Important Australian Art Sydney | 25 November 2020
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BK011014 Sale
BOOK SALE Wednesday 1st October 2014 OKEHAMPTON STREET EXETER EX4 1DU Books Prints & Maps Sale st Wednesday 1 October 2014 Commencing at 10.00am. For Sale by Auction at St Edmunds Court Okehampton Street Exeter EX4 1DU On View th yeer Saturday 27 September 9.00am - 12noon Monday 29th September 9.00am – 5.15pm th Tuesday 30 September 9.00am – 5.15pm Art and Art Reference lot 1 - 60 Children's and Illustrated lots 61 - 84 History, Literature and Biography lots 85 - 277 Military lots 278 - 289 Travel, Topography and Local History lots 290 - 443 Science and Natural History lots 444 - 483 Sporting lots 484 - 501 Manuscripts and Photographs lots 502 - 556 Maps and Prints lots 557 - 619 Catalogue £5.00 (£7.00 by post ) WEDNESDAY 1st October 2014 Sale commences at 10am. 1 . A & C BLACK COLOUR PLATE BOOK 7 . BRANGWYN, Frank The Pageant of John Halifax Gentleman by Dinah Venice, by Edward Hutton, illust, org. Maria Mulock, 20 mounted colour cloth, 4to, 1922. With 9 others. (10) plates, Org. decorative cloth, 4to, £80-£120. limited edition 250 copies, 1912. [fine copy}, with 6 other books, and a 8 . BURNEY, Charles - The Present State watercolour. (8) of Music in France and Italy £40-£60. re-bkd. publs. bds., 8vo, 1771; The Present State of Music in Germany, 2 . A theatre bill Theatre Royal Drury Lane The Netherlands and United Provinces, advertising a Production of 'Douglas' to publs. bds. (vol II re-bkd.), 8vo., 1773 be performed on September 15 1803 (3) etc. £80-£120. £20-£30. 9 . BUTLIN (Martin) & JOLL (Evelyn) - The 3 . -
British Art Studies November 2018 Landscape Now British Art Studies Issue 10, Published 29 November 2018 Landscape Now
British Art Studies November 2018 Landscape Now British Art Studies Issue 10, published 29 November 2018 Landscape Now Cover image: David Alesworth, Unter den Linden, 2010, horticultural intervention, public art project, terminalia arjuna seeds (sterilized) yellow paint.. Digital image courtesy of David Alesworth. PDF generated on 30 July 2019 Note: British Art Studies is a digital publication and intended to be experienced online and referenced digitally. PDFs are provided for ease of reading offline. Please do not reference the PDF in academic citations: we recommend the use of DOIs (digital object identifiers) provided within the online article. Theseunique alphanumeric strings identify content and provide a persistent link to a location on the internet. A DOI is guaranteed never to change, so you can use it to link permanently to electronic documents with confidence. Published by: Paul Mellon Centre 16 Bedford Square London, WC1B 3JA https://www.paul-mellon-centre.ac.uk In partnership with: Yale Center for British Art 1080 Chapel Street New Haven, Connecticut https://britishart.yale.edu ISSN: 2058-5462 DOI: 10.17658/issn.2058-5462 URL: https://www.britishartstudies.ac.uk Editorial team: https://www.britishartstudies.ac.uk/about/editorial-team Advisory board: https://www.britishartstudies.ac.uk/about/advisory-board Produced in the United Kingdom. A joint publication by Contents Fire-Stick Picturesque: Landscape Art and Early Colonial Tasmania, Julia Lum Fire-Stick Picturesque: Landscape Art and Early Colonial Tasmania Julia Lum Abstract Drawing from scholarship in fire ecology and ethnohistory, thispaper suggests new approaches to art historical analysis of colonial landscape art. British artists in the colony of Van Diemen’s Land (Tasmania) relied not only on picturesque landscape conventions to codify their new environments, but were also influenced by local vegetation patterns and Indigenous landscape management practices. -
Gestural Abstraction in Australian Art 1947 – 1963: Repositioning the Work of Albert Tucker
