10works in focus Paintings from the Collection VOLUME 2

10 WORKS IN FOCUS: PAINTINGS FROM THE COLLECTION / VOLUME 2 1 This is the second 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. 10works in focus Paintings from the Collection VOLUME 2 Contents

5 Foreword

7 About the exhibition

8 Kangaroo. Kangaroo. Thou spirit of

10 Beyond this colonial lens

12 Hobart Town from Kangaroo Bluff

14 Proof of life

16 Averted gaze

18 Beautiful all glowing and oriental

22 Al fresco

24 The young art student

26 Beautifully situated

28 Nothing out of the ordinary

30 List of works

A free exhibition at the State Library of NSW.

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

Curators: Louise Anemaat, Elise Edmonds, Richard Neville, Margot Riley Creative producers: Mary-Elizabeth Andrews, Karen Hall Creative producer, multimedia: Sabrina Organo Exhibition designer: Elin Thomas Graphic designer: Simon Leong Editor: Cathy Hammer Senior conservator: Felicity Corkill 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-5268-4/2018 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 2 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 Australian art. 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 second 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 2 5 6 10 WORKS IN FOCUS: PAINTINGS FROM THE COLLECTION / VOLUME 2 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 , 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 2 7 Kangaroo. Kangaroo. Thou spirit of Australia*

Despite giving the appearance of on-the-spot reportage, John Lewin’s 1819 painting of red kangaroos was in fact a construction of his studio, composed more than 400 kilometres south of this supposed location. Red kangaroos had only recently been sighted by Europeans, on John Oxley’s 1818 expedition into the north-western interior of NSW and the Liverpool Plains. While traversing Kamilaroi land, near the Warrumbungles, Oxley wrote in his journal on 6 August 1818 that:

‘We killed this day one of the largest most dramatic animals and birds it kangaroos we had seen in any part encountered. of New South Wales, being from one hundred and fifty to one hundred and This oil painting is a copy of one of eighty pounds weight. These animals these watercolours, which Macquarie live in flocks like sheep; and I do not titled Macropa Species. Red Kangaroo exaggerate, when I say that some hundreds were seen in th[is] vicinity’ of the Interior, seen generally in flocks, runs with the head remarkably low, Lewin’s painting was composed in inhabits the Morasses of the Interior. his Sydney studio from specimens — It was owned by Commissioner John or more likely their skins — shot on Thomas Bigge, who arrived in Sydney this expedition and brought back in September 1819 (after Lewin had to the town. The background view died) to report on the colony. Bigge of the Warrumbungles was simply bought at least eight paintings copied from another drawing, in Sydney, which he took back to made by an artist on the expedition. . Most were views of Sydney and — this is the only Exotic natural history was a lens image of an Australian animal. through which many Europeans From its earliest days, the kangaroo appraised the colony. Its curiousness remained one of the colony’s most was a virtue. So when Governor potent symbols. Macquarie wanted to impress his London masters with the success of Richard Neville Oxley’s expedition, he commissioned Mitchell Librarian and Lewin — a professional natural Director Education & Scholarship history illustrator who had emigrated to Australia in 1800 — to paint at least eight large watercolours of the

Red kangaroos of the interior, 1819 by John Lewin oil on canvas acquired 1979 * Barron Field, First fruits of Australian poetry, Sydney, 1819, ML 852 | refer to wall no. 267, p 37 page 7

8 10 WORKS IN FOCUS: PAINTINGS FROM THE COLLECTION / VOLUME 2 10 WORKS IN FOCUS: PAINTINGS FROM THE COLLECTION / VOLUME 2 9 Beyond this colonial lens

