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Home , Adelaide, Bert Flugelman, Sublime Point, Wollongong

The Road to The Road to FOREWORD The Road to Wollongong examines the landscape of the via a number of diverse historical Wollongong and contemporary artworks. These works take us down the important paths and tracks, low roads and Curated by Joseph Davis and Ione Davis highways that connect the people and places of this region. When thinking about this show over the past several WOLLONGONG ART GALLERY 26 JUNE - 1 NOVEMBER 2015 months the phrase ‘all roads lead to Rome’ was one that often came to mind. This proverb suggests that different paths can lead one to the same place and, although not necessarily referring to physical paths, it does resonate strongly with this exhibition – as all roads in this exhibition lead to Wollongong, the metaphorical ‘Rome’. The Illawarra with its magnificent escarpment and pristine sweeping coastline has attracted many artists since the first European settlements in this area in the early 1800s. This exhibition includes some well-known and lesser known images of this area and provides some perspectives of Wollongong and Illawarra. The Road to Wollongong is part of the Gallery’s Visiting Curator Program which brings new and interesting perspectives to our exhibition program. Wollongong Art Gallery would like to thank the curators Joe and Ione Davis for their passion and insights while developing this project and we hope that you will be both engaged and surprised by this exhibition

John Monteleone Program Director

Geoffrey Northover, Looking south west towards Unanderra, c. 1940’s, print of scanned original negative. Private Collection

Right: Ray Mills, Youth on swing looking towards Cliff Road Wollongong, late 1960’s, print of scanned original negative. Collection of the artist

3 Something comes from living in Wollongong all your life – even though contemporary New Zealand photographer Laurence Aberhart managed, There are thus no works by Garry Shead or Lloyd Rees in this show – that has, for me, only been 22 years. You see the same things so often that in just three precise images (all included in this show), to highlight both although both artists resided for long periods on the margins of Illawarra THE SHOCK OF it’s uncommon to think too much about them. the oddity and the beauty of our local landscape during his exceedingly (at Bundeena and respectively). But artists are different. brief visit to the area. Instead, this exhibition chooses to highlight a virtually unknown local artist The best of these artists not only look carefully at what is before them, but Bright new eyes sometimes have the power to shock by reminding us of – the Thirroul photographer Algernon Edward Thornton Winn (variously THE ORDINARY what we so often casually ignore. spelt) – who in 1908 took the photographic image which provided the also have the skills to represent what they see in ways that can make even locals see things almost completely anew. It is also true that sometimes the most pedestrian visiting artists can inspiration for Shead’s now widely celebrated 1992 image. And, often, the artists who surprise us the most have lived here for occasionally produce work which stands as a precious historical record of Despite the fact that an extremely large number of ’s great extended periods of time and looked long and hard at the many paths our past. Although, of course, they usually only achieve this by capturing artistic practitioners have produced at least one Illawarra image, this is an Wollongong has taken in the last 200 years. an Illawarra that is today often almost impossible for us to imagine could exhibition that proudly wears its regional focus. ever have really existed. Some visiting artists, however, just simply get it. The all-encapsulating It is the quotidian – seen in new and sometimes puzzling ways (or eyes of the nineteenth century Austrian artists Eugene Von Guerard and Nonetheless, this exhibition most often chooses to eschew the work of presented starkly in its absolute ordinariness) - which seems to me to Joseph Selleny both captured extraordinary Illawarra images after less the more obvious big names of twentieth century Australian art – unless often capture something of the essence of what it is to live in the Illawarra. than a week’s stay. And, breathtakingly, the wonderfully distilling gaze of they have lived here in Illawarra more or less permanently.

Left: Algernon Edward Thornton Winn, Main Street, Thirroul, c. 1908, printed postcard, 9 x 13.5cm, from the collections of the Wollongong City Library and the Illawarra Historical Society

Right: Perry, Austinmer, 1926, oil on board, 35.5 x 45cm. Kiama Council Art Collection

4 5 Kathryn Orton’s marvellous rendering, in pencil, of Wentworth Above: Kathryn Orton, Wentworth Street, Port Kembla II, 2006, ink on paper, 14 x 296 x 1cm. Wollongong Art Street Port Kembla is a case in point. Gallery Collection. Purchased 2012 It speaks to us in its stillness – and its subtle accompanying Far Left: Arthur Cratchley, photograph 1960s. soundscape adds to its impact for those yet to experience a quiet Wollongong City Library Collection day in what was once, at the height of European migration to the area, the busiest strip shopping centre in the district. Left: Alfred Coffey, Bulli (Looking down on Thirroul), 1917, watercolour on paper, 34.8 x 24cm. Wollongong Much as I admire the obvious skill of Max Dupain and his powerful Art Gallery Collection. The George and Nerissa Johnson photographic depictions of the grandeur of Illawarra’s rotting Memorial Bequest, purchased 1995 coastal jetties, I’d trade them all for that fleeting instant when Catherine and Sam Joukador set their dog “Misty ” running towards the camera and Sam clicked the shutter to preserve for us a moment in time which otherwise would have been lost forever. This marvellous image shows that great art can come from simply freezing a moment in time while, paradoxically, still managing to produce one of the most animated of all the images in this exhibition.

6 7 Above: Amanda Townsend, Woonona Bathing Pavilion, pastel on paper, 1989

Left: Geoffrey Northover, Berkeley Hill looking to , c. 1940s, print of scanned original negative. Private Collection

Other relatively unknown visiting photographers do similarly extraordinary it is not suprising that every one of Thomas Hardy’s great novels begins things. Such as Geoffrey Northover who, in his startling image looking down with a lonely figure on a country road. Berkeley Hill to Lake Illawarra, succeeds in freezing a truly historic Illawarra But as this present show reveals, there are a great many ways to depict art landscape into a powerful statement of poetic stillness and calm. the roads which transformed the dreaming tracks of Illawarra’s aboriginal And Northover skilfully uses (like so many great artists) the device of the landscape. It is a show which places its focus on the many roads which road to direct the eye. Yet this simplest of motifs often possesses an easy enabled Wollongong to first become a big old early twentieth century ability to provoke moments of reflection in the viewer. coastal country town and then the seventh largest city in Australia. In our busy lives it can often seem that only artists have the time and the Some artists choose to depict precisely what is before them – others, in leisure to sit, look and reflect – and to see deeply that which, for most of isolating an image, see the surreal in the ordinariness of the roads we all us, rushes by in a flash on the freeway. drive upon or the paths we all walk down. And that seems to be precisely what is happening in the 1989 image of Woonona Baths by Amanda Yet roads have long been poetic harbingers of personal journeys – and Townsend included in this exhibition.

