NOTE: Blue underlined text are ‘hot links’ that when {left clicked} will jump to indicated text section. Page 1

Copyright © 2019 David James Angeloro “ Dictionary of Australian Artists ” David James Angeloro by David James Angeloro was born and raised in Syracuse, New York and (Excerpt of Draft January 2019) graduated from Columbia University ( New York City ) and Hobart University ( Geneva ). In 1971, he immigrated to where he has worked as a management- technology consultant for commonwealth-state-local government organisations and large corporations throughout Australasia. David’s interest (obsession) with fine arts started while attending university in New York City. In Australia, he earned a Masters of Art from University for his thesis Sydney’s Women Sculptors: Women’s Work in Three Dimensions [ 1788-1940 ]. His passion for art extends to art history with particular interests in women artists (his two daughters are well-known artists of mashed-up video works), sculptors and painter-etchers. The Angeloro family collections have been nearly fifty years in the making. David’s collecting philosophy focused on affordable second tier artists, who were generally well- known in their day, but have been ‘forgotten’ by art historians and curators. David has followed the world-wide trend of reassessing the position and value of pre-1940 painters, illustrators, printmakers and sculptors, especially marginalized women artists. Why I’m Selling The Collection ? I’m selling my collection because after nearly fifty years, I’m returning to New York and I don’t want these Australian treasures to be lost and unappreciated. It’s time for other art lovers and collectors to appreciate and cherish these artworks. [999] bracketed numbers preceding the name of an illustrated is related to the corresponding Lot Number in Davidson’s Auction Catalogue. [NAS] indicates that the painting is “ Not Available for Sale ”; while it was once part of the Angeloro family collection, it has moved on to a new owner.

Enquires: [email protected]

{TOC – DICTIONARY OF AUSTRALIAN ARTISTS}

NOTE: Blue underlined text are ‘hot links’ that when {left clicked} will jump to indicated text section. Page 2

DICTIONARY OF AUSTRALIAN ARTISTS - TABLE OF CONTENTS (TOC WITH HOT LINKS) AUSTRALIAN FEMALE ARTISTS BAKER, CHRISTINA ASQUITH SCARVELL, JESSIE EMILY (MRS CHARLES W. BUNDOCK) BALE, ALICE MARION ELLEN STEPHENS, ETHEL ANNA BELL BROWN, EDITH J. (ISABELLA) TINDALL, AGNES (NESSIE) S. (MRS SYDNEY BROOKS LLOYD) VA VELYN AROLINE BROOKS, E (E C ) TRAILL, JESSIE CONSTANCE ALICIA COGHLAN, ELAINE EDITH TUOMY, FABIOLA VERONICA CRAIG, SYBIL MARY FRANCES VALE, AMY (AMELIA) CUMBRAE STEWART, JANET AGNES VALE, MAY (MRS ALEXANDER GILFILLAN) CUSACK, ALINE MARGARET WHYTE, JANE (JANIE) WILKINSON CUSACK, EDITH ELEANORA WILSON, DORA LYNNELL (A.K.A. ‘WILTZ’) EVANS, JESSIE LAVER (A.K.A. LAVINGTON)

GEACH, PORTIA STRANTON GREGORY, INA (GEORGIANA) ALICE AUSTRALIAN MALE ARTISTS GURDON, NORAH BACKHOUSE, (ROBERT) CLARENCE HAKE, ELSIE FREDERICA (MRS ARTHUR BARLOW) BYRNE, HAROLD LAINE LYS A K A RS ICHARD OOT HAXTON, E A ( . . . M R F ) CHRISTMAS, ERNEST WILLIAM (R.B.A.) HOY, GRACE COFFEY, ALFRED ROLAND LEOPOLD HUME, ELLEN ADYE (NEE JENKINS) CONDER, CHARLES EDWARD JENKINS, CONSTANCE LILLIAN (MRS ERIC SPENCER MACKAY) CRISP, JAMES ALEXANDER LAYCOCK, GLADYS DAPHNE (MRS D’ARCY OSBORNE) DALY, HERBERT JAMES MEESON, DORA (MRS GEORGE COATES) FULLWOOD, ALBERT HENRY MERFIELD, BERTHA ELIZABETH JONES, JOHN LLEWELYN MESTON, (EUPHEMIA) EMILY MOSER, MARION CONSTANCE LINDSAY, NORMAN ALFRED WILLIAM MUNTZ-ADAMS, JOSEPHINE MARGARET (NEE MUNTZ) LISTER (A.K.A. BUTTREY), WILLIAM LISTER MUSKETT, ALICE JANE MCINNES, WILLIAM BECKWITH NICHOLAS, (EMILY) HILDA RIX OFFICER, EDWARD CAIRNS NORRISS TAIT, BESS (ELIZABETH) MAY PATERSON, JOHN FORD NORTON, ALICE ELIZA (MRS FRANCIS A.Q. STEPHENS) QUINN, JAMES PETER QUINN PARSONS, ANNIE HEDLEY (NEE NICOLL; MRS HARRY I PARSONS) ROSE, HERBERT GEORGE PAYNE, FRANKIE (FRANCES) MALLALIEU (MRS ANDREW P. CLINTON) TAYLOR-GHEE, ROBERT EDGAR POTTER, ANNIE E. TINDALL, CHARLES EPHRAIM SMITH REIDY, LILLA (ELISABETH MARY ANN) WATKINS, JOHN SAMUEL (A.K.A. ‘ WATTIE ’) RODWAY, FLORENCE ALINE (MRS WALTER MOORE) WHYTE, DUNCAN MACGREGOR

{TOC – DICTIONARY OF AUSTRALIAN ARTISTS}

NOTE: Blue underlined text are ‘hot links’ that when {left clicked} will jump to indicated text section. Page 3

PREFACE Let me start by saying that I won’t argue who is Australian, By including the artist’s family details, art historians are able American, English, etc and I’ve considered an artist to be Australian if to determine the circumstances that influenced an artist’s youth he/she was born in Australia and/or painted for a time in Australia. If and career. This is especially important to dispel the incorrect not ‘Australian’, then I have used the country in which the person was assumption that most women artists were supported by their born and/or raised. There is no international ‘standard’ and the subject fathers or husbands. From my own detailed analysis, I have found is a minefield whereby important artists are claimed by national groups the many fathers died before the artist attended art school or early with the flimsiest of hooks. I also know that the is part in the artist’s professional career. Australia’s women artists often of Europe, but in the world of the separation of the United married after their artistic careers were established and their Kingdom and the rest of Europe can be important. husbands often died within a decade of the marriage or were absent and not directly supporting their wives and children. There The following biographical information is typically more accurate is little evidence that women artist received more financial and complete than sources available on the Internet (Design and Art assistance from their families than their brother-artists. Australia Online and Dictionary of Australian Biography) or printed Unlike today, between the 1870s and 1930s, art societies, publications. I have researched each artist carefully and thoroughly, associations and clubs played an important role in the correcting where discovered mis-information and myth that in some development of an artist’s professional career. These artists’ cases has circulated as fact for decades. I plan to merge this groups organized exhibitions two to four times per year,1 each information into Design and Art Australia Online and Dictionary of exhibition containing several hundred on view for Australian Biography as soon as I have the time after my move. several weeks. This was how most professional artists exhibited With the digitizing of much of Australia’s, New Zealand’s and and sold their artworks, solo and joint exhibitions only gaining in American newspaper archives and access to genealogy websites like popularity and importance as the 20th century progressed. In an Ancestry.com, researching a biography of an undocumented artist and era without the internet, television, radio, movies or even popular proofing the details of a documented Australian artist are less complex magazines, the daily newspapers covered group, joint and solo and time-consuming than sifting through paper and microfiche exhibitions in detail. The newspaper archives contain a largely archives, but is still not necessarily easy. Birth and death dates have untapped resource about the lives and times of Australia’s artists, often been confused with persons who have the same or similar names even those who have been ‘forgotten and marginalised’. and biographical details were often compiled from personal or family In the late-19th and early-20th centuries, artists were myth building, people’s long-term memories, or old index card files. By celebrities, held on par with performing singers and musicians going back to primary sources, I was able to produce a more accurate and theater actors, and generally ahead of sportspersons who and complete biography of individual artists and recreate the times in were generally local amateurs. The newspaper archives contain which they lived and painted. not only details of the exhibitions, but also contemporary art critique and biographical details of the artists working between 1870s and 1930s.

1 I have collected copies of most of the exhibition catalogues for the major and many of the minor art societies in all Australian states between 1870s and 1940, a massive resource with literally thousands of artists and tens-of-thousands of pictures across all media.

{TOC – DICTIONARY OF AUSTRALIAN ARTISTS}

NOTE: Blue underlined text are ‘hot links’ that when {left clicked} will jump to indicated text section. Page 4

Dictionary of Biography - Australian Women Artists

BAKER, CHRISTINA ASQUITH [ , , EUROPE, UK ] BORN: 13th May 1869 at Islington, London, DIED: 29th July 1960 at St Kilda, , Victoria Christina Asquith Baker was a professional painter, printmaker and art teacher. Her parents were Rev. William Asquith [1844-1884] and Christina [1850-1931; Gillbanks] Baker. The family arrived at Melbourne on 3rd January 1870 aboard the Collingrove, afterward for more than a decade, the Reverend preaching in country Victoria, and South Australia. After her father’s death at Clare, South Australia, the family settled in Melbourne. C. Asquith Baker received her artistic training at the Port Melbourne School of Art prior to attending the of Victoria School (1888-95) under Fred McCubbin, George Folingsby and Bernard Hall and Melbourne School of Art (1893-97) under E. Phillips Fox and Tudor St George Tucker, where she was awarded a free year of tuition and other prizes. In 1895, she resigned from the National Gallery School after refusing to ‘complete’ an oil painting that [102] at Dusk Bernard Hall considered unfinished (Baker considered it complete and ready for exhibition). a.k.a. River Landscape circa 1906; oil on board; 34.0 x 43.0 cm; signed: “ C. Asquith Baker ” (lower left). PROVENANCE PAINTED: circa 1906 shortly after returning after [101] White Roses five years study in , France. circa 1912; oil on board; 34.0 x 43.5 cm; PURCHASED: 1998 from Deutscher-Menzie’s. signed: “ C. Asquith Baker ” (lower right). The Yarra River (a.k.a. Yarra Yarra River) has its source PROVENANCE in the Yarra Ranges and flows 242 kilometers west PAINTED: circa 1912 while in Paris, France through the Yarra Valley which opens out into plains as it and acquired by E. Phillips Fox when his winds its way through Greater Melbourne before emptying studio was next to hers in Paris. into Hobsons Bay in northernmost Port Phillip. It flows COLLECTION: E. Phillips Fox from 1912. through Richmond, Hawthorn, Fairfield, Heidelberg, PURCHASED: 1994 from Leonard Joel’s. Bulleen, Templestowe, Eltham, Warrandyte, Yarra Glen, Healesville, Woori Yallock, Launching Place, Yarra Even though still-lifes are not generally Junction, Warburton and McMahons Creek. Even though associated with Australian , its colour is perpetually muddy brown, it featured in many , and most of the landscapes in the 19th and early-20th centuries. exponents of impressionist styles painted still- lifes, especially flower arrangements.

{TOC – DICTIONARY OF AUSTRALIAN ARTISTS}

NOTE: Blue underlined text are ‘hot links’ that when {left clicked} will jump to indicated text section. Page 5

In 1898, one of Baker’s artworks was selected for the Exhibition of Australian Art at the Grafton Gallery in London. In November 1898, she held a joint exhibition with Miss Francis at a gallery on Collins Street that received good reviews. In early-1903, Baker boarded the Persic arriving at London in May 1903, after a voyage that had taken her to Wellington, Rio De Janeiro and the Virgin Islands. Between 1904 and December 1905, C. Asquith Baker continued her artistic studies in Paris at the Académie Julien (1903-1904) under Jean Paul Laurens, Marcel Baschet and Gabriel Ferris, and privately under Charles Augustus Lasar [1856-1936], an American Impressionist, who spent most of his career in France. She took painting trips to Etaples (where the Rae sisters were based) and other French scenic spots, also spending time studying and painting in Holland and England. While in Paris, Baker shared a studio with Ada Plante, another Melbourne artists and exhibited at Paris’s Salons. In early-1906, C. Asquith Baker returned to Melbourne where she held an exhibition of her European paintings at Athenaeum Gallery, afterward giving lessons in painting and drawing from her studio and later Benalla. After solo exhibitions at the Athenaeum Gallery in May 1911 and May 1912 (sold 30 paintings), she boarded the S.S. Commonwealth on 6th June 1912 to returned to London and Paris where she renewed her friendship with E. Phillips Fox, maintaining a studio next to his in Paris. In 1913, she held her first international solo exhibition at the Baille Gallery (London October 1913). In 1914, she studied lithography and etching at London and exhibited at the Royal Academy, Royal Society of Portrait Painters and Walker Gallery (Liverpool), returning to Melbourne in December 1914 due to the outbreak of World War II. In addition to taking painting commissions and exhibiting extensively, C. Asquith Baker again conducted art classes at her studio on Elisabeth Street, continuing this routine until 1955 when she was 87-years-old. Unlike many women artists of the day, C. Asquith Baker considered herself a professional artist who lived from her earnings as an artist, her father having died when she was a child, having never married and having no private means or income. A measure of her success was C. Asquith Baker’s ability to exhibit and sell paintings for more than 100 guineas, a price only achievable by the top artists of the time. In Melbourne, she exhibited at the Melbourne Society of Women Painters and Sculptors, Australian Art Association and Victorian Artists' Society, serving on its Council (1909-11).

COLLECTIONS: NGA; AGSA; NGV. PORTRAITS: Bulletin (15th July 1920). BIBLIOGRAPHY: Benezit Dictionary of Artists; Encyclopedia of Australian Artists; Ladies’ Picture Show, More Than Just Gum Trees; Sydney University 1997 Thesis: Harvest of a Quiet Eye; Design and Art Australia Online; numerous newspaper articles.

{TOC – DICTIONARY OF AUSTRALIAN ARTISTS}

NOTE: Blue underlined text are ‘hot links’ that when {left clicked} will jump to indicated text section. Page 6

BALE, ALICE MARION ELLEN (A.K.A. AME BALE) [ Victoria ] BORN: 11th November 1875 at Richmond, Victoria DIED: 14th February 1955 at Melbourne, Victoria Alice M.E. Bale was a professional artist who between the 1910s and 1950s was considered by many art critics to be Australia’s leading painter of flowers and still-lifes. She was the only child of William Mountier [1851-1940; customs official, well-known naturalist and member of the Royal Society of Victoria] and Marian [1839-1915; nee Adams] Bale. Alice spent her early life at Richmond, Victoria and between 1886 and 1955, she lived with her family at Kew. Between 1885 and 1892, she attended the Methodist Ladies’ College where she distinguished herself in music and literature. In 1891 and 1892, she qualified to attend the , but instead choose a career as a painter. Throughout her long career, Alice M.E. Bale listed herself as “artist’ and maintained an art studio at Kew. Between 1929 and mid-1930s, she owned and maintained a cottage and artist studio in Castlemaine, where she painted primarily landscapes and interior scenes. Throughout most of her career, she was outspoken on matters dealing with Victoria’s art community. Between 1893 and 1898, Alice Bale intermittently studied art privately under May Vale and in [103] The Letter circa 1902 and 1903 took art classes with Hugh Ramsay. At the age of 20-years, she studied full- a.k.a. Admiring the Begonias time at the National Gallery of Victoria School (1895-1904) under Fred McCubbin and Bernard circa 1900; oil on canvas; 54.0 x 54.0 cm; Hall, being awarded nine prizes and in her later years of study was an annual contender for the signed: “ A.M.E. Bale ” (upper right). School’s prestigious Travelling Scholarship. In 1907, she exhibited oil paintings (flower PROVENANCE arrangement and still-lifes and a genre subject), a watercolour (figure painting) and black-and- PURCHASED: 1994 from Leonard Joel’s. white pictures (portrait, figure study and illustrations) at the Australian Exhibition of Women's Work where she was awarded 1st Prize for Oil Genre and 2nd Prize for Oil Flower Painting. After In 1902, Alice M.E. Bale painted Leisure Moments, an iconic interior scene with three ladies actively occupying 1918, Alice Bale became an advocate of and his “tonal Impressionism” (generalised the space of Bale’s studio, but none are looking out at the masses of light and dark). viewer. Alice Bale’s father was a well-known naturalist and In 1922, two of her flower paintings were purchased by the National Gallery of Victoria and his daughter relished in portraying floral still-lifes. one was included in the Art Gallery of New South Wales. Since then her paintings have been Admiring the Begonia is quite unusual as it portrays a acquired by most of the state and numerous regional gallery collections. In 1927, three of her lady who is inside the home, admiring a potted plant were finalists in the prestigious . In the 1920s and 1930s, Alice outside. What is unusual about this composition is that the begonia’s flowers are not the focus, but instead the large Bale had solo and joint (usually with Jo Sweatman and Bernice Edwell) exhibitions almost every variegated leaves of the plant carry the interest. year in Melbourne and occasionally in Sydney that receive praise repeatedly from the who often classified her as ‘Australia’s leading flower painter’. However, throughout her career, her portraits, genre subjects, interior scenes and landscapes also received considerable attention and highly favourable critiques. On 23rd May 1933, William Blamire Young the artist and art critic for the Herald stated

{TOC – DICTIONARY OF AUSTRALIAN ARTISTS}

NOTE: Blue underlined text are ‘hot links’ that when {left clicked} will jump to indicated text section. Page 7

Miss Bale’s picture of Scabious stands with the work of Fantin-Latour well over the normal standard of flower painting, its color is entirely satisfactory, the quality of its paint has a sensuous richness that endows the greys with an opulence that they rarely carry. In the matter of texture, we may miss the Fantinian contrast between the flowers and the background, but otherwise the whole composition has a unity about it that leaves us little more to wish for.” Alice Bale had a strong sense of independence and a firm belief in her own considerable talent, dedicating her long life to art. In 1894 when only 19-years-old, she became an exhibiting member of the Victorian Artists' Society, serving on its Council and editing its Journal between 1918 and 1919. From 1923, her membership of the Australian Art Association enabled her to exhibit annually with the major artists from all States. In 1923, two of her paintings were selected for the prestigious Exhibition of Australian Art in London, a group portrait was hung at the Royal Academy in London in 1933 and another portrait was displayed at Paris’s Old Salon in 1939. Between 1943 and 1948, she exhibited with the Half Dozen Group of Artists in and in 1946, was commissioned to paint a portrait of Major General Vasey for the . After her death, Alice Bale left and estate worth more than £46,000, much of the money being used to endow the biennial A.M.E. Bale Travelling Scholarship and Art Prize with the intent to encourage, support and advance classical training of emerging artists who are pursuing the study and practice of traditional art. From the mid-1890s, Alice Bale exhibited at the Victorian Artists’ Society and was a prominent member of the Melbourne Society of Women Painters and Sculptors (from 1905) and a foundation member of the Melbourne Twenty Painters. In Melbourne, she also exhibited at the Victorian Artists' Society, serving on its Council (1914, 1916-18), Australian Art Association and Twenty Melbourne Painters. In Sydney, she exhibited at the Society of Artists and Society of Women Painters.

COLLECTIONS: AGNSW; AGSA; NGA, NGV; QAG; Australian War Memorial; and Regional Galleries in Ballarat, Bendigo, Benalla, Castlemaine, Hamilton, Mildura, Warrnambool and Wollongong; and numerous library and university collections.

PORTRAIT: By William Rowell (CAGHM) BIBLIOGRAPHY: Artists Camps; Encyclopedia of Australian Artist; More Than Just Gum Leaves; Story of Australian Art; Heritage; Sydney University 1997 Thesis: Harvest of a Quiet Eye; Argus (31st December 1891; 23rd May 1922; 15th November 1935; 1st October 1940; 25th October 1955); Table Talk (27th May 1898; 17th August 1922; 27th February 1929); Herald (15th April 1912; 27th March 1927); Australasian (27th October 1923; 21st March 1925); Age (3rd August 1929); numerous newspaper articles.

{TOC – DICTIONARY OF AUSTRALIAN ARTISTS}

NOTE: Blue underlined text are ‘hot links’ that when {left clicked} will jump to indicated text section. Page 8

BELL BROWN, EDITH J. (ISABELLA) [ New South Wales ] Born: 10th August 1864 at Surrey Hills (Sydney), New South Wales Died: 13th December 1946 at Darling Point (Sydney), New South Wales Edith Bell-Brown was professional painter, art teacher china painter, ceramicist, photographer and printmaker. Her parents were John [1833-1895; official of Bank of NSW] and Eliza Charlotte [1835-1883; nee Edson] Brown. Edith Isabella Brown was the sister of Ethel Maude Brown, both being students at the Sydney Technical College in the 1890's. A contemporary of theirs was Gertrude Brown, both Gertrude and Edith taking up teaching positions at the college. In order to resolve the confusion between Gertrude and Edith it has been suggested that Edith I. Brown modified her name using Bell-Brown, ‘Bell’ being a reference to one of her grandparents. Edith Bell-Brown received her initial artistic training at Sydney Teachers College (1893), later teaching art at the college (1897-1909). She also studied at Sydney Technical College (1894- 1899), later teaching at (East) Sydney Technical College (1899-1926). She was a member of the Minerva Art Club, serving as its Vice- Chairperson. In 1907, she exhibited at the Australian Exhibition of Women's Work where she was awarded second prize in the Plain, Fancy and Art Needlework. When she started exhibiting her artworks in circa 1910, she adopted the ‘Bell Brown’ family name. By 1911, she was teaching arts and crafts from her studio and in 1914, she exhibited several [104] “ Greenoaks ” and etchings at the Society of Woman Painters. In “ ” the mid-1910s, she was an outstanding potter, Back of Trinity Church, Milson Point the Art Gallery of NSW acquiring four of her 1910; watercolour; porcelain pieces. signed: “ Edith Bell Brown ” (reverse side). In Sydney, Edith Bell Brown exhibited at PROVENANCE the Royal Art Society, Society of Women PURCHASED: 1990 from private collector. Painters and Society of Arts & Craft of N.S.W.

In Brisbane, she exhibited with the Royal Queensland Art Society and in Adelaide, the Royal South Australian Society of Art.

COLLECTIONS: AGNSW. BIBLIOGRAPHY: Australian Painters 1900-50; numerous newspaper articles.

{TOC – DICTIONARY OF AUSTRALIAN ARTISTS}

NOTE: Blue underlined text are ‘hot links’ that when {left clicked} will jump to indicated text section. Page 9

BROOKS, EVA (A.K.A. EVELYN CAROLINE) [ VICTORIA ] BORN: 1867 at Williamstown, Victoria DIED: 1st November 1897 at Heidelberg, Victoria Eva Brooks was a promising landscape painter who died tragically at Heidelberg, while attending E. Phillips Fox’s Summer School. She was the daughter of John [????-before 1897; customs officer] and Joanna [????-after 1897; nee Rankin] and had two siblings John Leicester Brooks [1869-1949; carpenter] and Minnie Maud Brooks [1871-1871]. Eva resided with her family at 10 Learmonth Street, Moonee Ponds and had attended Kensington State School not far from her home. Eva Brooks received her artistic training at the National Gallery of Victory School (1890s) and Melbourne School of Art under E. Phillips Fox and Tudor St George Tucker. Between 1895 and 1897, she was an active member of the Victorian Sketching Club where she attended sketching outings in the countryside around Melbourne to paint pictures that were exhibited at the Club’s monthly exhibitions. Eva Brooks was a promising landscape painter who in November 1897 accidently drowned at Heidelberg, while bathing in the cold Yarra River, succumbing of heart failure. For a time prior to the accident, she and two other art students of E. Phillips Fox and Tudor St George Tucker had rented a cottage at Charterisville and had spent their days painting and sketching the scenic countryside around the Yarra River. Early in the morning of 1st November 1897, Harry J. Recknall, another artist, had come across a pile of clothes and a hat suspended from a quince tree that were identified by other artists painting in the area. Police were contacted and the river dragged, resulting in Eva Brooks body being discovered a fortnight later.

BIBLIOGRAPHY: Table Talk (1st February 1895; 8th February 1895); Melbourne Punch (7th February 1895); Tatler (27th April 1897); Herald (2nd November); Age (4th & 18th November 1897); Mercury and Weekly Courier (5th November 1897); Argus (30th July 1870; 18th November 1897); Sunbury News and Bulla and Melton Advertiser (20th November 1897).

{TOC – DICTIONARY OF AUSTRALIAN ARTISTS}

NOTE: Blue underlined text are ‘hot links’ that when {left clicked} will jump to indicated text section. Page 10

COGHLAN, ELAINE EDITH [ New South Wales, Tasmania, Victoria ] Born: 30th August 1897 at Ashfield, New South Wales Died: 5th June 1989 at Sydney, New South Wales Elaine E. Coghlan was a professional painter and art teacher. She was the second eldest of the five children of Frederick Albert [1859-1938; Auditor General of N.S.W.] and Kate Edith [1873- 1952; nee Blackwood] Coghlan. Elaine lived with her family at the Sydney suburbs of Stanmore, Cremorne and Lane Cove. During World War I, she volunteered at the canteen at Victoria Barracks in Paddington. Elaine Coghlan received initial education at Petersham Superior Public School and her artistic training at the Royal Art Society School (1918-1925) under Dattilo Rubbo and James R. Jackson. While at the R.A.S. School, she was awarded three life painting scholarships, a life drawing scholarship and a number of other art prizes. In mid-1920s, she studied portrait painting under Lawson Balfour at the Society of Women Painters. Between 1929 and 1946, she was a finalist in the prestigious (1929, 1930, 1932, 1933, 1934, 1935 and 1941) for Portraiture and Wynne Prize (1941, 1944, 1946 and 1947) for Landscape Painting. In 1930, she had a joint exhibition with Frankie Payne at the Arts Club and in 1936 Coghlan had a solo exhibition of oils, watercolours and drawings at the Wynyard Book Club (George Street Sydney). In 1947, her pencil drawing The Model was illustrated in Australian Art Illustrated, Royal Art Society Publication. During the late-1920s and 1930s, Elaine Coghlan taught portrait and landscape painting at her studio at Cremorne Point. From circa 1938, she also taught at several private schools including Cremorne Grammar School for Girls and Manly Grammar School. During World War II, she [105] Self-Portrait at Easel studied engineering drawing and on completion of the course was employed with Roneo (Hunter 1931; oil on canvas on board; 27.0 x 22.0 cm; Street, Sydney), but continued to teach evening art classes at the Mosman Public School. In the signed: “ E.E. Coghlan ” (lower right). 1960s, her eyesight began to fail and afterward her artistic career was greatly curtailed. Early in her artistic career, Elaine Coghlan concentrated on oil painting, but later she turned to PROVENANCE watercolours as her principal medium. She was primarily an oil painter and watercolourist who EXHIBITED: Finalist in 1930 Archibald Prize; painted plein air landscapes of New South Wales, but also included scenes of Tasmania and COLLECTIONS: 1930-1993 Elaine Coghlan then by Victoria. She is represented in the Newcastle Regional Art Gallery and the Howard Hinton descent through family Collection at Armidale Teachers' College. In 1990, the Seasons Gallery (North Sydney) held a PURCHASED: 2006 from Bonhams & Goodman. retrospective exhibition of her artwork. Elaine E. Coghlan received her artistic training at the Elaine Coghlan was a prominent member of the Society of Women Painters (1925-1934), Royal Art Society School (1918-1925) under Dattilo serving on its Council and on its Exhibition Committees, and Women's Industrial Arts Society Rubbo and James R. Jackson, being awarded three life (1935-1936). In Sydney, she also exhibited at the Royal Art Society, Society of Artists, Australian painting scholarships, a life drawing scholarship and a number of other art prizes.In mid-1920s, she studied Watercolour Institute, Painter-Etchers' and Graphic Arts Society of Australia and Australian Art portrait painting under Lawson Balfour at the Society of Society, serving on its Council. Women Painters. Between 1929 and 1946, she was a COLLECTIONS: Howard Hinton Collection; Newcastle AG. finalist in the prestigious Archibald Prize (1929, 1930, 1932, 1933, 1934, 1935 and 1941) for Portraiture and BIBLIOGRAPHY: Australian Watercolour Painters; Heritage; Design and Art Australia Online; Daily Telegraph th th Wynne Prize (1941, 1944, 1946 and 1947) for Landscape (12 December 1909); Sydney Morning Herald (6 July 1918); numerous newspaper clippings. Painting.