At first blush, Natives at a corrobory by celebrated colonial landscape artist John Glover seems to offer a rare snapshot of the living culture of my Palawa ancestors. While it is tempting to simply take the painting at face value, it is in reality part of a complex deception; an ode to the colonial fantasy of the Antipodean Arcadia. Glover acknowledges that the painting is a romanticised recreation — which is particularly galling when you consider that by this time the Tasmanian War While many of us are accustomed to (1820s–1832) had irrevocably ravaged looking beyond this colonial lens to Palawa lands and people. glimpse a culture that was stolen from us, to do so requires us to suspend Intended as a frontispiece for a our knowledge of Australia’s past. planned book by George Augustus I cannot see representations like these Robinson (who was tasked with without sensing the agenda behind ‘effecting conciliation’ with Palawa them; without knowing in my bones people by Governor Arthur), this that this is a depiction tied inexorably work by Glover was created to ‘… give to the agendas and legacies of an idea of the manner they enjoyed settler-colonists. themselves before being disturbed by the White People’. Like many works The colonial hunger for our stories, from this era this painting sought our culture and our bodies was to recreate what was taken from us, often maintained with a clinical and without our input, and by those deliberate distance from the complex who profited most from the theft. reality of our lives, sovereignty and dignity. To look upon such works There is a cognitive dissonance at play is to be reminded that we were here — one common among colonial being curated even as we were figures who could recognise that the dying. This is perhaps summed up Aboriginal inhabitants of the land were best by legendary Palawa woman being wiped out, but often failed to Trugernanner (Truganinni), reflect on their own complicity in our who died in 1876 but whose stolen destruction. This image of my ancestors remains were not returned until 1976: as carefree, innocent and harmonious ‘I know that when I die the museum is intoxicating, but we must remember wants my body’. that this was painted after our songs and ceremonies had been brutally Damien Webb (Palawa descendant) silenced. Manager, Indigenous Engagement Branch, State Library of NSW

Natives at a corrobory, c 1835 by John Glover oil on canvas acquired 1939 ML 154 | refer to wall no. 157, p 34

10 10 WORKS IN FOCUS: PAINTINGS FROM THE COLLECTION / VOLUME 2 10 WORKS IN FOCUS: PAINTINGS FROM THE COLLECTION / VOLUME 2 11 Hobart Town from Kangaroo Bluff

This 1856 panoramic view of Hobart Town from Kangaroo Bluff, on the opposite bank of the River Derwent, is one of several near-identical renderings of the scene painted by Henry Gritten (1818–73) in both oils and watercolour. It is a highly detailed prospect of the burgeoning township — from boat building activities at Battery Point in the south through Sullivan’s Cove and the heart of the settlement to beyond the penitentiary in the north — the whole dominated by the snow-capped Kunanyi/Mount the Society of British Artists (Suffolk Wellington. Street) and a number of other exhibitions between 1835 and 1849. As a comprehensive visual description of his episcopal seat, the work must He moved to New York in 1850 and have appealed to Robert William then, after periods in Willson, first Catholic Bishop of and Sydney, to Hobart Town, c 1855. Hobart Town, for the evidence points Subsequently, he worked as painter to his having purchased one of and photographer in Campbell the copies, possibly to send to a Town and Launceston, , friend or family member in England. and in Melbourne, where he was a He made an annotated sketch as a founding member of the Victorian key to accompany it, drawing attention Academy of Arts. He died in reduced to significant sites in the painting. circumstances in Launceston.

It included personal information — Brian Andrews the location of his house and the point Heritage Officer Catholic Archdiocese near Parliament House where he first of Hobart stepped ashore in Van Diemen’s Land; key landmarks — the penitentiary, military barracks and, of course, Mount Wellington ‘more than 4000 feet high’; and aspects of civic progress — ‘Town extending this way’ and ‘Domain or Park, 6 acres, on the Bank of the River’.

Gritten was a painter and professional photographer who exhibited prolifically in London, at the Royal Academy, the British Institute,

Hobart Town, 1857 by Henry Gritten oil on canvas presented by Sir William Dixson, 1943 DG 345 | refer to wall no. 156, p 34

12 10 WORKS IN FOCUS: PAINTINGS FROM THE COLLECTION / VOLUME 2 10 WORKS IN FOCUS: PAINTINGS FROM THE COLLECTION / VOLUME 2 13 Proof of life

This tiny oil sketch holds a surprising place in Australian art history. It was one of only a handful of paintings by wealthy expatriate artist John Peter Russell (1858–1930) to be found in any public collection outside France before the 1960s. Restitution of Russell’s artistic reputation since then has earned him the title of ‘Australia’s lost impressionist’.

