Guide to the Lindsay Family Papers
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Public Place Names (Lawson) Determination 2013 (No 1)
Australian Capital Territory Public Place Names (Lawson) Determination 2013 (No 1) Disallowable instrument DI2013-228 made under the Public Place Names Act 1989 — section 3 (Minister to determine names) I DETERMINE the names of the public places that are Territory land as specified in the attached schedule and as indicated on the associated plan. Ben Ponton Delegate of the Minister 04 September 2013 Page 1 of 7 Public Place Names (Lawson) Determination 2013 (No 1) Authorised by the ACT Parliamentary Counsel—also accessible at www.legislation.act.gov.au SCHEDULE Public Place Names (Lawson) Determination 2013 (No 1) Division of Lawson: Henry Lawson’s Australia NAME ORIGIN SIGNIFICANCE Bellbird Loop Crested Bellbird ‘Bellbird’ is a name given in Australia to two endemic (Oreoica gutturalis) species of birds, the Crested Bellbird and the Bell-Miner. The distinctive call of the birds suggests Bell- Miner the chiming of a bell. Henry Kendall’s poem Bell Birds (Manorina was first published in Leaves from Australian Forests in melanophrys) 1869: And, softer than slumber, and sweeter than singing, The notes of the bell-birds are running and ringing. The silver-voiced bell-birds, the darlings of day-time! They sing in September their songs of the May-time; Billabong Street Word A ‘billabong’ is a pool or lagoon left behind in a river or in a branch of a river when the water flow ceases. The Billabong word is believed to have derived from the Indigenous Wiradjuri language from south-western New South Wales. The word occurs frequently in Australian folk songs, ballads, poetry and fiction. -
Australian & International Posters
Australian & International Posters Collectors’ List No. 200, 2020 e-catalogue Josef Lebovic Gallery 103a Anzac Parade (cnr Duke St) Kensington (Sydney) NSW p: (02) 9663 4848 e: [email protected] w: joseflebovicgallery.com CL200-1| |Paris 1867 [Inter JOSEF LEBOVIC GALLERY national Expo si tion],| 1867.| Celebrating 43 Years • Established 1977 Wood engra v ing, artist’s name Member: AA&ADA • A&NZAAB • IVPDA (USA) • AIPAD (USA) • IFPDA (USA) “Ch. Fich ot” and engra ver “M. Jackson” in image low er Address: 103a Anzac Parade, Kensington (Sydney), NSW portion, 42.5 x 120cm. Re- Postal: PO Box 93, Kensington NSW 2033, Australia paired miss ing por tions, tears Phone: +61 2 9663 4848 • Mobile: 0411 755 887 • ABN 15 800 737 094 and creases. Linen-backed.| Email: [email protected] • Website: joseflebovicgallery.com $1350| Text continues “Supplement to the |Illustrated London News,| July 6, 1867.” The International Exposition Hours: by appointment or by chance Wednesday to Saturday, 1 to 5pm. of 1867 was held in Paris from 1 April to 3 November; it was the second world’s fair, with the first being the Great Exhibition of 1851 in London. Forty-two (42) countries and 52,200 businesses were represented at the fair, which covered 68.7 hectares, and had 15,000,000 visitors. Ref: Wiki. COLLECTORS’ LIST No. 200, 2020 CL200-2| Alfred Choubrac (French, 1853–1902).| Jane Nancy,| c1890s.| Colour lithograph, signed in image centre Australian & International Posters right, 80.1 x 62.2cm. Repaired missing portions, tears and creases. Linen-backed.| $1650| Text continues “(Ateliers Choubrac. -
PUBLISHED VERSION Nicholas Jose Geoffrey Dutton
PUBLISHED VERSION Nicholas Jose Geoffrey Dutton: little Adelaide and New York Nowhere Adelaide: a literary city, 2013 / Buttress, P. (ed./s), Ch.10, pp.183-198 © 2013 The Authors This work, with the exception of the poem, New York Nowhere: Meditations and Celebrations, Neurology Ward, The New York Hospital by Geoffrey Dutton, is licenced under the Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International (CC BY-NC-ND 4.0) License. Published version https://doi.org/10.20851/adelaide-literary-10a PERMISSIONS http://creativecommons.org/licenses/by-nc-nd/4.0/ 14 December 2017 http://hdl.handle.net/2440/88615 Geoffrey Dutton: Little 10 Adelaide and New York 1 Nowhere 16 Nicholas Jose It ought to be