BIRDS!

A NATIONAL LIBRARY OF EXHIBITION © National Library of Australia 1999

National Library of Australia Cataloguing-in-Publication entry

Birds!

Bibliography. ISBN 0 642 10706 8. 1. Birds in art—Exhibitions. 2. Ornithological illustration—Exhibitions. I. National Library of Australia.

704.943280749471

ACKNOWLEDGEMENTS

The National Library of Australia acknowledges the generous support for and interest in the exhibition by the Ornithologists' Group, Nigel Lendon of Canberra, Graeme Chapman of Vincentia, and John Hawkins of Moss Vale.

The Library also acknowledges the support of the following institutions: the State Library of , the National Gallery of Australia, the Art Gallery of New South Wales, the Art Gallery and Museum of the Northern Territory, the Art Gallery of South Australia, the Museum of Victoria.

Guest Curator: Elizabeth Lawson Curatorial Assistant: Irene Turpie Designer: Kathy Jakupec Printed by Goanna Print, Canberra BIRDS!

'So that the air ... should be populous natural world, their flight and birds we recognise, it equally reveals with vocal and musical creatures.' endurance also make them symbols passing artistic values and a of the human spirit. Their lives 'scientific' way of seeing which Giacomo Leopardi (1798-1837) seem to us numinous and eternal, contrasts strikingly, for instance, From James Thomson (trans.) and but they are dangerously threatened with Aboriginal drawings. Even Bertram Dobell (ed.), Essays, Dialogues and by our activities. today, a 'bird in the hand' is often Thoughts (Operette Morali and Pensieri) of Giacomo Leopardi. : George This exhibition is about birds that held to be 'worth two in the bush', Routledge, [18—]. fly and sing in but the 'hand' of this exhibition is imagination. Its images may vividly more that of the artist than of the

Birds—the only creatures of our remind us of the birds that live in shooter, collector, taxidermist or earth with the gifts of both flight the world around us, but they also more recent bird bander. and song—were flying and singing trace our changing attitudes to birds The colonisation of Australia across the great southern continent and our practical, scientific and coincided with the development of (only recently called Australia) for artistic uses of birds. Even the new European bird science, millions of years before humans ornithological illustration is only , and of a wide popular heard them. Potent symbols of the illustration. While it reminds us of interest in birds. It also coincided

unknown artist The Hunter c.13 000 BC Dangurrung, Mt Brockman, Northern Territory rock painting; height of emu 93 cm reproduced from transparency, original photography by George Chaloupka Courtesy of the Museum and Art Gallery of the Northern Territory with the flowering of print culture: illustrative engraving, lithographic and other colour-print technologies, fine book-making and photography. Today, just as these arts face the radical challenge of new electronic technologies, this exhibition presents a retrospective of images of birds produced by that period of spectacular art and paper work.

Most of the birds of this story come from the diverse European- Australian collections in the National Library of Australia; from European scientific and artistic traditions recreated progressively within our colonial and recent pasts. Generous loans of modern Aboriginal bird sculptures and paintings show that ancient indigenous and younger European forms have existed side by side in Australia, but have only recently begun to learn from one another.

The image of the rock painting The Emu Hunter of 15 000 years ago, photographed by the Museum and Art Gallery of the Northern Territory, attests to the breathtaking antiquity of Australian culture. In the light of this painting, the birds

of a medieval manuscript from Lilian Marguerite Medland (1880-1955) fifteenth-century Europe spring into Syma torotoro and Other Birds c. 1930s recent time. Following these historic watercolour; 27.8 x 19 cm R6616 Plate G images from the two great streams of our tradition—indigenous and lands 'where bright blossoms are many birds, like the abundant European—the collections of the scentless, / And songless bright mutton bird on Norfolk Island, National Library go on to tell their birds'. This common colonial were simply eaten out. Many story of birds and modern Australia. prejudice could not long defy what admired birds were destroyed by people actually heard in the bush. their admirers' mania for imported Yet the predatory activities of field-sports and competitive, Songless Bright Birds visitors and settlers quickly created lucrative collection. The Kangaroo an actual 'songlessness' in the Island and Macquarie Island In 1870, Adam Lindsay Gordon spreading, colonised lands. In the were extinct before John Gould's (1833-1870) wrote of Australian first starvation years of invasion, Birds of Australia (1841-1848).

2 with work by James Sowerby, John William Lewin, Ferdinand Bauer and Charles Lesueur, displayed in the form of original paintings, hand-coloured engravings in rare books, and, in the case of Ferdinand Bauer, in the form of recent hand-printed lithographs. They culminate in examples of the famous lithographic work of Elizabeth Gould. John Gould produced his remarkable volumes of Birds of Australia (1841-1848) from his publishing house in Golden Square, London. He used the lithographic work of his wife, Elizabeth Gould,