The profile portrait shows Jean Sandro Russell, born on Belle-Île (an island off the coast of Brittany in Northern France) on 10 November 1889, the fourth child of Russell and his Italian wife Anna Maria ‘Marianna’ Mattiocco. First forming their unconventional By the mid-1890s he was achieving relationship in Paris in the mid-1880s, his best work, using the impressionist’s the couple didn’t marry until just six-colour palette and technique of before Sandro’s birth. Over 13 years applying divided colour to transfer they experienced the joyous arrival his emotions onto canvas, striving to of 12 children and a swift succession paint what he saw rather than what of infant deaths — only one daughter he knew. The intriguing pigmentation and five sons lived to adulthood. in Sandro’s portrait provides important This ‘proof of life’ image vibrates evidence of Russell’s exploration with energy and light, marking the of experimental colour, which he triumphant occasion of Sandro’s discussed in letters to Tom Roberts. fifth birthday and bearing the artist’s These letters, also held in the Library’s relationship to his subject proudly collection, are significant documents etched into its surface. in 19th century Australian art history.

Russell’s financial independence put After Marianna’s death from cancer him in the fortunate position of not in 1908, the Russell family fractured. needing to paint to satisfy a public Sandro moved to the UK to pursue audience. Focusing on turbulent an acting career. Serving in the army seascapes and intimate studies of during World War I, he later found family life, his encounters with leading it difficult to get work. In 1947 European art world figures such as Sandro died at Sanderstead, aged 58, Vincent van Gogh, Claude Monet and leaving a wife and two daughters. Henri Matisse, encouraged Russell to embrace the more experimental Margot Riley aspects of impressionism. Curator, State Library of NSW

Jean Sandro Russell, 1894 by John Peter Russell oil on canvas presented by AJ Perier ML 146 | refer to wall no. 236, p 36

14 10 WORKS IN FOCUS: PAINTINGS FROM THE COLLECTION / VOLUME 2 10 WORKS IN FOCUS: PAINTINGS FROM THE COLLECTION / VOLUME 2 15 Averted gaze

Look at that hat! Like a big black best in her own land’. Staying with cloud hovering over Mrs Holman, HG Wells in England, she complains framing a patrician profile, with that that his house has no gas, electricity, perfect aquiline nose shown to best central heating or hot water. effect, and a glint of light catching the auburn in that voluptuous head of A supporter of women’s suffrage, she hair. I imagine it made of something sees Emmeline Pankhurst on the day sumptuous, velvet perhaps, given that she is released from prison and, from the brim looks floppy rather than stiff, George Bernard Shaw, hears the finest like an extravagantly oversized artist’s speech of her life. She reports that beret. (A formidable hatpin must have British aristocratic women talk openly been involved.) about the value of their staggering jewellery, and comments on the food In a coat accessorised with rich dark served in the finest establishments. fur, the subject looks prosperous, Socially adept, popular and privileged and cossetted, as Ada cosmopolitan, she prides herself Holman was, being the wife of the on her own soufflés and pigeon pies. NSW Premier at the time. This restricted view of her hints at But there is something elusive about aspects of her personality that remain a portrait painted in profile — that hidden. It shows a handsome woman averted gaze denies the viewer who is holding something back by complete access to the subject. only showing one side of herself. Is this Ada Holman was a writer who had side the dutiful wife submitting to a to suppress some of her interests portrait ambivalently, offering politely as a journalist because of her social concealed resistance to full-frontal position. She is the author of travel exposure and protecting what she diaries, children’s stories, and a cherishes most about her independent deliciously indiscreet and vivid spirit? Or is she looking towards where memoir in the Library’s collection her interest really lies, off canvas? which demonstrates her gifts as The enigma only enhances her allure. an anecdotalist. Caroline Baum Thirty years after this portrait, in 1947, Reader in Residence came the publication of Memoirs of a at the State Library of NSW Premier’s Wife, which opens teasingly with the line ‘No woman should write her memoirs until she is dead’. In a tone both humorous and self-mocking, she paints a series of acutely observed portraits of the great and the good, not always flatteringly. Melba is ‘a woman of limitations’, ‘not at her

Mrs WA Holman, 1917 by John Samuel Watkins presented by U Kidgell, 1950 oil on canvas ML 286 | refer to wall no. 232, p 36

16 10 WORKS IN FOCUS: PAINTINGS FROM THE COLLECTION / VOLUME 2 10 WORKS IN FOCUS: PAINTINGS FROM THE COLLECTION / VOLUME 2 17 Beautiful Sydney all glowing & oriental