8 9 Redback Graphix (Gregor Cullen & Michael Callaghan), Greetings from Wollongong, 1982, colour screenprint on paper, 59.5 x 87.5cm. Wollongong Art Gallery Collection. Purchased with assistance from the Visual Arts Board of the Australia Council, 1987

Others like Frank Nowlan depict everyday landscapes so quirkily that one can only marvel at their idiosyncratic charm. Surveying 200 hundred years of artistic practice in Illawarra since that fateful day in 1815 when the white invasion began has helped me to better understand the place in which I live – in all its beauty, quirks and puzzles. I must have seen water glistening on a road in the streetlight countless times – but I will never again drive past Springhill Road near the Steelwork’s entrance without thinking of T.U.K. Caldwell’s marvellous evocation of that same scene in 1963. There’s a mystery in the ordinary – and my great hope is that the works in this exhibition can help to reveal something of it. Many of the images we have chosen seem to go out of their way not to make a grand statement about the place in which we live - and yet, nonetheless, somehow quietly achieve the opposite. This is an exhibition full of absolutely ordinary rainbows. It endeavours to overcome what has been called “the anaesthetic of familiarity”. It also tries to combat what Richard Dawkins also calls “the sedative of ordinariness” – that often casual aloofness with which those accustomed to a place view the everyday and which dulls the senses and hides some of Above: T.U.K Caldwell, Springhill Road Lights, 1962, the wonder of what it is to live in Illawarra and to have walked synthetic polymer paint on composition board, one of the many roads which have led to making Wollongong 92 x 120cm. Wollongong Art Gallery Collection. what it is today. Purchased by Wollongong City Council, 1963 Left: (detail) Frank Nowlan, Up Kennedy’s Hill Ione Davis (Austinmer), 2013, oil on board, 30.5 x 23cm. March 2015 Collection of the artist

10 11 Possibly the most desirable of all images for this show would have been an original oil by Margaret Preston entitled The Road to Bulli? A work, by the way, which has not been sighted - or emerged from presumed closet THE ROAD TO captivity – since 1944.1 Sometimes an artwork needs to be forgotten before it can be remembered. WOLLONGONG Time, never particularly kind to the living, can be particularly cruel to the dead – consigning most of us and our labours to historical obscurity and bestowing on the few a posterity that is never completely assured. Early 1815-2015 fame can quickly fade - and even those few artists who accrue genuine celebrity at the time of their deaths can never be certain it will last. A.H. Fullwood (1861-1930) – my personal 19th century local art hero (and he spent a lot of time in Illawarra during the years 1891 and 1892) – is a case in point. Not only was Fullwood phenomenally prolific (rivalling even Norman Lindsay in output) but he was also the most widely published of Australian artists prior to 1914 - both nationally and internationally. When he returned to Australia in 1920 to wile away the remaining 10 years of his life he ended up painting and print-making in obscurity down on Berry’s Bay. Other antipodean artists had emerged to steal his allotted 15 minutes of fame. Today Fullwood is remembered by few – and the countless thousands of images he produced command only modest prices.2 If it’s the stupid future an artist labours to impress then the career of Fullwood suggests he or she is likely to be disappointed. Depressed? So you should be – just look at the contemporary art market. Not pretty! Yet what is possibly little understood is that down in The Gong virtually any scabrous early lithograph depicting an Illawarra scene drawn on stone in England is an exceedingly uncommon survivor. At least it is when it is based on the original watercolours from Robert Marsh Westmacott’s 1838 series and produced by the illustrious pioneering lithographer Charles Joseph Hullmandel (1789 –1850) no less and not by W. Spreat (someone working in 1848 whose first name we do not even know) in Exeter in England.3 The 1838 lithographs after Capt. R.M. Westmacott (who purchased all Above: Margaret Preston, The Road to Bulli of Sandon Point as well as acquiring some additional big hunks of the (photographed by Olive Cotton), 1944, image Northern Illawarra before he went broke with so many of the other big in book “Present Day Art in Australia (II)”, boys in the Depression of the 1840s) may, in some cases, exist in as little as 1945. Private Collection a handful of un-coloured copies – two or more of which are usually foxed Left: Louis Frank, Stanwell , c. 1878, oil on almost beyond recognition. The miraculously fine copy of one image from canvas, 37 x 51cm. Private Collection the 1838 series I once acquired is included in this show and may have been mis-titled during the production process in England. It may actually depict the rise once indicated on maps as ‘Mount Westmacott’ located to the north-west of Helensburgh.4 But, whatever its merits as ‘art’, Westmacott’s 1838 series of lithographs earns him the honour of producing the first ‘published’ pictorial representation of Illawarra.5 Another work expecting little valorisation in this show is a small colonial oil depicting Stanwell Park. It was painted by a now largely unregarded and mostly forgotten 19th century artist named Louis Frank.6 Louis Frank’s Stanwell Park is something of a puzzle. It possibly sits fairly comfortably at almost the precise point in that limbo of art-market worthlessness posited neatly between novelty and nostalgia.