impossible to talk about literary Adelaide without due mention of Geoffrey Dutton (1922-98). As a prime mover of Writers' Week and the Adelaide Festival of Arts, and founding co-editor of Australian Letters (1957–68) and Australian Book Review (1961- ), both magazines based in Adelaide, Dutton was central to the city's post-war cultural initiatives. He was associated with the University of Adelaide, where he studied for a year before enlisting (another magazine, Angry Penguins, appeared controversially there that same year, 1940) and later taught. He was one of the English Department's lively cohort of writers and scholars who were enthusiastic about Australian and other 'new' literatures. From Adelaide, Dutton played important national roles too, as editor at the newly formed Penguin Australia, co-founder of Sun Books, publisher at Macmillan and editor of the Bulletin's literary supplement. He served on 1 I am grateful to Tisi Dutton, Robin Lucas and John Thompson for help with this essay, and to Cheryl Hoskin, Special Collections Librarian, Barr Smith Library, the University of Adelaide. -
Chapter 4. Australian Art at Auction: the 1960S Market
Pedigree and Panache a history of the art auction in australia Pedigree and Panache a history of the art auction in australia Shireen huda Published by ANU E Press The Australian National University Canberra ACT 0200, Australia Email: [email protected] This title is also available online at: http://epress.anu.edu.au/pedigree_citation.html National Library of Australia Cataloguing-in-Publication entry National Library of Australia Cataloguing-in-Publication entry: Author: Huda, Shireen Amber. Title: Pedigree and panache : a history of the art auction in Australia / Shireen Huda. ISBN: 9781921313714 (pbk.) 9781921313721 (web) Notes: Includes index. Bibliography. Subjects: Art auctions--Australia--History. Art--Collectors and collecting--Australia. Art--Prices--Australia. Dewey Number: 702.994 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying or otherwise, without the prior permission of the publisher. Cover design by Teresa Prowse Cover image: John Webber, A Portrait of Captain James Cook RN, 1782, oil on canvas, 114.3 x 89.7 cm, Collection: National Portrait Gallery, Canberra. Purchased by the Commonwealth Government with the generous assistance of Robert Oatley and John Schaeffer 2000. Printed by University Printing Services, ANU This edition © 2008 ANU E Press Table of Contents Preface ..................................................................................................... ix Acknowledgements -
Eric Irvin, Gentleman George: King of Melodrama. Brisbane: the Father
ELIZABETH PERKINS BRIEF REVIEWS Eric Irvin, Gentleman George: King of Melodrama. Brisbane: University of Queensland Press, 1980. Cloth $14.95. 234 PP. with index. David Williamson, Travelling North. Sydney: The Currency Press, 1980. Paper $4.95. 88 pp. John Summons, Lamb of God. Theatre Australia New Writing Series. Sydney: The Currency Press, 1980. Paper $2.75. 96 pp. Louis Nowra, Visions. Sydney: The Currency Press, 1979. Paper $3.95. Sumner Locke-Elliott, Rusty Bugles. Sydney: The Currency Press, 1980. Paper $4.95. 112 pp. Three Political Plays ed. Airene Sykes. (Steve J. Spears, King Richard; Stephen Sewell, The Father We Loved on A Beach By The Sea; John Bradley, Irish Stew). Brisbane: University of Queensland Press, 1980. Cloth $17.95, paper $9.95. 156 pp. Barry Oakley, The Great God Mogadon and Other Plays. Brisbane: University of Queens- land Press, 1980. Cloth $8.95, paper $4.95. 119 pp. George Darrell is known to followers of Australian drama as the author of The Sunny South, first produced in Melbourne in 1883, and published by The Currency Press in the National Theatre series in 1975. Eric Irvin and the University of Queens- land Press have produced a handsome, well-illustrated biography of George Darrell, with useful references and an index. The Sunny South is apparently the only extant script by Darrell, and has an interest beyond its status as a competent and typical nineteenth century melodrama. Darrell came to Melbourne in 1865 at the age of twenty- three. He was then George Frederick Price, the son of an inn- keeper of Bath, already in love with everything about the theatre. -