When the precocious 23-year-old The painting was commissioned in artist Arthur Streeton arrived in 1894 by Emily Cecilia Bowden-Smith, Sydney in 1890 he was overwhelmed as a gift for her husband, Admiral by the sharp light and physical beauty Nathaniel Bowden-Smith, Commander of the harbour, writing to a friend: of the Australian Fleet between 1892 and 1894, as a memento of their ‘… beautiful Sydney all glowing & time in Sydney. Mrs Bowden-Smith oriental — Little steamers whistle & unveiled it at a function she gave at flute in different keys & all over the bright harmony the warm palpitating Admiralty House on 7 December 1894. sky of the Sunny South’ The Telegraph noted the next day that: ‘Mr Streeton’s excellent picture In Sydney, Streeton lived much of the of Sydney, painted expressly for our time at the Curlew artist camp in Sirius hosts as a souvenir of their (as they are Cove, and the harbour itself was a good enough to say) two happy years primary inspiration for his work. His in Australia’, was on display in the bold technique and bright canvases drawing room. The paper described were astounding innovations. His it as ‘a living, speaking picture, full rapid impressions of the moods of of that fire which is so peculiarly Sydney, interest in contemporary Australian…’ life, and unconventional and informal compositions were startlingly different Richard Neville to the works of his contemporaries. Mitchell Librarian and Director Education & Scholarship His was a modern Sydney, which had seemingly abandoned convention and academic training.

This view is mostly likely from around Curraghbeena Park in Mosman. It looks across Cremorne Point to Garden Island on the left, the Royal Botanic Gardens in the centre, and Circular Quay to the right. Its narrow format was in part determined by Streeton’s use of a draper’s board as a support. These boards, onto which bolts of fabric had been wound, had been given to him by a Sydney draper who was a patron of the Curlew camp. Streeton enjoyed the challenge of fitting his images to their unusual dimensions.

Panoramic view of Sydney Harbour and the city skyline, 1894 by Arthur Streeton oil on wood panel acquired 2019 ML 1513 | refer to unnumbered recent acquisitions wall, p 31

18 10 WORKS IN FOCUS: PAINTINGS FROM THE COLLECTION / VOLUME 2 10 WORKS IN FOCUS: PAINTINGS FROM THE COLLECTION / VOLUME 2 19 Panoramic view of Sydney Harbour and the city skyline, 1894 by Arthur Streeton oil on wood panel acquired 2019 ML 1513 | refer to unnumbered recent acquisitions wall, p 31

20 10 WORKS IN FOCUS: PAINTINGS FROM THE COLLECTION / VOLUME 2 10 WORKS IN FOCUS: PAINTINGS FROM THE COLLECTION / VOLUME 2 21 Al fresco

Herbert Badham’s painting Al fresco is quite personal. Like so many of the artist’s works it draws on members of his own family to capture a small, intimate, everyday domestic scene.

Badham (1899–1961) studied at the Sydney Art School under , George Washington Lambert and Henry Gibbons. He later taught at East Sydney Technical School and authored an important historical survey of Australian art, A study of interesting viewpoint. Although only Australian art, published in 1949. the brick walls of their balcony unit One of many Australian artists who are seen, adorned with a single rejected the focus on the bush and picture, the sense of time and place landscape, Badham instead embraced is both implicit and explicit. urban and domestic life, concentrating Al fresco was exhibited at the Society on commonplace subjects which of Artists annual exhibition in Sydney he recorded with careful detail. in 1927, and at the Wollongong City In this small group portrait painted in Gallery and Sydney’s SH Ervin Gallery 1927, the year after he completed his in 1987. studies at Sydney Art School, Badham Al fresco was acquired from a private has captured the relaxed mood of collection in London in its original, this family gathering at the end of painted timber frame with wide- an informal meal on the balcony stepped profile. The reverse of of the Vaucluse unit, ‘Ard-Na-Lee’, the frame is inscribed in pencil in The Crescent, where he lived ‘G W Lambert’ and suggests the with his wife, Enid Wilson. closeness of the relationship between Enid, at the far end of the table, the two artists — teacher and student. chats with her sister Esme (Jo) Louise Anemaat Crockett. Enid’s brother Reg is seated Executive Director, Library & next to their mother, Julia Wilson. Information Services and Dixson Librarian, State Library of NSW Badham has conveyed the ordinariness of the scene and its relaxed informality yet also encapsulated the fashion, taste and style of the day incorporating modern design, vivid colours, geometric angles, and an