12 13 which is the Illawarra image that keeps on giving and giving. And even which became known as “Botany Bay”. Louis Frank knew this – and worked up a much more marketable image of What was the early verdict on Wollongong then? Too dangerous for sailing Stanwell Park in the studio. vessels (and even small craft) and looking basically pretty hopeless for But the landscape of Illawarra has been doing this for a very long time the wheeled vehicles of the white men when tackled from the land. And – just witness Robert Marsh Westmacott’s depiction of the Woodstock so Illawarra pretty much remained the hereditary property in perpetuity Mills at from his later 1848 series of lithographs produced by of its original owners until one fateful day in 1815. W. Spreat. This very powerful image of Peace, Plenty and Settled Industry Three blokes drifting in a tiny rowboat - with make-shift sail attached would seem, almost, as if it was specifically created to form the cover (yes, that’s right, Bass and Flinders and the boy Martin) had earlier given 7 illustration for a company prospectus. the place a bit of an explorative bash in 1796 but had been defeated by Westmacott transforms the wild Jamberoo brush into a landscape almost both the sea and a whole bunch of what Flinders termed “Five Islands entirely denuded of trees: a burnished wheat-field left fallow after a most Blacks”. 10 productive harvest. It is a vision of Industry Accomplished rather than Alternatively, if you wanted to play it a little more safely, you could set sail Industry Striving, precariously, to make a profit. In reality, the Woodstock in a much larger vessel and make for Baie Jervis - as did both Surveyor Mills pictured quietly smoking away in the Westmacott’s Jamberoo mid- George Evans in 1812 and also the famed discoverer of the Venus de Milo distance was very much on the ropes and, despite constant changes of statue (Jules Sébastien César Dumont D’Urville, no less) in 1826. 11 management, had never been able to pay its way. 8 Sensibly, D’Urville walked leisurely round the shores of Jervis Bay, rested Missing too in Westmacott’s depiction of an ordered and settled Illawarra a while, got back on board and made straight for – something landscape are the from whom the Jamberoo valley which the artist and surveyor George Evans, at least on the evidence of had then, in 1848, been quite recently . the trials and tribulations outlined in his 1812 diary, very much regretted Yet some 30 years later, at the alternate far end of Illawarra, the puzzle is not doing so himself. 12 And even though walking to Wollongong from that if our boy Louis Frank is ‘advertising’ anything in his prosaic image of Baie Jervis was the best thing Dumont D’Urville never did, Wollongong Stanwell Park then he seems to be going to a lot of trouble to undersell it. pretty much remained “No White Man’s Land” until the very dry weather A dusty road - a clichéd device some minor art teacher might have taught of the year 1815 set in and two Indigenous men, Cookagong and Dual, led Dr and his three white companions along what was him. A lonely shack by the sea - which some Romantic novel may have 13 inspired. A muddy palette – at least as worthy of some of the worst presumably an ancient dreaming track near Bulli. Conrad Martens liked to sometimes serve up. Yes, these all combine to *** produce an image of the landscape of Stanwell Park the likes of which It has almost always been true that a professional artist’s life is not a none of us could ever expect to see again. happy one. Instead of turning his attention to one of the most breathtaking views in Van Gogh’s ear, for example, is a case in point. So too is the life of Joseph all Australia just a few hundred metres to his north, Louis Frank looks only Selleny, who returned to Trieste in August 1859 with his Illawarra images out to sea and makes a rudimentary and rather scarring road the focus of among his bulging portfolios of over 2000 sketches, and then spent the his image. Why? Well, perhaps, if - like Louis Frank – one had very recently last years of his life in an asylum at Inzersdorf near Vienna. 14 experienced just how extraordinarily difficult it was to make one’s way Sketching in Illawarra caused Augustus Earle – who in 1827 became the down through Stanwell Park’s precipitously inconvenient geography first artist we can confidently identify as having produced an extant image before the coming of the roads, then a preference for depicting a broad of Illawarra – physical rather than mental pain. Earle made it down here and muddy track rather than sublime scenery might seem a not especially OK but broke his leg while trying to scramble back up the escarpment and unusual choice. on to Sydney. As a consequence he was forced to spend some months *** recuperating at ‘Macquarie Grove’, a Farm belonging to Mr. Hassall on the For almost 60 years after the early white invasions of NSW, the newly Cowpastures. 15 arrived Europeans found nearly all sections of what they then called “The *** after Robert Marsh Westmacott, Valley of Five Islands District of NSW” most frustratingly difficult places to get to. Jamberoo, 1848, lithograph, hand-coloured, 18 Yet there are other illustrious colonial works in this show – many now In 1815 there existed what the white invaders thought to be “tame blacks” x 26cm. Wollongong Art Gallery Collection. The proudly part of the substantial and important Wollongong Art Gallery Even the great navigator himself – the illustrious James Cook – had a bit and “the wild blacks”. George and Nerissa Johnson Memorial Bequest, Collection - depicting the tracks and trails of Illawarra. Some of these of a go and then quickly gave it all up as a bad joke. purchased 2014 The Aboriginal man, Dual, was friendly with Dr Charles Throsby. The would today command prices (if they ever came back on the market) way There was a big swell off Collins Rocks near Woonona that April day in good doctor was among the most progressive and enlightened in his beyond the financial reach of every regional gallery in Australia. 1770 - and, after dropping anchor well out to sea, the hastily attempted views about the original custodians of this continent in the early colony – How did they get here? row-boat Cook ordered to make land was quickly signalled back on board although (like all the other whites who stole this country) he too was then *** The Endeavour. 9 actively engaged in the dispossession of Aboriginal people at Glenfield, The art of Illawarra has often been harnessed as a form of propaganda And as there was clearly no nearby natural safe harbour in the vicinity – near Liverpool. and advertising (that is if art is not almost always a form of advertising and Cook could plainly clearly see that precipitously steep escarpment to ‘Enlightened’ or not, Dr Throsby proved powerless to save his friend when itself). In this respect, it has been the view from at Stanwell Park the west - he headed some eight leagues north and happened on a place Governor Macquarie declared Dual “hostile” in 1816 – giving the hapless