Geraldine Rede (1874-1943) and, after her sudden death in The White Feather c.1900 [Portrait of Miles Franklin] 1841, that of Henry Constantine pencil and crayon; 23.5 x 30 cm R681 Richter, William Hart and others. With John Lewin's Birds of New Holland ... (1808) and Birds of New Early colonial bird sketches distinguish between human and South Wales (1813) their only record the naturalists' fascination domains. The whole predecessors, these great books with the marvellous southern birds, country seemed one vast repository inaugurated a remarkable tradition and show that Australian , of specimens. of fine Australian bird book-making. along with the land and its The exhibition complements books sovereign people, were invaded. by John Gould and Gregory Birds were shot, collected, sketched, Brilliant Curiosities Macalister Mathews with original stuffed and shipped home as sketches and watercolours, and Art enlivens dead things. Many of specimens of science by the invaders. with fascinating related documents the images of colonial bird art were Ships returning to England and its from the Library's Manuscript drawn (as many still are) from insatiable collection trades carried, Collection. Also featured is a rare skins, often by Londoners in even into our own century, countless Victorian cabinet of stuffed London. The skins hold form, cargoes of songless bright birds. Australian fauna which was made colour and texture motionless for by Henry E. Ward, the famous copying, but, remote from their London taxidermist and friend of bushland, produce sketches that And Human Bones John Gould. Almost certainly seem naive and awkward. Often it exhibited at the London Every 'bird in the hand' mirrored is the radiant hand-colouring that International Exhibition of 1862, the enduring attempt to silence the makes these birds live. this large cabinet filled with historic songlines of the world's The exhibition's early documentary hundreds of specimens illustrates oldest human culture. 'Enlightened' drawings begin with the jewel-like the grandeur and ambition of high European greed for an exploitable paintings of the Hunter sketchbook, Victorian versions of eighteenth- new world did not, as several works and with watercolours from the century 'cabinets of curiosities'. in the exhibition make clear, Sarah Stone album. They continue

3 fan of Nicholas Chevalier's entrancing watercolour Fancy Costume Emblematic of Australia (c.1860) pointed the sorry way to Australian involvement in the devastating worldwide plumage industry which lasted into the 1920s. The arts of taxidermy were now drawn boldly into the adornment and decorative crafts, as Eliza Catherine Wintle's splendid Handscreen (c.1892) shows. Dazzling Australian birds like the white egret and heron were transformed to spectacular feather- work, and brought close to . John Heaviside Clark (c.1770-1863) engraver Expressive bird art, unconcerned after John William Lewin (1770-1819) with identification, addresses the Throwing the Spear in Field Sports &c. &c. of the Native Inhabitants of New South Wales 1813 emotional and symbolic value of Supplement to Foreign Field Sports, Fisheries, Sporting Anecdotes &c. &c. birds. Over a century before London: Edward Orme, 1814 F577 Australian colonial work, Simon Verelst's portrait Lady Anne Russell This scientific strand in an from awkwardly (c.1670s) used an imported Australian bird portraiture is seen posed curiosities to bright cockatoo in a flashy imperial throughout the exhibition in bird recognisable friends in home variation on the use of birds in paintings by Louisa Atkinson, foliage and habitat. The changing European child portraiture. The Neville William Cayley, Ebenezer illustrative styles also mirror a cryptic Boy with a Sulphur-crested E. Gostelow, Betty Temple Watts and history of attitudes toward birds, Cockatoo (c.1815?), attributed to Lilian Medland; then in spectacular from the time when fading, insect- John William Lewin, presents its paintings by William T. Cooper infested skins were more valuable bird and child as wistful images in and in a selection of the work of than living birds, to our own time, a colonial setting. These cockatoos, photographers for the National when protection attitudes still fail accurate enough to the eye, exist to Photographic Index of Australian to stop the devastation of habitats express human values and emotions. Birds. The late twentieth-century that threatens all Australian birds. Colonial works also soon paintings in books by Frank The birds our aggressive suburbs appeared which remind us of more Thomson Morris register both the and industries drive away do not practical reasons for bird killing continuing life of traditional bird fly elsewhere; they die. than studying natural history. John art and the life of birds in the Heaviside Clark's Throwing the Spear natural world, though Morris's (1813), S.T. Gill's Sportsmen with work is represented by one pencil Birds for Art's Sake Came by Coast (c.1856) and the drawing only—in his book Pencil chromolithograph Animals of Drawings 1969-78. From early on, expressive art Australia ... (1880s?) all feature bird Across its 200 years, Australian recorded elements of the same story hunting, and all incorporate naturalistic bird illustration traces of exploitation. The centred lyrebird imported arts and styles which

4 change, as they record, an invaded world. Only at the close of the nineteenth century, however, do birds seem generally to fly free from the cage of specimens. Margaret Fleming's The Cockatoo (1895), though boldly centring a dead bird, wholly transcends any reference to natural history. Beautiful even in death, Fleming's cockatoo appears as a lost companion whose limp death-fall is light years away from the attitudes of gun-happy naturalists. If exploited, this cockatoo is exploited by art.