Al fresco, 1927 by Herbert Badham oil on plywood acquired 2010 ML 1444 | refer to wall no. 237 on p 36

22 10 WORKS IN FOCUS: PAINTINGS FROM THE COLLECTION / VOLUME 2 10 WORKS IN FOCUS: PAINTINGS FROM THE COLLECTION / VOLUME 2 23 The young art student

My mother looks so young in this in the building because the rent was portrait by Edmund Arthur Harvey! so cheap. But on the weekends, as And serious. A dedicated art student, Harvey worked on the portrait, he in her early twenties, she was young. and my mother often had the place It was ‘exciting’ and ‘flattering’ to to themselves (except for when be sitting for the portrait, she said. police raided the building, looking for She was probably also a bit in awe someone — not an artist — wanted for of the artist painting her. questioning and were outraged at the nude sketches tacked to the walls of ‘Harvey’, as she and most people a sketch club). usually called him, was just two years older than her but much more It took many sittings to complete the established as an artist. Born in portrait. My mother described Harvey’s England, he came to Australia as a method of painting as ‘slow and young child with his parents in 1909. meticulous’. After each sitting Harvey He had been studying art since he covered the canvas with newspaper was 15; first in Sydney, then in Paris, to pick off any surplus paint before Florence, Rome and London. the next session. Now he was gaining recognition back in Sydney. Meg Stewart, writer, daughter of artist Margaret Coen (1909–93) and poet When my mother sat for Harvey Douglas Stewart (1913–85) whose she was attending night classes at portrait painted by Coen also hangs the Royal Art Society of New South in the Galleries. Wales while trying by day to earn a living as a commercial artist. She had no money for clothes. She made and embroidered the white voile blouse she is wearing. The beautiful Venetian glass beads, clustered like grapes, were given to her by a friend. Mum used to say that people fell in love with the beads. Harvey provided the shawl in the background.

The portrait was painted in a studio that he borrowed from the artist Miriam Moxham. It was in a condemned building in Margaret Street opposite Wynyard Park. A lively artistic scene was centered around Circular Quay in those days and a number of artists had studios

Portrait of Margaret Coen, 1932 by Edmund Arthur Harvey oil on canvas acquired 2012 ML 1305 | refer to wall no. 239, p 36

24 10 WORKS IN FOCUS: PAINTINGS FROM THE COLLECTION / VOLUME 2 10 WORKS IN FOCUS: PAINTINGS FROM THE COLLECTION / VOLUME 2 25 Beautifully situated

Artist Alan Grieve (1910–70) grew up in Manly; one of Sydney’s popular beachside destinations. His talent was recognised early, with his compositions of harbour scenes published in the children’s pages of Sydney newspapers. He went on to study at the and East Sydney Technical College and regularly exhibited his works from the 1940s through to the 60s.

Grieve remained close to his roots in the area, living at Clontarf, overlooking Middle Harbour, and produced many in the sun. Distinct Norfolk Pines coastal scenes of the Northern tower above the apartments and Beaches. His 1956 work Fairy Bower, line the distant shoreline at Manly. Manly depicts the small community clustered at the mid-point between Named by landowner Charles Manly’s South Steyne and Shelly Hemington in 1858, the Fairy Bower Beach, on Cabbage Tree Bay. was intended to be a picnic and refreshment area for visitors to Grieve has painted a time-honoured Manly. The Sydney Morning Herald Sydney beach scene — swimmers recommended it in 1859 as ‘beautifully jumping the waves, sunning situated, near the ocean beach, themselves on the sand under and surrounded by rock, wood and jaunty beach umbrellas, and a overhanging foliage’. This locale couple strolling along the promenade remains a popular destination for dressed in their bathers. It is a locals and visitors alike. A busy cafe carefree, relaxed setting. serves patrons where the tearooms Instead of focusing on the view out used to be, walkers promenade along to Cabbage Tree Bay and the Pacific the path, and ocean swimmers and Ocean, the view is inward, detailing a divers enjoy taking to the water in cluster of buildings and beach-goers. all weathers. The red-painted tearooms and the Elise Edmonds apartment blocks face the water, Senior Curator, State Library of NSW windows thrown open to capture the sea breezes, washing hanging on a rooftop clothesline and draped out of windows. Traditional Sydney bungalows stretch up the hill, with towels draped on verandas, drying