14 15 fellow the dubious distinction of becoming the first Aboriginal convict And, sadly, it is indeed fitting that there could be no more ‘barbarous’ Left: Percy Lindsay, While the powder dried: Illustration for the book Great Events in in Australian history and causing him to be exiled him from his traditional start to white settlement in Illawarra – for in getting to Lake Illawarra History, 1925, watercolour on domain to Van Dieman’s Land with a sentence of seven years hard labour. 16 explorers encountered an individual named Dilba (whom they weren’t paper, 19.5 x 31.0cm. Wollongong Art Gallery quite sure was either ‘wild’ or ‘tame’) and whom Bass would later, on the Collection. The George and Nerissa Johnson We can only today wonder if poor Dual, in 1816, now regretted what must Memorial Bequest, purchased 1995 have seemed to many who knew him as a foolish decision to lead a small orders of Lt. Governor William Paterson no less, try to hunt down and kill group of white males down Bulli Mountain in the previous year? at a location then known as ‘The Coal Cliffs’ in 1797. Below: (detail) Eugene von Guerard, Cabbage tree forest, American Creek, 1867, colour Despite the existence of nourishing cow fodder on our narrow coastal Fortunately for Dilba, Dr - good though he was at finding lithograph, 33.3 x 53.0cm. Wollongong Art plain (picturesquely sandwiched between mountain and sea) even the things at sea - had no luck (or, hopefully, pretended to have no luck) with Gallery Collection. The George and Nerissa 18 Johnson Memorial Bequest, purchased 1993 whole richness of the Five Islands District wasn’t enough extra territory his Government-sponsored mission of murderous intent. for the white invaders - and so it was Dr Throsby who seems to have *** succeeded in having Dual’s seven year sentence cut short so that he Roads, paths, tracks, trails, roadsteads, railroads, sea-lanes, telegraph could be brought to back to the mainland in order to assist subsequent connections, airwaves and wireless interconnectivity – these are all the explorations of the lands to the west of Illawarra. tracks of Illawarra’s very salty tears. *** As a Kiama girl, the celebrated Australian writer Charmian Clift, once noted: Bass and Flinders and the boy William Martin’s much earlier reckless 1796 “My late father, a dogmatic man and something of an armchair philosopher, trip to Illawarra in the tiny rowboat Tom Thumb II in 1796 is the stuff of used to be given to say – among other trenchant pronouncement – that legend – and a tale which would, a century later, turn up as one of the the air of our hometown would be worth a quid a whiff if some quack sweet schoolbook stories of white exploratory derring-do. could bottle it and get out a patent.” “And now”, she wrote in January The cute little story of the celebrated navigators’ skills as barbers (by 1965, “having just returned from a sentimental pilgrimage to my birthplace the ululating shores of Lake Illawarra) - so atrociously and amusingly I’m inclined to think a quid-a-whiff is bargain basement prices” for air captured in Percy Lindsay’s fabulous 1926 watercolour in this exhibition she wonderfully described as “something between tangy and sweet, such (and featuring an amusing Percy Lindsay self-portrait on the head of clean country air, spiced with the smells of kelp and clover, mixtures of 19 Flinders no less) – is an image which I am both proud and, perhaps, a little sea-brine and loam turned in the sun.” ashamed to say I helped the Wollongong Art Gallery acquire. 17 Charmian Clift – who caught the train each school day from Bombo Beach The propaganda value of such an image, however, proved enormous and to Wollongong High School and then spent 13 years living on the Greek there are many people still alive who would recall it from their schooldays. Isle of Hydra – performed, in reverse, the very same migration so many residents of both Hydra and other Greek Islands were themselves then Indeed, this little watercolour is perhaps one of the forerunners of our undertaking. entire national project to promote the notion of ‘Aboriginal reconciliation’ as a means of avoiding paying the very long overdue rent to the original But the artists of Illawarra – like Clift herself – have often found it much owners of both our district and the many other traditional lands in this easier to sell the ‘idea’ of the Five Islands district – than to engage in the vast continent. rather more difficult activity of making such a geographically blessed and challenged part of the world work for them both in situ and in practice. One of the most widely acclaimed images in the show is Eugene Von Guerard’s virtuosic display of every root, vine and creeper being hacked from the virgin soil at ‘Brandy and Water Creek’ near Figtree. It illustrates, I think, one of the key reasons we need art: this, I guess, is the simple fact that we often tend to forget things. The artist for me – unfashionable though such a view may be – is thus almost always foremost a historian. His or her work will often tell at least as much about the artist, their time and their place as any autobiography they are ever likely to write. Von Guerard’s American Creek has captured and saved for us something approximating the moment when the hewing of the primeval forest of Illawarra’s spectacularly ‘saw the light’: he gives us the illusion of sensing that moment when the all-encompassing gloom of the forest seen in one of Augustus Earle’s marvellous 1827 images was finally lifted. We today read Von Guerard’s 1860 oil on canvas, American Creek, as the most powerful of local environmental statements but cannot really know (though we can try to guess) if Von Guerard actually saw it that way. Perhaps the son of a court painter (and specialist miniaturist) to Emperor Franz Josef no less was simply demonstrating his prowess with a pencil

16 17 The ‘road to Wollongong’ then became a string of privately financed very The waterway depicted in Von Guerard’s magnificent prospect of Lake expensive jetties built in unsafe poor natural harbours and subject to the Illawarra was turned into a cesspit and in the late 1950s and early 1960s the cost of incessant repairs and loss of life when the weather turned nasty. suburbs close to the steelworks and surrounding that lake – at Unanderra, There had to be a better way and so the coal owners and newspaper Dapto and Shellharbour – had the honour of recording very high rates of editors of Illawarra set about hijacking the NSW parliament by filling its gastroenteritis and incidences of hepatitis which ran at an alarming 25 per 21 seats with the kind of people who would vote public funds to construct a 1000 individuals. rail line to Illawarra. People, sadly, have sometimes mattered little in The Gong. Convict More effective communication had arrived with the construction and servants, coal miners, labourers, office workers, shop assistants were erection of telegraph poles in the 1860s but, being terrestrial structures, all seen as resources to be exploited – but with the good fortune to they too struggled with the path down the mountain. be trampled on while living in a place of extraordinary and sometimes uplifting beauty. European Illawarra is filled with countless silent lives and Harnessing of the airwaves was the solution to Illawarra’s problematic deaths. Lives full of longing for abandoned homelands, lives which have geography. left little record of their stories or of their nostalgia – and sometimes it is The nutty kite-man and entertaining amateur historian, Lawrence only the artists (often the children of migrants) who have captured a little Hargrave, struggled with his box-kite solution but it, more certainly, was something of the longing and the emotion which has been lost. Alexander Graham Bell’s fabulous telephonic invention that first began *** to properly open Illawarra to the world. Radio station 2WL followed in the 1930s, then the South Coast Trades and Labour Council pushed for a There are no images here depicting ancient Indigenous responses to our slightly wider canvas with its calls to establish a University in the 1950s – region - despite the inclusion of a single very ‘Europeanised’ response long before the internet and wireless connectivity acted as a catalyst to thought to have been made by a member of the Timbery family still living finally open our narrow coastal plain more fully to the world. close to traditional lands at Hill 60 in the 1950s. Asia is only inscrutably present in Iain Whittaker’s mesmerizing depiction of the streets of Today – in 2015 – it is the (superbly photographed under Brownsville and Dapto and also as the palest palimpsest (and then construction by Tara Shield) which has added the terrestrial engineering only for the cognoscenti) in Tom Dion’s haunting and suitably sombre solution to making the stormy Coal Cliffs of northern Illawarra slightly photographic requiem for the last showing at the Regent Theatre: an event more navigable by wheeled vehicles and thus more firmly connecting which very effectively killed off some of the local communal experience the Illawarra to the Sydney metropolis which may one day transform of the celluloid trappings of ‘Hollywood’ on our region. Wollongong into a rather than a region. One of the keys to this exhibition is the relative absence of the depiction of people. The obvious exception, of course, being the miraculous survival of an extraordinary image of “Warra” with which the show begins and Unknown Designer, Street Poster Tara Shield, Bridgework #2 (Sea Cliff Bridge), which I, somewhat controversially, date to c.1832-1834 – and equally 20 (early 1980s). Private Collection 2005, gelatin silver photograph, 45.7 x 45.7cm. controversially attribute to the local police Captain Allman. Collection of the Artist This has been done – not in the interests of tokenistic ticking of all the Right: Iain Whittaker, Goodness Knows politically correct boxes but to demonstrate that Illawarra was never terra Where, 2001-2014, oil on canvas, nullius and that without those two aboriginal men, Dual and Cookogong, 111 x 213cm. Wollongong Art Gallery Collection in a tiny sketchbook which has miraculously survived and is housed in the the region would have possibly remained largely closed to the European State Library of NSW to this very day – and, better still, is available online invaders for perhaps another two decades or more. for all to see. But it is possible (though, of course, it could also be entirely fanciful) that Similarly a contemporary local artist such as the celebrated Paul Ryan one of the reasons the people of Illawarra appear so infrequently in the makes, for me at least, his local landscapes quietly (but powerfully) images chosen for this show is that many artists seem to have instinctively political. His serene Welcome to the Jungle (2010) shows the land and sea- sensed that this is a region that has been more acted upon than acting. locked natural beauty of this extraordinary place - while simultaneously Illawarra is a place that so often has been buffeted by external human encoding the very absence of the first peoples from whom it was taken. influences rather than driven forward by endogamous forces. The majesty and power of the natural environment has long been a given – but it is *** the financial powers of the emerging 19th and 20th century coal owners Only better technology was capable of opening the difficult geography of and Sydney moneymen, and, today, of voices from elsewhere streaming Illawarra to the forces of global capitalism. across both the airwaves and the blogosphere which probably mattered It began in a small way with a handful of white men – some cashed-up most both then and now. former sea captains or ship’s doctors – who formed the Shellharbour and Unemployment in European villages and economic backwaters – and the Illawarra Steam Navigation Companies by purchasing large English made need for cheap labour for the steel industry – brought new voices from vessels (rather than the tiny often Australian-made craft previously in use) across the globe to a narrow coastal plain which still lacked even basic to try and get their goods to more lucrative markets. sewerage facilities.