Harping on Lyrebirds and Investing in Emus

Many works from the Library's collections suggest a changing popular focus on different birds. An early settler fascination with the elusive lyrebird grew from scientific excitement about mound-building birds. The lyrebird appears in many works, including John William Lewin's watercolour Lewin Lyrebird of Australia (c.1810). First (1770-1819) known by settlers as 'colonial Lyrebird of Australia c. 1810 pheasant' (as in Pheasant's Creek watercolour; 38.2 x 27 cm T3234 NK3820 near Bargo, NSW), even this shy creature did not escape the were clearly wise as owls, but As early as 1853, the decorative colonist's Sunday oven—nor avoid lyrebirds, silly and proud as frame of S.T Gill's Tattersall's Horse sacrificing its tail-feathers for fans peacocks, were self-declared liars. Bazaar, Melbourne had as good as and drawing-room display cabinets. Emus by contrast, tall and stern, invented Australia's national coat Late nineteenth-century bird might come to represent a nation's of arms. Here a jumped-up stories for children—one eye on authority. So began the emu's kangaroo and startled emu English morals, one on dawning flightless parade on sculpted silver- anticipate and already parody Federation—include many Australian ware, the decorative carving of its Federation heraldry. birds, but argue the rise of the emu. eggs, and the development of its Fun and games with birds—as , heads to one side, image on the national coat of arms. well as ceremony and ritual—had

5 begun long before in Aboriginal its own fascination with birds and lore. White Australians, such as produced the flattened, haunting K. Langloh Parker in her Australian grace of Long's Music Lesson Legendary Tales (1896), soon made (1904). English versions of Aboriginal The strong lines and elegant creation stories. Along with these, composition of such work also fed there emerged a children's story the fashion for bookplates and land of birds, and an exciting new decorated books. Later it influenced era of book-making. Storytellers the graphic work of bird print- and artists such as Ida Rentoul makers and screen-makers Ethleen Outhwaite, J.J. Hall, Dorothy Wall Palmer, Lesbia Thorpe and Irena and May Gibbs made emus, Sibley. The superb bird wood cockatoos and honeyeaters as engravings of Lionel Lindsay familiar to generations of white reflected the moods and characters Australians as they had always Margaret Preston (1875-1963) of birds flown free of the sentimental been to indigenous people. Emus restrictions of nineteenth-century Art in Australia, May 1923, no. 4 And the day of the kookaburra bird iconography. was near. Though highly stylised, this new In 1920, May Gibbs produced art freed the imagination's Australia's most successful ever engagement with the natural poster of social instruction, a world. It later made possible the Laugh, Kookaburra, cunning kookaburra cartoon radical line-drawing of artists such as Laugh teaching wise maternity and John Olsen and Francis Lymburner serving womanhood. No fewer In the twentieth century, the and the generous, interpretive than a million copies of this kookaburra, no longer the settlers' drawing of the mid-century, seen in image—as both a poster and cover weird bush clock but a familiar Charles Bush's Golden Bird (1940). of a New South Wales Department friend in an urban setting, easily It also opened bird studies to a of Public Health handbook— stole popular attention from the comic anthropomorphism, where cajoled Australian morals between not-so-bright emu and elusive attentively observed birds comment 1931 and 1959. lyrebird. Wise bush mother of on mid-century issues and speak of For white Australia, strange birds children's literature, the kookaburra the vagaries and possibilities of of the colonies were strangers no twined herself into wrought-iron Australian social identity. more, but true native companions balcony lace, and laughed from and the winged carriers of social Like Margaret Fleming's the faces of the first Australian virtues and a changing Australian The Cockatoo, Eric Thake's early postage stamps, the first kitchen culture. surreal oil Archaeopteryx (1941) Kookas, the signatures of Radio punctures the natural history story Australia and Movietone News. of the exhibition. Working with the During the World Wars, happy Bird Watching visual pungency of cartoons, transvestite, she assumed digger Archaeopteryx wittily compounds uniform on postcards to carry The beginnings of this flexible two great experiments: the ancient cheering messages into the universalising of bird motifs lay in pre-history of the bird and the trenches of Europe and the Pacific late nineteenth-century story art modern evolution of the aeroplane. war zones. 'She' became a for children and in movements The huge broken egg and flying ubiquitous icon. such as Art Nouveau, which showed feather mock a fledgling

6 mechanical attempt to get off the Fabulous Birds these native companions are as ground while an ancient (r)evolving much fabulous as friendly birds. land rolls over. Nothing of the many things we Here are fantastic birds from have made of birds—ornament, 's manuscript book trophy, specimen, art work, Birds from the Magic Mountain. Here Watching Birds exhibition—finally holds them. stand Lesbia Thorpe's 1994 Their alien natures, enviable wings imported Guinea Fowl, stylised, but The three black birds in the top and song remind us again and naturalised, in a swirl of black hills band of David Malangi's painting again that we are earthbound. The and spiralling dots. And stepping The Snake That Bit Gurrmirringu ever-naming of our science and art clean from air and space, (1992) watch over the rest of does not dispel their mystery. Aboriginal wood sculptures the story which tells of the The exhibition's final selection challenge the European naming Manyarrngu Mourning Rites. The brings together a variety of images story with mythic statement. swan of Eric Thake's linocut Bird which illustrate the multiple facets Watching (1965) mocks our of the cultural vision that has presumptuous bird watching. She become ours. A diverse use of Elizabeth Lawson challenges our intrusions on her natural images itself suggests the Curator world and identity. mystery of the natural world, so January 1999

Donald Friend (1915-1989) Ayam-Ayam Kesayangan vol. iii 1980 ink, watercolour and crayon manuscript book MS5959