{TOC – DICTIONARY OF AUSTRALIAN ARTISTS}

NOTE: Blue underlined text are ‘hot links’ that when {left clicked} will jump to indicated text section. Page 11

[107] Monsieur de Closay – Artist plus original sketch 1929; oil on canvas on board; 44.0 x 33.5 cm; signed: “ Elaine Coghlan ” (lower right). PROVENANCE EXHIBITED: 1929 Finalist in prestigious Archibald Prize for Portraiture; Sydney Morning Herald (17th January 1930) “ …there is also a spirited study by Miss Elaine Coghlan, a portrait of M. de Closay, showing strength and definiteness of treatment. ” COLLECTIONS: 1929-1993 Elaine Coghlan then by descent through family PURCHASED: 1993 from artist’s family.

Edward (Tiger) Tenri de Closay [1859 1936] was a painter, printmaker and postcard artist. He was born in Mauritius and graduated from the French Academy (Paris) in oils and watercolours. He later became involved with the School of Art (Madras) and as an official artist in Bombay, India. In 1899, he arrived in Australia where he used the name Edward Tiger de Closay. By 1915, failing eyesight greatly reduced his artistic activities. He produced a series of postcards published by the New South Wales Bookstall Co. The Art Series included colour portraits of actresses, state shields, butterflies, country transport and bushrangers. He also published postcards under the pseudonym ‘Tiger’ for Harding and Billings that were images of women. [106] “Lawson Balfour, Australian Artist ” 1926; oil on canvas on board; 37.0 x 26.5 cm; signed: “ E.E. Coghlan ” (lower right). PROVENANCE EXHIBITED: April 1926 at Sydney’s Society of [108] “ Russian Cap ” Woman Painters Exhibition (Daily Telegraph 1934; oil on canvas on board; 46.0 x 35.5 cm; (29th April 1926 “One admires the adventurous signed: “ Elaine Coghlan ” (lower left). spirit of E. E. Coghlan, who contributes a clever study of Lawson Balfour”); PROVENANCE COLLECTIONS: 1930-1993 Elaine Coghlan then by EXHIBITED: 1934 Finalist in prestigious Archibald Prize descent through family for Portraiture; PURCHASED: 1993 from artist’s family. COLLECTIONS: 1934-1993 Elaine Coghlan then by descent through family PURCHASED: 1993 from artist’s family.

{TOC – DICTIONARY OF AUSTRALIAN ARTISTS}

NOTE: Blue underlined text are ‘hot links’ that when {left clicked} will jump to indicated text section. Page 12

[110] “ Enid (Dickson - Artist) ” 1932; oil on canvas on board; 41.0 x 31.0 cm; signed: “ E.E. Coghlan ” (label verso). PROVENANCE COLLECTIONS: 1932-1993 Elaine Coghlan then by descent through family PURCHASED: 1993 from artist’s family.

[111] “ Middle Harbour ” 1930s; watercolour and ink; 16.0 x 30.5 cm; signed: “ Elaine Coghlan ” (lower left). PROVENANCE COLLECTIONS: 1930-1993 Elaine Coghlan then by descent through family; PURCHASED: 1993 from artist’s family.

[109] “ Gypsy Dancer ” 1928; oil on canvas on board; 34.5 x 244.5 cm signed: “ Elaine Coghlan ” (lower right) Provenance PAINTED: While studying under Lawson Balfour at the Society of Women Painters’ School of Fine Arts”); COLLECTIONS: 1928-1993 Elaine Coghlan then by descent through family PURCHASED: 1993 from artist’s family.

{TOC – DICTIONARY OF AUSTRALIAN ARTISTS}

NOTE: Blue underlined text are ‘hot links’ that when {left clicked} will jump to indicated text section. Page 13

CRAIG, SYBIL MARY FRANCES [ Victoria; UK ] BORN: 18th November 1901 at Enfield (London), England DIED: 17th September 1989 at Caulfield, Victoria Sybil Craig was a professional painter. She was the only daughter of Australian parents Matthew Francis [1872-1958; architect-surveyor] and Winifred Frances [1880-1970; nee Majors] Craig, the family returning to Australia when she was one year old. Sybil Craig received her early education at Atherton College in Sandringham, being awarded a number of prizes. Between 1936 and 1951, she maintained an artist studio on Collins Street and from 1914, lived with her family at Caulfield. Sybil Craig received her initial artistic training under John Shirlow, at George Bell School (circa 1923-1924) and at the National Gallery of Victoria School (1924-1931) under Bernard Hall, William McInnes and Charles Wheeler. She studied printmaking and design at the Melbourne Institute of Technology (1935) under Robert Timmings and Napier Waller, and in the 1930s, produced a number of linocut prints. In the 1950s, she studied at the Victorian Artists’ Society under Ian Bow. In June 1932, Sybil Craig held her first of numerous solo exhibitions at the Athenaeum and other Melbourne galleries. In 1922, she travelled to the United Kingdom with her family, returning late in the same year. During World War II, she was appointed an official with and Stella Bowen, painting only scenes within Australia. It was John Shirlow who introduced her to Impressionism and Post-Impressionism, such as demonstrated by Paul Gaugin and Henri Matisse. Sybil Craig was best- known as an expressionist flower painter, but her work covers a much broader spectrum of subjects painted in a post- impressionist style with a strong use of colour and polished design. She was friends with Arthur [112] “ Chinese Jar Streeton and , whose portraits she painted. and Black-Berry Leaves” In Melbourne, Sybil Craig was a foundation member of the New Melbourne Art Club, Twenty a.k.a. Artist’s Still-Life Melbourne Artists and a prominent member of the Melbourne Society of Women Painters and 1934: oil on canvas board; 37.0 x 27.0 cm; Sculptors. In Sydney, she exhibited at the Society of Women Painters. In 1981, she was awarded signed: “ Sybil Craig 1934 ” (lower right). a Medal of the Order of Australia for her services to the arts. PROVENANCE COLLECTIONS: NGA; NGV; AGSA; Australian War Memorial; Library of Victoria; Ballarat AG; FROM: GOWRIE GALLERY (LABEL VERSO) Warrnambool AG. PURCHASED: 1993 from Goodman’s.

BIBLIOGRAPHY: George Bell School; Encyclopedia of Australian Artists, Ladies Picture Show; Heritage; Australian Dictionary of Biography; Design & Art Australia Online; numerous newspaper articles.

{TOC – DICTIONARY OF AUSTRALIAN ARTISTS}

NOTE: Blue underlined text are ‘hot links’ that when {left clicked} will jump to indicated text section. Page 14

CUMBRAE STEWART, JANET AGNES [ Victoria; New South Wales; Tasmania; Europe; UK ] BORN: 23rd December 1883 at Brighton Beach, Victoria DIED: 8th September 1960 at South Yarra, Victoria Janet Cumbrae Stewart was a professional painter in primarily pastels and oils. She was the youngest of the ten children of Francis Edward [1833-1904; banker] and Agnes [1843-1927; nee Parks] Stewart; her father opposing his daughter’s interest in becoming a professional artist. The children of the family adopted the family name Cumbrae-Stewart, but Janet didn’t use the hyphen. Janet Cumbrae Stewart received early artistic encouragement from John Mather who taught her plein air painting and later studied at the National Gallery of Victoria School (1901-1908) under Fred McCubbin and Bernard Hall, being awarded 2nd Place in its Travelling Scholarship in 1905 and 1908. However, Cumbrae Stewart was self-taught in pastels, a media in which she excelled. In 1907, she exhibited an oil portrait and a flower painting at the Australian Exhibition of Women's Work where she was awarded 1st Prize for Pastel Painting. She was awarded a Honourable Mention at the Paris Salon and a Silver Medal at the Panama Pacific International Exposition, San Francisco (1914). In 1918, the Art Gallery of NSW purchased three of her pastel artworks and later the National Gallery of Victoria purchased five of her art European works. Throughout the 1910s and early-1920s, she held successful solo exhibitions in Melbourne, Sydney and Adelaide, especially of her pastel nudes and life-studies. On 29th May 1922, Janet Cumbrae Stewart departed Melbourne aboard the SS Aeneas to the United Kingdom, a large number of her pastels she hoped to exhibit in London being damaged beyond repair during the voyage. On arrival, she took a studio in St John Wood (London) and soon had a highly successful solo exhibition at the Walker Gallery, Queen Mary purchasing two of her pastels. Cumbrae Stewart travelled throughout England and and lived for eight [113] Pensive years in the Southern France and Northern Italy, having studios at Florence, Alassio, Milan and circa 1906; oil on canvas on board; Avignon. While overseas, she exhibited at the Beaux Arts Gallery, Royal Academy, Royal Society 61.0 x 48.0 cm; of Oil Painters, Glasgow Institute of Fine Arts, Society of Women Artists and Salon des Artistes inscribed: in pencil {verso}. Francaise, her exhibitions bringing her financial security and an international reputation. After 15 PROVENANCE years living overseas, Janet Cumbrae Stewart returned to Melbourne on 17th February 1937 PAINTED: circa 1906 while studying at National aboard the Dutch steamer Melisker, stating her reasons as concern over the unrest in Europe. Art School (NGV) under Bernard Hall and Fred McCubbin After her return, Janet Cumbrae Stewart and her companion Miss ‘Bill’ Bellairs lived at ‘Wanna’ COLLECTION: until 1961 studio of Cumbrae at Hurstbridge (north of Templestowe; designated a native animal sanctuary) and from 1947, they Stewart lived at South Yarra until her death. Janet Cumbrae Stewart is primarily remembered for her PURCHASED: 1961 by Private Collector in 1961 female nudes painted in pastel. In Melbourne, she was a member of the Victorian Artists’ Society, from estate auction of Cumbrae Stewart’s serving on its Council, Australian Art Association and Melbourne Society of Women Painters and studio contents; Sculptors. In Sydney, she exhibited at the Society of Women Painters and in Queensland with the PURCHASED: 1994 from Gray’s. Queensland Art Society. This is a typical costumed subject painted by the students COLLECTIONS: NGA; AGNSW; AGSA; NGV; QAG; NLA; Gallería del'Arte Moderna (Milan, Italy); of Bernard Hall during painting classes at the National and Reginal Galleries in Victoria. Gallrey of Victoria School. BIBLIOGRAPHY: Australian Water Colour Painters; Encyclopedia of Australian Artists; Ladies Picture Show; More Than Just Gum Trees; Heritage; Age (5th September 1931); Argus (19th February 1937); numerous newspaper clippings.

{TOC – DICTIONARY OF AUSTRALIAN ARTISTS}

NOTE: Blue underlined text are ‘hot links’ that when {left clicked} will jump to indicated text section. Page 15

CUSACK, ALINE MARGARET [ New South Wales, UK, Ireland, Europe; USA ] BORN: 7th March 1867 at Nelson, New Zealand DIED: 12th July 1949 at Pymble (Sydney), New South Wales Aline M. Cusack was a professional painter, printmaker and art teacher. She was the youngest child of Georgiana Frances [1840-1913; nee Holmes] and Samuel Athanasius [1830-1869; M.D., F.R.C.S.I., M.R.C.S.L.] Cusack, an Irish Army surgeon who had fought in Crimean War and was the brother of the notorious “Nun of Kenmare”, Margaret Anna Cusack. Aline M. and Edith E. Cusack had at least seven siblings (Arthur A. [1858-1883]; Joseph Athanasius [1861-1893]; Georgiana Frances [1862-1890]; son [1863-1863]; Edward Chamney [1864-1930]; Maud [1868- 1869]; and Harry Samuel [1869-1926] Cusack). In February 1861, the Cusack family emigrated from Dublin, Ireland to New Zealand aboard the SS Lord Ashley from London, hoping that Samuel’s health would improve. The family settled in Spring Grove, South Island (20 kilometers southwest of Nelson) where he practiced medicine and from October 1862 was also surgeon for the Nelson Volunteer Rifles. In March 1868, the family (including seven children) resettled to Wellington but in November 1868, immigrated to Australia aboard the Mataura, settling in Maitland in the Hunter Valley where Georgina had a brother Joseph Broadbent Holmes [1817-1897], who had planted some of the earliest grapevines for winemaking in the Hunter Valley. On 9th February 1869, Dr Samuel Cusack died of tuberculosis, leaving his wife and surviving seven children in poverty, the family’s extensive farm and holdings in Wairau Valley, New Zealand remaining unsold for more than three years. Aline M. Cusack worked from an inner-city studio (1895-96: Norwich Chambers; (1896-1914) 66 Paling's Building, Ash Street off George Street) which she shared with her sister Edith E., who was also a professional artist. Between 1890 and 1937, they lived at ‘Laragh’, 42 William Street, Lavender Bay, building a purpose-built studio attached to their home in 1906. From 1937 until her death, Aline Cusack and her sister Edith lived at 1 Bromley Avenue, Pymble. Aline Cusack received her artistic training at Parramatta under Joseph Bennett, paying her weekly fees by being his assistant teacher. She later continued her studies at the Royal Art [114] Darling Harbour Waterfront, 1895 Society School under Gordon Coutts. In 1898, she was awarded the School’s President’s Prize 1895; oil on panel; 41.5 x 24.0 cm; and Hanson Prize. In December 1905, she travelled to London where she studied animal painting signed: “ A Cusack 1895 ” (lower left). under Frank Calderon A.R.A. and later Colarossi Académie in Paris. While oversea, Aline Cusack took the opportunity to paint at the artists’ colony at Etaples, Frances and Venice, Italy. On 21st PROVENANCE February 1908, Aline M. Cusack arrived at Sydney aboard the RMS Ophir from London after two PAINTED: 1895, shortly after her sister Edith E. Cusack had returned from studying art in Paris, years art studies in London and Paris. In July 1908, Aline and Edith Cusack held a highly France; related to paintin of Darling Harbour successful joint exhibition of more than 100 paintings at the Walter Bradley’s Gallery on George 1895 painted by Edith Cusack that is in Newcasle Street. In addition to landscapes, life-studies and still-lifes, a feature of the exhibition was Aline’s Art Gallery’s Collection. animal paintings, a subject seldom painted by Australian’s women artists. PURCHASED: 1994 from Leonard Joel’s.

{TOC – DICTIONARY OF AUSTRALIAN ARTISTS}

NOTE: Blue underlined text are ‘hot links’ that when {left clicked} will jump to indicated text section. Page 16

From 1894 when her sister Edith returned from studying art in Europe, they taught painting and drawing from their inner-city studio, becoming well-known for the plein air landscapes painted in an impressionistic style. In 1898, two of Aline’s landscapes were selected for the Exhibition of Australian Art at the Grafton Gallery, London. In 1907, she exhibited oil animal paintings (one for 63 guineas) and a flower painting] and watercolour (still-life) paintings at the Australian Exhibition of Women's Work. In June 1914 (one month before the outbreak of war), Edith and Aline Cusack travelled to the United Kingdom aboard the Ballarat to further their artistic careers, but until the armistice, picked fruit with the Land Girls (a.k.a. Kitchener’s Lizzies) at Warwickshire with Australian miniaturist Justine Kong Sing, worked in military canteens and between April 1918 and February 1919 served as VAD Ward Orderlies at No.72 General Military Hospital in France, nursing wounded soldiers. After the war, the two sisters caravanned around the United Kingdom, afterward travelling and painting in Ireland, France and Belgian before returning to Sydney in August 1920 aboard the Megantic. Between 1925 and 1926, they were again travelling and painting in the United States and Europe, taking their final trip in 1936-1937. In Sydney, Aline was a member of the Royal Art Society (from 1894) and a founding member of the Society of Women Painters, serving as its Vice-President, on Council and as Honorary Treasurer. In New Zealand, she exhibited at the N.Z. Academy of Fine Arts (1905). PORTRAIT: Pastel by Edith Cusack [AGNSW]. BIBLIOGRAPHY: Australian Watercolour Painters; Ladies’ Picture Show; Australian Art Review (1st April 1899); Evening News (1st January 1900); Sydney Morning Herald (6th September 1902); Art & Architecture (July-Aug th 1909); Australasian (12 November 1921); numerous newspaper articles.

[115] Still-Life - Fuchsia, Plums & Grapes circa 1900; watercolour; 27.0 x 36.0 cm; signed: “ A Cusack ” (lower left) PROVENANCE PURCHASED: 2012 from Davidson Auctions.

{TOC – DICTIONARY OF AUSTRALIAN ARTISTS}

NOTE: Blue underlined text are ‘hot links’ that when {left clicked} will jump to indicated text section. Page 17

CUSACK, EDITH ELEANORA [ New South Wales, Europe, UK, Ireland, USA ] BORN: 5th September 1865 at Nelson, New Zealand DIED: 20th May 1941 at Pymble, New South Wales Edith E. Cusack was a professional painter, sculptor, miniaturist and art teacher. She was a middle child of Georgiana Frances [1840-1913; nee Holmes] and Samuel Athanasius [1830-1869; M.D., F.R.C.S.I., M.R.C.S.L.] Cusack, an Irish Army surgeon who had fought in Crimean War and was the brother of the notorious “Nun of Kenmare”, Margaret Anna Cusack. Aline M. and Edith E. Cusack had at least seven siblings (Arthur A. [1858-1883]; Joseph Athanasius [1861-1893]; Georgiana Frances [1862-1890]; son [1863-1863]; Edward Chamney [1864-1930]; Maud [1868- 1869]; and Harry Samuel [1869-1926] Cusack). In February 1861, the Cusack family emigrated from Dublin, Ireland to New Zealand aboard the SS Lord Ashley from London, hoping that Samuel’s health would improve. The family settled in Spring Grove, South Island (20 kilometers southwest of Nelson) where he practiced medicine [116] Flower Market at St Andrew’s and from October 1862 was also surgeon for the Nelson Volunteer Rifles. In March 1868, the Cathedral, Sydney family (including seven children) resettled to Wellington but in November 1868, immigrated to 1907; watercolour; 27.0 x 38.0 cm: Australia aboard the Mataura, settling in Maitland in the Hunter Valley where Georgina had a signed: “ E.C.” (lower left; indistinct on reverse) brother Joseph Broadbent Holmes [1817-1897], who had planted some of the earliest grapevines for winemaking in the Hunter Valley. On 9th February 1869, Dr Samuel Cusack died of Provenance tuberculosis, leaving his wife and surviving seven children in poverty, the family’s extensive farm PURCHASED: 1996 from Australian Art Auctions. and holdings in Wairau Valley, New Zealand remaining unsold for more than three years. In 1894, Edith E. Cusack returned to Sydney after Edith E. Cusack worked from an inner-city studio (1895-96: Norwich Chambers; (1896-1914) studying art in Paris and painting the French countryside. 66 Paling's Building, Ash Street off George Street) which she shared with her sister Aline M., who She immediately became one of Sydney’s leading artists was also a professional artist. Between 1890 and 1937, they lived at ‘Laragh’, 42 William Street, who also presented art classes and outdoor painting Lavender Bay, building a purpose-built studio attached to their home in 1906. From 1937 until her classes with her sister Aline M. Cusack. The Cusack death, Edith Cusack and her sister Aline lived at 1 Bromley Avenue, Pymble. sisters were popular with the art loving public, often In the early 1880s, Edith E. Cusack attended Miss Chester’s School (Parramatta) and received receiving prices for their paintings on par with the most her artistic training at Parramatta under Joseph A. Bennett2 and because paying the weekly fees well-known male artists. In 1906, Edith Cusack travelled was a problem, she worked concurrently as his assistant teacher. In 1888, she exhibited drawings to Dubbo where she painted, especially pictures at the Women’s Industrial Exhibition. In 1890, she was awarded the Art Gallery of NSW’s First containing Aborigines, a subject seldom painted by Prize for Drawing for Venus of Milo. In 1890, an uncle left £300 for the education of Edith and women or even men of the period. In 1894, Aline, a pastel portrait of her sister, was purchased by the Art Gallery of Aline, and with monies saved from the sale of paintings, Edith was able to spend three years th NSW, one of the earliest works by a women artist to be studying and painting in Europe. On 16 February 1891, she boarded the RMS Oroya for London, purchased by an Australian public collection. Edith and to further her studies at Paris’s Académie Julien (1891-1894) under Bouguereau, Lefebvre and Aline Cusack were members of The Painting Club and Fleury, and while in Paris exhibited at the Salon. After the Bank Crash of 1893, Aline’s and Edith’s were early female Council members of the Royal Art inheritance was lost and Edith was required to return home. On 20th April 1894, she boarded the Society; Aline being instrumental in the establishment of RMS Austral in London for Sydney via Gibraltar, Naples, Suez, Colombo (Sri Lanka), Perth, Sydney’s Society of Women Painters. Adelaide and Melbourne.

2 Before arriving in Sydney in 1886, Joseph Bennett had studied in Paris under Leon Bonnat [1833-1922] at the time of French Impressionist exhibitions; Bonnat was friends with Edgar Degas, Gustave Moreau, Jean-Jacques Henner and the sculptor Henri Chapu, and had studied for three years in Italy after winning the Prix de Rome.

{TOC – DICTIONARY OF AUSTRALIAN ARTISTS}

NOTE: Blue underlined text are ‘hot links’ that when {left clicked} will jump to indicated text section. Page 18

After her return to Sydney, Edith and Aline taught art from their inner-city studio and exhibited at the Royal Art Society, serving on its Council. In September 1894, Edith’s pastel portrait Aline was purchased by the Art Gallery of NSW. Edith Cusack continued her studies at the Royal Art Society School (late-1890s) under Scottish-emigrant painter Gordon Coutts, in 1897, winning the School's Open Competition. In 1898, one of Edith’s portraits and four flower studies were selected for the Exhibition of Australian Art at the Grafton Gallery, London. In 1900, the Art Gallery of NSW purchased Wildflowers (in 1946, it was de-accessioned and sold). In 1907, Edith E. Cusack was on the Executive Committee of the Australian Exhibition of Women's Work and exhibited oil (portrait [84 guineas], a flower painting, a genre painting [105 guineas] and a figure painting [84 guineas]), watercolour (flower painting), pastel and black-and- white (portrait) paintings. Edith Cusack was highly respected as a Sydney artist (some contemporary art critic considered her Sydney’s leading woman artists). She commanded high prices for her major artwork, comparable to the prices asked by Australia’s leading artists. However, when the breakaway Society of Artists broke from the Royal Art Society in 1907, Edith and Aline chose to stay with the Royal Art Society and later became principals of the Society of Women Painters. For this and other curiosities of Australian art history, she was seldom mention in history test and discussions about Australian artists. In December 1903, Edith E. Cusack was financially stable and returned to the United Kingdom (England, Scotland, ...) and Europe (France, Italy...). In London, she studied miniature painting and obtained an Art Teacher’s Certificate from the Royal Drawing Society of London. Before returning to Sydney in early-1905, she held a solo exhibition of her paintings and drawings in London which proved to be highly successful. In June 1914 (one month before the outbreak of war), Edith and Aline Cusack travelled to the United Kingdom to further their artistic careers, but until the armistice, picked fruit with the Land Girls (a.k.a. Kitchener’s Lizzies) at Warwickshire with Australian miniaturist Kong Sing, worked in military canteens and between April 1918 and February 1919 served as VAD Ward Orderlies at No.72 General Military Hospital in France, nursing wounded soldiers. After the war, the two sisters caravanned around the United Kingdom, afterward travelling and painting in Ireland, France and Belgian before returning to Sydney in August 1920. Between 1925 and 1926, they were again travelling and painting in the United States and Europe, taking their final trip in 1936-1937. Edith Cusack was a painter in oils, watercolours and pastels whose subjects included landscapes, still-life, genre and portraits. Between 1895 and the late-1930s, she had numerous solo and joint (with sister Aline) exhibitions in Sydney that always receive excellent reviews and good sales. In Sydney, she was a member of the Royal Art Society, serving on its Council. In 1910, she was one of the founders of the Society of Women Painters, serving on its Council and Exhibition Committees. While in the United Kingdom and Europe, she exhibited in London and Paris. In New Zealand, she occasional exhibited at the N.Z. Academy of Fine Arts. COLLECTIONS: AGNSW; Newcastle Regional AG; Mitchel Library; and Regional Art Galleries. PORTRAIT: photo of Edith and photo of her studio in The Woman at Home 189? p.439. BIBLIOGRAPHY: Australian Watercolour Painters; Encyclopedia of Australian Artists; Ladies’ Picture Show; Heritage; (7th May 1892; 4th June 1892; 15th May 1894); Sydney Morning Herald (6th October 1888; 9th February 1891; 18th May 1894; 10th June 1914; 21st August 1921); Daily Telegraph (8th January 1890; 2nd June 1894); Sun (4th December 1021); Daily Mail (20thFebruary 1921); numerous newspaper articles.

