWCASTLE: The contribution of the Low Show Group of artists MARGARET MCBRIDE Dip Art, BAVA, Grad Dip Art, Grad Dip Ed. (University of Newcastle) School of Drama, Fine Art and Music University of Newcastle Submitted in full requirement of the degree of Doctor of Philosophy January 2010 i STATEMENT OF ORIGINALITY This thesis contains no material which has been accepted for the award of any other degree or diploma in any university or other tertiary institution and, to the best of my knowledge and belief, contains no material previously published or written by another person, except where due reference has been made in the text. I give consent to this copy of my thesis, when deposited in the University Library, being made available for loan and photocopying subject to the provisions of the Copyright Act 1968. ACKNOWLEDGEMENT OF AUTHORSHIP I hereby certify that the work embodied in this thesis is the result of original research, the greater part of which was completed subsequent to admission of candidature for the degree. ii ACKNOWLEDGEMENTS To Emeritus Professor Elizabeth Ashburn I owe my special thanks for her support, scholarly advice and enthusiasm during the preparation of this thesis. As well I thank Emeritus Professor John Ramsland for his enthusiasm and guidance and the Newcastle Region Art Gallery for allowing me access to their files and providing me with copies of artworks from their collection. Finally I must thank my husband, Brian Cox, for his constant support, care and encouragement. iii CONTENTS Title Page i Declaration ii Acknowledgement iii Contents iv Abstract viii List of Plates x Introduction ........................................................................................................ -
A Catalogue '° @
Cent RoySoc _zC: :::::::::::::; .... )> Rare =<:::::::::::::m _,=::a._,-en 0 H N O=-i--< I\J_o 3960 =-,, .T3 0 -i ,..,=en..... => 13 0 -,,.=3 1956 v,=z ,..,.=Hw=> vi r '°l'T'l=::C @ ""=>-;a A CATALOGUE -< OF AUSTRALIAN PAINTINGS AND DRAWINGS TASMANIAN ART GALLERY COMPILED 1956 TASMANIAN MUSEUM AND ART GALLERY PREFACE This is the first time a catalogue of the works owned by the Tasmanian Museum and Art Gallery has been published. It is due to the untiring efforts of the Keeper of the Gallery, Mr. Stan de Teliga, that it has come about. His labours have not been easy for detailed information1 about some artists, especially those who lived in the first half of last century, has often been difficult to obtain. Where omissions occur, or if mistakes have been made, we would be glad of advice from those who can assist us. It is proposed to issue supplementary catalogues from time to time to add to this issue. W. BRYDEN, Director. TRUSTEES OF THE TASMANIAN MUSEUM AND ART GALLERY Government Representatives: L. W. Miller, Esq., M. Agric. Sc., F.R.E.S. (Chairman of Trustees) Introductory Note Dr. W. L. Crowther, C.B.E., D.S.O., M.B., B.S., F.R.A.C.P. G. C. Cramp, Esq., M.B.E. The works in this catalogue can all be said to have A. W. Pedder, Esq., F.R.S.A. Australian interest. They were done either by Australian Royal Society: artists or by artists who at some time lived and painted in Dr. C. -
7 September – 17 November 2019 Contents
7 September – 17 November 2019 Contents Onsight: art for everyone 3 Blues, Greens and Reds 31 Establishing Regional Galleries in NSW 6 List of works Blues, Greens and Reds 33 Gifting 10 Judy Cassab – Family and Friends 36 Brook Andrew 12 List of works Min Woo Bang 13 Judy Cassab – Family and Friends 38 Gwen Frolich Bequest 14 Gifts and Makers Space – Gurr Collection 15 Collage Station 40 The Hawker Family Gift 15 Donor stories Gifts and Makers Space – The Balnaves Gift 16 Collage Station 41 Marea Gazzard 17 List of works The George and Nerissa Johnson Gifts and Makers Space – Memorial Bequest 18 Collage Station 43 Margaret Olley 19 Books from the Gallery Library 44 John Olsen 19 Education 46 Desiderius Orban 20 Acknowledgements 50 Colin Rose 20 Luke Sciberras 21 The Sredersas Gift 22 List of works Main Gallery central and left side 23 List of works Main Gallery Margo and Friends Room 27 2 Onsight: art for everyone Sheona White Earlier this year Gina Fairly wrote in Arts Hub: It is this dynamism and community engagement that makes regional galleries ‘Regional galleries continue to punch above so interesting to visit and such a great asset for their communities. One of the their weight in 2019, rolling out ambitious, striking characteristics of regional galleries is the level of community support and enthusiasm. This exhibition, Gifting, celebrates community generosity erudite and often provocative programs to regional galleries. Gifting has helped galleries realise their potential and, that extend audience engagement. in some instances, has directly led to the establishment of these institutions.