7 SELECT BIBLIOGRAPHY LIST OF WORKS Northern Rosella stochastic lithographic print; 28 x 38 cm Armstrong, E., The Life and Lore of the Bird in All works listed belong to the National London: Alecto Historical Editions in association Nature, Art, Myth and Literature. New York: Library of Australia unless otherwise noted. with Natural History Museum, 1997 S11077 Crown Publishers, 1975. Walter E. Boles Edward Abbott (1766-1832) The Robins and Flycatchers of Australia Chaloupka, G., Journey in Time: The World's The English and Australian Cookery Book: North Ryde, NSW: Angus & Robertson and Longest Continuing Art Tradition: The 50,000- Cookery for the Many, as well as for the the National Photographic Index of Australian Year Story of the Australian Aboriginal Rock Art 'Upper Ten Thousand' Wildlife, 1988 of Arnhem Land. Chatswood, NSW: Reed, 1993. London: Sampson Low, Son, and Marston, 1864 Charles Bush (b.1920) Go/den Bird 1940 Clark, K., Animals and Men: Their Relationship R. Abdy et ses Kakatoes watercolour and gouache; 20 x 28 cm as Reflected in Western Art from Prehistory to broadside, coloured lithograph; 81 x 61 cm Paris: F. Appel, [1890] Broadside 275 National Gallery of Australia the Present Day. London: Thames and Cabinet of Stuffed Fauna Hudson, c.1977. Aberdeen and Commonwealth Line 300 x 143 x 49.5 cm Menu for TSS Esperance Bay (7 November Private collection Datta, A., John Gould in Australia: Letters and 1934) Drawings with a Catalogue of Manuscripts, Neville Henry Penniston Cayley (1853-1903) Douglas Annand (1903-1976) Correspondence and Drawings Relating to the Australian Snipe c.1896 [Lady with Feather in Hat] watercolour; 50.8 x 63.5 cm R1724 Birds and Mammals of Australia Held in the Cover design for The Home, vol. 16 no. 4, Natural History Museum, London. Carlton, April 1935 attributed to Neville Henry Penniston Cayley Vic: Miegunyah Press, 1997. collage of steel, feathers and black paper on (1853-1903) fabric mounted on card; 34.3 x 32.4 cm [Bar-tailed Godwit] 1897 Fox, P., Drawing on Nature: Images and National Gallery of Australia watercolour; 60.5 x 46 cm R230 Specimens of Natural History from the Edward Allworthy Armstrong Neville William Cayley (1886-1950) Collection of the Museum of Victoria, with Four The Life and Lore of the Bird in Nature, Art, Red-cheeked c.1930s Essays on Nature. Geelong, Vic.: Geelong Art Myth and Literature watercolour; 55.2 x 38 cm R10105 Gallery, 1992. New York: Crown, 1975 Private collection Turquoise Parrakeet; Scarlet-chested Jackson, C.E., Great Bird Paintings of the Parrakeet c.1930s Rosalind Atkins World. Woodbridge, Suffolk: Antique watercolour; 56 x 37.5 cm R10101 Recollections Collectors' Club, c.1993-1994. Melbourne: Lyre Bird Press, c.1987 What Bird Is That? revised by Terence R. Lindsay Lysaght, A.M., The Book of Birds: Five Louisa Atkinson (1834-1872) Sydney: Angus & Robertson, 1984 Centuries of Bird Illustration. London: Merops ornatus (Rainbow Bee-eater) c.l850s Graeme Victor Chapman Phaidon, 1975. pen and ink, watercolour; 23 x 22 cm Comb-crested Jacana Mitchell Library, State Library of photographic print; 27.5 x 19.5 cm Mathews, G.M., Birds and Books: The Story of New South Wales National Photographic Index of Australian the Mathews Ornithological Library. Canberra: Birds, no. 1575 Pteloris victoria gould (Paradise Riflebird) Verity Hewitt Bookshop, 1942. c. 1860s Little Wattlebird pen and ink, watercolour; 25.2 x 17.6 cm Pearce, B., Australian Artists, Australian Birds. photographic print; 27.5 x 19.5 cm Mitchell Library, State Library of National Photographic Index of Australian North Ryde, NSW: Angus & Robertson, 1989. New South Wales Birds, no. 4692

Sauer, G.C., John Gould, the Bird Man: Charles Barrett (1879-1959) Port Lincoln Parrot From Range to Sea: A Bird Lover's Ways A Chronology and Bibliography. Melbourne: photographic print; 19.5 x 27.5cm Lansdowne Editions, 1982. Melbourne: T.C. Lothian, 1907 National Photographic Index of Australian Birds, no. 4653 Ferdinand Bauer (1760-1826) Smith, B., European Vision and the South Australian Ringneck Parakeet Red-eared Firetail Pacific 1768-1850: A Study in the History of Art stochastic lithographic print; 38 x 31 cm photographic print; 19.5 x 27.5 cm and Ideas. Oxford: Clarendon Press, 1960. London: Alecto Historical Editions in association National Photographic Index of Australian with Natural History Museum, 1997 S11079 Birds, no. 4695 Whittell, H.M., The Literature of Australian Birds: A History and a Bibliography of Noisy Friar-Bird Shining Bronze-Cuckoo stochastic lithographic print; 38 x 31 cm Australian Ornithology. Perth: Paterson photographic print; 27.5 x 19.5 cm London: Alecto Historical Editions in association National Photographic Index of Australian Brokensha, 1954. with Natural History Museum, 1997 S11083 Birds, no. 4006