Chapter 1 Douglas Stewart
CHAPTER 1 DOUGLAS STEWART: THE EARLY YEARS 1925-1938 Throughout the many scholarly works that focus on Stewart’s place in Australian literature, the word that recurs in respect of Douglas Stewart’s creative work is ‘versatile’. One of its first appearances is in Nancy Keesing’s Douglas Stewart, which begins with the precise statement: ‘Douglas Stewart is the most versatile writer in Australia today ⎯ perhaps the most versatile who ever lived in this country. He is a poet whose poetry and nature as a poet are central to everything in which he excels’.93 Stewart was not only a poet whose early philosophy that the closer one moves towards nature the closer one moves towards the spirit of the earth, developed as a line of continuity which contributed to his total philosophy; this chapter focuses on Stewart’s life and poetic ambition in New Zealand until his move to Australia as an expatriate in 1938. As a mature poet he was then concerned to apply this pantheism to modern responses regarding humans and their experiences. The purpose of the introductory part of this chapter is to clarify the theme of the dissertation ⎯ Douglas Stewart’s creative impulse; the second part involves a discussion of the poet’s visit to England where he met poets Powys and Blunden. At this time he also journeyed to his ancestral home in Scotland. Upon his return to Australia in 1938 he was offered a position with Cecil Mann at the Bulletin. Stewart was also a distinguished verse dramatist, a successful editor, particularly of the Red Page of the Bulletin from 1940 to 1960,94 and a participant of some repute in journalism and publishing. -
Randolph the Reckless: Explorations in Australian Masculine Identity, 1889-1941
Randolph the Reckless: Explorations in Australian Masculine Identity, 1889-1941 CHERYL TAYLOR,JAMES COOK UNIVERSITY M. Green remarked that Randolph Bedford was almost as represent ative of the Australia of his day as Lawson or Furphy or Paterson (706). It is certainly the case that from the publication of his earliest Bulletin story inH 1889 until his death in July 1941, Bedford was constantly before the eyes of the Australian reading public. 1 In this essay I argue the view that he principally of fered his contemporaries a paradigm for Australian masculinity. The paradigm operated in the areas of male with male and male with female relationships, as well as in the political and financial spheres. Green's sense of Bedford as a writer of the 1890s can be supported, since it was in this decade and during Federation that his influence was paramount and most original. He offered extreme or ex panded versions of masculine gender norms, sometimes resisting and at other times anticipating innovation. Aspects of the Bedford model persist in current concepts of Australian masculinity. The model was embattled from the beginning, and increasingly vulnerable. In the decades before World War I, Bedford exemplified an extreme masculine au tonomy, based on his exploits as a journalist and mining entrepreneur in the out back and in Europe. He projected this image in the club and pub world of male interchange, which was his natural habitat, and which defined itself in the period as Bohemian and atheistic, against the opposing parameters of suburban respon� sibility and female and clerical support for temperance. -
Mid-Century Responses to Modernism