18 19 Few today, however, would realise that the first Baptism in the register of Riste Andrievski provides another case in point. Until I’d sighted his St Luke’s Anglican Church at Dapto in 1854 was John Chin Chi, aged about images of Wentworth Street Port Kembla and Jarvie Road Cringila I’d 20 – a Chinese labourer who had been in the service of the fabulously never seen buildings cry. 22 rich Henry Osborne at Marshall Mount. How fitting it might have been To be sure, the world – and Wollongong in particular - is full of structures to screen an Asian film as the Regent Theatre’s swansong showing so we that can make you weep. could more easily compare it with the knockout ambience one of what was still then Marion Hall Best’s finest – Japanese infused - interior design But that’s a human response. Andrievski, rather, can draw structures of undertaken in conjunction with artists Janet Single and Douglas Annand. steel and wood and fibro and cement that the Italians would simply call lachrymoso. *** It takes some time to see it. But Andrievski is not an artist who looks and The fabulous and justly celebrated posters of the 1980s also mark one of sees ugly structures and draws them accordingly. the high-points of Illawarra graphic art – a time of heightened activism His buildings are animate – animals almost, but incomparably sad ones. when many local people literally hit the streets. And yet, for all my love Sad, sensate be-ings. of political art, it is Adelaide Perry who is for me the mid-20th century star of The Road to Wollongong. Perry – tied to the demands of private This is an artist with eyes like antennae, responding to every change of schoolgirls at MLC Burwood – seems to have spent much of her time the wind, as the haze touches steel and wood and pipe and tin; registering hiding her quite dazzling light under a bushel while masquerading as an every vibration of the air, every sea change, every . exhibiting Sunday painter of genius. Some claim (probably apocryphally) that the Inuit have thirty different She has not achieved the fame in death (unlike Grace Cossington Smith) words to describe the variations of snow. Andrievski can probably draw which eluded her in life. Yet Adelaide Perry often took one of the finest thirty different kinds of particle pollution on the same piece of paper. little steam engine trips in the universe from Sydney to John Young’s *** holiday house in the street picturesquely named “The Grove” just a And it was Cringila, of course, which brought us the genius of Bob Sredersas On the evidence of a single anonymous photo of a bus on a very narrow hop, skip and a jump from Austinmer Railway Station. It is my hope that - the Lithuanian migrant labouring steelworker who (in between shifts) dirt road, the road up in the 1950s does not appear to have the handful of Perry’s works depicted in this show will provoke both a caught the train to go to art auctions – and whose unfailing eye created been much wider than the 1850s one at Rixon’s Pass. reconsideration of her skills and a gathering of the many of her south the heart of the Wollongong Art Gallery collection. Sredersas willed the But you also need to experience the other paths which snake down coast images which have scattered to the four winds. spoils of his supreme taste and sophistication (achieved on a shoestring that steep ‘dark tor’ to the west of Illawarra’s beaches – O’Brien’s Road, *** budget) by purchasing – for as little as a single guinea – the artistic gold Macquarie and Bulli Passes and, of course, the foot of the amazingly long Art, as a full-time career, is hard. And, even today, the magnificent Paul that the silvertails of Sydney often failed to either see or appreciate. engineering marvel of Mount Ousley which is today signposted by Gino Ryan is probably the only person ever to make a full-time professional “What a country this is,” he is once reputed to have said, “where a common Sanguinetti’s totemic sculptures. – though still precarious – living solely from art while staying a full-time labourer can afford the work of its major artists!” If there is a message in this show then it is a simple one: “You need to get resident of Illawarra. It would have been great to bring real examples of Aboriginal scarred out more!” I also have a deep fondness for the work and the persistence of defiantly trees which once lined ancient dreaming tracks into the Gallery but, of For Wollongong, even at its ugliest, is breathtakingly heartbreakingly local female artists and printmakers like Kathy Orton and the late Joan course, that would be a far too Wordsworthian task and one sometimes beautiful. Meats. The black and white photographic excellence of Ray Mills, Tom necessitating the murder of the very things we love. An Indigenous Dion and Joanne Saad (all possessing exceptional archives of local niche possum skin rug worn on such a trek might have been desirable too – Joseph Davis cultural time capsules) is also especially dear to my heart. Indeed, there but they are too rare and precious and, anyway, the geographic origin of Thirroul, March 2015 must be fully 80 photographs by Mills taken in the 1960s and 1970s the few surviving examples is often very uncertain. The late May Barrie’s which well-nigh evoke an entire sand-blown and street-weary history massive stone sculptures (perhaps the ultimate road base) should have of Wollongong which would make for a wonderful solo retrospective also - quite literally - filled out that show but are simply best viewed in exhibition. situ while travelling on the road to Calderwood to see the grounds of her Yet there are others painters, photographers and digital artists (some that lived-in masterpiece named “Callemondah”. even connoisseurs of the truly ‘local’ may, as yet, be almost completely At least ’s stainless steel sculpture is there for you all unaware of) capable of powerfully illuminating what we have and have not to view at the Gallery entrance – and you can always catch (and most lost in developing our landscape. These include Jenny Cebockli with her importantly caress) the small May Barrie stone on the gallery’s western nostalgic pastel of “Wilkies Walkway” at Bulli, Roz Chatterway’s cheeky stairs or view her “Viva Solaris” (c. 1976, angaston marble, 180 x 38 x 38 image titled When you get home from work… and Amanda Hockey’s cm) in the beautiful grounds of the . fabulous photographic panorama of the view from underneath Windang Best of all, these last two instances cited above are reminders that this Bridge. Each of these images possesses an almost uncannily intimate is (despite quite some struggle to prevent it being so) a didactic show sense of place and distilled emotion. Above: Artist Unknown, (Mt Keira Bus), c. 1950’s?, digital designed to get you as much outside of the Gallery as into it. print of undated photograph. Private Collection *** Even as late as 1857 a work by a virtually unknown colonial artist James Left: (detail) James A.C. Willis, The Mountain Road at A single image like those mentioned above can thus sometimes do very A. C. Willis (b? – d. 1898) depicts the then main road into Wollongong Woonona (Rixon’s Pass Road, Illawarra), 1857, watercolour extraordinary things. (Rixon’s Pass) as little more than a goat track. with pencil, 29.2 x 22.2cm. Private Collection