8 Spotted Pardalote Flower and Fern Decoration] c.1900 Elizabeth Gould (1804-1841) photographic print; 19.5 x 27.5 cm emu egg, silver plate, wood; 34 x 30 cm Chlamydera maculata (Bowerbird) National Photographic Index of Australian A40004651 NK6769 hand-coloured lithograph; 52.5 x 68 cm Birds, no. 3322 in John Gould's Birds of Australia, Part iv, Adrian Feint (1894-1971) 1 September 1841 Nicholas Chevalier (1828-1902) Bookplate for Barbara Rixson Fancy Costume Emblematic of Australia 11.5 x 9 cm S10407 no. 100 Lopholaimus antarcticus (Topknot Pigeon) c.1860 hand-coloured lithograph; 55.3 x 38.1 cm Bookplate for J. Harvey Bryant watercolour; 36.7 x 25.8 cm T11 NK559 U7297A NK7038/A 9 x 7.5 cm S10393 no. 121 Alec Hugh Chisholm (1890-1977) Podargus humeralis (Tawny Frogmouth) Margaret Fleming (fl.1890s) Mateship with Birds hand-coloured lithograph; 55.4 x 37.2 cm The Cockatoo 1895 Melbourne: Whitcombe & Tombs, [1922] U7308 NK10635/5 oil on canvas; 79 x 95 cm John Heaviside Clark (c.1770-1863) engraver Art Gallery of New South Wales Portrait of Elizabeth Gould after John William Lewin (1770-1819) photograph of uncredited image used as Throwing the Spear Donald Friend (1915-1989) in Field Sports &c. &c. of the Native InhabitantsAyam-Ayam Kesayangan, vol. iii 1980 frontispiece to Alec Chisholm's The Story of of New South Wales 1813 ink, watercolour and crayon MS5959 Elizabeth Gould Supplement to Foreign Field Sports, Fisheries, Melbourne: Hawthorn Press, 1944 Sporting Anecdotes &c. &c. Birds from the Magic Mountain John Gould (1804-1881) London: Edward Orme, 1814 F577 manuscript book ink, watercolour and crayon MS5959 £20 Reward—Stolen, Sometime Since the June Collins 8th Instant, a Number of Skins of Valuable Aussie Emu Cookbook May Gibbs (1877-1969) Birds... 1845 Corrigin, WA: June Collins, [1994] I Hardly Like Delivering the Goods broadsheet; 28 x 21.5 cm MS587 Mrs Kookaburra ... William T. Cooper (b.1934) coloured lithographic poster; 74.3 x 49 cm Collectors list sent to Gould's secretary, Blue-bonnet; Naretha Blue-bonnet 1970 Sydney: Government Printer, 1920 S11104 Edwin Charles Prince, by Mr Shepherd watercolour; 51 x 38 cm R6743 MS587 Mrs Kookaburra and the Nuts to Greet You Red-tailed Cockatoo 1970 (One is Shy) 1940 Draft letter to unknown recipient at watercolour; 49.2 x 33.2 cm R6702 hand-coloured photomechanical print; Hobarton, 4 January 1841 MS587 17.9 x 9.4 cm R11222 John Cotton (1801-1849) Grus Australasianus (Australian Crane) Birds Eggs 1840s Your Old Aunts Are Very Anxious ... [1916?plat] e 48 of Birds of Australia, vol. vi watercolour; 17.5 x 12 cm MS1840/9/5 one of eight World War 1914-1918 postcards London: J. Gould, 1848 offset photomechanical print; 15.2 x 14.4 cm The Brown Owl 1840s S10602 Portrait of John Gould 1849 watercolour; 16.5 x 24.5 cm MS1840/9/5 photograph of an original lithograph by John Gilbert (c.1810-1845) Crested Scrub Bird 1840s Maguire published in an 1852 issue of the Letter to John Gould from Wongan Hills, watercolour; 17.5 x 29 cm MS1840/9/5 Illustrated London News NK1982 28 September 1842 unknown artist in John Gould's Birds of Australia, vol. i Ronald Campbell Gunn (1808-1881) Portrait ofJoh n Cotton c.1840s London: J. Gould, 1848 Circular Head Scientific Journal 21 June 1836 pen and ink; 25 x 18 cm MS1840/9/5 manuscript magazine MS2036/2 Samuel Thomas Gill (1818-1880) Sonia Davis [Sportsmen with Game by Coast] c.1856 Circular Head Scientific Journal Homeland: Hermannsburg No. 36, Australian Bushmen, Kangaroo and December 1838 supplement handcrafted painted ceramic pot 1996 Wild Duck Hunting in Gippsland with Onemanuscrip of t magazine MS2036/4/3 lid with night ; height 24 cm the Glennie Islands in the Distance Private collection watercolour; 31 x 47.6 cm T1299 NK285 Reginald Haines Portrait of Tom Iredale and Gregory Mathews [Carved Emu Egg on Silver Plate and Tattersalls Horse Bazaar, Melbourne 1853 1923 Wood Stand with Fern Decoration] c.1900 hand-coloured lithograph; 31.2 x 41.7 cm emu egg, silver plate, wood; height 27 cm U2277 NK429 gelatin silver photograph; 16 x 21 cm A40009637 NK6769/3 Ebenezer Edward Gostelow (1867-1944) James John Hall [Carved Emu Egg on Silver Plate Stand Black-ringed Finch 1931 The Crystal Bowl: Australian Nature Stories with Fern, Kangaroo, Emu and Aboriginal watercolour; 50 x 21.2 cm R2820 illustrated by Dorothy Wall Decoration] c.1900 Melbourne: Whitcombe & Tombs, [1921] emu egg, silver plate, wood; height 25 cm The Little Egret; The Plumed Egret 1938 attributed to William Hodges (1744-1797) A4OO09629 NK10854 watercolour; 50.6 x 63.5 cm R2805 Dodo and Red Parakeet c.1773 [Two Carved Emu Eggs on Silver Plate and White-tailed Black Cockatoo 1929 oil on academy board; 23 x 27.5 cm Wood Stand with Clock, Emu, Kangaroo, watercolour; 50.7 x 60.2 cm R2740 T384 NK5827