Gestural Abstraction in Australian Art 1947 – 1963: Repositioning the Work of Albert Tucker Volume One Carol Ann Gilchrist A thesis submitted for the degree of Doctor of Philosophy Department of Art History School of Humanities Faculty of Arts University of Adelaide South Australia October 2015 Thesis Declaration I certify that this work contains no material which has been accepted for the award of any other degree or diploma in my name, in any university or other tertiary institution and, to the best of my knowledge and belief, contains no material previously published or written by another person, except where due reference has been made in the text. In addition, I certify that no part of this work will, in the future, be used for any other degree or diploma in any university or other tertiary institution without the prior approval of the University of Adelaide and where applicable, any partner institution responsible for the joint-award of this degree. I give consent to this copy of my thesis, when deposited in the University Library, being made available for loan and photocopying, subject to the provisions of the Copyright Act 1968. I also give permission for the digital version of my thesis to be made available on the web, via the University‟s digital research repository, the Library Search and also through web search engines, unless permission has been granted by the University to restrict access for a period of time. __________________________ __________________________ Abstract Gestural abstraction in the work of Australian painters was little understood and often ignored or misconstrued in the local Australian context during the tendency‟s international high point from 1947-1963. -
Emu Island: Modernism in Place 26 August — 19 November 2017
PenrithIan Milliss: Regional Gallery & Modernism in Sydney and InternationalThe Lewers Trends Bequest Emu Island: Modernism in Place 26 August — 19 November 2017 Emu Island: Modernism in Place Penrith Regional Gallery & The Lewers Bequest 1 Spring Exhibition Suite 26 August — 19 November 2017 Introduction 75 Years. A celebration of life, art and exhibition This year Penrith Regional Gallery & The Lewers Bequest celebrates 75 years of art practice and exhibition on this site. In 1942, Gerald Lewers purchased this property to use as an occasional residence while working nearby as manager of quarrying company Farley and Lewers. A decade later, the property became the family home of Gerald and Margo Lewers and their two daughters, Darani and Tanya. It was here the family pursued their individual practices as artists and welcomed many Sydney artists, architects, writers and intellectuals. At this site in Western Sydney, modernist thinking and art practice was nurtured and flourished. Upon the passing of Margo Lewers in 1978, the daughters of Margo and Gerald Lewers sought to honour their mother’s wish that the house and garden at Emu Plains be gifted to the people of Penrith along with artworks which today form the basis of the Gallery’s collection. Received by Penrith City Council in 1980, the Neville Wran led state government supported the gift with additional funds to create a purpose built gallery on site. Opened in 1981, the gallery supports a seasonal exhibition, education and public program. Please see our website for details penrithregionalgallery.org Cover: Frank Hinder Untitled c1945 pencil on paper 24.5 x 17.2 Gift of Frank Hinder, 1983 Penrith Regional Gallery & The Lewers Bequest Collection Copyright courtesy of the Estate of Frank Hinder Penrith Regional Gallery & The Lewers Bequest 2 Spring Exhibition Suite 26 August — 19 November 2017 Introduction Welcome to Penrith Regional Gallery & The of ten early career artists displays the on-going Lewers Bequest Spring Exhibition Program. -
Does Early Colonial Art Provide an Accurate Guide to the Nature and Structure of the Pre-European Forests and Woodlands of South
Does early Colonial Art provide an accurate guide to the nature and structure of the pre-European forests and woodlands of South-Eastern Australia? A study focusing on Victoria and Tasmania By Michael Francis Ryan B For Sei, University of Melbourne Submitted in fulfilment of the requirement for the degree of: Master of Forestry Australian National University November 2009 Candidate’s Declaration I declare that this is the original work of Michael Francis Ryan of 84 Somerville Rd Yarraville, Victoria submitted in fulfilment of the requirement for the degree of Master of Forestry at the Australian National University. 