20 21 Endnotes Fullwood, Albert Henry, Illawarra, from Mt Pleasant, Redback Graphix (Gregor Cullen & Michael Unknown, Artist, Wollongong City Mall sign, c. 1986, 1 “The Road to Bulli” oil by Margaret Preston (photographed in 7 “Valley of Jamberroo (sic), Illawarra”, Lithograph (21 x 25.4 14 “Joseph Selleny”, Design & Art Australia Online – available at 1891, watercolour on paper, 58.4 x 94cm. Wollongong Callaghan), Greetings from Wollongong, 1982, colour metal sign, 63 x 61cm. Private Collection black & white by Olive Cotton) in Present Day Art in Australia cm) - Image Number 10 from Sketches From Drawings by http://www.daao.org.au/bio/joseph-selleny/biography/ Art Gallery Collection. The George and Nerissa screenprint on paper, 59.5 x 87.5cm. Wollongong Art Unknown, Artist, (Womens Rights in the Workforce), (2), Ure Smith Pty. Limited, 1945, p.56. Captn. R.M.Westmacott, 1848 (print run unknown) – depicting Johnson Memorial Bequest, purchased 1998 Gallery Collection, Purchased with assistance from the 15 Jocelyn Hackforth-Jones, Augustus Earle: Travel Artist, c. 1985, poster, 72 x 57cm. Private Collection the Woodstock Mills at right. Visual Arts Board of the Australia Council, 1987 2 Joseph Davis, “Down on Berry’s Bay: The twilight years of National Library of Australia, , 1980, p. 8 Haefliger, Paul, above Bulli, re-print Unknown, Artist, (Bricks made by a serving convict or A.H. Fullwood”, February 2014 – available on line at: Joseph Davis, “Building A Culture: Architecture and Art of 1930’s original woodcut, 48 x 56 cm, Private Redback Graphix (Gregor Cullen & Michael 8 16 Joseph Davis, “Who Came Down…”, February 2012; for some ‘Ticket of Leave’ holder uncovered during construction https://uow.academia.edu/JosephDavis in Illawarra”, in A History of Wollongong, University of additional details of Dual’s life see Kristyn Harman, Aboriginal Collection Callaghan), Migrant Resource Centre Party, 1982, of Wollongong Mall in 1984), manufactured c. 1840 - Wollongong, 1997 3 Six lithographs from drawings by “Captain Westmacott, Convicts: Australian, Khoisan, and Maori Exiles, UNSW Press, Hill, Christine, Tom Thumb’s Journey 1796, 2005, colour screenprint on paper, 50 x 70cm. Wollongong 1842, fireclay, 22.5 x 10 x 8cm each. Private Collection Art Gallery Collection, Purchased with assistance from 4th Reg (or Kings Own)” drawn on stone by W. Gauci and 9 James Cook, Endeavour Journal, 28 April 1770: “…we found September 2012. coloured graphite pencil and watercolour on paper, Unknown, Artist, 2WL Scarf, local radio receptionists’ printed in England by lithographer Charles Joseph Hullmandel that we no where could effect a landing by reason of the great the Visual Arts Board of the Australia Council, 1987 17 Percy Lindsay’s original watercolour illustration for the story 80 x 100cm. Wollongong Art Gallery Collection, Gift uniform, late 1950’s early 1960s, printed polyester, 66 (1789 – 1850) and published by James Tegg, Bookseller and surff [sic] which beat every where upon the shore…” “While the Powder Dried” held by Wollongong Art Gallery. of private donor 2006 Reid, David G., Lake Scene Dapto, 1915, oil on canvas, x 66cm. Private Collection Printer, George Street, Sydney, under the title Series of Views in ’ Narrative of Tom Thumb’s Cruise to Canoe 87 x 113cm. Wollongong Art Gallery Collection, 10 18 Joseph Davis, Lake Illawarra: an ongoing history, Lake Hockey, Amanda, (Under Windang Bridge), 1996, , A commercial Aboriginal artefact, Australia, Part 1. 1838 (print run unknown); eighteen lithographs Rivulet (edited by Keith Bowden with a Foreword by Anne Donated by Doug and Marie Prosser and family, 2007 Unknown, Artist titled Sketches From Drawings by Captn. R. M. Westmacott, Illawarra Authority, 2005, pp. 19-20. photographic collage, 24 x 104cm. Private Collection purchased from a member of the Timbery family Flinders Petrie), South Eastern Historical Association, Roberts, Tom, At Clifton, 1898, oil on wood panel, Late 4th King’s Own Regt. Drawn on Stone by W. Spreat and Brighton, 1985 19 Joseph Davis, “The fond heart wandered: Charmian Clift & Joukador, Sam, (Laver Road across the freeway to staying in Port Kembla, late 1950s, paint on wood, 58 Printed at W. Spreat’s Lithographic Establishment, Park Place, Kiama”, Illawarra Historical Society Bulletin, May-June 1991. Compton Street at Mt Brown, Dapto), 1985, print of 12.3 x 19.2cm. Wollongong Art Gallery Collection, x 19 x 5cm. Private Collection Exeter, England, 1848 (print run unknown). 11 J.S.C. Dumont D’Urville, (edited and translated by Helen original scanned and enlarged colour photograph. The George and Nerissa Johnson Memorial Bequest, Rosenman). An Account of Two Voyages to the South Seas. 20 Joseph Davis, “‘Not Even Knowing What We Are Looking purchased 1999 von Guerard, Eugene, Cabbage tree forest, American 4 “Sketch map of the Coastline from Garie to Stanwell Park, [I]: Astrolabe, 1826-1829. [II]: Astrolabe and Zélée, 1837-1840. At’: Connoisseurship in Colonial Art and the imperatives of Collection of the Artist Creek, , 1860, oil on canvas, 51.2 x Myles J Dunphy, Mountain Trails Club, 1916”, SLNSW, M1 University Press, two volumes, 1987. attribution to a single hand: the strange case of the attribution Lanceley, Colin, Escarpment and the Sea (Illawarra), Ryan, Paul, Smoke and Steam Coalcliff, 2004, 85.5cm, Wollongong Art Gallery Collection, Purchased 811.1145/1915/1 – available online at: http://acms.sl.nsw.gov.au/ of a rare early Australian sketchbook to Edward Charles Close”, 2013-2014, oils on carved wood and canvas, 127 x charcoal on paper, 97 x 105cm. Private Collection with assistance from the Wollongong Gallery Society, album/albumView.aspx?itemID=1045290&acmsid=0 12 George William Evans, “Journal of an expedition overland unpublished manuscript, March 2013. from Jervis Bay to Mr Broughton’s farm near Appin, 25 169cm. Wollongong Art Gallery Collection Ryan, Paul, welcome to the jungle, 2010, oil on canvas, NSW Office of the Minister for the Arts. Public 5 “Illawarra Lake, New South Wales” lithograph from Series March-17 April [1812],” Manuscript, C709, State Library of NSW. 21 Josie Castle, Nursing at the , 1926-1982, Lindsay, Percy, While the powder dried: Illustration 122 x 90cm. Wollongong Art Gallery Collection, subscription, 1984 of Views in Australia, Part 1. 