9 L. Howes attributed to John William Lewin (1770-1819) Allan McEvey Bell Miner Boy with a Sulphur-crested Cockatoo c.1815? John Cotton's Birds of the Port Phillip photographic print; 27.5 x 19.5 cm transparency District of New South Wales, 1843-1849 National Photographic Index of Australian original is oil on canvas; 90.3 x 69 cm Sydney: William Collins, 1974 NK11936 Birds, no. 1924 Art Gallery of South Australia, M.J.M. Carter Collection Frank P. Mahony (1862-1916) Noreen Hudson 'Dot Dances with the Native Companions' Homeland: Hermannsburg Lionel Lindsay (1874-1961) in Ethel Pedley (1859-98) Dot and the handcrafted painted ceramic pot 1995 Bookplate and Electrotype for Donald Kangaroo lid with two black cockatoos; height 27 cm Sheumack Sydney: Angus & Robertson, 1934 Private collection 9.5 x 6 cm S6418 no. 60 David Malangi (b.1927) John Hunter (1737-1821) Bookplate for Henry White Birds and Flowers of New South Wales Manyarrngu-Djinang people 15 x 11.3 cm S6365 no. 7 Drawn on the Spot in 1788, '89 and '90 Dhamala 1992 1788-1790 painted wooden sculpture; height 48 cm Chatterers 1923 sketchbook containing 100 watercolours Private collection NK2039 wood engraving; 7.3 x 5.5 cm S6070 The Snake That Bit Gurrmirringu 1992 Jennifer Isaacs The Dancer 1924 natural pigment on eucalyptus bark; Australia's Living Heritage: Arts of the 112.5 x 66.3 cm wood engraving; 15.5 x 11.5 cm S6216 Dreaming Private collection Sydney: Lansdowne Press, 1984 Ibis 1933 Gregory Macalister Mathews (1876-1949) Lambert brothers (fl.1807-30) engravers wood engraving; 7.5 x 9.9 cm S6108 Roland Green (1896-1972) after Charles Alexandre Lesueur Alcyone azurea alisteri (Azure ) (1778-1846) Night Heron 1935 watercolour over a pencil sketch; Nouvelle-Hollande, He Decres, Casoar de la 23.5 x 19 cm MS1465/44ii7 Nelle. Hollande wood engraving; 13.4 x 13.4 cm S6111 hand-coloured engraving; plate mark Owlet Nightjar 1916 24.4 x 32 cm Owls 1931 watercolour over a pencil sketch; in Voyage de Decouvertes aux Terres Australes wood engraving; 15.6 x 12.7 cm S6154 24 x 17.5 cm MS1465/44ii7 [Paris]: de l'lmprimerie de Langlois, [1807] S2157 Pelicans 1938 Uralcyon sylvia (Buff-breasted Paradise wood engraving; 17.6 x 22.3 cm S6132 Kingfisher) 1915 James Lee (fl.l830s) Woodblock and Bookplate for Peter Lindsay watercolour over a pencil sketch; 30 x 20 cm Letter to R.C. Gunn, 28 November 1838 plate 5.9 x 5 cm; block 7.2 x 5.7 cm MS1465/44ii7 MS2036/5 S6359 no. 1 (plate) R9553 (block) Michael Leunig (b.1945) Norman Lindsay (1879-1969) Gregory Macalister Mathews (1876-1949) [Coffee Mug] The Magic Pudding: The Adventures of Tyto novae-hollandiae (Masked Owl) porcelain Bunyip Bluegum plate 269 of his Birds of Australia, vol. v Australia: Dynamo House, 1990s? Sydney: Angus & Robertson, 1990 London: Witherby, 1910-1927 Private collection Sydney Long (1871-1955) Gregory Macalister Mathews (1876-1949) The Music Lesson 1904 Anna Maria Lewin (died c.1846) oil on canvas; 83.5 x 63 cm and Tom Iredale (1880-1972) High Flyer of New Holland, a Fine New Pigeon Art Gallery of New South Wales A Manual of the Birds of Australia 1826 Evan Antoni Johann Lumme (1865-1935) illustrated by Lilian Medland pencil; 31 x 26.2 cm T3321 NK7059 [Caged Cockatoo] London: Witherby, 1921 printed in 1999 from glass-plate negative; John William Lewin (1770-1819) 12.3 x 16.2 cm M3114 Lilian Medland (1880-1955) Birds of New Holland, with Their Natural Casmerodius albus and Other Birds c.1930 History, Collected, Engraved and Faithfully [Man with Cockatoo] watercolour; 27.5 x 19.6 cm R6622 plate M Painted after Nature printed in 1999 from glass-plate negative; London: J. White and S. Bagster, 1808 F465 16.5 x 12 cm M2504 Dacelo leachii and Other Birds c.1930 watercolour; 27.7 x 19 cm R6617 plate H Birds of New South Wales, with Their Joseph Lycett (c.1775-1828) Natural History Drawings of the Natives ... 1830 Dromiceius novaehollandiae and Other Birds Sydney: G. Howe, 1813 album containing 20 watercolours c.1930 watercolour; 27.5 x 19.1 cm R6640 plate P1 Lyrebird of Australia c.1810 Tommy McCrae (c.1836-1901) watercolour; 38.2 x 27 cm T3234 NK3820 Aborigines Chasing Chinese; Hunting Scene Falco longipennis and Other Birds c.1930 c.1880 watercolour; 27.5 x 19.7 cm R6620 plate K Yellow-tufted Honeyeater; Red-browed Finch reproduced from transparency c.1800 original is pen and ink; 21 x 31.8 cm Geophaps scripta and Other Birds c.1930 watercolour; 36.2 x 28.2 cm R9634 Courtesy of the Museums Board of Victoria watercolour; 27.6 x 19.3 cm R6635 plate Kl