Chapter 4.'A Tradition of Conservatism': Mid-Century Responses to Modernism While a number of early to mid-century Australian poets can be shown to have engaged in some of the central debates of modernism, few can be said to have advocated the kind of radical stylistic experimentation and innovation characteristic of European and American modernism. This lack of radical stylistic innovation and experimentation has been noted by numerous critics, and tends to support Tranter's view that Australian poetry before the New Poetry period had been dominated by a 'tradition of conservatism.'1 Martin Harrison has described the work of Australian poets before the New Poetry, noting in their poetry: The certainty of persona-voice, the clarity of ostensive reference, the sup• pression of metaphor and image-reference in the central thought, [and] the resolution of that thought in conclusiveness... ? Alexander Craig, in his introduction to the Twelve Poets anthology in 1971, also pointed to a 'general conservatism or lack of experiment in Australian poetry' which he saw as being 'accompanied by a discursive, over-explanatory dullness in many poems. '3 Harrison's and Craig's views are supported by other critics. According to Julian Croft, neither Slessor, nor Wilmot - the two poets most often associated with modernist innovations - responded to the new stylistic directions for poetry in the twenties.4 While suggesting that Bertram Higgins' poem, '"Mordecaius" Overture' (1933) as Australia's first 'modernist' poem,5 Croft argues that it was not until the late thirties and early forties, with Slessor's 'Five Bells' and R D FitzGerald's poems 'The Hidden Bole,' 'Essay on Memory' and 'The Face on the Waters' that Tranter, The Xew Australian Poetry: xvii. -
Better Half-Dead Than Read? the Mezzomorto Cases and Their Implications for Literary Culture in the 1930S
This may be the author’s version of a work that was submitted/accepted for publication in the following source: Goldsmith, Ben (1998) Better half-dead than read? The Mezzomorto cases and their implications for literary culture in the 1930s. In Australian Literature and the Public Sphere, 1998-07-03 - 1998-07-07. This file was downloaded from: https://eprints.qut.edu.au/78437/ c Copyright 1998 [please consult the author] This work is covered by copyright. Unless the document is being made available under a Creative Commons Licence, you must assume that re-use is limited to personal use and that permission from the copyright owner must be obtained for all other uses. If the docu- ment is available under a Creative Commons License (or other specified license) then refer to the Licence for details of permitted re-use. It is a condition of access that users recog- nise and abide by the legal requirements associated with these rights. If you believe that this work infringes copyright please provide details by email to [email protected] Notice: Please note that this document may not be the Version of Record (i.e. published version) of the work. Author manuscript versions (as Sub- mitted for peer review or as Accepted for publication after peer review) can be identified by an absence of publisher branding and/or typeset appear- ance. If there is any doubt, please refer to the published source. Better Half-Dead than Read? The Mezzomorto Cases and their Implications for Literary Culture in the 1930si BEN GOLDSMITH, GRIFFITH UNIVERSITY This article focusses on the two libel cases arising from Brian Penton's review of Vivian Crockett's novel Mezzomorto for the Bulletin in 1934, viewing them as points of entry into Australian literary politics in the 1930s, and as windows on to one of the most enduring and interesting feuds in Australian literary culture, that between P.R. -
Lionel Lindsay
Lionel Lindsay Lionel Lindsay The Printmakers’ Printmaker Lionel Lindsay The Printmakers’ Printmaker Written by Robert C. Littlewood Published by PTY DOUGLAS STEWART FINE BOOKS LTD First Edition Standard version: 1000 copies bound in wrappers De luxe version: 150 signed copies + 10 for presentation Casebound in cloth with orginal print and deluxe supplement First Published January 2011 PTY DOUGLAS STEWART FINE BOOKS LTD PO Box 272 Prahran Melbourne Victoria 3181 Australia +61 3 9510 8484 [email protected] www.DouglasStewart.com.au All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or any other informational storage and retrieval system, without prior permission in writing from the publisher. ISBN: Standard Version: 1 905611 53 6 978 1 905611 53 9 De Luxe Version: 1 905611 54 4 978 1 905611 54 6 Photography: James Calder, ACME Photographics Tira Lewis Photography Design: Tira Lewis Text: Robert C. Littlewood Design & Format: Douglas Stewart Fine Books Pty Ltd Standard Version Front cover: Item 71 Back Cover: Item 99 The Lindsay family needs little introduction to anyone familiar with the history of Australian art. A family of ten children produced five distinguished artists, each contributing to the foundations of art on this continent. Dr. Robert Charles Alexander Lindsay and Jane Elizabeth Williams were married in 1868 in Creswick, Victoria, where they settled to rear and educate their family. Creswick at this time was a gold mining boom-town and Dr. Lindsay was one of four practicing physicians in the town. -