2 Acknowledgements I am very grateful for the assistance and patience especially of Professor Peter Kanowski of the Australian National University for overseeing this work and providing guidance and advice on structure, content and editing. I would also like to acknowledge Professor Tim Bonyhady also of the Australian National University, whose expertise in the artwork field provided much inspiration and thoughtful analysis understanding early artwork. Bill Gammage, also from the ANU, provided excellent critical analysis using his extensive knowledge of the artists of the period to suggest valuable improvements. Ron Hateley from the University of Melbourne has an incredible knowledge of the early history of Victoria and of the ecology of Australia’s forests and woodlands. Ron continued to be a great sounding board for ideas and freely shared his own thoughts on early artwork in Western Victoria and the nature of the pre-European forests and I thank him for his assistance. Pat Groenhout, formally from VicForests, provided detailed comments and proof reading of manuscripts and this has considerably improved the readability and structure. -
No Place Like Home: Australian Art History and Contemporary Art at the Start of the 1970S
No place like home: Australian art history and contemporary art at the start of the 1970s Heather Barker and Charles Green This‖essay‖considers‖an‖emergent‖Australian‖art‖history’s‖dramatically‖changing‖ impact on art criticism in the late 1960s and, in turn, as a key part of a wider perspective on the intersection of contemporary art and art history in Australia from the early 1960s into the 1980s. The change in Australian art history was evident in the development of modes of professional competence modelled on formalism and a tendentious neo-Marxism in transition towards an affectless postmodernism, already strands in international art history as a discipline. So, during the period, seminal Australian art historian Bernard Smith's battle against what he saw as American cultural imperialism was well and truly lost. Young art historians writing on contemporary art from the late 1960s on, including art historians Patrick McCaughey and Terry Smith, were convinced that the centre of world art was now New York. This idea of world art did not, however, diminish the Australian preoccupation with nation, national identity and the position—and therefore the category—of Australian art.‖Rather,‖it‖was‖to‖result‖in‖key‖writings,‖from‖Terry‖Smith’s‖articles‖to‖Paul‖ Taylor’s‖postmodern‖polemics‖in‖Art and Text, all of which above all sought to locate Australian art in relation to international (which largely remained American) art. Here, we shall focus on the turn from the 1960s into the 1970s. It has been our belief, since Green wrote the conclusion -
Course Number and Title: CAS AH 374 Australian Art and Architecture
Course Number and Title: CAS AH 374 Australian Art and Architecture Instructor/s Name/s: Peter Barnes Course Dates: Spring Semester, Fall Semester Office Location: BU Sydney Programs, Australia, a division of BU Study Abroad Course Time: Two sessions per week in accordance with class schedule: one session of 4 + hours and one session of 2 hours in a 7-8 week teaching half of a semester. Location: Classrooms, BU Sydney Academic Centre, Sydney, Australia, and multiple out-of-classroom field trips as scheduled, one of which is a 12 hour day long field trip outside the city to Canberra, Australia’s national capital and home to National Art Galleries, and Museums. Course Credits: 4 BU credits plus 2 BU Hub units Contact Information: [email protected] Office Hours: 15 minutes prior to and following course delivery or by appointment. TA/TF/Learning Assistant information, if relevant: 0 Principal Lecturers: Peter Barnes Guest Lecturers: Vary in accordance with available artists. One example is: Tom Carment, a working artist Question-driven Course Description: *How have European art traditions influenced the art practice of Australia’s indigenous peoples and how in turn has Aboriginal culture impacting the art of non-indigenous Australians? *The 18th century voyages to the southern ocean placed artists in a prominent role as practitioners of the new science of observation and experimentation promoted by the Royal Society. How does this differ from the idealist aesthetics of the Royal academy and what impact did this have on art in Australia during -
James Duffield Harding (London 1798 - London 1863)