10 Hamirostra melanosterna and Other BirdsMonic a Oppen (b.1964) Irena Sibley (b.1944) c.1930 Wah-Hah and the Lemon-yellow Crest The Bird Woman watercolour; 27.7 x 19.7 cm R6619 plate J Redfern, NSW: Ant Press, c.1988 Camberwell, Vic.: Silver Gum Press, 1995 Heteroscenes pallidus and Other Birds c.193Ida0 Rentoul Outhwaite (1889-1960) Rainbow watercolour; 27.5 x 19 cm R6615 plate F Fairyland of Ida Rentoul Outhwaite South Melbourne: Gryphon Books, 1980 Melbourne: Ramsay Publishing Pty Ltd, 1926 Hirundapus caudacutus and Other Birds Peter Slater (b.1932) c.1930 Ethleen Palmer (1908-1965) Australian Waterbirds watercolour; 27.5 x 19 cm R6641 plate Q c.1948 Frenchs Forest, NSW: Reed, 1987 serigraph; 18.9 x 22.8 cm Peter Slater (b.1932) and Raoul Slater (b.1966) Ixobrychus minutus and Other Birds c.1930 Private collection Photographing Australia's Birds watercolour; 27.7 x 19.7 cm R6621 plate L Otto Pareroultja (1914-1973) Fortitude Valley, Qld: Steve Parish, 1995 Lord Howe Island Petrels 1930 Homeland: Hermannsburg; Clan: Arrente Arthur Bowes Smythe (1750-1790) watercolour; 29.1 x 23.2 cm R11300 [Landscape with Two Red-tailed Black- Journal, 22 March 1787-8 August 1789 MS4568 Cockatoos] c.1952 Malurus pulcherrimus and Other Birds c.193watercolour0 ; 32.5 x 52.5 cm James Sowerby (1757-1822) artist and engraver watercolour; 27.5 x 19 cm R6645 plate U Private collection The Nonpareil Parrot c.1794 plate iv of George Shaw's Zoology of New Phalacrocorax carbo and Other Birds c.1930 George David Perrottet (1890-C.1956) Holland, vol. i watercolour; 27.6 x 19 cm R6631 plate Gl Bookplate for Kathleen Higgins London: J. Sowerby, 1794 NK891 10 x 7.5 cm S10763 Sternula albifrons and Other Birds c.1930 Sarah Stone (1761/62-1844) watercolour; 27.5 x 19.5 cm R6629 plate E1 Graham Pizzey (b.1930) Crested Cockatoo c.1790 The Graham Pizzey & Frank Knight Field Syma torotoro and Other Birds c.1930 watercolour; 23 x 17.2 cm Guide to the Birds of Australia watercolour; 27.8 x 19 cm R6616 plate G plate 7 of Natural History Specimens of Pymble, NSW: Angus & Robertson/ New South Wales 1790 R11202 Tyto troughtoni and Other Birds c.1930 HarperCollins, 1997 Crested Goatsucker c.1790 watercolour; 27.7 x 19 cm R6618 plate I Margaret Preston (1875-1963) watercolour; 23 x 17.2 cm plate 5 of Natural History Specimens of Portrait of Lilian Medland 1923 Emus New South Wales 1790 R11200 gelatin silver photograph; 21 x 16 cm Kookaburras Art in Australia, May 1923, no. 4 Great Brown Kingfisher c.1790 Louisa Anne Meredith (1812-1895) Thea Proctor (1879-1966) watercolour; 23 x 17.2 cm Grandmamma's Verse-book for Young The Feather Fan plate 2 of Natural History Specimens of Australia [Orford], Tas: Printed for the Art in Australia, 15 May 1935 New South Wales 1790 R11197 author by W. Fletcher, 1878 Pennantian Parrot c.1790 Geraldine Rede (1874?-1943) Thomas Milton engraver watercolour; 23 x 17.2 cm The White Feather c.1900 after Sarah Stone (1761/62-1844) plate 6 of Natural History Specimens of [Portrait of Miles Franklin] Great Brown Kingfisher New South Wales 1790 R11201 pencil and crayon; 23.5 x.30 cm R681 plate 7 of John White's Journal of a Voyage to Red-shouldered Parroquet c.1790 New South Wales Henry Constantine Richter (c.1821-1902) watercolour; 23 x 17.2 cm London: J. Debrett, 1790 F2733 Procellaria hasitata Kuhl (Great Grey Tern) plate 9 of Natural History Specimens of 1848 New South Wales 1790 R11204 Miniyawany Homeland: Baniyala watercolour; 35.8 x 50.5 cm T1313 NK5666/4 Tabuan Parrot c.1790 Gany'tjarr ga Dharpa watercolour; 23 x 17.2 cm Bluey Roberts painted wooden sculpture; height 56.5 cm plate 3 of Natural History Specimens of Large River Spirit Dreaming Private collection New South Wales 1790 R11198 cover illustration for Lorraine Mafi-Williams, Frank Thomson Morris (b.1936) Spirit Song: A Collection of Aboriginal PoetryEric Thake (1904-1982) Peregrine Falcons Norwood, SA: Omnibus Books, 1993 Archaeopteryx 1941 in his Pencil Drawings, 1969-78 (Marion) Ellis Rowan (1848-1922) oil on canvas; 51.5 x 61 cm Art Gallery of New South Wales Melbourne: Lansdowne, 1978 Nutmeg Pigeon [1917] watercolour; 76 x 56 cm R2013 Bird Watching 1965 Jimmy Ngalakurn William Shaw printer linocut; 32.4 x 49.4 cm [Bird Carving from Maningrida] National Gallery of Australia painted wood; height 144 cm after John Cotton (1801-1849) Birds Eggs, Parrot with Feather, Duck's Lesbia Thorpe (b.1919) Kilmeny Niland Head with Feather 1970 Guinea Fowl 1994 A Bellbird in a Flame Tree proof sheet for John Cotton's Birds of the Portcoloure d woodblock; 62 x 62 cm North Ryde, NSW: Angus & Robertson, 1989 Phillip District; 24.5 x 48 cm MS2969 Private collection