Rosemary Dobson a Celebration
Rosemary Dobson A Celebration Rosemary Dobson A Celebration Compiled and edited by Joy Hooton for the Friends of the National Library of Australia Featuring essays by Joy Hooton, Elizabeth Lawson, Paul Hetherington and David McCooey Friends of the National Library of Australia Canberra 2000 Published by the National Library of Australia for the Friends of the National Library of Australia Inc. Canberra ACT 2600 Australia © National Library of Australia and Joy Hooton, Elizabeth Lawson, Paul Hetherington, David McCooey 2000 National Library of Australia Cataloguing-in-Publication entry Rosemary Dobson: a celebration Bibliography. ISBN 0 642 10728 9. 1. Dobson, Rosemary—Criticism and interpretation. 2. Dobson, Rosemary, 1920-. 3. Australian poetry—20th century—History and criticism. 4. Women poets, Australian— 20th century—Biography. I. Lawson, Elizabeth, 1940-. II. Hetherington, Paul, 1958-. III. Hooton, Joy W., 1935-. IV. McCooey, David, 1967-. V. National Library of Australia. A821.3 Publisher's editor: Gabriele Kovacevic Designer: Kathy Jakupec Printer: Lamb Print Pty Ltd, Perth Cover photograph by Alec Bolton, 1986 Every reasonable endeavour has been made to contact relevant copyright holders. Where this has not proved possible, copyright holders are invited to contact the publisher. Rosemary Dobson outside Angus & Robertson Publishers in Sydney c.1949 ACKNOWLEDGEMENTS The photographs on pages iii, vi, 9, 16, 29 and 48 were supplied courtesy of Rosemary Dobson. The photograph on page 39 is from the Pictorial Collection and reproduced courtesy of Rosemary Dobson. The photographs on pages 24 and 57 are from the Pictorial Collection. The photograph on page 60 is from the Pictorial Collection and reproduced courtesy of Jill White and Rosemary Dobson. -
AUSTRALIAN ETCHINGS & ENGRAVINGS S
ART GALLERY NSW AUSTRALIAN ETCHINGS & ENGRAVINGS s – s FROM THE GALLERY’S COLLECTION Art Gallery of New South Wales 5 May to 22 July 2007 INTRODUCTION This exhibition presents Australian etchings, engravings and groups, such as the Australian Painter Etchers’ Society were wood engravings from the Gallery’s collection, made between established – the Painter Etchers ran for over twenty years from the 1880s and 1930s. These decades saw a sustained period of 1921, providing a forum for the exhibition of artists’ prints, creativity, energy and activity in Australian art when artists’ prints classes in etching and a collectors’ club. began to invite serious engagement by artists and critics for the Artists’ prints attained a higher profile with the public. first time, attaining a new status among artists, critics, dealers In Britain, prints had developed a huge following with attendant and the collecting public. societies, publishers, dealers and publications. Hundreds of artists Mirroring the European etching revival of the 19th century, made prints for the first time to take advantage of a buoyant the 1880s saw the emergence of the ‘Painter-etcher’ in Australia market for prints; etchings in particular had achieved rapid – artists who produced prints as original works of art, inspired by escalations in price for the work of the most popular artists – ‘art for art’s sake’. Their work contrasted with the more familiar there were even instances of financial speculation on published reproductive prints of the preceding century which had been editions. Locally, there were similar developments, albeit on a created by skilled artisans interpreting the work of others to smaller scale.