{TOC – DICTIONARY OF AUSTRALIAN ARTISTS}

NOTE: Blue underlined text are ‘hot links’ that when {left clicked} will jump to indicated text section. Page 19

EVANS, JESSIE LAVER (A.K.A. LAVINGTON) [ VICTORIA ] BORN: 25th March 1860 at Albury, New South Wales DIED: 12th May 1943 at Brighton Beach, Victoria Jessie L. Evans was a plein air painter, who was born in Albury where her father was a successful storekeeper. She was the daughter of William Byrd (also Burd or Bird) [1834-1904; son of Lavington Evans] and Clara [1839-1875; nee Farrow] Evans, who had married in 1851 in Bendigo where he held mining rights. Between 1857 and 1859, Jessie’s father was charged and convicted of embezzlement, but was finally pardon, largely due to public outcry. Shortly after being pardon, Jessie was born, there being at least two brothers and two sisters who were younger. For more than fifty years, Jessie L. Evans lived with her family at "Clifton" 14 Dendy Road, Brighton Beach (one block from beach), but was never allowed to work or sell her artworks because it would cast aspersions on her father’s and the family’s ability to support her. However, between 1896 and 1899, she maintained an artist’s studio at 123 & 125 William Street and later 230 Collins Street. In 1880, Jessie L. Evans exhibited at the Intercolonial Industrial Exhibition in Melbourne. She received her artistic training at the National Gallery of Victoria School (1880-1891; 1903- 1904) under Fred McCubbin and George Folingsby, being awarded (1888) 2nd Prize for Still-Life and (1890) 2nd Prize for Best Drawing from Antique. Between 1894 and 1898, she also studied at the Melbourne School of Art under E. Phillips Fox and Tudor St George Tucker, being awarded (1894 and 1897) Prizes for Landscape. In 1890, the Table Talk's art critic said of her interior painting [117] Little Wanders in Bush "There is clever painting in every detail of the picture, and the drawing is certain,..." a.k.a. Morning Stroll, Heidelberg and of a portrait circa 1898; oil on canvas; 37.0 x 27.0 cm. "…a good portrait, finely modelled and free of any suggestion of slap-dash execution." PROVENANCE and of a flower piece PURCHASED: 1994 from Sotheby’s. "…is crisply and vigorously painted." Few artworks by Jessie L. Evans were signed because and of a study of drapery her father considered exhibiting paintings for sale to be "…the management of light and shade is noticeably good." ‘unladylike’ and cast aspersions on his ability to support In Melbourne, Jessie L. Evans exhibited at student exhibitions at the National Gallery of his family. In the late-1890s, Jessie Evans stopped exhibiting at a time when a greater number of women were Victory and the Melbourne School of Art, and at the Victorian Artists Society until 1896, her exhibiting artworks with the hope of receiving desparately artworks always receiving good comments from the art critics. In the late-1890s, Jessie L. Evans needed income to help in the support of their families. had to withdraw from exhibiting and selling her artworks because her father felt that exhibiting This painting is similar in composition to Fred McCubbin's artworks for sale was unladylike and cast aspersions upon his ability to support his family. Lost, 1886 and Tom Roberts' A Summer Morning Tiff, Throughout her adult life, Jessie’s career was simply listed as ‘house duties’. 1886. BIBLIOGRAPHY: Completing the Picture; More Than Just Gum Trees; Sydney University 1997 Thesis: Harvest of a Quiet Eye; numerous newspaper articles.

{TOC – DICTIONARY OF AUSTRALIAN ARTISTS}

NOTE: Blue underlined text are ‘hot links’ that when {left clicked} will jump to indicated text section. Page 20

GEACH, PORTIA STRANTON [ Victoria, New South Wales, UK, Europe, USA ] Born: 24th December 1873 at Melbourne, Victoria Died: 5th October 1959 at Sydney, New South Wales Portia Geach was a professional painter, muralist, printmaker, art teacher and feminist, who worked from a Collins Street studio when in Melbourne. She was the second youngest of the five children of Cornish parents Edwin [1839-1914; warehouseman and later draper] and Catherine [1834-1917; née Greenwood] Geach. Edwin Geach [-1940] the theatrical agent-promoter was her brother. Throughout her life, Portia was financially well off, enabling her to take frequent overseas trips to Europe and the North America. Portia Geach received her artistic training at the National Gallery of Victoria School (1890- 1896) under Fred McCubbin, George Follingsby and Bernard Hall. In 1896, she travelled to London where she won a scholarship to the Royal Academy School of Arts, studying for four years, including for a time under American John Singer Sargent [1856-1925], James Shannon, Solomon J. Solomon, George Clausen and Seymour Lucas. In 1898 and 1899, she worked and studied in Paris, attending Académie Whistler under the guidance of American James McNeill Whistler and exhibited in United Kingdom, France (Paris) and USA (New York), returning to Australian in early-1901. Between 1907-1910 and 1922-1926, she visited Europe, United Kingdom and United States. In 1920s, she exhibited at Paris’s Société Nationale des Beaux-Arts. Back in Melbourne, Portia Geach held an exhibition in January 1901 in her Collins Street studio, including a number of portraits which became a specialty for a time, before becoming a well-known muralist and printmaker. In 1904, she moved to Sydney, initially living on Cremorne [118] Autumn Idyll, Cremorne Point Point, but later in an apartment on Macquarie Street. In 1914, she exhibited mainly oils and 1922; oil on board; 30.0 x 22.0 cm; watercolours landscapes of the shores of Sydney Harbour and Victorian rural scenes, with some Signed: “ Portia Geach “ (lower right). portraits. In 1907, she exhibited oil (portrait and figure paintings), watercolour (figure painting [52 Provenance guineas]) and etched pictures at the Australian Exhibition of Women's Work. PAINTED: en plein air near her residence on On several occasions (1910 and 1920-1922), Portia Geach visited the United States where Cremorne Point. she became involved in the feminist Housewives’ Progressive Association in New York, founding COLLECTION: 1922-1994 purchase from artist. the NSW Housewives’ Association (later Housewives’ Progressive Association) when she PURCHASED: 1994 from private collector. returned to Sydney, its aim being to educate women in the principles of proper nutrition and to aid them in their struggles against profiteering and rising food prices. For many years, she was also president of the Federated Association of Australian Housewives, often speaking on the radio to promote her causes. She was also on the committee of the National Council of Women of New South Wales and a delegate to the International Council of Women's Conference in Washington in 1925, believing in equal pay for men and women and the right of women to hold public office.

She also served on the council of the Australian Women's Movement against Socialization from 1947.

{TOC – DICTIONARY OF AUSTRALIAN ARTISTS}

NOTE: Blue underlined text are ‘hot links’ that when {left clicked} will jump to indicated text section. Page 21

In addition to exhibiting while overseas, in Melbourne she was a member of the Victorian Artists Society and in Sydney exhibited at the Royal Art Society. After, her death in 1959, Portia Geach left estates valued at £56,582 in New South Wales and £9744 in Victoria to her sister Florence Kate, who died in 1962 and provided in her will for an annual £1,000 prize, known as the Portia Geach Memorial Art Award, for a portrait by a woman artist. COLLECTIONS: NGA; NLA, Australian War Memorial, Mitchell Library and Regional Art Galleries. BIBLIOGRAPHY: Ladies Picture Show; Encyclopedia of Australian Artists; Completing the Picture; Heritage; numerous newspaper clippings.

[119] Moonrise (Mosman Bay) 1922; oil on board; 24.0 x 19.0.0 cm; signed: “ Portia Geach ” (lower right). PROVENANCE PAINTED: en plein air near her residence on Cremorne Point. PURCHASED: 2011 from Lawson’s. Portia Geach received her artistic training at the National Gallery of Victoria School (1890-1896) under Fred McCubbin, George Follingsby and Bernard Hall. In 1896, she travelled to London where she won a scholarship to the Royal Academy School of Arts, studying for four years, including for a time under American John Singer Sargent, James Shannon, Solomon J. Solomon, George Clausen and Seymour Lucas. In 1898 and 1899, she worked and studied in Paris, attending Académie Whistler under the guidance of American James McNeill Whistler and exhibited in United Kingdom, France (Paris) and USA (New York), returning to Australian in early-1901.

{TOC – DICTIONARY OF AUSTRALIAN ARTISTS}

NOTE: Blue underlined text are ‘hot links’ that when {left clicked} will jump to indicated text section. Page 22

GREGORY, INA (GEORGIANA) ALICE [ Victoria, New South Wales ] BORN: 18th October 1874 at South Melbourne, Victoria DIED: 5th June 1964 at Ivanhoe (Melbourne), Victoria Ina Gregory was a professional painter and illustrator. She was the second eldest of the seven children of John Burslem [1844-1910; barrister and lecturer at Melbourne University] and Alice [1852-1946; nee Topp] Gregory. In circa 1895, her father left the family and traveled to the California where he died fifteen years later. Ina lived a somewhat reclusive life at ‘Rosedale’ on Inkerman Street, St Kilda with her sister Ada [1873-1935] who was an author and amateur painter. The Gregory family also had a country house ‘Maroondah’ at Healesville, at which Ina and fellow artists visited to paint en plein air. After her sister’s death, Ina shared accommodation with artist Jane R. Price, with whom she shared and interest in Theosophy. Ina Gregory received her artistic training at the National Gallery of Victoria School (1893-1894, 98) under George Follingsby and Fred McCubbin. However, her primary artistic influences were acquired while studying at the Melbourne School of Art (1893-1899) under E. Phillips Fox and Tudor St George Tucker; being awarded numerous prizes for her painting and drawing. Against her mother’s wishes, Ina attended the Summer School at Charterisville in the late-1890s, her sister Ada recounting the experience in the lost novel, Blue Wings. Ina visited Sydney and painted around the Sydney Harbour, probably while visiting the Theosophy Centre at Clifton Gardens. In 1905, Ina Gregory produced book illustrations with and Geraldine Rede with [120] “ Four Art Students, Charterisville ” whom she had studied at the Melbourne School of Art. In 1907, Ina exhibited oil (landscapes and circa 1897; oil on canvas; 29.0 x 24.5 cm. figure painting [80 guineas]) and black-and-white (portrait and figure study) pictures at the Australian Exhibition of Women's Work. During World War I, she supported the Red Cross PROVENANCE Fund through the sale of her paintings. In April 1925, she had a successful exhibition of 176 PAINTED: circa 1897 at E. Phillips Fox’s & Tudor St George Tucker’s Summer Art School at Charterisville Estate, paintings at the Athenaeum Gallery. In February 1938, she held a joint exhibition with C. Asquith Ivanhoe, Victoria. Baker at Athenaeum Gallery and in July 1942, she had a highly successful joint exhibition of COLLECTIONS: paintings with Jane R. Price at Athenaeum Gallery that earned ✓ Ina Gregory’s 156 Inkerman Street, St Kilda Studio; “The visitor is enticed back to the golden age of Eaglemont, at Heidelberg, in the days of Streeton, ✓ until 1992 Mrs Robyn, Kelly, Melbourne Victoria. Roberts, Longstaff, Phillips Fox, McCubbin and others.” PURCHASED: 1992 from Sotheby’s. EXHIBITED: Ina Gregory was a painter in oils who preferred garden scenes to bush landscapes and also ✓ 1985-1986 “Golden Summers: Heidelberg and beyond” painted fine expressive portraits. In Melbourne, she exhibited at the Victorian Artists’ Society (from at NGV; AGNSW); AGSA; AGWA 1898) and Yarra Sculptor Society (from 1908). In Sydney, she exhibited at the Society of Women ✓ 1992-1993 “Completing the Picture: Women Artists and Painters and in Adelaide with the Royal South Australian Society of Arts. the Heidelberg Era” at HP&AG; BFAG; CAG; BAG; In 1980s, Ina Gregory was rediscovered when her painting Four Art Students, Charterisville SGEG; CHG; QVM&AG; TM&AG; AGWA was exhibited and toured as part of the exhibitions and books for (1986) Golden Summers: ILLUSTRATED: Heidelberg and Beyond and (1992-1993) Completing the Picture: Women Artists and the ✓ “Golden Summers: Heidelberg and beyond”, Jane Clark Heidelberg Era, later being illustrated in (1995) Heritage: The National Women’s Art Book. and Bridget Whitelaw; 1985, ✓ “Completing the Picture: Women Artists and the COLLECTIONS: Castlemaine Art Gallery and Historical Museum. Heidelberg Era”, Victoria Hammond and Juliet Peers, BIBLIOGRAPHy: Ladies’ Picture Show; Artists Camps; Encyclopedia of Australian Artists; Completing the 1992 Picture; Heritage; Antiques in Victoria, March 1988; Sydney University 1997 Thesis: Harvest of a Quiet Eye; ✓ “Heritage: The National Women’s Art Book”, 1995. Australasian (18th April 1925); Argus (24th June 1942; numerous newspaper clippings.

{TOC – DICTIONARY OF AUSTRALIAN ARTISTS}

NOTE: Blue underlined text are ‘hot links’ that when {left clicked} will jump to indicated text section. Page 23

GURDON, NORAH [ Victoria, New South Wales, Queensland, Tasmania, Europe, UK ] BORN: April 1882 at Hopton-on-the-Sea, Norfolk, England DIED: 27th June 1974 at Kalorama, Croydon, Victoria Norah Gurdon was a professional painter. She was the second eldest of the five children of Edwin John [1853-1927; surgeon] and Ellen Anne [1854-1912; nee Randall] Gurdon. On 13th June 1888, her family arrived at Melbourne aboard the Carlisle Castle. She maintained a country studio at Kalorama near Mount Dandenong, where her fellow women artists stayed and painted en plein air the countryside, Arthur Streeton being a frequent visitor. Norah Gurdon attended Brighton High School before receiving her artistic training at the National Gallery of Victoria School (1901-1908) and continued her studies in the United Kingdom (1914-1920). She was closely associated with Constance Jenkins, Hilda Rix Nicholas, Ruth Sutherland, and who were fellow students at the National Gallery of Victoria School and was a prominent member of the Melbourne Society of Painters and Sculptors. In 1907, Gurdon exhibited oil (still-life and genre paintings), watercolour (genre painting) and black-and-white (portrait and figure study) pictures at the Australian Exhibition of Women's Work. In May 1912, she held a joint exhibition with Dora Wilson and Ruth Sutherland at Style’s Gallery on Collins Street. In 1923, Norah Gurdon’s painting, Under the Window, was exhibited in London’s Exhibition of Australian Art and was a feature illustration in its catalogue.

[NAS] “ Under the Window ” 1922, oil on canvas; 44.5 x 54.5 cm; signed: “ N. Gurdon ” (lower right). PROVENENCE: EXHIBITED AND ILLUSTRATED: 1923 Exhibition of Australian Art at London; PURCHASED: 1994 from Sotheby’s. Norah Gurdon was well-known for plein air impressionistic landscapes, Arthur Streeton being a frequent guest at her country property and studio in the . Rather than following the fashion of presenting landscapes in the blue and gold palette made popular by the , she preferred the muted blue and gray tones that were true to the Dandenong Ranges.

{TOC – DICTIONARY OF AUSTRALIAN ARTISTS}

NOTE: Blue underlined text are ‘hot links’ that when {left clicked} will jump to indicated text section. Page 24

On 9th April 1914 (ten weeks prior the outbreak of war), Norah Gurdon boarded the S.S. Stropshire for London to pursue further artistic training. However, she spent two years as a VAD (Voluntary Aid Detachment) nurse at the French Red Cross Hospital at Le Croisic (central-west coast of France) and was awarded the British Victory Medal for her services during the war. Afterward, she continued her artistic studies and painted throughout Europe. In 1920, she returned to Melbourne, revisiting Europe in 1928 and April 1938 (a year before the outbreak of World War II). In May 1920, she held a highly successful solo exhibition at the Athenaeum Gallery that included pictures prepared while serving as a nurse in France and also landscapes of French countryside, Scotland and England that were painted after the hostilities had ended. She followed this with a solo exhibition in Brisbane in April 1921. In May 1920, April 1923, May 1925 and April 1927, she held solo exhibitions at the Athenaeum Gallery, April 1929 and April 1937 at New Gallery, and in March 1943 and August 1949 at Sedon Gallery. In 1927, her landscapes Boats at Rosebud and Old Shed were finalists in the Art Gallery of NSW’s prestigious Wynne Prize. Norah Gurdon exhibited at the Victorian Artists’ Society, was a prominent member of the Melbourne Society of Women Painters and Sculptors and exhibited with the Australian Art Association. In Sydney, she exhibited at the Society of Women Painters and Women’s Industrial Arts Society, and in Brisbane, exhibited at the Royal Queensland Art Society.

COLLECTIONS: REGIONAL GALLERIES AT Bendigo, Castlemaine and Shepperton.

BIBLIOGRAPHY: Encyclopedia of Australian Artists; Ladies’ Picture Show; Story of Australian Art; Sydney University 1997 Thesis: Harvest of a Quiet Eye; Table Talk (2nd May 1912); Herald (17th February 1920; 18th May 1920; 9th April 1923; 19th May 1925; 7th January 1928; 9th April 1929); Argus (28th May 1920; 22nd April 1921); Age (22nd April 1927).

{TOC – DICTIONARY OF AUSTRALIAN ARTISTS}

NOTE: Blue underlined text are ‘hot links’ that when {left clicked} will jump to indicated text section. Page 25

HAKE, ELSIE FREDERICA (MRS ARTHUR BARLOW) [ Victoria, Tasmania ] BORN: 1876 at Emerald Hill, Victoria DIED: 15th November 1948 at Mentone, Victoria Elsie Hake was a professional painter, printmaker and art teacher, who in her later career specialized in watercolours. She was the youngest surviving child of the eight children of Sidney [1835-1911; shipping and customs agent] and Charlotte Helen [1845-1918; nee Hemsley] Hake, her sister Dora Beatrice [1875-1968; Mrs ] was also an accomplished artist. In 1902, Elsie married Arthur Barlow [1878-1917; police magistrate at Castlemaine; cousin of George Bell], the couple having three children with one dying as an infant. She shared a studio with her sister, Dora, until her marriage and after returning from Castlemaine in 1917, maintain an inner-city studio at the Dunkling Building in Collins Street until the 1940s. Elsie Hake and her sister Dora attended Fairelight Girls School where they met , attending her art classes in drawing and painting from life. In the late-1890s, Elsie also attended art classes at Heidelberg and E. Phillip Fox’s Melbourne Art School (1897-1900) while attending the National Gallery of Victoria School (1894-1901) under Fred [122] Girl with Doll McCubbin and Bernard Hall, being awarded a number of prizes and being a top contender for the a.k.a. My First Doll School’s prestigious Travelling Scholarship in her final year. Between 1896 and 1907, Elsie was circa 1910; oil on canvas; 64.0 x 74.0 cm; repeat-winner of the First Prize for Watercolour and also for Oil Painting most years at the Annual signed: “ E. Barlow ” (lower right). Murrumbidgee Shows. From 1901, she conducted art classes at the Buxton Building on Collins PROVENANCE Street. In 1901, She was awarded First Prize for her oil Still-Life at the Bendigo Jubilee Exhibition. PURCHASED: 1994 from Leonard Joel’s. In 1907, she exhibited oil (a portrait and a genre painting), watercolour (landscapes, seascapes Elsie Hake (Mrs Barlow) received her artistic training and genre) paintings and black-and-white (portraits) pictures at the Australian Exhibition of privately under Jane Sutherland, Walter Withers and at E. Women's Work. Between 1918 and 1941, she had almost annual solo exhibitions of watercolours Phillips Fox’s Melbourne School of Art and the National from her studio or other galleries on Collins Street. She helped establish the Castlemaine Art Gallery of Victoria School (1894-1901) under Fred Gallery and Historical Museum. In 1917, she returned to Melbourne where she taught art and McCubbin and Bernard Hall, being awarded a number of prizes and being a top contender for the School’s exhibited extensively. In 1923, her work was included in the Exhibition of Australian Art at the prestigious Travelling Scholarship in her final year. London’s Royal Academy. From 1901, Elsie Hake conducted art classes at the Dora Hake was primarily a watercolourist whose subjects included landscape and still-lifes, Buxton Building on Collins Street. In 1907, she exhibited and from 1895 exhibited at country art centers, repeatedly being awarded art prizes. In Melbourne oil (a portrait and a genre painting), watercolour from 1900, she exhibited at the Victorian Artists’ Society, Melbourne Society of Women Painters (landscapes, seascapes and genre) paintings and black- and Sculptors, and Twenty Melbourne Painters. In Sydney, she exhibited at the Society of Women and-white (portraits) pictures at the Australian Exhibition Painters and Australian Art Society. of Women's Work. Between 1918 and 1941, she had COLLECTIONS: Queen Victoria Museum; Regional Galleries at Bendigo, Castlemaine and Launceston. almost annual solo exhibitions of watercolours from her BIBLIOGRAPHY: Australian Watercolour Painters; Encyclopedia of Australian Artists; Ladies’ Picture Show; studio or other galleries on Collins Street. She helped Sydney University 1997 Thesis: Harvest of a Quiet Eye; Wagga Wagga Express (3rd September 1896; 24th August establish the Castlemaine Art Gallery and Historical 1899; 6th September 1900; 22nd August 1901; 24th August 1905; 24th August 1907); Argus (23rd December 1896; 2nd Museum. In 1917, she returned to Melbourne where she February 1901; 20th November 1948); Table Talk (25th December 1896; 15th July 1920); Bendigo Independent (15th taught art and exhibited extensively. In 1923, her work November 1901); Adelaide Critic (3rd January 1903); Ballarat Stat (10th October 1908); Herald (18th March 1918; 19th was included in the Exhibition of Australian Art at the April 1921; 29th February 1924); Age (5th December 1941); numerous newspaper article. London’s Royal Academy.

{TOC – DICTIONARY OF AUSTRALIAN ARTISTS}

NOTE: Blue underlined text are ‘hot links’ that when {left clicked} will jump to indicated text section. Page 26

HAXTON, ELAINE ALYS (A.K.A. MRS RICHARD FOOT) [ New South Wales, USA, Mexico, UK, Japan; Southeast Asia ] BORN: 26th September 1909 at Melbourne, Victoria DIED: 6th July 1999 at Adelaide, South Australia Elaine Haxton was a professional painter, sculptor, theatre designer, commercial artist and printmaker. She was the youngest of the three children of David Malcolm [1880-; stationery salesman and talented amateur painter; Scot] and Isobel Florence [1883-; nee Dunham] Haxton, the family settling in Sydney when Elaine was an infant. In 1954, she married Brigadier Richard Cunningham Foot [1892-1969], the couple having no children and living at Clareville, Pittwater, New South Wales. Elaine Haxton received her artistic training at East Sydney Technical College (1924-1928) under Raynor Hoff and later in 1930s, at London’s Grosvenor School under Iain McNab. She studied printmaking at the Willoughby Art Centre, William Hayter Atelier (Paris (late-1940s)) and [123] Pittwater Idyll at Kyoto (Japan). In the mid-1920s, she produced pokerwork items for a factory and was an Oil on canvas; circa 1960; 75.0 x 100.0 cm; illustrator for David Jones. Between 1929 and 1931, she worked as a freelance designer and signed: on boatshed wall. illustrator with four other advertising illustrators in a Bridge Street studio. PROVENANCE Between 1932 and 1939, Elaine Haxton studied and worked as a commercial artist in the PURCHASED: 1994 from Joel’s. United Kingdom and Europe. With the outbreak of war being imminent, she returned to Australia via the United States and Mexico. In the 1940s, she became known for her colourful mural and While not known as a landscape painter, the bright Post- Impressionistic, Pittwater Idyll was painted from her large decorative paintings. In 1945, she designed ballet costumes and theatre sets for the Sydney home at Clareville overlooking the Pittwater government in Dutch New Guinea. In 1946, she again travelled overseas where she studied towards Longnose Point. Elaine Haxton was a leading theatre design at the New School in New York and travelled through the United Kingdom and member of what was derisively named the "Charm School" Europe before returning to Sydney in 1948. of Sydney painters in the 1940s and 1950s, her artwork Elaine Haxton had numerous solo exhibitions in Sydney, Melbourne, Brisbane and Perth. Her being always agreeable to view. In addition to painting, prints have been exhibited at the 2nd British International Print Biennale (1970) and in Rome drawing and printmaking, she studied theatre design in the United States at end-1930s and visited Mexico before (1969), Madrid (1970) and Prague (1970). The Queen Victoria Museum and Art Gallery returning Sydney. In 1943, she was awarded the Summit (Launceston 1982) honoured her by having a retrospective of her prints. In Sydney, she was a Prize for her mural at Kings Cross’s Coq d'Or Restaurant. member of the Society of Artists and Contemporary Art Society, and also exhibited at the Afterward, she dabbled in textile design with Sidney Nolan Australian Art Society. She was awarded the Art Gallery of NSW’s prestigious Sulman Prize and , abstract painting influenced by Henri (1943) for mural design and Ballarat’s Crouch Prize (1946) for contemporary painting. Gaudier-Brzeska and studied printmaking in Japan. Haxton travelled widely under the sponsorship of Qantas and was COLLECTIONS: Metropolitan Museum of Art (New York); AGNSW; AGSA; AGWA; NGV; QAG; included in the Order of Australia. TMAG; Art Gallery, Newcastle City Gallery, Ballarat AG; Bendigo Art Gallery.

BIBLIOGRAPHY: Benezit Dictionary of Artists; Australian Watercolour Painters; Encyclopedia of Australian Artists; Ladies’ Picture Show; Heritage; Design & Art Australia Online; numerous newspaper clippings.

{TOC – DICTIONARY OF AUSTRALIAN ARTISTS}

NOTE: Blue underlined text are ‘hot links’ that when {left clicked} will jump to indicated text section. Page 27

HOY, GRACE [ New South Wales ] BORN: 1875 Warialda, New South Wales DIED: 1964 at Newton, New South Wales Grace Hoy was a painter and printmaker. She was the eldest of five children of Alfred [1847- 1879; land selector] and Elisabeth Jane [1846-1927; nee Grant] Hoy. From 1890s, Grace lived with her mother and siblings at the Sydney suburb of Newtown (1922-28: 106 St Paul's Road; 1929: 106 Carillon Avenue) throughout her artistic career. Grace Hoy received her artistic training at the Sydney Technical College (1897-1905) and in mid-1920s the Society of Woman Painters’ Life Classes under Lawson Balfour, winning a number of awards. Between 1904 and 1907, she was awarded a number of prizes for oil paintings at the Muswelbrook Show. In 1907, she exhibited landscape and portrait paintings at the Australian Exhibition of Women's Work. She produced and exhibited monotypes in the late-1920s that were exhibited in Sydney. In 1925, she was awarded £50 prize for Best Australian Designed Poster. She was an active member of the Society of Women Painters’ Sketch Club. In 1922 and 1926, Grace Hoy was a finalist of the prestigious Archibald Prize with three portraits and in 1938 and 1940 was a finalist in the Sulman Prize with two mural designs. After her mother’s death, Grace curtailed her artistic endeavors. In Sydney, she exhibited at the Society of Women Painters (1920s).

BIBLIOGRAPHY: Heritage; Design & Art Australia Online; Daily Telegraph (15th January 1898; 14th January 1899; 24th January 1902; 6th January 1905; 13th May 1924; 19th January 1925); Sydney Morning Herald (11th January 1898; 25th June 1913); Maitland Weekly (26th March 1904).

[124] Frog’s Rendezvous The Frog’s Rendezvous was probably painted in the 1920s, possibly for circa 1920; oil on canvas; 23.0 x 15.0 cm; exhibition at the Society of Women Painters’ Sketch Club Exhibitions. The subject signed: “ Grace Hoy ” (lower right). of two frogs meeting on an empty flowerpot was quite unusual for the time when PROVENANCE landscapes, flower arrangements, contrived still-life, portraits and genre scenes were favoured. Although frogs were commonly included on Australian studio ILLUSTRATED: “Heritage: The National Women’s pottery (e.g. Vi Eyre’s Frog Vase (1928) in AGNSW Collection) or within naturalist Art Book”, 1995; painting or children’s illustrations, I cannot remember another oil painting of frogs, PURCHASED: 1990 from private collector. certainly none in a Post-Impressionist style. The artwork’s bold brushwork and

limited palette is reminiscent of Josephine Muntz Adams’ paintings and is a common feature of Grace Hoy’s quite distinctive and highly appealing oeuvre.