1838 (20 x 28.7cm.) is our first University Of Wollongong, 1985, p.5. Donated through the Australian Government’s Cultural ‘published’ local image and Augustus Earle 1827 images are the 13 Joseph Davis, “Who Came Down with Dr Charles Throsby?: for the book Great Events in Australian History, 1925, von Guerard, Eugene, View of Lake Illawarra with Joseph Davis, Lake Illawarra: an ongoing history, Lake Gifts Program by Paul Ryan earliest artworks which can be dated with confidence. John Wait, Joe Wild and John Rowley as Illawarra’s 1815 White 22 watercolour on paper, 19.5 x 31.0cm. Wollongong Art distant mountains of Kiama, 1860, oil on canvas, 51.1 x Pioneers – and the two Aboriginal Men who made it possible Illawarra Authority, 2005, p. 147. Gallery Collection. The George and Nerissa Johnson Saad, Joanne, Wog Boys, 1997, silver gelatin print, 85.3cm. Wollogong Art Gallery Collection, The George 6 Louis Frank, “Stanwell Park” (title on verso), undated oil, one for them be so”, February 2012 – available online at: https:// Memorial Bequest, purchased 1995 30.5 x 40.5 cm. Wollongong Art Gallery Collection, and Nerissa Johnson Memorial Bequest, purchased of three coastal landscapes titled Stanwell Park Oil on academy uow.academia.edu/JosephDavis board, each signed “Louis Frank”. Private Collection (27 x 41 cm). Meats, Joan, Conversation piece, 1974, oil on Donated through the Cultural Gifts Program by the 1992, with assistance from The IMB and the support composition board, 59.8 x 85cm. Wollongong Art artist, 2009 of , South Coast Equipment and the Gallery Collection, Gift of the Wollongong Art Saad, Joanne, Drive by Talking, 1997, silver gelatin Purchase Committee, 1978. Purchased 1974 print, 30.5 x 40.5 cm. Wollongong Art Gallery von Guerard, Eugene, Lake Illawarra (N.S.W.), 1867, Catalogue of Works in the Exhibition Mills, Ray, (Youth on swing looking towards Cliff Road Collection, Donated through the Cultural Gifts colour lithograph, 32.0 x 53.0cm. Wollongong Art Aberhart, Laurence, House (Corimal Street, Andrievski, Riste, Nomad’s land, 1993, Project Clarson, William, Wollongong Panorama, supplement Wollongong), late 1960s, print of scanned original Program by the artist, 2010 Gallery Collection. The George and Nerissa Johnson Wollongong), 1997, silver gelatin print, 40 x 50cm. exhibition postcard. Private Collection to the “Sydney Illustrated News”, 1887, image of the negative, Collection of the Artist Shield, Tara, Bridgework #2, 2005, gelatin silver Memorial Bequest, purchased 1992 Private Collection scanned original lithograph enlarged on alupanel, Andrievski, Riste, Cultured landscape, 1994, Northover, Geoffrey, (Berkeley Hill looking to Lake photograph, 45.7 x 45.7cm. Collection of the Artist von Guerard, Eugene, Cabbage tree forest, American from the collections of the Wollongong City Library Aberhart, Laurence, Port Kembla, 1997, silver gelatin lithograph, 45 x 57cm. Private Collection Illawarra), c. 1940s, print of scanned original negative. Southall, Nick, Jobs not Bombs (Hiroshima Day), 1983. Creek, 1867, colour lithograph, 33.3 x 53.0cm. and the Illawarra Historical Society Wollongong Art Gallery Collection. The George and print, 40 x 49cm. Private Collection Andrievski, Riste, Wentworth Street, Port Kembla, Private Collection A Wollongong Out Of Workers Union poster, 90 x Coffey, Alfred, Bulli (Looking down on Thirroul), 1917, Nerissa Johnson Memorial Bequest, purchased 1993 Aberhart, Laurence, Last Light, ships at sea off 1994, lithograph, 80 x 70cm. Private Collection Northover, Geoffrey, (Looking south west towards 62cm, Private Collection watercolour on paper, 34.8 x 24cm. Wollongong Art Wollongong, NSW, 1997, image in book, “All Gates Unanderra), c. 1940s, print of scanned original Squires, , Port Kembla Billy Cart Derby, 2013, Whiteley, Brett, Thirroul, 1988, pencil, gouache, pen, Andrievski, Riste, My Backyard, 1995, etching, 35 x Gallery Collection. The George and Nerissa Johnson Open: photographs by Laurence Aberhart” Fisher 56cm. Private Collection negative, Private Collection screenprint, 43 x 28cm. Wollongong Art Gallery brush and black ink, collage, ink wash, synthetic Gallery, New Zealand 1998. Private Collection Memorial Bequest, purchased 1995 polymer paint on five sheets of cardboard, 63.4 x , Illawarra, South Coast, NSW, Nowlan, Frank, Up Kennedy’s Hill (Austinmer), 2013, Collection, Gift of Thomas Goulder, Duckprint Fine Art Ashton, Julian Richard Considine, P., Wollongong Railway Station, 1979, oil on 253cm. Art Gallery of New South Wales Collection, after de Sainson, Louis Auguste, Naturels de la Baie c. 1950’s, poster, 101 x 75cm. Private Collection oil on board, 30.5 x 23cm. Collection of the Artist Studios, Port Kembla Jervis - Natives of Jervis Bay, 1826, engraving, hand canvas, 95 x 142cm. Private