Fairy Bower, Manly, 1956 by Alan Grieve oil on canvas acquired 1984 DG 463 | refer to wall no. 49, p 30–31

26 10 WORKS IN FOCUS: PAINTINGS FROM THE COLLECTION / VOLUME 2 10 WORKS IN FOCUS: PAINTINGS FROM THE COLLECTION / VOLUME 2 27 Nothing out of the ordinary

The painting Collection day is a loose depiction of Organs Road in Bulli, NSW, on a Wednesday morning sometime after the weekly council rubbish collection. It is not an accurate rendering of the location, but people familiar with the area might detect an honesty in regard to the subject.

Bulli is a suburb of Wollongong, a little over an hour south of Sydney, on the coast. It is an area characterised by its geographic location. A narrow stretch of land hemmed in on one side by the Pacific Ocean and on the other, the The painting was made in oil paint on sharply rising Illawarra Escarpment a marine ply support, over a number that dominates this part of the coast. of days. In between painting sessions To the west of the railway line the the dry paint was scraped flat with a streets snake their way up steep hills razor blade, building up the density of looking for stable, flatter sections and layers and detail with each subsequent avoiding the many creeks that flow reworking. Each layer was created from the cliffs to the sea. The streets using a combination of straight and only go as far as the lower slopes, more fluid paint, utilising both the before the land becomes too steep. transparent and opaque qualities of both mediums in equal measure. This painting shows a vista from halfway up Organs Road, above where John Bokor Artist the street doglegs wildly. You can see down to the ocean shining in the morning light. The household bins, commonly called wheelie bins, line the streets in a random fashion, empty, with their lids mostly open after being tipped and flung back to earth by the roaming truck. Their red lids in bold contrast to the greens of the grass and trees. It is a common scene in Australian towns, nothing out of the ordinary.

Collection Day, 2011 by John Bokor oil on board acquired 2013 ML 1304 | refer to wall no. 173, p 35

28 10 WORKS IN FOCUS: PAINTINGS FROM THE COLLECTION / VOLUME 2 10 WORKS IN FOCUS: PAINTINGS FROM THE COLLECTION / VOLUME 2 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 SOUTH WALL