{TOC – DICTIONARY OF AUSTRALIAN ARTISTS}

NOTE: Blue underlined text are ‘hot links’ that when {left clicked} will jump to indicated text section. Page 28

HUME, ELLEN ADYE (NEE JENKINS) [ New South Wales ] Born: 12th October 1862 at Yass, New South Wales Died: 8th April 1933 at Eastwood (Ryde), New South Wales Ellen Adye Hume was a professional painter, illustrator, craftsperson and art teacher. She was eldest of the six children of Charles [1827-1896; artist of Yass] and Sarah Ellen [1841-1885; nee Adye] Jenkins. On 18th August 1882, Ellen married Edward Barber Hume [1852-1903, Frankfield station owner; son of Francis R. and Emma Hume) at Young, N.S.W., the couple having three children, one dying as an infant. Her husband was a direct descendent of Stuart [1797-1873], the Australian explorer. In 1890, Ellen Adye Hume filed for divorce, cruelty being the cause, the court assigning her £250 per year alimony. After the divorce, the husband sold the family’s historic sheep station and retired to a Sydney pub where he proceeded to drink away his inheritance in hope of leaving his wife destitute. Ellen Adye Hume lived in country New South Wales (Yass, Gunning, Inverell and Armidale) [125] Still Life until her husband’s death, afterward moving to Sydney where she lived at Mosman (1914-1916: a.k.a. Flower Arranging "Coondarra" Sutherland Street), Neutral Bay and North Sydney (1919: 40 Walker Street), Manly circa 1905; oil on canvas board; 29.0 x 36.0 cm; (1920-1923: 35 Alexander Street), Eastwood (1924-1929: "Manoweel" Coronation Avenue) and signed: “ E.A. Hume ” (lower right). Strathfield (1925: 8 Rowley Street). In 1904, she illustrated Friends Beyond the Sea by Edith PROVENANCE Lamb. Between 1905 and 1920s, she worked from city studios (378a George Street, Angel Place, COLLECTIONS: until 1993 reputedly with family; 183 Pitt Street and Strand Arcade), supporting herself and her children from her income as an PURCHASED: 1993 from Archer’s (Katoomba). artist, being known as a painter of landscapes and flower studies. Ellen Adye Hume received her artistic training under her father Charles Jenkins, a well- Painted shortly after Ellen Adye Hume arrived in Sydney from country New South Wales. Even though, she had known Yass artist. After moving to Sydney in 1903, she maintained a professional artists studio married into the well-off family of Hume the explorer, she from which she gave lessons in painting in oils, watercolours and enamels, drawing, stencilling was divorced from her husband (for cruelty) and left to and pyrography. In 1907, Ellen Adye Hume exhibited watercolour flower paintings and a still-life support her children through the sale of her paintings and at the Australian Exhibition of Women's Work where she was awarded 1st Prize for Stenciling art classes she presented from her inner-city studio. She and 1st Prize for Painting on Fabric. In the 1920s, she taught painting and crafts from her studio soon became a popular painter of primarily landscapes and in North Sydney, closeby Edith E. and Aline M. Cusack. still-lifes, her impressionistic style being influenced through In Sydney, Ellen Adye Hume was a member of the Royal Art Society (from 1894), Society her close association with Edith E. and Aline M. Cusack and other Sydney-based impressionists. Throughout the of Artists and Sydney’s Society of Women Painters, serving on its Exhibition Committees. She first-quarter of the 20th century, Ellen Adye Hume was an was also a prominent member of the Society of Arts & Crafts of N.S.W., serving as its Honorary active member of the Royal Art Society (from 1894), Secretary and on its Selection Committees. Society of Artists and Sydney’s Society of Women Painters, putting her in close contact with Australia’s th BIBLIOGRAPHY: 1994 interview with grandson; Design and Art Australia Online; Burrowa News (27 June 1896); leading artists. She was also a leading member of the Arts st th th Australian Star (1 September 1890); Sydney Morning Herald (18 January 1905; 14 July 1923); numerous and Craft Society of New South Wales. newspaper articles.

{TOC – DICTIONARY OF AUSTRALIAN ARTISTS}

NOTE: Blue underlined text are ‘hot links’ that when {left clicked} will jump to indicated text section. Page 29

[127] Walk along the Rocks a.k.a. Cremorne Point, Sydney Harbour circa early-1900s; oil on canvas board; 39.0 x 49.0 cm; signed: “ E.A. Hume ” (lower left). PROVENANCE PURCHASED: 1995 from private collector.

[128] Roses – Still Life circa 1905; oil on canvas; 30.5 x 61.0 cm; signed: “ E.A. Hume ” (lower left). PROVENANCE COLLECTIONS: until 1903 reputedly with family PURCHASED: 1993 from Archer’s [126] “ Morning Glory at Night ” (Katoomba). circa 1905; oil on canvas; 60.0 x 38.0 cm; signed: “ E.A. Hume ” (lower left). PROVENANCE PAINTED: prior to 1909; COLLECTION: gift of artist before 1909; 1909-2012 collection of Mrs Nellie (Eleanor Emma Gunther) Cadell [1881-1945; nee Greville; Mrs Dudley Cadell) then son Harold Cadell; PURCHASED: 2012 from Davidson’s.

{TOC – DICTIONARY OF AUSTRALIAN ARTISTS}

NOTE: Blue underlined text are ‘hot links’ that when {left clicked} will jump to indicated text section. Page 30

JENKINS, CONSTANCE LILLIAN (MRS ERIC SPENCER MACKY) [ Victoria, USA, Europe, UK ] Born: 29th June 1883 at Melbourne, Victoria Died: 11th June 1961 at San Francisco, California, USA Constance L. Jenkins was a professional painter and art teacher. She was the youngest of the six children of John Shanks [1834-1913; architect and civil engineer] and Emma [1841-1936; nee Wright] Jenkins. On 21st August 1912 at Berkley (California), she married Eric Spencer Macky [1880-1958; New Zealand artist and art teacher], who she met while studying at the National Gallery of Victoria School and later travelled with him in the United Kingdom and Europe. The couple had two sons, Donald [1913-] becoming a well-known Californian artist, sculptor and architect. Constance L. Jenkins received her artistic training at the National Gallery of Victoria School (1900-1908) under Fred McCubbin and Bernard Hall. In 1908, she was awarded its prestigious Travelling Scholarship, the first woman winner; Janet Cumbrae Stewart and William B. McInnes were the runners-up. Her entry, Friendly Critics, was commended for its ‘impressionistic’ style, a loose application of the term referring not to the light palette and broken brushwork associated with French Impressionism, but rather to the more textured and broader handling of paint introduced under Bernard Hall’s aegis.3 “In 1924, in a retrospective evaluation of the Travelling Scholarship, (Bernard) Hall concluded that only five recipients of the scholarship had justified the award by achieving success as practicing artists, and that often the most brilliant students ‘missed out’; he named Wheeler, McInnes and [129] The Jade Dog Cumbrae Stewart, among others, in the latter category. He thought that Jenkins had produced the a.k.a. Lady with Jade Dragon best work of all, executed when she was still a student. He concluded that of all the scholarship 1910; oil on canvas; 91.0 x 72.0 cm; pictures received, only two would have ‘a permanent place’ in the collection – Longstaff’s (1892) signed: “ Constance Jenkins ’10 ” (lower right). large symbolist work The Sirens and Jenkins’s (1907) Friendly Critics.” PROVENANCE In 1909, her canvas, Friendly Critics, was reproduced in the International Studio magazine in PURCHASED: 1995 from Sotheby’s. London. In 1907, Constance L. Jenkins was awarded the Gold and In 1907, she exhibited oil (portrait and a figure painting) and black-and-white (portrait and Silver Medals for Figure Painting at the Exhibition of Women’s Work and the following year, became the first figure study) pictures at the Australian Exhibition of Women's Work, being awarded the Gold women artist to be awarded the National Gallery of Medal for Best Fine Art Exhibit, Silver Medal for Best Oil Painting, Special Prize for Most Popular Victoria’s prestigious Travelling Scholarship. Between 1909 Fine Art Exhibit with the Public, 1st Prize for Oil Portrait, 1st Prize for Black-and-White Figure and and 1912, she studied in Paris and during this time painted 2nd Prize for Black-and-White Portrait. In the early 20th century, Constance L. Jenkins was one Lady with Jade Dragon. In late-1912, she travelled to San Francisco where she married fellow artist Eric Spencer of the leading women artists in Australia. Macky, the couple becoming leading American artists and art teachers in San Francisco.

3 Jillian Dwyer; Constance Jenkins, her painting Friendly critics and the National Gallery of Victoria Travelling Scholarship; NGV; accessed 2015; https://www.ngv.vic.gov.au/essay/constance-jenkins-her-painting-friendly-critics-and-the-national-gallery-of-victoria-travelling-scholarship/ .

{TOC – DICTIONARY OF AUSTRALIAN ARTISTS}

NOTE: Blue underlined text are ‘hot links’ that when {left clicked} will jump to indicated text section. Page 31

In March 1909, Constance L. Jenkins boarded the SS Medic II for London, her Travelling Scholarship providing her with £150 per year for three years, enabling her to further her studies at Paris’s Académie Julien (1909-1911) under Jean Paul Laurens. Afterward she travelled through Europe furthering her artistic studies in Belgium (Bruges), Germany (Munich), , Italy (Venice) and United Kingdom (London), and painted for a time at the art colony at Etaples, France. Overseas she exhibited at the Paris Salon and London’s Royal Academy. In 10th February 1912, she arrived at Melbourne from London aboard the RMS Otway and in May 1912, held a highly successful solo exhibition of 96 paintings at the Athenaeum Gallery. A critic stated “Miss Constance Jenkins, whose rapid impressions of Continental travel are always vita and descriptive…” In August 1912, Constance L. Jenkins traveled to California where she married her finance, E. Spencer Macky at Berkley, California. In 1914, the couple painted murals and decorations for the Australian and New Zealand Pavilions at the Panama Pacific International Exposition. In 1916, the Mackys opened their first San Francisco art school in two studios of the Studio Building on Post Street, near Gough, where an art colony of well-known artists lived. After a year, the Macky Art School became the most progressive group of art students in the Bay Region, and its classes were amalgamated with the California School of Fine Arts in 1917 and was sponsored by the San Francisco Art Association and affiliated with the University of California. The Constance L. Jenkins was a leading art teacher and Eric Spencer Macky was Dean of the Faculty. In 1919, Constance L. Jenkins exhibited a work titled The Peri with the Australian Art Association and it was reproduced as a full-page feature in The International Studio magazine earlier that year. Also in 1919, her painting Chrysanthemums appeared as a full-page colour reproduction in the journal Art in Australia. While becoming well-known as an American artist, she was largely forgotten in Australia, though one of her paintings was included in the 1923 Exhibition of Australian Art in London. After having two children, Constance L. Jenkins was appointed with her husband to teaching positions at the California School of Arts, San Francisco, and was associated with the School for most of her life. In California, she was a member of the San Francisco Society of Women Artists (from 1913) and the San Francisco Artists Association, serving as its Executive Director. In 1953, she returned for a visit to Australia, but found she was another of Australia’s ‘Forgotten Women Artists’. In Melbourne, she exhibited at the Victorian Academy of Art and Australian Art Association and in Sydney, exhibited at the Society of Women Painters. COLLECTIONS: NGV; San Francisco Art Institute; Bancroft Library at University of California. BIBLIOGRAPHY: Encyclopedia of Australian Artists; Ladies’ Picture Show; Heritage; Design and Art Australia Online; Argus (8th March 1913; 8th October 1935); Bulletin (17th July 1919); Age (1st March 1930); Daily Telegraph (12th April 1953); numerous newspaper articles.

{TOC – DICTIONARY OF AUSTRALIAN ARTISTS}

NOTE: Blue underlined text are ‘hot links’ that when {left clicked} will jump to indicated text section. Page 32

LAYCOCK, GLADYS DAPHNE (MRS D’ARCY OSBORNE) [ New South Wales, UK. Europe ] BORN: 2nd November 1882 at Newtown, New South Wales DIED: 14th November 1957 at Paddington, Wollahra, New South Wales Gladys D. Laycock was a professional painter and miniaturist. She was the daughter of Thomas Mountford [1840-1900] and Elizabeth Lydia [1858-1933; nee Hughes] Laycock, the Laycock family being descended from the pioneers of the Sydney suburb of Vaucluse. On 3rd September 1925, she married D’Arcy Osborne [1845-1931; grazier], afterwards living at Bredbo Station near Michelago, Monaro, New South Wales, but still maintaining close contact with the social and artistic communities in Sydney. After her husband’s death in 1931, she returned to Sydney and continued to paint and exhibit miniatures. Between 1905 and 1950s, Gladys D. Laycock was one of Sydney’s best-known miniaturists. As a young lady, she received her artistic training at London’s Heatherley School of Fine Art and in Paris. From 1903, she exhibited primarily miniatures on ivory at the Art Society of NSW (later Royal Art Society). In 1907, Gladys Laycock exhibited a miniature portrait, Lady Northcote, at the Australian Exhibition of Women's Work. Gladys D. Laycock maintained a studio at the Strand Arcade and from 1906, was commissioned to produce more than 20 miniatures on ivory of famous people at two guineas per portrait for the Sydney firm of Lovell & Company. Her bosses John Lovell, John Cousins and David Andrews instructed her to sign the miniatures with specific initials that were not her own. In November 1907, she testified against her employers who were tried for conspiracy to defraud for selling Laycock’s miniatures as being painted by famous English and Scottish miniaturists. A [130] Portrait Miniature of Lady pair of her miniatures, Sir John Banks and Governor Phillips, had been sold to the Principal 1910s; watercolour-gouache; 10.0 x 8.0 cm; of the Free Public Library for 40 guineas as having been painted by Henry Raeburn, President signed: “ Gladys Laycock ” (lower right). of the Scottish Academy. These and other faked portrait miniatures were exhibited as evidence. Provenance At no time during the court proceedings was Gladys Laycock charged or accused of any PURCHASED: 1994 from Sotheby’s. wrongdoing. On 25th February 1908, Gladys D. Laycock boarded the RMS Mooltan for United Kingdom and Europe, planning to stay in Paris for a time. In February 1909, she returned to Sydney after studying miniature painting in London and Paris. The Art Gallery of NSW purchased miniatures from the 1913, 1914, 1916, 1919 and 1922 exhibitions of Royal Art Society. In December 1921, she received a commission to produce miniatures of 63 Australian Generals. In Sydney, Gladys D. Laycock exhibited at the Royal Art Society (from 1903) and Society of Women Painters.

COLLECTIONS: AGNSW; Howard Hinton Collection (Armidale); Caroline Simpson Library & Research Collection. BIBLIOGRAPHY: ‘Gladys Osborne's portrait miniatures’ in Australiana (May 2017); Evening News (28th November 1907; 13th February 1908); Sun (11th December 1921); numerous newspaper articles.

{TOC – DICTIONARY OF AUSTRALIAN ARTISTS}

NOTE: Blue underlined text are ‘hot links’ that when {left clicked} will jump to indicated text section. Page 33

MEESON, DORA (MRS GEORGE COATES) [ Victoria, New Zealand, UK, Europe ] BORN: 7th August 1869 at Boroondara, Hawthorne (Melbourne), Victoria DIED: 24th March 1955 at London, England Dora Meeson was a professional painter, craftsperson, printmaker, illustrator and suffragette. She was eldest of the five children of John Thomas [1837-1909; head master ] and Amelia Esther [1839-1909; nee Kipling] Meeson. Between 1876 and 1896, the family moved often living in United Kingdom, New Zealand and Victoria. On 23rd July 1903, Dora married George Coates [1869-1930], a fellow Australian artist; the couple having no children. Largely educated at home, Dora Meeson received her initial artistic training at the Nelson College for Girls and the Canterbury College School of Art (1888-1892) under George Herbert Elliott [1860-1941], an en plein air landscape painter. During this time, Meeson was associated with Margaret Stoddart and was a member of the Palette Club [1887-1895], a group of plein air sketching artists. In 1888, several of Meeson’s oil landscapes and still-lifes were hung in the Dunedin and South Seas Exhibition, winning a Certificate of Merit, and two First Prizes at the Auckland Society of Arts. In 1893, she studied at the Slade School of Art under Fred Brown, attending the life classes. After her family returned to Melbourne, Dora Meeson resumed her artistic studies at the National Gallery of Victoria School (1895-1896) under Fred McCubbin and Bernard Hall. In September 1895, she was awarded the Art Gallery of NSW’s £75 Chapman Prize for her oil painting Ars Longa. Anecdotal gossip says she was the outright winner of the School’s prestigious Travelling Scholarship, but she withdrew in favour of George Coates, who she later married. In 1896, Dora Meeson travelled to Europe to further her artistic studies at London’s Slade [131] “ How Funny ” School of Art (1896-1898) under Ernest Tonks and Paris’s Académie Julien (1898-99) under circa 1905; oil on board; 17.0 x 12.5 cm; Benjamin Constant and Jean Paul Laurens, being awarded Second and Third place in the inscribed: “ D. Meeson, 1 Cedar, Studios, Glebe Place, Chelsea, SW ” (lower reverse). Concours and having her work accepted for display at Paris’s Old Salon. In 1899, she was made a Life Governor of the Bendigo Art Gallery. In 1900, Dora Meeson relocated to London where she Provenance exhibited, including at the 1907 Australasian Exhibition of Women’s Work where she was Exhibited: London; (on verso) No 2 “How nd Funny” Price 4-4-0 pounds, D. Meeson, 1 Cedar awarded 2 Prize for Oil Landscape. In December 1907, a disastrous fire in their Chelsea studio Studios, Glebe Place, Chelsea, SW; destroyed many of Dora Meason’s and George Coates’s paintings and artistic possessions. PURCHASED: 1997 from Leonard Joel’s. After her marriage in 1903, Dora Meeson became active in the Suffragette Movement and was a founding member of Women’s Freedom League and Women’s Council of Conservative and Unionist Women’s Franchise. She was also a member of the Artists’ Suffrage League for which she illustrated booklets, designed posters and banners. During World War I, she was a founder of the Women’s Police Service. After the War, she was a member of the Society of Mural Decorators and Tempera Painters and the first Australian woman artist to be elected a member of the Royal Institute of Oil Painters.

{TOC – DICTIONARY OF AUSTRALIAN ARTISTS}

NOTE: Blue underlined text are ‘hot links’ that when {left clicked} will jump to indicated text section. Page 34

In 1920, Dora Meeson and George Coates returned to Melbourne where they held a series of solo and joint art exhibitions. In 1922, they returned to England and she did not return to Australia until 1934 after the death of her husband.

COLLECTIONS: NGA; AGNSW, NGV, QAG, AGWA, TMAG, NLA, AWM, and numerous Regional Galleries and a number of international public collections.

BIBLIOGRAPHY: Ladies’ Picture Show; Heritage; Sydney Morning Herald (5th September 1895; 21st December 1895); Australian Town and Country (21st December 1895); Bendigo Advertiser (7th February 1899); Sydney Daily Telegraph (25th September 1907); numerous newspaper clippings.

[132] A Harvest Sunset 1888; oil on canvas; 20.5 x 30.5 cm; signed: “ D.M. 1888 ” (lower left).

PROVENANCE PAINTED: 1888 in New Zealand while Dora Meeson was studying art at the Canterbury School of Art; EXHIBITED: Otago Art Society (November 1888), Catalogue Number 38 (Otago Witness (23rd November 1888)). PURCHASED: 1997 from Leonard Joel’s. This is one of the earliest impressionist paintings to be produced in New Zealand, not only by a woman artist but for men as well. Dora Meeson was born in Hawthorne (Melborne, Victoria), but between 1876 and 1896, her family lived in the United Kingdom, New Zealand and Victoria. As a teenager, Dora Meeson studied art at the Canterbury School of Art in Christchurch under George Herbert Elliott [1860-1941], an en plein air landscape painter. Meeson’s A Harvest Sunset was produced before the 9 by 5 Impression Exhibition had been presented in Melbourne and is among the earliest impressionist paintings produced by an Australiam women artist. During this time, Meeson was associated with Margaret Stoddart, a noted New Zealand Impressionist, and the two ladies were members of the Palette Club [1887-1895], a group of New Zealand plein air artists.

{TOC – DICTIONARY OF AUSTRALIAN ARTISTS}

NOTE: Blue underlined text are ‘hot links’ that when {left clicked} will jump to indicated text section. Page 35

MERFIELD, BERTHA ELIZABETH [ VICTORIA, TASMANIA, NEW SOUTH WALES, EUROPE, UK ] BORN: 30th January 1869 at Melbourne, Victoria DIED: 23rd September 1921 at Sandringham, Victoria Bertha E. Merfield was a professional painter, muralist, craftsperson, art teacher and suffragette-journalist. She was the daughter of Thomas [1835-1888] and Isabella [1844-1930; nee Wardman] Merfield, Bertha being the third of the at least eight children living at Stawell (northwest of Ballarat). Thomas Merfield had been born in London, but raised in Cincinnati, Ohio before coming to Victoria during the gold rush. By 1865 when he married, Thomas was the manager of a gold mine at Ararat (between Stawell and Ballarat) and at the time of his death was the owner of the Ballarat Advertiser newspaper. Between 1900 and her death in 1921, Bertha Merfield always listed her profession as ‘Artist’ or ‘Art Teacher’ and after returning from Europe in 1904, she maintained a professional art studio in Alexandra Chambers at 46 Elisabeth Street and later St James Building at 123 William Street from which she taught painting, drawing and various craft media. Bertha E. Merfield received her artistic training at the Melbourne School of Art (1895-1901) under E. Phillips Fox and Tudor St George Tucker. She also studied at the National Gallery of Victoria School (1897-1898) under Fred McCubbin. She learned to paint in an impressionist style in the company of Violet Teague, Ina Gregory, Lilla Reidy, Jessie L. Evans and others. In 1901 and 1902, Merfield was awarded portrait and still-life prizes at the South Street Society in Ballarat. (While repeatedly being credited with being awarded the Longstaff Art Scholarship (a.k.a. National Gallery of Victoria’s Travelling Scholarship), there is no evidence of this). On 24th December 1902, Bertha E. Merfield arrived at London aboard the RMS Omrah, to continue her art studies. In Paris, she studied at Académie Colarossi under Professors Gustav Claude Courtois [1852-1923], Paul Emile Colin [1867-1949] and René François-Xavier Prinet [133] “Mentone, Victoria ” [1861-1946] while sharing a flat in the Latin Quarter with Bernice Edwell, later painting in France, 1904; oil on board; 34.0 x 20.0 cm; Italy and the United Kingdom. In January 1904, Bertha E. Merfield returned to Melbourne aboard signed: “ B.E. Merfield ” (lower left). the RMS Omrah. In September 1906, she held an exhibition of her paintings and craftwork, the PROVENANCE Australian Town and Country Journal’s critic stating on 17th October 1906 PAINTED: circa 1901 prior to her trip to Europe where she continued her studies in Paris. “I really believe that Miss Bertha Merfield must have sold nearly all her prettiest pictures during the PURCHASED: 1998 at Deutscher-Menzies. time her exhibition was open or immediately after. It is not often one finds an artist equally good in depicting Australian and European scenery. Miss Merfield has full success awaiting her in the Bertha Merfield received her artistic training at the Melbourne School of Art (1895-1901) under E. Phillips Fox future.” and Tudor St George Tucker and also studied at the National Gallery of Victoria School (1897-1898). She learned to paint in an impressionist style in the company of C. Asquith Baker, Jessie L. Evans, Ina Gregory, Lilla Reidy, Violet Teague, and others before continuing her studies in Paris, London and French art colonies.

{TOC – DICTIONARY OF AUSTRALIAN ARTISTS}

NOTE: Blue underlined text are ‘hot links’ that when {left clicked} will jump to indicated text section. Page 36

On 8th December 1910, Bertha E. Mayfield departed aboard the SS Bremen for Bremen, Germany, later studying in London under George Claussen, who had taken a great interest in her work. While in Europe, she painted and studying weaving in Germany and Finland, staying with Baroness von Leaghen. While in England, Merfield was a founding member of the Society of Mural Decorators and Painters in Tempura (Dora Meeson was also a member). In February 1912, Bertha held a solo exhibition of thirty painting, including mural decorations, at the Commonwealth Offices in London. On 18th March 1912, she departed London aboard the SS Scharnhorst to return to Melbourne. On her return to Melbourne, Bertha E. Merfield was appointed art teacher at the University. In October 1913 (and again in September 1918), she held a solo exhibition of 82 paintings and mural decorations at the Athenaeum Gallery that received glowing reviews and exceptional sales. In June 1915 (and again in May 1920), she had a solo exhibition at the Hordern’s Fine Art Gallery in Sydney that was well received and allegedly resulted in numerous commissions. Merfield became one of the pioneers of mural painting in Victoria, some of her notable murals including 9 by 8 feet murals for Melbourne’s Oriental Hotel, a large Australian landscape commissioned in 1916 by Marion and Walter Burley Griffin for the Cafe “Australia” in Collins Street, and eight large panels for the ‘New’ Malvern Theatre in 1921. assigns Bertha E. Merfield a place as one of the first Australian women to distinguish herself as a landscape painter, her impressionistic and decorative landscapes, still- lifes and portraits that show the influence of E. Phillips Fox and her later mural decorations adopt an art nouveau stylalisation. In 1908, she was one of the founders of the Arts and Craft Society of Victoria; their first meeting was held at her studio. Bertha E. Merfield was active in the women’ s right and suffragette movement not only as a supporter but also an organizer-speaker and journalist for the Women Voter publication, serving as Vice-President of Women’s Labour Bureau. Between 1905 and 1920, she exhibited at the Victorian Artists Society, Melbourne Society of Women Painters and Sculptors and Yarra Sculptor Society, later being a foundation member and exhibitor of the Twenty Melbourne Painters. She also exhibited craftwork (leather work, enamels and jewelry) at the Victorian Arts and Crafts Society, serving on its Council since its inception. She also exhibited interstate at Sydney’s Society of Women Painters and Adelaide’s Society of Artists’ Federal Exhibitions. On 23rd September 1921, Bertha E. Merfield jumped from the train travelling from Sandringham to Melbourne, dying aged 51-years. She had been travelling with her mother and was reputedly depressed and of unsound mind. BIBLIOGRAPHY: Artists of Kew; The Artists Camps; Encyclopedia of Australian Artists; Ladies Picture Show; Golden Summers, More than Just Gum Trees; Sydney University 1997 Thesis: Harvest of a Quiet Eye; Ballarat Star (24th October 1901; 4th November 1902); Leader (6th February 1869; 22nd September 1906; 10th October 1908); Table Talk (27th September 1906; 2nd November 1916); Punch (8th December 1910; 20th June 1912); Australasian (7th October 1911); Herald (9th January 1912; 2nd December 1913; 13th April 1915; 10th September 1918); Weekly Times (3rd February 1912); Women Voter (2nd September 1913; 23rd September 1913); Sydney Sun (30th May 1915); Argus (6th February 1909; 19th February 1912; 16th October 1913; 30th September 1921); Advocate (29th September 1921).