James Duffield Harding (London 1798 - London 1863) Bologna watercolour over pencil heightened with bodycolour and gum arabic 19.6 x 29.4 cm (7¾ x 11½ in) In this delightful watercolour James Duffield Harding’s has combined the timeless classicism of the city with such a charming theatrical portrayal of human interaction. The result is a truly radiant expression of the Emilia-Romagnan capital. In the foreground, Harding has depicted a group of figures in close interaction with one another. Five ladies, two gentlemen and one dog form a figural arch, the shape of which is loosely guided by the hats and headdress of the individuals. The rich overlap of the ladies’ skirts renders the individual forms more or less indistinguishable, creating a lively visual flow which seems to illustrate the conversation and further unify the group. As the dog looks eagerly beyond the group, the viewer is alerted to the presence of a mother and child dressed in rags at the periphery of the arch, tentatively approaching their well-dressed counterparts. As the eye is drawn along from this figural interplay to the classical architecture which frames the cityscape, Harding surprises the viewer with the figure of another lady who is leaning over the balustrade contemplating the view below. She is faceless; invisible but for her colourful dress and hat. The faceless form of this lady is cleverly mirrored by her classical companions who stand atop the architecture, their backs to the city; similarly surveying the view below which is inaccessible to the viewer. The present work was engraved by Edward Finden and published in Finden’s Illustrations of the Life and Works of Lord Byron. -
Australian Art
Australian Art Josef Lebovic Gallery 103a Anzac Parade (cnr Duke Street) Kensington (Sydney) NSW Ph: (02) 9663 4848; Fax: (02) 9663 4447 Email: [email protected] Web: www.joseflebovicgallery.com JOSEF LEBOVIC GALLERY Established 1977 103a Anzac Parade, Kensington (Sydney) NSW Post: PO Box 93, Kensington NSW 2033, Australia Tel: (02) 9663 4848 • Fax: (02) 9663 4447 • Intl: (+61-2) Email: [email protected] • Web: joseflebovicgallery.com Open: Wed to Fri by appointment, Sat 12-5pm • ABN 15 800 737 094 Member of • Association of International Photography Art Dealers Inc. International Fine Print Dealers Assoc. • Australian Art & Antique Dealers Assoc. 1. Anon. Antipodeans - Victorian Artists Society, 1959. Lithograph, inscribed in ink in an unknown hand verso, 35.3 x 43cm COLLECTORS’ LIST No. 145, 2010 (paper). Some stains and soiling overall. $1,250 Text continues “[On show] 4th August to 15th August. Charles Blackman, Arthur Boyd, David 2. Normand Baker (Australian, 1908- Australian Art Boyd, John Brack, Bob Dickerson, John Perceval, 1955). [George Chew Lee’s Produce Store], Clifton Pugh, Bernard Smith.” Inscription reads c1930. Pencil drawing with colour notations, “Dear Sir, Would it be possible if you could please put this poster in your window. Yours sincerely, accompanied by a handwritten note of Compiled by Josef & Jeanne Lebovic, Lenka Miklos, Mariela Brozky The Antipodeans. P.S. The Antipodeans would be authenticity, 34 x 24.2cm. Slight foxing, On exhibition from Saturday, 16 October to Saturday, 20 November and thankful.” minor soiling to edges. The artists mentioned in this poster formed the $880 on our website from 23 October. Antipodean group to show work by figurative The note reads “I declare that this pencil sketch All items have been illustrated in this catalogue. -
Culture and Customs of Australia
Culture and Customs of Australia LAURIE CLANCY GREENWOOD PRESS Culture and Customs of Australia Culture and Customs of Australia LAURIE CLANCY GREENWOOD PRESS Westport, Connecticut • London Library of Congress Cataloging-in-Publication Data Clancy, Laurie, 1942– Culture and customs of Australia / Laurie Clancy. p. cm. Includes bibliographical references and index. ISBN 0–313–32169–8 (alk. paper) 1. Australia—Social life and customs. I. Title. DU107.C545 2004 306'.0994 —dc22 2003027515 British Library Cataloguing in Publication Data is available. Copyright © 2004 by Laurie Clancy All rights reserved. No portion of this book may be reproduced, by any process or technique, without the express written consent of the publisher. Library of Congress Catalog Card Number: 2003027515 ISBN: 0–313–32169–8 First published in 2004 Greenwood Press, 88 Post Road West, Westport, CT 06881 An imprint of Greenwood Publishing Group, Inc. www.greenwood.com Printed in the United States of America The paper used in this book complies with the Permanent Paper Standard issued by the National Information Standards Organization (Z39.48–1984). 