11 Donald Trounson (b.1905) and Molly Clampett transparency 56.5 x 42 x 13 cm (b.1928) original is oil on canvas; 124.5 x 99 cm Private collection Gouldian Finches Woburn Abbey, Woburn, Bedfordshire, UK V. Woodthorpe (fl.1794-c.1802) photographic print; 27.5 x 19.5 cm Betty Temple Watts (1901-1992) Emu National Photographic Index of Australian Diurnal Birds of Prey c.1960 hand-coloured engraving; 20.5 x 12.5 cm Birds, no. 1173 monochrome wash drawing; 37.5 x 27.3 cm London: M. Jones, 1802 S8929 unknown artist R4825 [Vignette of a Black Swan and Reeds] Animals of Australia c.1880s Swifts, Swallows and Martins 1959 hand-coloured engraving; 3.9 x 8.6 cm chromolithograph; 19 x 23.5 cm watercolour; 38 x 27.1 cm R4809 on the title page of George Barrington's U4080 NK2137 History of New South Wales Brett Whiteley (1939-1992) unknown artist London: M. [ones, 1802 U1458 NK894 Bookplate for Barbara Corrigan The Emu Hunter c.13 000 BC 14.5 x 11 cm S8994 Nawurapu Wunungmurra (b.1952) reproduced from transparency Homeland: Gurrumuru; Clan: Dhalwangu height of emu 93 cm F. Erasmus Wilson Wayin ga Mokuy original photography by George Chaloupka Facts about Egret Plumes painted wooden sculpture; height 71 cm Courtesy of Museum and Art Gallery of the Melbourne: Bird Protection Court, c.1910 Private collection Northern Territory Hardy Wilson (1881-1955) William Wyatt (1838-1872) unknown artist Australia 1952 [Black Swan] The Duke of Edinburgh's Welcome by 'Job on a Dunghill: Vigils of the Dead' pencil and french crayon; 50.5 x 39.3 cm the Natives 1868 Book of Hours c. 1450 France R708 lithograph; 23.9 x 32.1 cm S6869 NK7004 manuscript on vellum MS1097/5 attributed to Eliza Catherine Wintle Simon Verelst (1644-1710) (c.1848-1907) Lady Anne Russell c.1690 Kookaburra Handscreen c.1892

Lionel Lindsay (1874-1961) Pelicans 1938 wood engraving; 17.6 x 22.3 cm S6132

12 Sarah Stone (1761/62-1844) Tabuan Parrot c.1790 watercolour; 23 x 17.2 cm plate 3 in Natural History Specimens of New South Wales 1790 R11198