{TOC – DICTIONARY OF AUSTRALIAN ARTISTS}

NOTE: Blue underlined text are ‘hot links’ that when {left clicked} will jump to indicated text section. Page 37

MESTON, EUPHEMIA EMILY [ New South Wales; Victoria; Tasmania ] BORN: 1866 at Fitzroy, Victoria DIED: 6th October 1914 at Ashfield (Sydney), NSW Emily Meston was a professional painter and art teacher who worked from an inner-city studio (Pauling Building, Vickery Chambers at 76 Pitt Street and later 6 Market Street). She was the middle child of the three daughters of John Catto [1829-1889; Scotsman] and Mary Ellen [1836- 1923; nee King; daughter of famous Irish architect] Meston. Her mother’s uncle was Henry MacManus [1810-1878], a well-known Irish artist, art teacher who established the first art classes for women in Dublin, and former Director of Dublin and Glasgow Galleries. Emily Meston lived [134] Roses with her extended family in the Sydney suburb of Ashfield ("Warrawee" Charlotte Street). 1893; oil on canvas; 32.0 x 57.0 cm; Emily Meston received her artistic training at the National Gallery of Victoria School (1882- signed: “ E. Meston ” (lower right). 1892) under George Follingsby, Fred McCubbin and Bernard Hall. She was good friends with PROVENANCE Tom Roberts (painted his portrait), Jane Sutherland, Iso Rae and other painters of the Heidelberg EXHIBITED: 1893 Royal Art Society; School of Landscape Painting who had been her classmates at the Gallery School. In early-1890s, PURCHASED: 2008 from Sotheby’s. she taught painting and drawing at the Buxton’s building, where the 9 by 5 Impression Exhibition Emily Meston was primarily a portrait painter (including had been held in 1889. full-length representations) whose subjects included After her father’s death, Emily Meston moved to Sydney in 1892, immediately setting up an prominent politicians and academics, but it was her still- artist studio in Paling’s Building from which she taught painting and drawing. In 1895, her Study lifes of flowers that garnished the greatest attention. Even of Grapes was bought by the Art Gallery of N.S.W. from the first exhibition of the newly formed though Meston was a more significant portrait painter than Society of Artists. In 1898, two of her flower paintings, one portrait and one bird painting were a painter of still-lifes, the Art Gallery of NSW rarely acquired large oil portraits by women, preferring small still- selected for the Exhibition of Australian Art at the Grafton Gallery in London. She was also an life studies which conformed to the ‘decorative’ stereotype exhibitor at the Paris Salons in France. In 1907, she exhibited oil (flower paintings) and pastel attached to 'women’s art'. When Meston’s Portrait of Rev paintings at the Australian Exhibition of Women's Work. At the time of her death, it was noted G McInnes was shown alongside her Study of Grapes at that Emily Meston was Sydney’s best-known portrait painter and an exhibition of more than 200 the 1895 inaugural exhibition of the Society of Artists, it of her paintings were exhibited posthumously at Hordern’s Fine Art Gallery. was called “the strongest portrait, so far as The Emily Meston was primarily a portrait painter (including full-length representations) whose Bulletin knows, yet painted in Australia by a woman”. However, the Trustees of the Art Gallery of NSW subjects included prominent politicians and academics, but it was her still-lifes of flowers that purchased Study of Grapes instead. garnished the greatest attention. In Sydney, she was a member of the Royal Art Society and a foundation member of the Society of Artists (1895-1901). In 1910, she was one of the founders of the Society of Women Painters, serving as its Honorary Treasurer, on its Council and Exhibition Committees. In Adelaide, she exhibited at the Royal South Australia Society of Arts' Federal Exhibitions.

COLLECTIONS: AGNSW; QAG; Sydney University. BIBLIOGRAPHY: Australian Watercolour Painters; Encyclopedia of Australian Artists; Ladies’ Picture Show; Heritage; Design & Art Australian Online; Sydney Morning Herald (17th September 1892); Daily Telegraph (28th September 1895); numerous other newspaper articles.

{TOC – DICTIONARY OF AUSTRALIAN ARTISTS}

NOTE: Blue underlined text are ‘hot links’ that when {left clicked} will jump to indicated text section. Page 38

MOSER, MARION CONSTANCE [ New South Wales; UK, Europe ] BORN: 1869 at Mudgee, New South Wales DIED: 27th August 1934 at North Sydney, New South Wales Constance Moser was a painter and craftsperson. She was the second of the eight children of Thomas [1831-1900; pastoralist- commission agent of Mudgee and Armidale] and Jane Sarah [-1932; nee Brown] Moser, by 1871 having moved to North Sydney. During her artistic career, Constance Moser lived with her extended family at the Sydney suburbs of Ashfield and North Sydney (1920-1934: "Keewong" Bent Street). In Sydney, Constance Moser exhibited at the Society of Artists and Society of Women Painters, serving as its Vice-President and on its Exhibition Committees. In 1929, she was awarded the Society of Women Painters’ £25 Prize for Best Painting. In the 1920s, she was well- known for her “Sunshine Sketches” filled with sunlight and executed in an impressionist manner. [135] Road Through the Valley In 1929, she travelled to London and Europe where she continued her artistic studies for eighteen 1920s; oil on board; 16.0 x 21.0 cm; months before returning to Sydney. In 1910s, she was also a prominent member of the Women’s signed: “ Constance Moser ” (lower right) Handicraft Association, serving as its Honourary Secretary. PROVENANCE

BIBLIOGRAPHY: Sydney Mail and NSW Advertiser (9th November 1901); Daily Telegraph (21st September 1921; PAINTED: early 192s0 as a ‘Sunshine Sketch’; 28th April 1922; 11th May 1929); Sydney Morning Herald (5th December 1929); Evening News (21st February 1931); PURCHASED: 1994 from Raffan Kalaher & Thomas. numerous newspaper articles.

{TOC – DICTIONARY OF AUSTRALIAN ARTISTS}

NOTE: Blue underlined text are ‘hot links’ that when {left clicked} will jump to indicated text section. Page 39

MUNTZ-ADAMS, JOSEPHINE MARGARET (NEE MUNTZ; MRS SAMUEL ADAMS) [ Queensland, Victoria, South Australia, Western Australia, Europe, UK ] BORN: 30th March 1862 at Barfold (90 kilometers northeast of Ballarat), Victoria DIED: 18th November 1949 at East Malvern (Windsor), Victoria Josephine Muntz-Adams was a professional painter, art teacher and gifted pianist. She was eldest of the ten children of Thomas Bingham [1835-1908; Irish immigrant; civil-mining engineer and land speculator] and Jane [1836-1901; nee Jamieson] Muntz. In 1871, the family moved from country Victoria to Prahran (Melbourne), her father being elected a Councilor and later Mayor. On 25th August 1898, Josephine married Samuel Howard Adams [1866-1903; manufacturer’s agent] at Malvern, Victoria, afterward moving to Brisbane where the couple had no children. Josephine Muntz initially studied art at the Prahran School of Design (1876-1880), where she was awarded First Prize for Landscape Painting, First Prize for Flower Drawing, Special Prize for Superior Excellence and Mayor’s Prize for Oil Painting. Afterward she continued her artistic [136] Study for ‘Sleep’ studies at the National Gallery of Victoria School (1882; 1884-1889) under Follingsby where she circa 1920; oil on canvas; 16.5 x 24.5 cm; was awarded a number of prizes. Fellow students included David Davies, Jessie L. Evans, Clara signed: “ J. Muntz-Adams ” (lower right). Southern, Jane Sutherland, May Vale and Arthur Streeton, who became a life-long family friend. PROVENANCE Between 1890 and 1896, Josephine Muntz travelled overseas to continue her studies in Paris PURCHASED: 2001 from Lawson’s. at Académie Colarossi (1891) and Académie Julien (1893) and in England, portrait painting at Josephine Muntz-Adams preferred using friends and Herkomer's Art School (1894-1896) under Hubert von Herkomer. At Brisbane’s International relatives in her paintings, usually posed reading, sewing Exhibition, she was awarded First Prizes for both Oil Portraits and Oil Genre Paintings. In August or relaxing, evocative of the ‘upper-class kept woman’. 1897, she visited and painted in Adelaide and Perth. In 1898, her genre painting, Care, was the However, she lived through her art, her marriage in 1898 only lasting five years before her husband’s death. first artwork by an Australian to be included in the Queensland Art Gallery’s Collection. In 1899, she was awarded the Gold Medal for Portraiture at the Great Britain Exhibition (London). In 1907, Josephine Muntz-Adams exhibited oil (portraits, a flower painting, a genre painting [90 guineas] and a figure painting [30 guineas]) and black-and-white (figure study) pictures at the Australian Exhibition of Women's Work. In the first decade of 20th century, Muntz-Adams became a well-sought-after portraitist and demanded £150 per portrait and earned £1,000 per year. Between 1900s and 1910s, she also taught privately. Between 1917 and May 1922, she took up a teaching post at Brisbane’s Central Technical College. Afterwards, she returned to Melbourne where her eyesight began to deteriorate, her studio filling with unsold artworks. In 1926, she was a finalist in the prestigious Archibald Prize for Portraiture. In 1936, the National Gallery of Victoria purchased her portrait, Italian Girl's Head. In Brisbane, she exhibited at the Queensland Society of Artists, in Melbourne at Victorian Artists’ Society and in Sydney at the Society of Artists. In 1949, she died age 87-years, leaving an estate valued of £31,000. COLLECTION: AGNSW, NGV, QAG, Australian Parliament House; university and regional galleries. BIBLIOGRAPHY: Benezit Dictionary of Artists; Encyclopedia of Australian Artists, Ladies’ Picture Show; Story of Australian Art; Completing the Picture; Heritage; Telegraph (20th 1877); Ballarat Star (24th July 1877); Argus (22nd December 1880; 14th September 1898); Australasian (22nd December 1877); Leader (27th December 1879); Prahran Telegraph (24th June 1893); Table Talk (24th November 1894; 2nd October 1896); numerous newspaper articles.

{TOC – DICTIONARY OF AUSTRALIAN ARTISTS}

NOTE: Blue underlined text are ‘hot links’ that when {left clicked} will jump to indicated text section. Page 40

MUSKETT, ALICE JANE [ Victoria, New South Wales, UK, France ] BORN: 28th April 1869 at Fitzroy (Melbourne), Victoria DIED: 16th July 1936 at North Sydney, New South Wales Alice J. Muskett was a professional painter, illustrator, war & art journalist, poet and author. She was the only daughter of Charles [1830-1873; bookseller] and Phoebe [1831-1886; nee Charlwood; bookseller) Muskett; her brother Phillip Edward Muskett [1857-1909] became a well- known medical practitioner in Sydney. In 1885, Alice and her dying mother joined her brother in Sydney, living with him until his death. From 1886, Alice Muskett received her initial artistic training under Julian R. Ashton (his second student and occasional model) and between 1891 and 1892, studied at the Sydney Technical [137] “ Horse Ferry, College. In January 1891, she was awarded the Art Gallery of NSW’s First Prize for a Life-Size (Sydney Harbour) ” Portrait by a Student and started to exhibit with the Royal Art Society. In early April 1895 and with the support of her brother, she boarded the Thermopylae for London, proceeding to Paris where 1908; oil on board; 18.5 x 34.0 cm; she continued her studies at Académie Colarossi (1895-97). While in Paris, she exhibited at the signed: “ Alice J. Muskett 1908 ” (lower right). Paris Salon and in 1898, three of her paintings were included in the Exhibition of Australian Art PROVENANCE in London. In 1898, her Study of Roses was purchased by the Art Gallery of NSW. EXHIBITED: (1908) Society of Artists Spring In late-1898, Alice Muskett returned to Sydney, where she studied at the Sydney Art School Exhibition, Queen Victoria Markets, Sydney (1896-1901) under Julian R. Ashton. In 1907, she was on the Executive Committee for the October 1908 (cat no 51); copy of catalogue Australian Exhibition of Women's Work and was also an exhibitor. After her brother’s death in entry included. 1909, Alice was assigned a living allowance and after her death, a Prize in Landscape was to be PURCHASED: 1997 from Lawson’s. established. In April 1910, she boarded the Marmora for London and painted in Egypt on the way home in 1911. In Sydney, she shared a studio with Florence Rodway and became an active From 1886, Alice Jane Muskett received her initial artistic training under Julian R. Ashton (his second student and member of the Society of Women Artists. In April 1914, Alice Musket boarded the Mongolia for occasional model) and between 1891 and 1892, studied London, and during World War I, devoted her time to war work, sent reports back to Australian at the Sydney Technical College. In January 1891, she newspapers and worked in a canteen in London. In April 1919, she departed taking 14 weeks was awarded the Art Gallery of NSW’s First Prize for a aboard the Niagara via Panama Canal and Vancouver for Sydney where she lived frugally in Life-Size Portrait by a Student and started to exhibit with Neutral Bay but was always the first to donate a few pounds to a worthwhile cause. She authored the Royal Art Society but joined the Society of Artists a semi-autobiographical novel, Among the Reeds (1933) just three years before her death. when it broke away. In early April 1895 and with the Alice Muskett was a painter in oil and watercolour whose subjects included still-life, genre, support of her brother, she boarded the ‘ flying clipper ’ decorative figure compositions and architectural studies. Her canvases were seldom large but Thermopylae for London, proceeding to Paris where she gave the idea of space necessary to best view the subject. The Art Gallery of N.S.W. purchased continued her studies at Académie Colarossi (1895- two of her paintings, The Dying Salute You (1898; 1946 de-accessioned and sold) and 1897). She again visited Europe 1910-1911 and 1914- Cumberland Street (1902; with another twenty of her paintings were transferred from the Mitchell 1919. While in Paris, she exhibited at the Paris Salon and Library in 1920). In Sydney, she was a member of the Royal Art Society, serving on its Council, a in 1898, three of her paintings were included in the foundation member of the Society of Artists, serving on its Council and in Adelaide, exhibited at Exhibition of Australian Art in London. In 1898, her Royal South Australian Society of Arts. Study of Roses was purchased by the Art Gallery of COLLECTIONS: AGNSW; NGV; Ballarat AG; Manly AG; ML; Launceston Art Gallery. NSW. She authored a semi-autobiographical novel, Among the Reeds (1933) just three years before her BIBLIOGRAPHY: Benezit Dictionary of Artists; Australian Watercolour Painters; Encyclopedia of Australian Artists; Ladies’ Picture Show; Story of Australian Art; Heritage; Art & Design Australia Online; Sydney Morning Herald (9th January death of a cerebral hemorrhage. 1891; 22nd April 1891; 9th February 1895); Daily Telegraph (14th January 1892; 13th September 1928); Western Australian (19th February 1910); Sunday Times (5th April 1914); Table Talk (3rd April 1919); Sun (6th July 1919).

{TOC – DICTIONARY OF AUSTRALIAN ARTISTS}

NOTE: Blue underlined text are ‘hot links’ that when {left clicked} will jump to indicated text section. Page 41

NICHOLAS, (EMILY) HILDA RIX (nee Rix; Mrs George N. Nicholas; Mrs Edgar P. Wright) [ Victoria, New South Wales, UK, Europe, North Africa ] BORN: 1st September 1884 at Ballarat, Victoria DIED: 3rd August 1961 at Bombala (Tombong), Eden Monaro, New South Wales Hilda Rix Nicholas was a professional painter, miniaturist and illustrator. She was youngest of the two children of Henry Finch [1848-1906; Inspector of Schools] and Elizabeth [1855-1916; amateur painter and musician; nee Sutton] Rix. On 6th October 1916, Hilda married Major George Nicholas [1887-1916], but he died six weeks later. On 2nd June 1928, she married Edgar Percy Wright [1891-1979; pastoralist], the couple having one son. Hilda Rix received her artistic training at the National Gallery of Victoria School (1902-1905) under Fred McCubbin. In 1907, she travelled with her mother and sister to London where she studied under John Hassall and later at Paris’s Atelier Delécluse and the Académie Colarossi. She exhibited at Paris’s Salon and in 1912, had a solo exhibition from which one of her pastels was purchased by French Government. She travelled and painted throughout Europe and in 1912 and 1914, she visited Morocco. In addition to maintaining a studio in Paris, she also had one in Etaples where she benefited from critiques of Jules Alder. After the outbreak of war, she fled to [NAS] “The Great Snowy River, London leaving most of her paintings behind. In 1914 and 1916, her sister and mother died, leaving N.S.W.” Hilda alone. In 1916, Major George N. Nicholas A.I.F. discovered her Etaples studio and returned 1932; oil on canvas; 50.0 x 60.0 cm; the paintings to the grateful artist. In October 1916, they married, but he was killed in action six signed: ‘ Hilda Rix Nicholas ’ (lower right). weeks later. In May 1918 (6 months before the end of the War), Hilda Rix Nicholas returned to Australia, PROVENANCE splitting her time between Melbourne and Sydney. She toured through country New South Wales PURCHASED: 1992 from private collector. and Victoria, the paintings being exhibited at a solo exhibition in Paris after she returned to Europe Between 1907 and 1918, Hilda Rix Nicholas lived in the in 1924. In 1926, she was elected an Associate of Paris’s Société Nationale des Beaux-Arts. United Kingdom and Europe where she studied art in Between February 1926 and August 1928, her Exhibition of Paintings and Drawings of Paris and London and painted in the French art colonies. Australian Life and Landscape toured provincial English galleries. In 1926, she returned to In 1918, she returned to Australia, but in early-1920s, Melbourne where in 1928, she married Edgar P. Wright and moved to ‘Knockalong’, Tombong, returned to Europe. A 1925 exhibition in Paris led to the N.S.W. In 1950s, ill-heath prevented her from painting, and she died in 1961. sale of her work In Australia to the Musée du Her Australian landscapes are characterized by broad critical concept of national identify that Luxembourg. In the 1926, Hilda Rix Nicholas was made sustained a rural ideal. She was perceived by critics as standing apart from contemporary an Associate of Paris’s Société Nationale des Beaux-Arts. Australian women artists, her images demonstrating strength and vigour. The National Gallery of In 1926, she returned to Australia, and in 1928, married Victoria purchased two of her oil paintings, In Picardy (1918) and from Red Hill. In Edgar Percy Wright, whom she had met during her travels 1919, the Art Gallery of N.S.W. purchased her painting, Grand Mere. From 1918, Hilda Rix in the early-1920s. The couple settled at Delegate in Nicholas was a member of the Melbourne Society of Women Painters and Sculptors and in Southern New South Wales where Hilda Rix Nicholas Sydney, exhibited at the Society of Artists and Society of Women Painters, serving as its Vice- continued to paint the New South Wales countryside. President, on its Council and Exhibition Committees. COLLECTIONS: AGNSW; NGV; QAG, AWM, Musée National du Luxembourg (Paris); and regional art galleries BIBLIOGRAPHY: Benezit Dictionary of Artists; Encyclopedia of Australian Artists, Story of Australian Art; Heritage; Sydney University 1997 Thesis: Harvest of a Quiet Eye; Australian Dictionary of Biography; Design & Art Australia Online; numerous newspaper articles.

{TOC – DICTIONARY OF AUSTRALIAN ARTISTS}

NOTE: Blue underlined text are ‘hot links’ that when {left clicked} will jump to indicated text section. Page 42

NORRISS TAIT, BESS (ELIZABETH) MAY (NEE NORRISS; MRS J. NEVIN TAIT) R.M.S. (Royal Miniature Society) [ Victoria, UK, Europe ] BORN: 17th May 1878 at Melbourne, Victoria DIED: 9th January 1939 at Chelsea, London, England Bess Norriss Tait was a professional painter and miniaturist. She was the youngest of the two daughters of Thomas William [1843-1923; scientific chemist] and Mary Yeandle [1849-1908; nee Cann] Norriss (a.k.a. Norris). On 27th July 1908, Bess married James Nevin Tait [1876-1961; well- known Australian musical impresario] at London, the couple having no children. From the age of ten-years, Bess Norriss received her artistic training privately under Jane Sutherland, later studying at the National Gallery of Victoria School and at the Slade Art School in London. While still a teenager, she taught herself to paint portrait miniatures on ivory, already being well-known in the technique by 1897. By 1900, she worked as a professional artist from a studio in Flinders Street, which she shared with . It reputedly took her six years to earn enough money to continue her studies in London. In 1905, Bess Norriss travelled to the United Kingdom where she studied at the Slade School of Art. She undertook miniature portrait commissions, receiving 100 guineas for her miniature of J. Pierpont Morgan and also was honoured with Royal patronage. In 1907, she was elected a member of the prestigious Royal Society of Miniature Painters. While overseas, she exhibited at the Royal Academy, Paris Salon, Royal Society of Miniature Painters, British Watercolour Society, [138] Miniature Portrait and Brussels Exhibition (1914). In December 1909, she departed London aboard the Waimer of Young Girl Castle destined for Capetown, South Africa where she painted several miniatures of important circa 1907 (in 1908, Bess Norris married and people. By mid-1910, she had established a Collins Street studio and held a number of exhibitions became Norriss-Tait); watercolour- gouache in of her miniatures and paintings. In 1910, the National Gallery of Victoria purchased two of her gold locket; 3.5 x 2.5 cm; miniatures, Coralie and Judie. Between 1907 and 1930s, she was considered to be one of the signed: “ Bess Norriss ” (centre left). leading miniaturists in the United Kingdom and also had a strong following in Europe. In early- Provenance 1911, she returned to the United Kingdom, staying there until her death in 1939. PAINTED: circa 1907 (she learned miniature In Melbourne, Bess Norriss Tait exhibited at the Victorian Artists' Society and Yarra Sculptor painting in circa 1906 and married in 1908 Society and in Sydney, exhibited at the Society of Artists. becoming Norriss-Tait); Purchased: 1993 from Leonard Joel’s (jewelry COLLECTIONS: AGNSW; NGV; Tate Gallery (London); Royal Collection at Windsor; Toronto AG; auction). Liverpool AG. BIBLIOGRAPHY: Benezit Dictionary of Artists; Australian Watercolour Painters; Encyclopedia of Australian Artist; Ladies’ Picture Show; Story of Australian Art; Heritage; Art in Australia (November 1922; The Work of Bess Norris); numerous newspaper articles.

{TOC – DICTIONARY OF AUSTRALIAN ARTISTS}

NOTE: Blue underlined text are ‘hot links’ that when {left clicked} will jump to indicated text section. Page 43

NORTON, ALICE ELIZA (MRS FRANCIS A.Q. STEPHENS) [ New South Wales, Victoria; South Australia, Tasmania, Western Australia, UK, Europe, North Africa, Canada, India, Japan, Java ] BORN: 13th November 1865 at Sydney, New South Wales DIED: 19th March 1948 at Warrawee, New South Wales Alice E. Norton was a primarily a professional watercolourist. She was the youngest of the three children of James [1824-1906; lawyer; Member Legislative Council] and Isabella [1832- 1910; nee Stephens] Norton, James having been previously married with four children. In 1912 (when she was 46 years old), Alice E. Norton married Francis Allen Q. Stephens [1872-1948; Western Australian pastoralist], the couple having no children and dying within weeks of each [139] Sheep Grazing in Shade of Trees other in 1948. After the wedding, Alice and her husband lived in Western Australia for five years, 1904 or 1909; watercolour; 18.0 x 31.5 cm; returning to Sydney in 1917. Alice was related to Ethel A. Stephens through her mother and also signed: “ A.E. Norton ” (lower centre). by marriage. Alice lived at the Sydney suburbs of Double Bay ("Ecclesbourne") and after returning PROVENANCE to Sydney at Darlinghurst, Woollahra, Vaucluse, Wahroonga, Gordon and Turramurra. PURCHASED: 1995 from Lawsons. Alice E. Norton’s family were closely associated with the Art Society of NSW (a.k.a. Royal In the first-half of the 1890s, Alice E. Norton studied under Art Society) and attended its exhibitions and social events. She received her artistic training at Alfred J. Daplyn and Julian R. Ashton, who instilled a the Sydney Art School (1891-1896) under Julian R. Ashton and Alfred J. Daplyn. In 1893, ‘The passion for en plein air landscape painting in Painting Club’ was established in Sydney, the first Australian art society exclusively for women watercolours. Her family was quite wealthy (her father artists which followed similar societies established in the United Kingdom and Europe, meetings was a Member of the Legislative Council) and she was and exhibitions being held at Ecclesbourne (Double Bay), Alice E. Norton’s family home. related to Ethel A. Stephens (first cousin) and Elsie Deane In 1894, Alice E. Norton’s watercolour A Place of Wind and Flowers was purchased by the (sister-in-law). The family home, Ecclesbourne (Double Art Gallery of NSW, later acquiring another watercolour Dawn. In 1898, four landscapes and one Bay), was not only the meeting and exhibition venue for flower study were selected for the Exhibition of Australian Art at the Grafton Gallery in London. The Painting Club, but also a centre for Sydney’s art In 1907, she was on the Executive Committee for the Australian Exhibition of Women's Work loving patrons. The Club met on the first Thursday of each month, paintings by members were exhibited and where she exhibited watercolour landscapes, a seascape; flower paintings and a still-life. In April critiqued, prizes were awarded by popular vote, and there 1912, she had a joint exhibition with Gladys Owen, exhibiting pictures painted during their recent were ‘open houses’ held so art lovers could view and trip to Europe and the United Kingdom. The following year, she returned to Europe with her cousin purchase the artworks. The Club was taken very th Ethel A. Stephens, and while in England married. On 27 August 1927, Alice E. Norton and her seriously, a one shilling fine being levied for any member husband boarded the JMS Aki Mura for Japan. who didn’t have a good reason for missing a scheduled Alice E. Norton was primarily a watercolourist who painted rural landscapes. In Sydney, she meeting. In 1910, Alice E. Norton was a foundation was a member of the Royal Art Society and a foundation member of the Society of Artists and member of the Society of Women Painters, for a time Society of Women Painters, serving as Vice-President and on its Exhibition Committees. In 1908, serving as its Vice President. she became a member of the Society of Arts & Crafts of N.S.W. In Adelaide, she exhibited at the Royal S.A. Society of Arts' Federal Exhibitions and in Perth, exhibited at the West Australian Society of Arts. In New Zealand, she exhibited at the N.Z. Academy of Fine Arts. COLLECTIONS: AGNSW; Manly Art Gallery; Mitchell Library; Blue Mountains City Library. BIBLIOGRAPHY: Encyclopedia of Australian Artists; Ladies’ Picture Show; Design and Art Australia Online; Sydney University 1997 Thesis: Harvest of a Quiet Eye; numerous newspaper articles.