10 9 8 7 6 5 4 3 2 1 To Neelam Contents Preface ix Acknowledgments xiii Chronology xv 1 The Land, People, and History 1 2 Thought and Religion 31 3 Marriage, Gender, and Children 51 4 Holidays and Leisure Activities 65 5 Cuisine and Fashion 85 6 Literature 95 7 The Media and Cinema 121 8 The Performing Arts 137 9 Painting 151 10 Architecture 171 Bibliography 185 Index 189 Preface most americans have heard of Australia, but very few could say much about it. -
Biographies and Autobiographies of Historians, Edited by Doug Munro and John G
9 Pursuing the Antipodean: Bernard Smith, Identity and History Sheridan Palmer Identity mattered to Bernard Smith, probably more than for most people. As an illegitimate child and a fostered ward of the state, anonymity had haunted him, but it also drove his ambitions. By using these two opposing structures as tension rods, identity and anonymity, he sought validation through his work and recognition as an art and cultural historian. His revision of Australia’s modern cultural evolution, written from a fiercely independent position, was based around colonial inheritance, cultural traffic and transformation, but it was also intended to shake up an ‘uncritical culture’ and situate it in a more conspicuous international position. From the mid-1940s, his historiography became the benchmark for scholars and artists in their pursuit of, or argument with, Antipodean identity and cultural autonomy, and this chapter seeks to explain why Bernard Smith’s rethinking of antipodeanism – a term he coined – and his aim to legitimate Australian culture within a globalised postwar world was a pioneering and brilliant study of cultural origins and evolution; at a personal level it reflected his own genesis. 199 CLIO'S LIVES ‘To understand Australia one must look elsewhere’1 Writing to his friend Lindsay Gordon in 1948, Bernard Smith stated: I am becoming convinced that the conceptions of … Utopia, and ‘working man’s paradise’ in the Southern Land is one of the central historical ideas running through Australian literature, art and politics. It is perhaps the myth-making of the voyager and the emigrant … another aspect of Illusion and Reality.2 Bernard Smith, 1948 passport photo Source: Bernard Smith Papers, National Library of Australia . -
Plymouth City Museum and Art Gallery
GB 1083 Archives Plymouth City Museum and Art Gallery This catalogue was digitised by The National Archives as part of the National Register of Archives digitisation project NR A 38611 The National Archives PLYMOUTH CITY MUSEUMS AND ART GALLERY Drake Circus, Plymouth, Devon PL4 8AJ 01752 264878 This report arises from a survey of archival material in museums in Devon and Cornwall undertaken on behalf of the Museums and Galleries Commission, with support from the Royal Commission on Historical Manuscripts, January - April 1995. (Museums and Archives, a Museums and Galleries Commission Report, researched by Clare Conybeare and Anita Travers.) Plymouth City Museum and Art Gallery was founded in 1897 and has been a local authority institution since its foundation. The museum service is responsible for four other sites: Merchants House Museum, Elizabethan House, Smeaton's Tower and the Plymouth Dome. Of these, the Merchants House has some archival material such as posters on display, but it was not possible on the occasion of this survey to inspect it. Some original Drake and Raleigh documents are displayed at Buckland Abbey: others are deposited on loan at West Devon Record Office. Archive material is held in three departments of the main museum: Human History, Art, and Natural Sciences. The MuseunVs own archives are vulnerable to a policy of the accounts administration department of the City Council of destroying correpondence after 5 years. It has accession cards for all the collections since 1897, and index cards for donors, vendors, prints (artists & engravers), lenders, topography, ceramics, metal, glass, textiles etc. Curatorial correspondence with much valuable information occupies 2 filing cabinets but remains unsorted for want of staff time.