Collection Estate Nowlan, Frank, Treetop Glen Corner (Thirroul), 2009, Terry, Frederick Casemero (Charles), View from the coloured, 11.4 x 18.3cm. Wollongong Art Gallery Baum, Caroline, Black Map, 2006, photograph, , Last picture show, 2004, silver gelatin Whittaker, Iain, Goodness Knows Where, 2001 - 2014, Dion, Tom oil on board, 30.5 x 23cm. Collection of the Artist , South Coast, 1863, watercolour on paper, Collection. The George and Nerissa Johnson Memorial 59.4 x 42cm. Wollongong Art Gallery Collection. photograph, 27.6 x 37.4cm. Wollongong Art Galley oil on canvas, 111 x 213cm. Wollongong Art Gallery Purchased 2006 53.0 x 82.0cm. Wollongong Art Gallery Collection, Bequest, purchased 2002 Collection O’Driscoll, June, Clifton School of Arts, 1991, pastel on The George and Nerissa Johnson Memorial Bequest, Collection , Bulli Mountain (panorama from paper, 73 x 102cm. Private Collection after de Sainson, Louis Auguste, De La Baie Jervis, Caire, Nicholas Duczynski, Chris, Portrait of Tanya Sandy, 1986, purchased 1995 Willis, James A.C., The Mountain Road at Woonona Nouvelle - Hollande (Cote Orientale), 1826, engraving, near Sublime Point), 1879, vintage albumen paper vintage colour photographic print, 38.5 x 48.5cm. Orton, Kathryn, Wentworth Street, Port Kembla II, (Rixons Pass Road, Illawarra), 1857, watercolour with photograph, 24 x 30cm. Private Collection Townsend, Amanda, Woonona (from Bulli), 1989, hand coloured, 59.5 x 42.5cm. Wollongong Art Gallery Private Collection 2006, ink on paper, 14 x 296 x 1cm. Wollongong Art pastel on paper, 66 x 94cm. Private Collection pencil, 29.2 x 22.2cm. Private Collection Collection. The George and Nerissa Johnson Memorial Caladine, Richard, Underpass between Thirroul and Gallery Collection, Purchased 2012 Figtree, Lavinia, Corner of Crown and Church Streets Townsend, Amanda, Anunciation at Woonona Baths, Wilson, Cate, Headlands Hotel, 1995, watercolour on Bequest, purchased 2000 Bulli, 1998, colour photographic print, 31 x 45cm. Wollongong, c.1904, oil on canvas, 20.5 x 41cm. Parrella, Lucia, Dapto Dogs, 1992, etching, 53 x 40cm, card, 20 x 26cm. Private Collection Private Collection 1993, solar print and pastel, 50 x 40cm. Private after Westmacott, Robert Marsh, View from Bourkes Wollongong Art Gallery Collection. Donated through Private Collection Collection Winn, Algernon Edward Thornton, Main Street, Pass, on the Maneroo Range, New South Wales, with Caldwell, T.U.K., Springhill Road Lights, 1962, the Australian Government’s Cultural Gifts Program by , (Women and children, Sharkey’s Perry, Adelaide Unknown, Artist, Stuart Park Wollongong, c. 1920s, Thirroul, c. 1908, printed postcard, 9 x 13.5cm, from Mount Westmacott in the distance, 1838, lithograph, synthetic polymer paint on composition board, Selena Griffith Beach, Coledale), 1929, oil on board, 34.0 x 44.5 cm. the collections of the Wollongong City Library and the 92 x120cm. Wollongong Art Gallery Collection. vintage photographic print, 10 x 15cm. Private Collection 18.8 x 29.2cm, Wollongong Art Gallery Collection, Fizelle, Rah, Coast Road Wollongong, watercolour on Wollongong Art Gallery Collection, The George and Illawarra Historical Society Unknown, Artist, (Vintage Photographic Panorama of The George and Nerissa Johnson Memorial Bequest, Purchased by Wollongong City Council, 1963 paper, 34 x 44cm. Wollongong Art Gallery Collection. Nerissa Johnson Memorial Bequest, purchased 1994 Electrolytic, Refining & Smelting Works ER&S), c. 1919, purchased 2001 Carey, Heather, Sandon Point Bike Track, 1997, Purchased 2015 Perry, Adelaide, (Austinmer), 1926, oil on board, screenprint, 40 x 45cm. Private Collection photograph, 24.5 x 139.8cm. Private Collection after Westmacott, Robert Marsh, Valley of Jamberoo, Forster, William, S.S. Illawarra, 1883, watercolour, 35.5 x 45cm. Kiama Council Art Collection Unknown, Artist, (Mt Keira Bus), c. 1950s?, digital print 1848, lithograph, hand-coloured, 18 x 26cm, Cebockli, Jenny, Joe and Inga walk down to the sea gouache, varnish on paper, 40.6 x 64.3cm. Perry, Adelaide, South Coast, 1930, linocut, printed of undated photograph. Private Collection Wollongong Art Gallery Collection. The George and (Wilkie’s Walkway, Bulli, off Sturdee Ave), 2004, pastel Wollongong Art Gallery Collection, Gift of Radio 2WL in black ink on thin ivory laid tissue, 14.1 x 19.1cm. Art Nerissa Johnson Memorial Bequest, purchased 2014 on paper, 43 x 26.5cm. Private Collection to mark its 50th year of operation, 1981 Gallery of New South Wales Collection, Purchased 1975 Unknown, Artist, Double Art (Kembla Grange Race Track looking south east to Mount Warrigal), 1964, Allman, Captain Francis, Warra, c 1832-1834, print of Chattaway, Roz, When you go home…., 2003, , Stanwell Park, c. 1878, oil on canvas, Frank, Louis Preston, Margaret, The Road to Bulli (photographed hand coloured photograph, 22 x 48cm. Private original sketch, State Library of NSW photographic collage print, 99 x 62cm. Private 37 x 51cm. Private Collection by Olive Cotton), 1944, image in book “Present Day Collection Collection Art in Australia (II)”, 1945. Private Collection

22 23 purchased 1995 The George andNerissa JohnsonMemorialBequest, 53.0 x82.0cm. Wollongong Collection. ArtGallery Bulli Pass, SouthCoast, 1863, watercolour onpaper, Frederick Casemero (Charles) Terry, View from the weekends 12-4pm open Tues-Fri 10am-5pm www.facebook/wollongongartgallery www.wollongongartgallery.com phone 02 4227 8500 Corner Kembla &Burelli streets Wollongong

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