{TOC – DICTIONARY OF AUSTRALIAN ARTISTS}

NOTE: Blue underlined text are ‘hot links’ that when {left clicked} will jump to indicated text section. Page 44

PARSONS, (NAN) ANNIE HEDLEY (NEE NICOLL; MRS HENRY JAMES PARSONS) [ New South Wales, ] BORN: 1870 at Morpeth, Maitland, New South Wales DIED: 1960 at Newtown, New South Wales A. Hedley Parsons was a professional painter, printmaker and art teacher. She was the youngest of six daughters of Captain Joseph [1830-1915; ship’s captain & Maitland District Secretary] and Jane Anne [-1918] Nicoll. On 17th September 1902, Hedley married Henry James Parsons [1870-1935; estate agent] at Annandale (Sydney), the couple having no children. In 1930, she and her husband moved to Suva, Fiji where her husband died in 1935 of heart failure. On 11th January 1887, A. Hedley Nicoll departed Sydney aboard the RMS Oroya for London, returning the following January. In the late-1890s, she had received her artistic training at the Sydney Art School under Julian R. Ashton and exhibited at the Art Society of NSW (a.k.a. Royal Art Society). From 1899, she taught painting (including outdoor classes) and drawing from her studio in the Paling’s Building (Sydney; adjacent to Aline M. and Edith E. Cusack) and Lyceum Hall (Newcastle) and was a member of the Society of Artists. In 1927, she studied etching at the Australian Painter-Etchers' Society Etching School under and Thomas Friedenson. In the early-1920s, she was an art teacher at East Sydney Technical College. During the 1890s - 1930s, A. Hedley Parsons exhibited numerous oils, watercolours and black-and-white drawings. She taught landscape painting at the Society of Women Painters School of Fine and Applied Art (1920-1922) with Eirene Mort and Alice M. Parsons (her sister-in- law) and Florence Ada Fuller (Alice M. Parsons’ sister). In Sydney, A. Hedley Parsons exhibited at the Society of Artists (from 1900), Royal Art Society) and Australian Art Society. She was also a founding member of the Society of Women Painters, serving on its Council, as its Vice-President [140] Flowers in Blue Pot and on its Exhibition Committees and Women's Industrial Arts Society, serving as its Vice- 1931; watercolour & gouche; 47.0 x 38.0 cm; President. In Brisbane, she exhibited with the Royal Queensland Art Society. signed: “ Hedley Parsons 1931 ” (lower left). PORTRAIT: Sydney Mail (3rd May 1922). PROVENANCE BIBLIOGRAPHY: Australian Watercolour Painters; Design ad Art Australia Online; numerous newspaper articles. PURCHASED: 1990 from private collector.

[141] Sydney Beach with Figures 1904; watercolour; 22.5 x 38.5 cm; signed: “ Hedley Parsons 1904 ” (lower left). PROVENANCE PURCHASED: 1990 from private collector.

{TOC – DICTIONARY OF AUSTRALIAN ARTISTS}

NOTE: Blue underlined text are ‘hot links’ that when {left clicked} will jump to indicated text section. Page 45

PAYNE, FRANKIE (FRANCES) MALLALIEU (MRS ANDREW P. CLINTON) [ Queensland, New South Wales; UK, Europe ] BORN: 7th May 1885 at Kangaroo Point, Brisbane, Queensland DIED: 11th July 1976 at Normanhurst, New South Wales Frankie Payne was a professional painter, commercial artist, miniaturist, potter, craftsperson and art teacher. She was the eldest of the two daughters of Arthur Peel [1854-1942; Secretary of General Hospital] and Julia Finch [1859-1947; née Batchellor] Payne. In 1921, Frankie married Andrew Patrick Clinton [1885-1951; naval officer; coal company executive] at St Leonards (Sydney), the couple having two children. She later separated from her husband and supported the family through her art. After moving to Sydney, she lived at the Sydney suburb of Woollahra (1923-1927: "Kiewa" 70 Boronia Road) and Greenwich (1928-1934: 20 Bellevue Avenue). Frankie Payne received her artistic training at the Brisbane Technical College (1901-1904) under Godfrey Rivers. On 15th March 1905, she boarded the SS Miltiades at Brisbane with her mother to continue her artistic studies in Paris at Académie Colarossi (1905-1906), at Beaux Arts (Paris) on scholarship, black-and-white work at La Chaumiere under French-Swiss Théophile Alexandre Steinlen [1859-1923], and privately under Sir (London), earning a scholarship. While in Paris, Frankie Payne was closely associated with Bessie Gibson and Lilian Chauvel. On 1st November 1907, Frankie Payne boarded the RMS Omrah at London and returned to Brisbane after spending three years studying, painting and travelling in Europe. After her return, Frankie Payne became a commercial artist and drew illustrations for the Brisbane Courier and other print media, reputedly as one of the highest salaried women of her age in Australia. She also taught art privately, her drawing students included Lloyd Rees and Rubery Bennett. In 1916, she visited and painted the Island of Fiji. After marrying in 1921, she settled in Sydney where she worked through the professional societies to foster a close [142] “ Child on Beach ” collaboration between industry and the art community. In 1924, she exhibited pottery with the Queensland Arts and Crafts Society, and she taught pottery to wounded ex-servicemen through 1930; oil on canvas; 27.0 x 21.0 cm; the Red Cross in Sydney. signed: “ Frank Payne ‘30 ” (lower right). Frankie Payne was a painter in oils, watercolours and black-and-white. Her subjects varied PROVENANCE from portraits (especially of children), still-life, landscape and genre. She often used her own PAINTED: 1930 and subject is her daughter. children as models for her delightful studies that contain young children. She typically signed her EXHIBITED: December 1930 joint exhibition with artworks ‘Frank Payne’ to deflect any prejudice against women artists. In December 1930, she Elaine Coghlan at Sydney’s Arts Club; had a joint exhibition with her close friend Elaine E. Coghlan at Sydney’s Art Club. COLLECTION: exchanged for an Elaine Coghlan In Brisbane, Frankie Payne exhibited with the Royal Queensland Art Society, serving on its painting at joint exhibition, then descent thru Council, and was a foundation member of the Queensland Arts & Craft Society. In Sydney, she Coghlan family. exhibited at the Royal Art Society and Australian Art Society and was a prominent member of the PURCHASED: 1993 purchased from Elaine Society of Woman Painters, serving on its Council, as Vice-President and on its Exhibition Coghlan’s family. Committees. She was also one of the founders of the Women's Industrial Arts Society, serving as its Vice-President. COLLECTIONS: QAG. BIBLIOGRAPHY: Australian Watercolour Painters; Encyclopedia of Australian Artists; Ladies’ Picture Show; Australian Dictionary of Biography; Design and Art Australia Online; numerous newspaper articles.

{TOC – DICTIONARY OF AUSTRALIAN ARTISTS}

NOTE: Blue underlined text are ‘hot links’ that when {left clicked} will jump to indicated text section. Page 46

POTTER, ANNIE E. [ New South Wales ] BORN: 10th September 1863 at Glebe, New South Wales DIED: 4th February 1938 at Chatswood, New South Wales Annie E. Potter was a painter, printmaker and sculptor. Her parents were Eleanor [1826-1911] and Charles [1827-1901] who was the Superintendent of Government Printing [from at least 1864] and later Government Printer and Inspector of Stamps at the Government Printing Office (Phillip Street) until his retirement in 1896. Annie was the sixth of at least eight children (Charles W. [1853- 1909], Edith E. [1855-1883], Emma A [1857-1918], Alfred R. [1859-?], Jessie M. [1861-1924], Walter E. [1865-1867] and Florence Mary [1868-1944] Potter). Annie never married, giving up her art after her father’s death and living with her youngest sister Florence in her later years. [143] Australian Farm Scene Annie E. Potter received her artistic training (until 1882) at Fort Street Model School (Sophie 1890s; oil on canvas; 40.0 x 60.0 cm; Steffanoni was a fellow student), winning a number of prizes at her graduation. In February 1880, signed: “ E.A. Potter ” (lower left). her exhibit, Fruit and Flowers, at the International of Public and Denominational Schools, PROVENANCE received “a superior talent” from artist William Henry Raworth [1821-1905]. She was pointed out PURCHASED: 2011 at Davidson’s. again in April 1881 at the Agricultural Exhibition for her painting Chief Mourner (a dog with his head on his master bier), being awarded First Prize. Between 1882 and 1891, Annie Potter was among the first art students enrolled at Sydney Technical College under French emigrant sculptor and decorative artist Lucien Henry. In September 1884, she was awarded third prize for freehand drawing from ornament in the South Kensington exams. In February 1884, Annie was awarded First Prize for Etching and also Drawing at the Parramatta Intercolonial Juvenile Exhibition. Annie was an accomplished painter in oils, who adopted an impressionist style to her landscapes. From 1895, she exhibited at the Royal Art Society in the company of Edith and Aline Cusack, who she knew well. It is recorded that she painted at Mosman Bay at the time of the artists’ camps. In 1899, Annie Potter’s oil painting Calliopsis was purchased by the Art Gallery of NSW (later [144] Australian Bush Property deaccessioned and sold), but two years later she abandoned her artistic ambitions after her 1890s; oil on canvas; 34.0 x 60.0 cm; father’s death. During the 1890s, Annie was employed at the Government Printing Office. Annie signed: “ E.A. Potter ” (lower left). Potter lived at (1863-1897) Kennedy Street (Glebe Point), (1898-?) “Alambie” Treatt Road (Northcote Road, Lindfield) and later dying at Chatswood. PROVENANCE PURCHASED: 2011 at Davidson’s. th BIBLIOGRAPHY: Bohemians in : The Artists’ Camps of Mosman; Evening News (7 February 1880; 21st April 1881; 2nd May 1881; 7th March 1885); Evening News (22nd December 1882); Daily Telegraph (11th February 1884; 6th March 1885; 28th January 1887; 9th April 1891); Sydney Morning Herald (16th December 1882; 8th February 1884; 29th January 1887; 7th February 1938).

{TOC – DICTIONARY OF AUSTRALIAN ARTISTS}

NOTE: Blue underlined text are ‘hot links’ that when {left clicked} will jump to indicated text section. Page 47

REIDY, LILLA (ELISABETH MARY ANN) [ Victoria; Tasmania, New South Wales ] Born: 28th August 1858 at Hobart, Tasmania Died: 27th November 1933 at St Kilda, Victoria Lilla Reidy was a professional painter, craftsperson and art teacher. She was the eldest of the two children of Thomas Patrick [1836-1880; Irish immigrant] and Caroline Elisabeth [1839- 1869; nee Ottaway]. The Reidy family was reputedly closely related to Thomas Francis Meagher, the Leader of the Young Ireland Movement during 1848 Irish Rebellion and the General of the Irish Brigade during the American Civil War. Between 1857 and his death in 1880, Thomas Reidy was Governor of Her Majesty's Goal in Hobart, afterward Lilla relocated to Melbourne. Until at least 1930, Lilla always listed her profession as being ‘Artist’, and between 1900 and 1930, maintain a professional artist’s studio initially in Melbourne School of Art’s studio in the Cromwell Building and later at 473 Bourke Street from which she offered lessons in painting and drawing. In 1870s, Lilla Reidy attended the Presentation College of St Mary’s (Hobart), where she was [145] Autumn Leaves, Fitzroy Gardens awarded a number of prizes. In late-1870s and early 1880s, Lilla taught drawing, painting and late-1890s; oil on canvas; 44.0 x 55.0 cm; wax flower production, while her sister taught piano. In April 1883, Lilla Reidy exhibited oil signed: “ Lilla Reidy ” (lower right). paintings at the Tasmanian Juvenile and Industrial Exhibition in Hobart. PROVENANCE In September 1881, Lilla Reidy moved to Melbourne to further her artistic career. She PAINTED: late-1890s while Lilla was E. Phillips received her artistic training at the National Gallery of Victoria School (1881-1882) under George Fox’s assistant at the Summer Art School at Folingsby before studying at the Melbourne School of Art (1893-1899) under E. Phillips Fox and Charterisville; statue was removed circa 1930s. Tudor St George Tucker, earning several scholarships for her outstanding work. Here she learned PURCHASED: 1995 from Leonard Joel’s. to paint in an impressionistic style and was awarded prizes in Landscape, Still-life and Life Lilla Reidy received her initial artistic training in Hobart painting. She was later E. Phillips Fox’s assistant (EPF p.32). In 1900, Lilla Reidy and Edward before attending the National Gallery of Victoria School Officer took over the Melbourne School of Art, Officer as Director and Reidy as assistant instructor, (1881-1882) under George Folingsby and the Melbourne but by July 1901 Reidy was fully in charge of the School until at least 1908. Lilla Reidy was one School of Art (1893-1899) under E. Phillips Fox and Tudor St George Tucker, earning several scholarships for her of the few impressionist (Edith E. Cusack was another) who painted sympathetic pictures of outstanding work. Here she learned to paint in an Australian indigenous people. impressionistic style and was awarded prizes in Between 1895 and 1910, Lilla Reidy exhibited with the Victorian Artists’ Society, Society Landscape, Still-life and Life painting. She was later E. of Artists and Royal S.A. Society of Arts' Federal Exhibition. In 1907, she exhibited oil landscapes, Phillips Fox’s assistant. In 1900, Lilla Reidy and Edward a seascape, flower paintings and still-life at the Australian Exhibition of Women's Work, Officer took over the Melbourne School of Art, Officer as winning the prestigious £15 First Prize in Genre Painting for “After the Bath”. During World War Director and Reidy as assistant instructor, but by July 1901 Reidy was fully in charge of the School until at least I, Reidy applied her artistic skills to fundraising efforts on behalf of Australian servicemen. 1908. PORTRAITS: by E.P. Fox p.32; More Than Just Gum Trees. COLLECTIONS: Museum of Victoria/ BIBLIOGRAPHY: The Artists Camps; Completing the Picture; E. Phillips Fox; Sydney University 1997 Thesis: Harvest of a Quiet Eye; Hobart Mercury (10th April 1883; 24th January 1900; 25th March 1901); Table Talk (11th January 1895; 27th September 1895; 7th January 1898); Sun (1st January 1897); Tatler (15th January 1898); Punch (4th July 1901); Age (23rd October 1907; 25th January 1908); Advocate (14th December 1907); Weekly Times (7th August 1915).

{TOC – DICTIONARY OF AUSTRALIAN ARTISTS}

NOTE: Blue underlined text are ‘hot links’ that when {left clicked} will jump to indicated text section. Page 48

RODWAY, FLORENCE ALINE (MRS WALTER MOORE) [ Tasmania, New South Wales, Victoria, UK, Europe ] BORN: 11th November 1881 at Hobart, Tasmania DIED: 23rd January 1971 at Hobart, Tasmania Florence Rodway was a professional painter, miniaturist, art teacher and illustrator. She was the second eldest of the six children of Leonard R [1853-1926; dentist & government botanist] and Louisa Susan [-1922; nee Phillips] Rodway. In 1920 (at age 39-years), she married Walter Moore [1868-1942; civil engineer] at Sydney, the couple having one daughter (Susanne [1922-]) who also became an artist. Florence Rodway received her initial artistic training at Hobart Technical School (1897, 1899- 1901) under Ethel Nicholls and Benjamin Sheppard. In 1902, she briefly taught art at Hobart Technical College while Benjamin Sheppard who was on sick leave. In February 1902, she won a five-year scholarship to the Royal Academy Schools (1903-1906) which enabled her to study under John Singer Sargent, John H. Bacon, Solomon Joseph Solomon, George D. Leslie and George A. Storey. On 10th May 1902, Florence Rodway boarded the RMS Ormuz for London, Naples and Marseilles. Due to the expense of living in London, she was unable to study full-time and in April 1906, returned to Hobart where she taught for a time at the Hobart Technical College. In May 1907, Florence Rodway travelled to Sydney where she studied at the Sydney Art School under Sydney Long and drew illustrations for the Lone Hand. In 1907, she exhibited oil (still-life and figure paintings) and black-and-white (portraits and figure studies) pictures at the Australian Exhibition of Women's Work where she was awarded 1st Prize Oil Genre, 1st Prize Black-and-White Portrait and 1st Prize Black-and-White Figure Drawing. In 1910, the Art Gallery of NSW purchased two of her pastels of children, A Child and Toffee, acquiring a total of ten oils, pastels and black-and-white artworks. She was primarily a portrait and figure painter who was especially known for her pastels. In 1921, she was a finalist in the Art Gallery of NSW’s prestigious Archibald Prize with a portrait, J.F. Archibald, and was also a finalist in 1923 and 1942. In circa 1932, she returned to Hobart where she had a studio at her home and in 1950, lived in Melbourne for a time before returning to Hobart. Florence Rodway was one of Australia’s most original portraitist in pastels, oils and [146] Profile of Woman in Fur Coat miniatures, including portraits of , Dame Nellie Melba and John F. Archibald. By the a.k.a. - Miniature 1920s, the vigour of her earlier portraits had been replaced by a more tonal approach, closer to late-1920s; gouache on ivory; 12.5 x 5.5 cm; painting than drawing. In Sydney, Florence Rodway exhibited at the Royal Art Society, was a signed: “ F. Rodway ” (lower right). member of the Society of Artists, serving on its Council (1912-1917), and a foundation member of the Society of Women Painters, serving on its Council and on its Exhibition Committees. In Provenance Hobart, she exhibited at the Art Society of Tasmania, in Brisbane, the Royal Queensland at Art PAINTED: 1920s when both Rodway and Preston were active in Society of Women Painters; in 1994, Society and in Melbourne, at the Melbourne Society of Women Painters and Sculptors. an old friend of Preston’s remembered Margaret COLLECTIONS: NGA; AGNSW; QAG; TMAG; AWM; NLA; ML; CAGHM; regional art galleries. Preston parading in the embroidered coat with fur collar that was "over the top" for the fashion of the BIBLIOGRAPHY: Benezit Dictionary of Artists; Australian Watercolour Painters; Encyclopedia of Australian day. Compare with (1930) Self-Portrait of Artists; Ladies’ Picture Show; Story of Australian Art; Heritage; Australian Dictionary of Biography; Design and Margaret Preston in Art Gallery of NSW. Art Australia Online; numerous newspaper articles. PURCHASED: 1993 from Leonard Joel’s.

{TOC – DICTIONARY OF AUSTRALIAN ARTISTS}

NOTE: Blue underlined text are ‘hot links’ that when {left clicked} will jump to indicated text section. Page 49

SCARVELL, JESSIE EMILY (MRS CHARLES W. BUNDOCK) [ New South Wales, Victoria, Queensland, UK, Europe] BORN: 1862 at Braidwood, New South Wales DIED: 12th April 1950 at Sydney, New South Wales Jessie E. Scarvell was a professional painter. She was the eldest child of Edward Augustus [1836-1883; barrister] and Annette Frances [1836-1923; nee Want] Scarvell who had at least four children (one dying at birth). On 30th September 1901, Jessie married Charles W. Bundock [1858- 1931; operator of Queensland cattle station], the couple having at least one child. Between 1889 and 1892, Jessie E. Scarvell received her artistic training under William Lister Lister and was closely associated with Edith E. and Aline M. Cusack, Alice Muskett and Ethel A. Stephens. Throughout the mid-to-late 1890s, her impressionist landscapes were greatly admired. [147] Sheep Grazing (on Banks of Pages While these works owed a great deal in their composition to Lister Lister, her style and impressionistic handling of colour and brushwork is likely to have been influenced by Arthur River, Murrurundi (Upper Hunter), N.S.W.) Streeton and Tom Roberts who were painting and exhibiting in Sydney while she was developing 1898; oil on canvas; 50.0 x 89.0 cm her style. It is also likely that Edith E. Cusack provided French impressionists influences when she signed: “ J.E. Scarvell 98 ” (lower right) returned in 1894 after studying in Paris for three years. PROVENANCE In April 1894, two of Scarvell’s watercolour landscapes were hung at the British Watercolour COLLECTION: 1895-2006 artist and by descent Society at Dudley Gallery at Piccadilly, London, considered to be a great honour. In 1894, the Art through family before gifted to AGNSW; Gallery of N.S.W. acquired her oil painting, The Lonely Margin of the Sea, which for many years PURCHASED: 2006 from Badgery’s. was the only impressionist painting by an Australian woman artist that was hung in its Australian Court. In 1898, five of Jessie Scarvell’s landscapes were selected for the Exhibition of Australian Art London and in 1898, one of her oil paintings was exhibited at the Royal Institute of Oil Painters. At the peak of her artistic career, Jessie Scarvell ceased exhibiting, primarily because she was living on a cattle station at Beaudesert, Queensland (70 kilometers south of Brisbane). In Sydney, Jessie E. Scarvell was a member of the Royal Art Society, serving on its Council (1894-1899). In 1894, she was also a foundation member and prominent exhibitor of Sydney’s Women’s The Painting Club which contained women artists practicing in New South Wales. When World War II broke out, Jessie and her daughter Alison were trapped in Europe: “ESCAPED FROM FRANCE: Always Hungry and after a train journey of seven days and five nights across France and Spain and seven days on the Atlantic in a small Portuguese ship before reaching the United States, Mrs J E Bundock (nee Scarvell) and her daughter Miss Alison Bundock of Beaudesert, Queensland have arrived in Sydney. “We were caught in Switzerland when war broke out and made our way to Cannes," said Miss Bundock who worked [148] Sheep Grazing, Mount Coolangatta for several months as a Voluntary Aid at the British hospital there. Her mother was knocked down by a bicycle in Cannes and broke a hip and as only those who could carry their own luggage were allowed to be evacuated Miss Bundock Background, (Shoalhaven) N.S.W. stayed with her mother. "We were always hungry, and food was very scarce when we finally got our visas in February. 1895; oil on canvas; 30.0 x 50.5 cm; For breakfast we used to have a small piece of bread and substitute coffee. We were supposed to have meat three times a week, but we usually had a small piece a few Inches square once a week." said Miss Bundock “The French signed: “ J.E. Scarvell 1895 ” (lower right) people are bearing up very well. They are not resentful and realise that the food shortage is not caused by the British Provenance blockade.” COLLECTION: 1895-2006 artist and by descent COLLECTIONS: AGNSW; ANL (attributed). through family before gifted to AGNSW; BIBLIOGRAPHY: Australian Watercolour Painters; Encyclopedia of Australian Artists; Design and Art Australia Purchased: 2006 from Badgery’s. Online; Sydney University 1997 Thesis: Harvest of a Quiet Eye; Burrowa News (6th April 1894); Sydney Mail and NSW Advertiser (12th May 1894; 13th October 1894); Sunday Times (7th October 1896).

{TOC – DICTIONARY OF AUSTRALIAN ARTISTS}

NOTE: Blue underlined text are ‘hot links’ that when {left clicked} will jump to indicated text section. Page 50

STEPHENS, ETHEL ANNA [ New South Wales, Tasmania, New Zealand, Europe, UK ] Born: 1864 at Sydney, New South Wales Died: 17th September 1944 at Woollahra (Sydney), New South Wales Ethel A. Stephens was a professional painter, printmaker and art teacher. She was the eldest of the two children of William John [1829-1890; headmaster of Sydney Grammar School and later Professor of Natural History at Sydney University] and Anna Louise [1829-1917; née Daniell] Stephens. Australian artists Alice E. Norton and Delphine Stephens were related to her. Ethel lived at the Sydney suburbs of Darlinghurst, Darling Point and Vaucluse. Ethel A. Stephens initially received her artistic training at Sydney Technical College (1882- 1885) under Lucien Henry and later trained at the Sydney Art School (1886-1890) under Julian R. Ashton. In early-1920s, she studied in Paris at Académie de la Grande Chaumière under Swiss painter Martha Stettler [1870-1945], Russian-French Alice Dannenberg [1861-1948] and Frenchman Lucien Simon [1861-1945]. In 1892, she became the first woman to be elected to the Council of the Royal Art Society. In 1893, Stephens exhibited oil paintings at the N.S.W. Court of the World's Columbian Exposition (Chicago, USA). In 1898, five of her artworks were selected for the Exhibition of Australian Art at the Grafton Gallery in London. From 1895, Ethel A. Stephens taught painting and drawing from her Pitt Street studio, also holding frequent ‘At Homes’ where she showed her latest paintings. In 1907, she was on the Executive Committee for the Australian Exhibition of Women's Work and exhibited oil landscapes, flower paintings and figure paintings (one at 52 guineas) and was awarded 1st Prize for Oil Flower Painting. In the 1930s, she produced a number of relief prints, primarily of flowers. The Art Gallery of N.S.W. purchased two of her paintings, Spring's Inheritance (1900) and Black [149] Acadia Flowers and Gold (1914), but in 1946 these were de-accessioned and sold. However, in 1930, two of her circa 1930; gouache on board; 36.6 x 26.5 cm; oil paintings were purchased for the Art signed: “ EAS ” (lower left). Gallery of NSW’s Collection and are still Provenance in the collection. COLLECTIONS: circa 1930 traded between Stephens and Coghlan at exhibition; 1930-1993 Elaine Coghlan then by descent through family; PURCHASED: 1993 from Elaine E. Coghlan’s family. [150] Garden Arch a.k.a. Garden in Bloom, Vaucluse circa 1899; oil on board; 16.0 x 21.0 cm; signed: “ E.A. Stephens ” (lower right) and “ EAS ” (lower left). PROVENANCE PURCHASED: 1989 purchased from private collector.

{TOC – DICTIONARY OF AUSTRALIAN ARTISTS}

NOTE: Blue underlined text are ‘hot links’ that when {left clicked} will jump to indicated text section. Page 51

Between 1920 and 1923, Ethel A. Stephens was painting and studying in the United Kingdom and Europe where she exhibited at Paris’s Old Salon (1920-21; 1925) and studied at La Grande Chaumiere. In 1925, she was a Finalist in the Art Gallery of NSW’s prestigious Archibald Prize with her portrait, Countess Montemerli. On 13th June 1929, Ethel A. Stephens arrived at London aboard the S.S. Tainui via the Panama Canal and New Zealand, and in 1930, she returned to Sydney aboard the S.S. Bendigo after a trip to United Kingdom and Europe. In Sydney, Ethel A. Stephens was a member of the Royal Art Society (from 1883), serving on its Council, a foundation member of the Society of Artists and a Life Member of the Society of Women Painters, serving on its Council, as its Vice-President and President, and on its Exhibition Committees. From 1894, she exhibited with the Queensland Society of Art and from 1898 in Adelaide, exhibited at the Royal S.A. Society of Arts' Federal Exhibitions. In 1906, she was a founding member of the Society of Arts & Crafts of N.S.W., serving as its Vice-President (1906- 08), on its Selection Committees and as its Honorary Secretary.

COLLECTIONS: AGNSW; Sydney University; Mitchell Library; Manly Art Gallery.

BIBLIOGRAPHY: Benezit Dictionary of Artists; Australian Watercolour Painters; Encyclopedia of Australian Artists; Ladies’ Picture Show; Story of Australian Art; Heritage; Sydney University 1997 Thesis: Harvest of a Quiet Eye; Design and Art Australia Online; Sydney Morning Herald (8th February 1884; 1st April 1889); Daily Telegraph (4th October 1884); Australian Town and Country Journal (31st March 1883; 11th April 1885); Sydney Mail and NSW Advertiser (24th April 1886).