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 Parramatta 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 2 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 2 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 Sydney Harbour Bridge 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 Boating scene in Sydney DG 37 presented by L Parker in Woolloomooloo and Harbour, before 1926 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 2 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 2 33 140 William Romaine Govett, 145 Andrew Hamilton Hume, 150 A mountain inn, 1862 155 Port Arthur, Tasmania, 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 In the valley of the Grose, 152 Launceston, 1860 by John Glover 142 Solomon Wiseman, 1880 by Frederick Strange acquired 1939 c 1820–38 by William Charles Piguenit presented by David Scott ML 154 by unknown artist bequeathed by David Scott Mitchell, 1903 158 Patterdale landscape, oil on board Mitchell, 1907 ML 110 Tasmania, 1833–34 presented by Mrs DJD ML 571 153 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 , 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 2 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 David Scott Mitchell, 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 2 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 Margaret Coen, 1932 by Mary Edwards by Ethel Anna Stephens acquired 1991 by Edmund Arthur Harvey acquired 1968 oil on canvas on board ML 1039 acquired 2012 DG 396 acquired 1986 ML 1305 226 James Dunlop, c 1826 ML 952 253 Rod Quinn, 1941 attributed to Augustus Earle 240 Ure Smith’s flat, 1939 by Hayward Veal 212 AB Paterson, ‘Banjo’, 1927 presented by Jessie by Norman Carter presented by the Fellowship by Agnes Noyes Goodsir Elizabeth and Robert Innes acquired 2015 of Australia Writers, 1971 presented by Eadith Kay, 1966 ML 1474 ML 801 Campbell Walker, 1928 ML 554 241 Self-portrait, 1930 ML 269 254 Margaret Fink, 1987 227 Cornelius Delohery by Norman Carter by Judy Cassab 213 Conrad Martens, c 1840 Self-portrait, 1855 presented by Norman Carter, acquired 2016 by Maurice Felton by Cornelius Delohery 1962 ML 1477 oil on board presented by HJ Delohery, ML 168 presented by Miss Coombes, 1953 255 Stuart Campbell Esq., c 1933 242 Florence Rodway, 1910 1921–22 ML 216 by Nina Orloff by Norman Carter ML 28 donated through the 228 Benjamin Boyd, c 1830–40 presented by Norman Carter, Australian Government’s 214 Fancy self-portrait, 1840 by unknown artist 1962 Cultural Gifts Program by the by Maurice Felton presented by Georgina ML 339 Godson of Stuart Campbell, oil on wood panel Brade, 2016 243 Self-portrait, 1940 2002 Transferred from the Art ML 1461 by Jack Noel Kilgour ML 1240 Gallery of NSW, 1922 229 Pixie O’Harris, 1938 presented by JN Kilgour, 1981 ML 457 256 Percy Reginald Stephensen, by Mary Edwards ML 864 1943 215 Bernhardt Otto Holtermann, acquired 1988 244 Mr Hans Heysen, 1938 by Robert Grothey 1872–85 ML 982 by Norman Carter acquired 1966 attributed to J Kemp 230 Gayfield Shaw, 1918 presented by Norman Carter, ML 567 presented by BO by William Beckwith McInnes 1962 Holtermann, 1952 257 Randolph Hughes Esq., acquired 1986 ML 242 ML 265 c 1916 ML 953 245 Portrait of Nancy May by Edward H Wolfe 216 Caroline Chisholm, 1852 231 Mrs Tryphena A Dibbs, 1897 Kilgour, 1932 acquired 1966 by Angelo Collen Hayter by Tom Roberts by Jack Noel Kilgour DG 400 acquired 1983 presented by NSW Dept of presented by JN Kilgour, 1981 DG 459 258 Elizabeth Riddell Health in conjunction with ML 865 with black cat, 1946 217 Sarah Osborne, c 1860 Graythwaite Nursing Home, 246 Dorothy in a lime jacket, by Dahl Collings by unknown artist 1986 1940 oil on board presented 2001 ML 954 by Douglas Dundas presented by Geoffrey ML 1232 232 Mrs WA Holman, 1917 acquired 1997 Collings, 1997 218 Henry Smithers Hayes of by John Samuel Watkins ML 1153 ML 1138 the Brisbane [Steam] Mill, presented by U Kidgell, 1950 247 A Man with a Rabbit, c 1910 259 Self-portrait, c 1940s Parramatta Road, 1845 ML 286 by George Washington by Herbert Reginald Gallop by Joseph T Dennis 233 Beryl Whiteley, c 1940s Lambert presented by Professor RA acquired 1983 by unknown artist acquired 1931 Gallop, 1974 DG 458 oil on canvas on board ML 357 ML 741 219 Self-portrait, c 1895 presented by the State 248 Portrait of Jack Kilgour 260 Douglas Stewart, 1941 by Catherine Elizabeth Library of NSW Foundation sketching a model, c 1940s by Margaret Coen Streeter in association with Mocopan by Nancy May Kilgour acquired 1995 acquired 1977 and Seppelt’s Wines, 1997 acquired 1986 ML 1091 DG 431 ML 1170 ML 958 261 Winter self-portrait, 2000 220 Patrick White, 1965 234 Domesticity, 1959 249 The convex mirror, c 1916 by Tom Carment by Desmond Digby by Herbert Badham by George Washington acquired 2001 oil on board oil on canvas board Lambert ML 1227 presented by Patrick White, acquired 2014 oil and pencil on wood 1978 ML 1310 bequeathed by Helen Selle, ML 813 235 Frances Cory (Mrs Edward 2012 221 Self-portrait, 1890s Gostwyck), c 1820s ML 1292 by Arthur Collingridge by unknown artist acquired 1969 acquired 1970 DG 397 DG 404

36 10 WORKS IN FOCUS: PAINTINGS FROM THE COLLECTION / VOLUME 2 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 2 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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1 Access our free wi-fi FREE Open your browser and navigate to: 2 www.sl.nsw.gov.au/audio-paintings AUDIO GUIDE Look for the headphones symbol 3 and select the number to listen

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