{TOC – DICTIONARY OF AUSTRALIAN ARTISTS}

NOTE: Blue underlined text are ‘hot links’ that when {left clicked} will jump to indicated text section. Page 52

TINDALL, AGNES (NESSIE) S. (MRS SYDNEY BROOKS LLOYD) [ New South Wales ] BORN: circa 1887 at United Kingdom DIED: 17th July 1976 at Mosman, New South Wales Nessie Tindall was a professional painter, illustrator and art teacher. She was the eldest of four children of Charles Ephraim Smith [1863-1951; famous Australian watercolourist] and Mary [1861-1934] Tindall. Agnes and her mother arrived at Australia in August 1888 aboard the RMS Iberia, her father Charles having arrived the year earlier. (NOTE: Phyllis Tindall is her younger sister). On 5th January 1916, Nessie married Sydney Brooks Lloyd [1892-1952] at Lindfield, the couple having no children. She typically worked from an inner-city studio. Nessie Tindall received her artistic training at an early age under her father, Charles E.S. Tindall, well-known Australian watercolourist, and at the Royal Art Society School (1906-1912) under Dattilo Rubbo and Norman Carter. While at the R.A.S. School, she was awarded its Special Prize and Drawing Scholarship, as well as 1st Prizes in drawing, poster design, equisse and landscape painting. During the 1920s, Nessie Tindall contributed illustrations to the Bulletin and is represented in the Mitchell Library's Picture Collection by Bulletin drawings. During the 1940s, she taught art and commercial art from her Pitt Street studio and at Redland's Girls School at Cremorne. In Sydney, Nessie Tindall exhibited at the Royal Art Society, Society of Women Painters and Women's Industrial Arts Society.

COLLECTIONS: Mitchell Library. [151] War Time Illustration circa 1919; ink & wash with white highlight; BIBLIOGRAPHY: Design & Art Australia Online; numerous newspaper clippings. 38.0 x 28.0 cm; signed: “ Nessie Tindall ” (lower right). PROVENANCE PURCHASED: 1995 from private collector.

[152] Homestead 1912; watercolour; 37.0 x 49.0 cm; signed: “ Nessie Tindall 1912” (lower right). Provenance PURCHASED: 1991 from private collector.

{TOC – DICTIONARY OF AUSTRALIAN ARTISTS}

NOTE: Blue underlined text are ‘hot links’ that when {left clicked} will jump to indicated text section. Page 53

TRAILL, JESSIE CONSTANCE ALICIA [ Victoria, New South Wales, Queensland, Tasmania, South Australia, Northern Territory, UK, Europe, Suez, Canada, USA, Indonesia ] BORN: 28th July 1881 at Westra, Brighton, Victoria DIED: 15th May 1967 at Emerald, Victoria Jessie Traill was a professional painter, printmaker, art teacher and philanthropist. She was the youngest of four daughters of George Hamilton [1831-1907; banker from Scotland] and Jessie Frances Montague [1848-1893; née Neilley] Traill. Jessie was born into a wealthy family; her father was the manager of the Oriental Bank in Melbourne. During her childhood, Jessie travelled and lived in Europe, studying in Switzerland where she became fluent in French. Tom Roberts was a friend and mentor throughout her life. Jessie Traill received her artistic training at the National Gallery of Victoria School (1901-1906) under Fred McCubbin and Bernard Hall and private tuition in watercolours and etching under John Mather (1901-1903). In January 1907, Jessie Traill departed Melbourne aboard the RMS China with her father and one of her sisters, but her father died while in Rome (Italy) in April 1907. For the next two years, she travelled and painted in Italy, France, Netherlands and England, visiting many art galleries. She also studied at Paris’s Académie Colarossi and London’s Stratford Studios under Frank Brangwyn. Before returning to Melbourne in early-1909, Jessie exhibited at London’s Royal Academy and Paris’s Old Salon. In 1909, she had her first of numerous solo and joint exhibitions in Melbourne and the other capital cities of Australia. In 1913, Jessie purchased a house and 6 acres at Harkaway (25 kilometers east of Mentone where she maintained a country studio and provided accommodation to her numerous artist-friends. On 29th December 1914 (five months after the outbreak of war), Jessie Traill boarded the RMS Morea II for London and upon arrived offered her services as a VAD (Voluntary Aide Detachment) nurse, serving three-and-half years initially in London but by November 1915 at the Queen [153] Lantern Light Alexandra’s Nursing Service at Rouen, France. In December 1919, Jessie returned to Melbourne a.k.a. The Red Lantern aboard the SS Niagara via the Panama Canal, Vancouver (Canada) and New Zealand to resume circa 1928; oil on panel; 42.0 x 29.5 cm. her artistic work after being five years in Europe. PROVENANCE In 1922, Jessie Traill produced a series of etchings on the irrigation system at Red Cliffs PAINTED: circa 1928 plein air painting during trip (Victoria) and in 1923-1924 a series on the coal mining-power complex at Yallourn. In 1925, she through outback South Australia and Northern again visited Paris via New York and Spain before returning to Melbourne in 1926. In 1928, she Territory; visited Wilpena Pound (South Australia) and Alice Springs (Northern Territory) to paint the Collection: until late-1980s Traill family, when Australian outback. She was probably the first white Australian to paint in Central Australia, later found in Jessie Traill’s country studio; holding an exhibition of this work (Alice Springs 1928). In 1932, Jessie returned to the area with Purchased: 1989 from Leonard Joel’s. Violet Teague, raising money to build a pipeline to provide water to the Hermannsburg Mission The scene of an evening meal under a marquee in the home of Albert Namatjira who did not start painting until 1936 and is likely to have seen the outback Australia is illuminated by the red lantern. Jessie women painting. In 1930, Jessie travelled to Europe with Una Teague, especially visiting Traill was one of the first artists to paint the hard to reach Yugoslavia. She had a solo exhibition at Rouen, France of her Central Australian paintings and outback districts of South Australia and Northern Territory. Australian etchings. Between 1928 and 1932, she made numerous trips to Sydney to record the The use of highlights and bold brushwork is similar to the impressionist style adopted by Josephine Muntz-Adams. progress of the building of the Sydney Harbour Bridge through her etched images.

{TOC – DICTIONARY OF AUSTRALIAN ARTISTS}

NOTE: Blue underlined text are ‘hot links’ that when {left clicked} will jump to indicated text section. Page 54

Afterward Jessie Traill painted in Tasmania (1935), New South Wales and Gulf of Carpentaria (1936), Norway and Sweden (1937), and England (during World War II). In 1946, she returned to Melbourne and a few years later taught etching to . Between 1949 and 1965, she travelled extensively, visiting England, Portugal, the Cannery Islands and Europe. In 1967, Jessie Traill died at the age of 86-years. Jessie Traill’s impressionist influences are many. Throughout her life, she was friends with Tom Roberts who was also her mentor and she associated with many of the artists of the Heidelberg School. Her numerous European trips puts her in close contact with French-European Impressionism and Frank Brangwyn was a stylistic influence. Jessie Traill also painted and exhibited with many of the Australian women impressionists. Jessie Traill produced a large number (over 150; probably up to 250) of intaglio prints using etching, soft-ground, aquatint, drypoint and mezzotint techniques. In 1903, she studied intaglio printmaking under John Mather, later receiving further instruction at Stratford Studios under Frank Brangwyn (1907-1909). Her first lesson in etching (June 1903) is recorded along with prints of other early etchings, in an album held by the Latrobe Library, Melbourne. In 1914, Jessie won a Gold Medal for her very large drypoint Beautiful Victims at the Panama Pacific Exposition (San Francisco) and a Bronze Medal for decorative work. Her best-known images included landscapes and coastal scenes that show considerable charm and feeling. However, it is her industrial scenes that show her total command of the etching medium. In 1927, Jessie began to experiment with coloured printmaking using multiple plates. Le Portail, St Maclou, Rouen (2 plates) and First Night, Turret Theatre (2 plates) are the result of these experiments. In 1920, Jessie Traill was a foundation member of the Australian Painter-Etchers’ Society, serving as Victorian Secretary (1928). She was also a founding member of the Australian Bookplate Club (1932). She studied lithography at Chelsea Polytechnic under Ernest Jackson (London 1907), but only produced a few lithographs including Antwerp, Entrance to Zoo, Boy on Bicycle, Paris and Seated Priest. [154] Harbour at Rouen In addition to her involvement with the Australian Painter-Etchers’ Society, Jessie Traill was a (Normandy, France) member of the Society of Graphic Arts (London 1926-1928), Victorian Artists’ Society (1902- circa 1919; pastel; 34.0 x 23.0 cm; 1940), Melbourne Society of Women Painters (1930-1967), Royal Queensland Art Society and INSCRIBED: {reverse side}. Sydney’s Society of Women Painters (1920-1934). PROVENANCE COLLECTIONS: NGA; AGNSW, AGSA, NGV, QAG; British Museum; and various regional art PAINTED: circa 1919 after World War I and Jessie galleries. Traill’s release from her VAD nursing appointment in Rouen; BIBLIOGRAPHY: Benezit Dictionary of Artists; Australian Water Colour Painters; Encyclopedia of Australian COLLECTION: Traill family; Artists, Ladies’ Picture Show; More Than Just Gum Trees; Story of Australian Art; Heritage; Sydney University PURCHASED: circa 1993 from Leonard Joel’s. 1997 Thesis: Harvest of a Quiet Eye; Australian Dictionary of Biography; Design and Art Australia Online; Australian Town and Country Journal (17th April 1907); Age (24th May 1909); Australasian (29th May 1909); Daily Telegraph (1st April 1914); Argus (19th December 1919); numerous newspaper articles.

{TOC – DICTIONARY OF AUSTRALIAN ARTISTS}

NOTE: Blue underlined text are ‘hot links’ that when {left clicked} will jump to indicated text section. Page 55

TUOMY, FABIOLA VERONICA [ Victoria, UK, Europe ] BORN: 1875 at Melbourne, Victoria DIED: 7th January 1967 at Windsor, Victoria Fabiola Tuomy was a professional painter of oils, watercolors and pastels, craftsperson and art teacher. Her parents were Daniel John [1833-1904; wine-spirit merchant ad grocer] and Ellen [1841-1914; nee Price] Tuomy who married in 1859 and had a large family with Fabiola being a middle child. Reputedly John and Lucy Tuomy owned Streeton’s Near Heidelberg, 1890 Eaglemont. For 92 years, Fabiola resided at her family’s home “The Cove” 207 Dandenong Road, Windsor and for more the fifty years listed her profession as ‘Artist’. After graduating from the Ladies College Presentation Convent at Windsor in December 1895, Fabiola Tuomy received her artistic training at the Melbourne School of Art (1896-1899+) under E. Phillips Fox and Tudor St George Tucker before continuing her studies at the Bendigo School of Mines under Arthur Thomas Woodward for a year and the National Gallery of Victoria [155] The Harvest, Charterisville School (1901-1903). circa 1898; oil on canvas; 59.5 x 74.0 cm. In 1907, Fabiola Tuomy exhibited oil (flower painting and a still-life) and pastel (portraits) Provenance pictures at the Australian Exhibition of Women's Work. In April 1910, she had a joint exhibition PAINTED: circa 1898, en plein air while Fabiola of paintings with Miss Gretchen Leschau at the Coles Art Gallery (Melbourne). On 30th September Tuomy was a student at E. Phillips Fox’s and 1938, she boarded the Stratmore for London and toured the United Kingdom and Europe. Tudor St George Tucker’s Summer School at Between 1900 and 1926, Fabiola Tuomy exhibited at Victorian Art Society and the Yarra Charterisville; Sculptors' Society. PURCHASED: 1995 from Leonard Joel’s (allegedly from family). PORTRAIT: circa 1899-1900 by E.P. Fox [E.P. Fox - His Life and Art pp.78] Fabiola Tuomy was a student of E. Phillips Fox’s and BIBLIOGRAPHY: Age (16 October 1900); Table Talk (14th April 1910); numerous newspaper articles. Tudor St George Tucker’s Summer School at Charterisville, nearby where this picture was painted. Harvest scenes and especially haystacks were a popular

subject for the French Impressionists and several examples of haystacks by E. Phillips Fox are in Australian public collections. The rural scene is depicted with a setting sun, capturing the tree-row as almost a silhouette to emphasise the time of day and end of the growing season. While some art historian claim that women artists painted primarily domestic scenes, it has been my experience that rural scenes, harbour-coastal-river landscapes, mountain vistas and city-park settings were popular with women painters, especially those painting in an impressionistic style. Harvest scenes were also produced by Edith E. Cusack, Sophie Steffanoni, Ethel A. Stephens and other Australian women impressionists.

{TOC – DICTIONARY OF AUSTRALIAN ARTISTS}

NOTE: Blue underlined text are ‘hot links’ that when {left clicked} will jump to indicated text section. Page 56

VALE, AMY (AMELIA) [ New South Wales; Victoria; United Kingdom ] BORN: 2nd April 1874 at Waratah (Newcastle), New South Wales DIED: 9th November 1951 at Drummoyne, New South Wale Amy Vale was a professional painter, china painter, jeweler, craftsperson and art teacher. She was the youngest child of six children of Stephen Samuel [1834-1906; mining engineer] and Charlotte Anne [1833-1918; nee Wayte] Vale. During her art career, Amy lived at the Sydney suburbs of Snail Bay and Drummoyne (1910-51: "Kubara" 7 Wolseley Street). At 1891 Juvenile Exhibition, Amy Vale was awarded First Prize for Drawing. In 1907, Amy Vale exhibited watercolour (landscapes and genre painting) pictures at the Australian Exhibition of Women's Work where she was awarded 1st Prize for Watercolor Landscape and Special Prize. In 1913, the Art Gallery of N.S.W. purchased a porcelain bowl painted by her. During the World Wars, Amy Vale was an active member of the Australian Red Cross, especially raising money for the care of Australian soldiers. Amy Vale was a painter in oils and watercolours who painted landscapes (N.S.W. bushland) and flower studies. In Sydney, she exhibited at the Royal Art Society (from 1899) and Society of Artists and Society of Women Painters, serving on its Exhibition Committee. She also exhibited at the Society of Arts & Crafts of N.S.W.

COLLECTIONS: AGNSW.

BIBLIOGRAPHY: Sydney University 1997 Thesis: Harvest of a Quiet Eye; Daily Telegraph (1st April 1891); Truth th th st nd (9 September 1900); Sydney Mail and NSW Advertiser (7 September 1901); Evening News (1 October 1904; 2 [156] Dahlias th th rd November 1907; 16 November 1910); Sydney Morning Herald (15 August 1907; 23 October 1907). circa 1905; oil on canvas on board NOTE: Her details are often mixed in with May Vale’s details. 39.0 x 29.0 cm (oval) signed: “ Amy Vale ” (lower right)

PROVENANCE

PURCHASED: 1990 from private seller.

{TOC – DICTIONARY OF AUSTRALIAN ARTISTS}

NOTE: Blue underlined text are ‘hot links’ that when {left clicked} will jump to indicated text section. Page 57

VALE, MAY (MRS ALEXANDER GILFILLAN) [ Victoria; New South Wales; Western Australia; Europe; UK ] BORN: 18th November 1862 at Ballarat, Victoria DIED: 6th August 1945 at Black Rock (Melbourne), Victoria May Vale was a professional painter (oils, watercolours, pastels and enamels), miniaturist, craftsperson (enameller, jeweler, metal & leatherworker), sculptor (wood-chip carver) and art teacher. Her father was Hon. William Montford Kinsey Vale [1833-1895], who had been born in London, but arrived in March 1853 at Victoria, where he became pastoralist, land speculator, barrister (qualified 1878) and politician, serving as a parliamentarian (Ballarat West (1864-1868), Collingwood (1870-1874) and Fitzroy (1880-1881)). May’s mother was Rachel Vale [1834-1918; nee Lennox], who was also born in London and married William in July 1859 at Bethnal Green, Middlesex, England, settling in Victoria a short time later. May had five sisters (Grace [1860-1933; doctor of medicine who practiced in Melbourne, Ballarat and Sydney], Rachel E. [1870-1871], Elsie [1872-1952], Beatrice [1874-1945; Mrs Willet Bevan] and Faith [1879-1944]) and five brothers (William M. [1861-1862], Henry B. [1864-1951], John B. [1866-1874], William R. [1868- 1941] and John S. [1876-1898]). In circa 1869, May’s family moved to St Kilda and in circa 1877 to Fitzroy. In 1886, the family purchased ‘Mayfield House’ in Abbotsford, the home having been built in 1841 by Andrew and Georgina McCrae. The family were keenly interested in the arts, William Vale being a strong supporter of the Workingmen’s College and serving as a Trustee of [NAS] Australian Wildflowers the Public Library, Museums and Art Gallery between 1872 and 1895 when he died. May Vale attended St Kilda Girls College until late 1874, exhibiting at the School of Design a.k.a. Christmas Bush where in July 1874 (age 11 years) she received an honourable mention for her landscape drawing, 1912-1928; oil on canvas on board; a fellow student being Tom Roberts. On 17th October 1874, May Vale departed with her family to 26.5 x 25.5 cm; England aboard the S.S. Durham, her father taking a position on the Board of Advice to Victoria’s signed: “ May Vale ” (lower right). Agent-General. In London, she studied for a time at Honiton College in Devan, before receiving PROVENANCE th artistic training at South Kensington Art School (1875-1878). On 18 June 1878, she returned to EXIBITED: 2017-2023 at Museum of Victoria; Australia with her mother, three sisters (Grace, Elsie and Beatrice) and brother (John S.) aboard Purchased: ? from Deutscher~Menzies. S.S. Cuzco. In Melbourne, May Vale continued her studies at the National Gallery of Victoria School (1879-1889) under Eugene von Guerard and George Folingsby where she was awarded May Vale was a professional painter (oils, watercolours, pastels and enamels), miniaturist, craftsperson the 1888 Judge's Prize Honourable Mention. Her fellow students included future women (enameller, jeweller, metal & leather-worker), sculptor impressionists Jessie L. Evans, Josephine Muntz, Clara Southern and Lucy Walker. (wood-chip carver) and art teacher. Between 1912 and At Melbourne’s Juvenile Exhibition in November 1883, May Vale received first prize for a 1928, May Vale painted the wildflowers of New South painted table. Between 1887 and 1888 and at age 25 years, May Vale had sufficient confidence Wales, Victoria and Western Australia, these being in her abilities to teach drawing and painting at Buxton’s on Swanson Street and South Yarra Hall, exhibited highly successful exhibitions in Melbourne, advertising in the Age newspaper. In November 1889, Table Talk reported Sydney and Perth. “Miss May Vale is rapidly progressing in the direction of portrait painting, and, in the smaller studies, manages to depict an amount of human nature that will stand her in good stead in a year or two. It is probable that this talented young lady will proceed to Paris in a few months, the Hon. W.M.K. Vale having expressed his intention of allowing his daughter full opportunities for study.”

{TOC – DICTIONARY OF AUSTRALIAN ARTISTS}

NOTE: Blue underlined text are ‘hot links’ that when {left clicked} will jump to indicated text section. Page 58

In 1890, May Vale took an independent study and painting tour to Italy, France and London, where she studied watercolour painting under Sir James D. Linton (1890-1891), then President of the Royal Society of Watercolour Painters. For six months in 1892, May Vale studied at Paris’s Académie Julien under Fluery and Jules Lebfevre, sharing accommodation with Sydney impressionist Edith E. Cusack [1865-1941] at Washington House (18 Rue de Milan). On 22nd September 1892, May Vale departed London aboard S.S. Thermopylae, returning to Melbourne. Aboard the ship was her long-time friend and future husband, Alexander Gilfillan [1862-1940]. This wasn’t a good time economically for the Vale family, which had speculated in Melbourne’s booming real estate market, which commenced a steep decline in value in 1888. By January 1893, Australian banks began to fail and people who were invested in speculative land typically were in dire financial situations. This was part of the worldwide panic of 1893 and economic depression that lasted for the remainder of the decade. The Vale family suffered another blow when on 23rd [157] “ New Battersia Bridge October 1895, William Vale (senior) died after an illness of several years. The brothers Henry and from Cheyne Walk, London ” William had their own families to support and May youngest brother John was only 19-years when his father died, John dying three years later. circa 1907; watecolour on board; 13.0 x 23.0 cm; After settling down in her parent’s house, May Vale wanted to assist in the support of herself signed: “ May Vale ” (lower right). and the family. By February 1893, she endeavoured to establish herself as an artist and portrait PROVENANCE painter, giving lessons from her home in Abbotsford and having a professional artist’s studio at Buxton Building (119 Swanson Street) nearby Clara Southern’s studio and later the Flinders PAINTED: during May Vales second trip to London between 1906 and 1909; it is painted Building near Jane R. Price’s studio. close by Streeton’s former studio on Cheyne In May 1894, May Vale was appointed an art instructress at the Working Men’s College, Walk which Vale took over on arrival. teaching an art class for women. Between 1893 and 1906, she took the bold step of advertising in the Age and Argus newspapers for students in painting, drawing, pastels and also portraiture PURCHASED: 1990 from private seller. at her studios in Melbourne city centre, her home in Abbotsford and from 1902 Alexandra’s Chambers on Elisabeth Street. For a number of years, she also taught at Cromarty School for Girls in Elsternwick. Between 1896 and 1898, she commuted by steam train to Castlemaine where she taught drawing and painting at the Mount Alexander Mechanics Institute and North Castlemaine School for several years. Her students included [1893-1962], Alice M.E. Bale [1875-1955] and Blanche Cade [1873-1958]. In April 1893 in his review of the Victorian Artists’ Society’s Annual Exhibition, the Melbourne Punch’s art critic declared “The best picture in the whole exhibition is painted by a lady, Miss May Vale, (No. 66) in South Gallery”, an oil titled A Romance. The Table Talk critic agreed, ranking it “first place, both for the quality of the painting, the artistic treatment of the subject, and the sentiment with which she has invested it”. Male Vale was considered by many art critics one of Melbourne’s leading portrait painters. In August 1906, May Vale boarded the S.S. Afric for London, sharing a cabin with Australian singer and former artist (Nancy) Elmhurst Goode (a close friend of Tom Roberts, who had painted her portrait). On arrival, May Vale shared accommodation with Miss Goode in London, where May took over Arthur Streeton’s studio. Melbourne newspaper proprietor David Symes [1827-1908] had also been aboard, May Vale passing the time painting his portrait, which was later exhibited in London after his death.

{TOC – DICTIONARY OF AUSTRALIAN ARTISTS}

NOTE: Blue underlined text are ‘hot links’ that when {left clicked} will jump to indicated text section. Page 59

In June 1907, May Vale had a solo exhibition at the Austral Club, being closely associated with the Club’s activities for the next few years. At the 1907 Exhibition of Women’s’ Work in London, May Vale divided a prize for her painting Wattle Blossoms. She again undertook a study tour while in the United Kingdom, studying life painting for two years at Burbeck Institute (London) and enameling, jewelry design and metalwork for three years at South-Western Polytechnic in Chelsea. In London, her enameled jewelry was greatly admired and a good earner. In February 1909, she married Professor Alexander Gilfillan, a mining engineer and entrepreneur, the couple reputedly planning to live in the United States, where he had investments and a sterling reputation in mining circles. However, after the wedding, they parted, Alexander to United States and later Asia, May back to Australia, afterward only corresponding by letter. On 25th August 1909, May Vale departed London aboard the S.S. Persic, Elmhurst Goode again sharing a cabin with her. In Melbourne, May set-up a workshop with a small muffle furnace for enameling work. After 1910, she became more active in craftwork (enameling, metalwork and leatherwork) than she was in painting, largely working from her studio at New Zealand Chambers on Collins Street. May Vale exhibited extensively, having solo exhibitions annually throughout the 1920s (except 1922) at the Athenaeum, Lyceum Club and from her studio in Oxford Chambers where she also held classes. In January 1929, she moved to a cabin at Diamond Creek close by Jane R. Price’s cottage, where May enjoyed painting excursions and continued with her craft work. Working in the Australian impressionist tradition, she painted plein air landscapes and decorative still-lifes. In the late-1930s, May Vale went to live with her brother's family at Black Rock. Although not obtrusive, her personality was vibrant and animated. Pleasant in appearance, with brown hair and eyes, she was robust and independent in attitude. In the late-1930s, ill health from arthritis and cataracts forced her into retirement, dying on 6th August 1945 at Black Rock, age 83-years. May Vale was interested in the women’s rights movement and she was a member of the Victoria Women's Suffrage Society. In Melbourne, May was a member (1883) of the Buonarotti Society, a member of the Victorian Artists’ Society, serving on its Council, and a founding member of the Yarra Sculptors Society, serving on its Council. COLLECTIONS: National Gallery of Victoria; Art Gallery NSW; Museum of Victoria; Castlemaine Art Gallery; Warrnambool Art Gallery. BIBLIOGRAPHY: Dictionary of Australian Biography; Heritage; Artists Camps; Australian Watercolour Painters; Ladies’ Picture Show; Sydney University 1997 Thesis: Harvest of a Quiet Eye; Age (10th July 1874; 30th January 1888; 4th February 1893; 23rd January 1894; 1st February 1895; 5th December 1896; 11th February 1897; 5th February 1898; 13th February 1899; 12th February 1900; 28th January 1901; 21st July 1904; 11th February 1906); Argus (19th October 1874; 2nd November 1883; 6th February 1893; 2nd May 1893; 9th May 1894; 24th October 1895; 4th February 1903); Hobart Mercury (1st December 1888); Table Talk (15th November 1889; 12th May 1893; 24th April 1896; 18th March 1909); Illustrated Sydney News (7th May 1892); Melbourne Punch (27th April 1893; 20th July 1899; 6th December 1906; 15th August 1907; 11th May 1911); Mount Alexander Mail (25th February 1896; 25th July 1896; 4th February 1897; 25th April 1898); Church of England Messenger for Victoria (1st March 1897); Sydney Mail and New South Wales Advertiser (7th August 1897); Australian Town and Country Journal (22nd March 1902; 22nd August 1906); Sydney Morning Herald (19th June 1907); Launceston Daily Telegraph (18th April 1908); Australasian (13th February 1909; 9th October 1909; 12th January 1929). NOTE: Amy Vale’s details are often mixed up with May Vale’s details.

{TOC – DICTIONARY OF AUSTRALIAN ARTISTS}

NOTE: Blue underlined text are ‘hot links’ that when {left clicked} will jump to indicated text section. Page 60

WHYTE, JANE (JANIE) WILKINSON [ Victoria ] BORN: 21st September 1869 at Melbourne, Victoria DIED: 7th April 1953 at Canterbury, Victoria Janie W. Whyte was a professional painter, printmaker, miniaturist, art teacher (Certificate South Kensington School of Art) and active feminist. She was the fourth eldest of the eight children (three died as infants) of Patrick [1820-1893; headmaster of Central and Model Schools] and Jane [1833-1916; nee Pullar; assistant teacher and principal] Whyte. Jane was a twin, but her sibling died as an infant. When her father died in 1893, he left an estate valued at £2,500, afterward Mrs Whyte was Principal of Elmbank House with Jane teaching art and drawing, and her sister (Associate of Conservatory at Rome) teaching music. Her sister Dr Margaret Whyte provided Jane with access to Melbourne’s mainstream women’s rights movement. In June 1885, Jane Wilkinson Whyte graduated from Central State School when she was 17 years old, receiving her Teaching Certificate from the South Kensington School of Art. She furthered her artistic training at the National Gallery of Victoria School (1892-1895) where she won prizes for drawing. In 1903, she received her initial training in etching from John Mather and was later encouraged by John Shirlow, producing more than 20 intaglio prints using the etching technique. From the mid-1890s, Jane Whyte taught painting, drawing, etching and miniature painting at various colleges for young ladies and from her inner-city artist studio in the Flinders Building on Flinders Street.

[158] Children on Bush Path 1903; oil on board; 34.0 x 24.0 cm; [159] “ The Patriarch, signed: “ J.W. Whyte 1903 ” (lower right). Wattle Park, (Melbourne) ” PROVENANCE circa 1917; oil on canvas; PAINTED: 1903. 42.0 x 52.0 cm; PURCHASED: 1995 from Leonard Joel’s. signed: “ Janie Wilkinson Jane W. Whyte painted landscapes, portraits, figure Whyte ” (lower right). studies and interiors in oils, watercolours and pastels. PROVENANCE She was closely associated with Janet Cumbrae Stewart, PAINTED: shortly after Wattle Jessie C.A. Traill, May Vale and Dora Wilson. Like many Park opened in 1917 and impressionist artists, she almost always included figures became a popular spot for in her landscapes, especially children and women, the picnickers. costumes of the characters adding a splash of colour into PURCHASED: 1995 from the green, brown and blue scene Leonard Joel’s.

{TOC – DICTIONARY OF AUSTRALIAN ARTISTS}

NOTE: Blue underlined text are ‘hot links’ that when {left clicked} will jump to indicated text section. Page 61

Jane W. Whyte painted landscapes, portraits, figure studies and interiors in oils, watercolours and pastels. She was closely associated with Janet Cumbrae Stewart, Jessie C.A. Traill, May Vale and Dora Wilson. In May 1911, September 1932, September 1935 and September 1946, she had solo exhibitions of paintings and etchings at the Australian Arts & Craft Society Gallery, Athenaeum Gallery and Melbourne Book Club. Jane W. Whyte was a member of the Yarra Sculptors Society (1898-1910), Victorian Artists' Society (1907-25) and Women's Art Club (1930-52), serving as its President (1920s). In Adelaide, she exhibited with the Royal Art Society of South Australia’s Federal Exhibitions and in Sydney, exhibited with Society of Women Painters.

COLLECTIONS: NGV.

BIBLIOGRAPHY: Heritage; More Than Just Gum Trees; Design and Art Australia Online; Sydney University 1997 Thesis: Harvest of a Quiet Eye; Argus (18th June 1885; 19th January 1895; 7th March 1908); Australasian (27th June 1885); Punch (16th April 1903); Table Talk (1st September 1932); Herald (8th May 1911; 10th September 1935).

{TOC – DICTIONARY OF AUSTRALIAN ARTISTS}

NOTE: Blue underlined text are ‘hot links’ that when {left clicked} will jump to indicated text section. Page 62

WILSON, DORA LYNNELL (A.K.A. ‘WILTZ’) [ Victoria, New South Wales, UK, Europe ] BORN: 31st August 1883 at Newcastle-on-Tyne, United Kingdom DIED: 21st November 1946 at East Melbourne, Victoria Dora L. Wilson was a professional painter, illustrator and printmaker. She was the daughter of James [squatter and commission agent; Scot] and Annie Marie [nee Green] Wilson, the family immigrating to Australia when Dora was one year old. In 1900, Dora Wilson graduated from the Methodist Ladies’ College and received her artistic training at the National Gallery of Victoria School (1901-1907) under Fred McCubbin and Bernard Hall, winning several prizes. She had been impressed by Andre Zorn’s etchings at the National Gallery of Victoria, inspiring her to produce more than 20 intaglio prints using primarily the etching technique. In 1903, she studied etching under John Mather who was also teaching printmaking to Jessie Traill and Janie W. Whyte. In 1907, Wilson exhibited etchings at the Australian Exhibition of Women's Work where she was awarded a Silver Medal for Best Etching Exhibits st and 1 Prize for Etching. She also produced monotypes. [160] Bush Scene From 1910, Dora Wilson shared an artist studio at Temple Court on Collins Street with Jessie a.k.a. Artists’ Camp, Warrandyte C.A. Traill and others. In 1923, she was included in the Australian Artists Exhibition in London. circa 1910; oil on board; 39.0 x 29.5cm; She was one of the most exhibited and successful artists of her day. In March 1911, November 1913, October 1920, April 1925 and November 1926, she held solo exhibitions at Athenaeum signed: “ Dora L. Wilson ” (lower left). Gallery and New Gallery on Collins Street and in Sydney during August 1924 and April 1926 at PURCHASED: 1994 from Leonard Joel’s. the Anthony Hordern’s Gallery and Grosvenor Gallery. In March 1912, April 1913 and May 1918, Warrandyte is a hill district 15 kilometers east of she held joint exhibitions with Norah Gurdon and Ruth Sutherland at Tuckett-Styles Gallery and Eaglemont-Heidelberg that in the early-20th century, Fine Arts Gallery, and with Ruth Roxburgh and at Centreway Gallery. became a popular destination for en plein air artists who By the early 1920s, Wilson’s paintings were in great demand, commanding prices equal to sought bushland not threatened by the encroached by urban development. the most renowned artist of the day. She is best known for her paintings and pastels of street scenes which she undertook from 1925, after she was already an established artist. In 1927, Dora Wilson undertook a two-and-a-half-year trip with Pegg Clarke, a well-known photographer, to England, Belgium, France, Corsica and Italy. She exhibited at the Paris Salons and London’s Royal Institute of Oil Painters and had two solo exhibitions at London’s Beaux Art Gallery and Australia House. On her return, Wilson’s European work was highly praised. She was a master of various media, including etchings, oils and pastels, her nudes were judged comparable to Janet Cumbrae Stewart. Dora Wilson was a foundation member of the Australian Academy of Arts and in Melbourne, exhibited with the Yarra Sculptor Society, Victorian Artists’ Society, Twelve Melbourne Painters, and Australian Art Association, Melbourne Society of Women Artists and Sculptors, and Twenty Melbourne Painters. In Sydney, she exhibited with the Society of Women Painters and in Brisbane, exhibited with Queensland Art Society. [161] “ The Black Bear Inn ” COLLECTIONS: NGV. circa 1928; oil on board; 31.0 x 35.0 cm; BIBLIOGRAPHY: Australian Waterclour Painters; Encyclopedia of Australian Artists; Story of Australian Art; signed: “ Dora L. Wilson ” (lower right). th nd th th Design & Art Australia Online; Herald (17 December 1903; 22 October 1907; 29 April 1913; 20 October 1920); PROVENANCE Punch (22nd October 1908; 9th March 1911); Table Talk (2nd May 1912); Australasian (8th November 1913); Sydney Morning Herald (9th August 1924) PURCHASED: 1993 from Leonard Joel’s.

{TOC – DICTIONARY OF AUSTRALIAN ARTISTS}

NOTE: Blue underlined text are ‘hot links’ that when {left clicked} will jump to indicated text section. Page 63

Dictionary of Biography - Australian Male Artists

BACKHOUSE, (ROBERT) CLARENCE [ New South Wales, UK, Europe, USA, Canada ] Born: 10th September 1859 at Geelong, Victoria Died: 29th September 1930 at Harbord (Manly), New South Wales Clarence Backhouse was an architect and painter in oils and watercolours. He was the fourth child of the eleven children of Hon. Benjamin [1829-1904; architect] M.L.C. and Lydia Elizabeth Warne [1830-1903; nee Johnson] Backhouse. On 28th April 1885, Clarence married Nina Kate Middlemiss [1866-1936] at St Kilda, Victoria. He received his early education at the King’s School in Parramatta and in the 1870s, he served a seven-year architecture apprenticeship with his father, before travelling to London where he worked in a number of architect offices. Afterward. he travelled extensively through England, Scotland, Ireland, Europe, the United States and [176] “ Heavy Weather, Curl Curl ” Canada. On 1st December 1882, he arrived at Melbourne aboard the SS Sorata from London. circa 1893; oil on panel; 14.5 x 31.0 cm; Clarence Backhouse received his artistic training at London’s South Kensington School of signed: “ Heavy Weather, Curl Curl, Art (a.k.a. Royal College of Art). In 1887, he was a foundation Academician of the NSW Academy Clarence Backhouse ” (lower left). of Arts, serving on its Council. At the Academy, he was closely associated with Girolamo Nerli, PROVENANCE Fletcher-Watson, Mary Stoddard and Achilles Simonetti and other leading Sydney artists. PAINTED: circa 1893 Between 1890s and 1920s, Clarence Backhouse produced landscape oils in an PURCHASED: 1990 from private collector. impressionistic style that captured the light and mood of the moment. He was particularly fond of painting beaches and the coastal areas of Sydney and its environs. In 1902, the Government Though primarily known as an architect of theatres, purchased his painting of the Argyle Cut, Rocks. When the Society of Arts of NSW (later Royal Clarence Backhouse received his artistic training at Art Society) was formed, he became a member and exhibitor, being associated with Julian R. London’s South Kensington School of Art (a.k.a. Royal Ashton, Alfred J. Daplyn, William Lister Lister and others. In November 1898, Backhouse was a College of Art). In 1887, he was a foundation Academician foundation member and Honourary Secretary of Sydney’s Bohemian Club with Lister Lister and of the NSW Academy of Arts, serving on its Council. At the Academy, he was closely associated with Girolamo Nerli, other artists and journalists. Fletcher-Watson, Mary Stoddard and Achilles Simonetti Between 1890s and 1920s, Clarence Backhouse was a well-known architect who operated and other leading Sydney artists. in Sydney. In 1891, he was appointed to ’ City of Sydney Improvement Board. Clarence Backhouse was best known for designing theatres and was the principal architect for the Tivoli, Palace, Lyceum, Criterion and Kings Theatres in Sydney, the Bijou in Adelaide and for the designs of Melbourne’s Opera House. He also designed skating rings, the largest at Darlinghurst Hall accommodated 10,000 people and the Grand Crystal Palace Rink accommodating 5,000 spectators and 2,000 skaters. He was also responsible for the design of numerous commercial premises, residential developments and the remodeling of Queen Victoria Markets in 1910. COLLECTIONS: Mitchell Library. PORTRAIT: photo by J. Hubert Newman Ltd. in Cyclopedia of N.S.W. BIBLIOGRAPHY: Australian Watercolour Painters; Cyclopedia of N.S.W.; Age (11th January 1883); Sydney Morning Herald (24th November 1884; 3rd August 1885; 4th October 1930); Sunday Times (13th November 1898); Evening News (21st March 1900); Australian Town and Country Journal (5th April 1902); numerous newspaper articles.

{TOC – DICTIONARY OF AUSTRALIAN ARTISTS}

NOTE: Blue underlined text are ‘hot links’ that when {left clicked} will jump to indicated text section. Page 64

BYRNE, HAROLD [ New South Wales, Tasmania; Victoria ] BORN: 1900 at Cullerin (40 kilometers west of Goulburn), New South Wales DIED: 1966 at Melbourne, Victoria Harold Byrne was a professional painter in oil and watercolours, printmaker, and art teacher. As a youth, he was educated at Christian Brothers’ School in Goulburn. After graduation, he left Goulburn at age 16-years, and settled in Sydney where he developed an interest in painting. Harold Byrne received his artistic training at the Sydney Art School (1926-1931) under Julian R. Ashton and Henry Gibbons. During this time, Byrne shared an apartment-studio with William Dobell and was a member of the ‘Pre-Raphaelite Brotherhood’ with Douglas Dundas, John Brackenreg and Mickey Carter. While studying etching under Sydney Long, Byrne developed an impressionistic treatment in aquatints, watercolours and oils. In 1931, Harold Byrne travelled to Tasmania where he taught etching at the Hobart Technical College under supervision of Lucien Dechaineux. Throughout the 1930s, Byrne returned to Tasmania to visit his close friend Charles H. Robinson with whom he collaborated to produce Hobart - Eight Etchings in Facsimile (1932). Byrne later published The Spirit of the Ballet (Fragonard Press, Sydney 1937, limited to an edition of 30) containing nine impressionistic ballet images and a portfolio of seven ballet etchings Homage to the Ballet (Fragonard Press, Sydney, limited to an edition of 45). Even though Harold Byrne showed entrepreneurial skill in his publishing of limited editioned books-portfolios and arranging solo exhibitions of his watercolours and prints, he spent most of [177] Garden Party his life as an impoverished artist, living in small studios in the inner-suburbs of Sydney. He circa 1931; monotype; 20.5 x 17.0 cm; maintained a meagre existence primarily from his artwork, often trading an etching or watercolour signed: “ Harold Byrne ” (lower right). for the essentials to exist. During business hours, he would canvass for work among the legal and PROVENANCE medical fraternity and at night, he regarded the Public Library of N.S.W. as his office, usually COLLECTION: Gift by Harold Byrne to Girlfriend in working until 10:00PM. Afterward, he’d meet friends at Repin’s Inn in Hay Street where they would early-1930s. inevitably pay for his coffee. PURCHASED: 1990 from Harold Byrne’s Girl During the late-1930s and 1940s, Harold Byrne’s favourite theme was the ballet for which he Friend. produced numerous impressionistic images in oil, watercolour and aquatint. These were exhibited at the Industrial Arts Society Gallery (Sydney November 1937) and at solo exhibitions in Sydney, Melbourne, Adelaide and Brisbane. In his final years, Harold Byrne moved to Melbourne, where he frequented the Wine and Cheese Society (a venue for the sale of paintings). He was a devote Catholic and heavy smoker who developed a drinking problem in his later years. He was well liked by all that met him, his close friends included William Dobell, Bim Hilder, Austin Platt and Charles H. Robinson.

{TOC – DICTIONARY OF AUSTRALIAN ARTISTS}

NOTE: Blue underlined text are ‘hot links’ that when {left clicked} will jump to indicated text section. Page 65

HAROLD BYRNE’S PRINTMAKING (1928 - 1940s) Harold Byrne produced more than 70 intaglio prints (probably at least 100 different images) using the aquatint, drypoint and etching techniques and also produced a small number of relief prints using the woodcut technique. In 1928, he studied intaglio printmaking under Sydney Long at the Australian Painter-Etchers’ Society’s School of Etching. Harold Byrne was always willing to share his expertise with other etchers including Austin Platt, Roma Hopkinson and Charles H. Robinson. Even though Harold Byrne spent most of his life as an impoverished artist, he possessed his own large etching press on which he did his own printing. In the 1940s, he had to sell his press, afterward using Austin Platt’s etching press to print his editions. Byrne is primarily known for his impressionistic aquatint images of ballet themes, inspired by the Russian and Monte Carlo Ballet Companies in the late-1930s and early-1940s. He also produced architectural studies, cityscapes and portraits. In 1931, he was elected a member of the Australian Painter-Etchers’ Society. Harold Byrne was one of a few Australian etchers to produce impressionistic intaglio prints. In 1933, Harold Byrne designed and printed his first etched bookplate and by 1936 had produced over thirty-six bookplate designs and reputedly more than 100 by the end of his career in the early-1950s. Many of his bookplates were for leading musical and dance talents of the era. In 1936, he published two limited edition (25 copies) portfolios, Harold Byrne’s Etched Bookplates, one of which contains a short biographical forward by John Lane Mullins. He was the only Australian to be an Honourary Member of the American Bookplate Society.

COLLECTIONS: NGA; AGNSW; QAG; NLA; Mitchell Library. [178] “ Covent Garden Ballet: BIBLIOGRAPHY: Masterpieces of Australian Printmaking; Daily Telegraph (20th July 1926); Catholic Press (28th Carnival – Swan Lake – Les Sylphides ” February 1935); Catholic Weekly (28th September 1950); Victor Harbour Times (8th December 1950); numerous 1940; watercolours; newspaper articles. signed: “ Harold Byrne ” Provenance

PAINTED: 1940 at Theatre Royale when Colonel de Basil’s Covent Garden Ballet Company was touring Sydney.

PURCHASED: 1990 from former girlfriend of Harold Byrne.

{TOC – DICTIONARY OF AUSTRALIAN ARTISTS}

NOTE: Blue underlined text are ‘hot links’ that when {left clicked} will jump to indicated text section. Page 66

CHRISTMAS, ERNEST WILLIAM (R.B.A.) [ South Australia, New South Wales, Tasmania, New Zealand, UK, USA, South America ] Born: 28th January 1863 at Yankalilla, Point Wakefield, South Australia Died: 29th July 1918 at Honolulu, Territory of Hawaii, USA Ernest William Christmas was a professional painter, illustrator, art teacher, scenic artist and gold prospector. He was the eldest of the eleven children of John James [1838-1902; farmer, baker, storekeeper and mining agent] and Martha [1839-1925; nee Leeke] Christmas. In his youth, Ernest was more interested in bicycle racing and football than painting. In the early-1880s, he started to exhibit at local agricultural shows in rural South Australia while working as a baker and prospecting for gold at Wallaroo (150 kilometers northwest of Adelaide) and other remote diggings. At the (1884) Yorke Peninsula Show, he was awarded for First Prize for Oil Painting for his 7.5 by 5.5 foot oil painting Moon Light Scene in Norway, painted from a photograph, an effort that was beyond his youth and amateur status. In 1887, he was awarded First Honors in Oils at the Adelaide Jubilee Exhibition. He was greatly influenced by the large landscape canvases of Adelaide artist Henry J. Johnstone [1835-1907], Ernest’s pictures often being mistaken as copies but were all original artworks. In 1889, Christmas started teaching painting in Broken Hill, New South Wales. In 1890, he moved to Adelaide where he held his first solo exhibition in August 1890. His sister Ethel Christmas was a well-respected West Australian artist. Between 1890 and 1894, Ernest W. Christmas fascinated the art critics in Adelaide with his finely painted large landscapes. He regularly exhibited at the Art Society, had paintings for sale [179] “ Where Still Waters Lie ” at various venues and conducted art unions, being noted as one of South Australia’s most 1894; oil on board; 36.5 x 30.0 cm; industrious artists. In July 1891, he held an art union to sell 100 paintings and in 1892, auctioned signed: “ E.W.C. ” (lower right). 20 plein air oil landscapes of remote areas along the Murray River to finance a trip to the Europe PROVENANCE to further his artistic career. While it is often claimed that he received his artistic training in EXHIBITED: 1894 at Art Society of NSW. Adelaide, Sydney and London, there is no evidence that he wasn’t entirely self-taught except for PURCHASED: 1900 from antique shop in some guidance from Edward William Belcher, a professional photographer. Roseville. By the mid-1890s, Ernest W. Christmas was considered one of South Australia’s leading Ernest W. Christmas had previously painted the Upper artists who often demanded high prices for his oil paintings. Throughout his career Christmas Murray River and when he settled in Sydney in the early- travelled widely, painting the areas he visited and often sending the work back to Australia for 1890s, he gravitated to the Hawkesbury River in search of exhibition. In his later career, it was claimed that he had travelled more than 250,000 kilometers its wetlands. The location is believed to be near the across Austral-Asia, Europe, and North and South America to find subjects for his brush. Brooklyn Dam where even today, waterlilies flower in abundance. In early-1894, Ernest W. Christmas departed for South Australia on a painting trip that lasted twenty-four years, only returning for short visits. In 1894, he was in Sydney where he taught art at the St Leonards’ School of Arts and painted the scenic spots around Sydney Harbour, the Blue Mountains and Hawkesbury River. After a short time, he continued his travels to New Zealand where he painted until 1899 when he visited Tasmania.

{TOC – DICTIONARY OF AUSTRALIAN ARTISTS}

NOTE: Blue underlined text are ‘hot links’ that when {left clicked} will jump to indicated text section. Page 67

At the turn of the century, Ernest W. Christmas travelled to England to allegedly continue his artistic studies. In 1902, he sent 100 paintings (valued £700) of Scotland for exhibition and sale in Melbourne. In 1904, he returned to South Pacific, visiting New South Wales, South Australia and New Zealand. In 1908, he again visited England where in 1909, he was elected to the Royal Society of British Artists. While in the United Kingdom, he exhibited with the Royal Academy (1910-1911), Royal Society of British Artists (1909-1918), Royal Institute of Oil Painters, Royal Institute of Painters in Watercolours and Royal Glasgow Institute of Fine Arts. In 1910, Ernest W. Christmas visited South America where he primarily painted mountain and lake scenes in Argentina, Chile and Peru. He later illustrated W.H. Koebel’s Argentina Past and Present. Afterward, Ernest returned to England where he exhibited his South American paintings. In 1915, he exhibited Christo de Los Andes at the Panama Pacific International Exposition in San Francisco, being awarded a Bronze Medal. In February 1916, he arrived in Honolulu, Hawaii where he held a number of successful solo exhibitions and painted Pacific island scenes and dramatic volcano landscapes. In July 1918, Ernest William Christmas died of heart disease while planning a trip to New York. Ernest W. Christmas was a post-colonial painter, primarily known as an oil painter, but who also produced fine watercolours. His subjects were primarily landscapes of rural areas, wetlands and mountains that were not of grand scenes but representative scenery. His early work often shows hard sunlight and smoky horizons, while his later paintings are firmer in composition with a developed appreciation of light. In South Australia, he particularly favoured the Murray River area and he also painted in the Northern Territory, New South Wales, Victoria, Tasmania, New Zealand, England, Wales, Scotland, Morocco, Argentina, Peru and Chile. He very well may have been Australia’s most travelled artist. In Adelaide, Ernest W. Christmas was a member of the Royal South Australian Society of Arts and exhibited at their Federal Exhibitions. In Sydney, he was an exhibitor at the Royal Art Society, while in New Zealand he exhibited with the N.Z. Academy of Fine Arts (Wellington), Auckland Society of Artists (Auckland), Canterbury Society of Arts (Christchurch) and New Zealand International Exhibition. In 1906, he won the New Zealand Academy of Fine Arts’ First Prize for a Wellington Streetscape. COLLECTIONS: NGA; QAG; Dunedin Public Art Gallery; Hocken Library; Bishop Suter Art Gallery; Turnbull Library. PORTRAIT: photo (Adelaide Register (5th September 1918)). BIBLIOGRAPHY: Encyclopedia of Australian Artists, numerous newspaper articles; http://ernestwilliamchristmas.com/ .

{TOC – DICTIONARY OF AUSTRALIAN ARTISTS}

NOTE: Blue underlined text are ‘hot links’ that when {left clicked} will jump to indicated text section. Page 68

COFFEY, ALFRED ROLAND LEOPOLD [ New South Wales; New Zealand; UK, Europe, USA, Indonesia ] Born: 13th September 1868 at Michals, County, Limerick, Ireland DIED: 19th November 1950 at Sydney, New South Wales Alfred R. Coffey was a professional painter, printmaker and art teacher. He was the youngest of the four children of Patrick William [1813-1891; an Irish National who immigrated to United State but returned to Ireland after ten years] and Julia Maximillia [1835-1895; nee Goggin] Coffey. On 31st July 1882, Alfred’s family immigrated to Sydney when he was 14 years old but returned to England and Ireland by 1890s. Alfred Coffey never married. In early-1880s, Alfred R. Coffey spent some time in San Francisco and New York but returned to Australia by late-1880s. After his return, Alfred Coffey attended St Aloysius College in Auburn and in 1884 was awarded a Silver Medal in Physics and Honours in Mathematics in 1887. He received his artistic training at the Royal Art Society School (1888-1892) under Alfred J. Daplyn, taking prizes in every section and winning its President’s Prize (1892). He later studied at Sydney Art School (1897) under Julian R. Ashton. From April 1898, Alfred Coffey taught art at a number of Technical Colleges (Sydney, Waverley and Granville) and for a time at Abbotsleigh Girls School (circa 1900s) on the North Shore where Grace Cossington Smith was among his pupils. In late-1900, he travelled to the United Kingdom and Europe, where he painted in Belgium, France, Germany, Austria, Spain and Italy. On his return in late-1901, he was appointed an art instructor at the East Sydney Technical College and later taught art and lectured (1919-1922) in drawing and art history at the School of Architecture at Sydney University. Alfred Coffey was an accomplished oil painter and watercolourist, as well as being a printmaker of some skill. His early paintings show the influence of Alfred J. Daplyn and the artists of the Heidelberg School and as a whole his work involves the rich subtle palette of the early Australian impressionists. Alfred Coffey produced more than 50 intaglio prints using the etching technique. In 1889, he [180] Blue Mountain Vista, 1892 experimented with etching using P.G. Hamerton's book. At the age of twenty, he etched four a.k.a. “ Mountain View, Colo River ” plates, publishing an edition of five prints of the image Berowra Point (1889). Afterwards he 1892; oil on canvas; 60.0 x 29.0 cm; concentrated on his painting, not taking up etching again until 1908. His most important images signed: “ A.R. Coffey, 1892 ” (lower right). are a series of large plates (49.5 x 32.5 cm) of Sydney’s foreshores and Rocks area. In 1921, he PROVENANCE was a foundation member of the Australian Painter-Etchers’ Society, serving on its Council. PAINTED: 1892 executed in same year as Coffey Alfred Coffey was a fellow of the Royal Art Society, serving as its Vice-President and on its won the Royal Art Society's President's Prize. Council. In 1912, he was Australia’s official representative at the International Art Congress at Shows the influence of Australia's pioneer Dresden, travelling via San Francisco aboard the RMS Tahiti to visit his brother. In 1921, he gave impressionists, who were in Sydney at the time. up art teaching to devote all his time to painting. In 1922, he travelled through Indonesia where EXHIBITED: (1892) Royal Art Society’s Annual he painted a large number of works, later exhibiting these at the Blaxland Gallery (Sydney). Exhibition (illustrated in catalogue); COLLECTIONS: NGA; AGNSW; AGSA; NGV. EXHIBITED: (2000) Alfred Coffey Retrospective (Sydney University 2000) BIBLIOGRAPHY: Australian Water Colour Painters; Encyclopedia of Australian Artists, Masterpieces of Australian Prints, Story of Australian Art; Catholic Press (17th December 1898); numerous newspaper articles. PURCHASED: 1992 from Leonard Joel’s.

{TOC – DICTIONARY OF AUSTRALIAN ARTISTS}

NOTE: Blue underlined text are ‘hot links’ that when {left clicked} will jump to indicated text section. Page 69

CONDER, CHARLES EDWARD [ New South Wales, Victoria, UK, Europe ] BORN: 24th October 1868 at Holly Cottage, Tottenham, Middlesex, England DIED: 9th February 1909 at Virginia Water, Surrey, England Charles Conder was a professional painter, lithographer, fan-designer and art teacher. He was the third eldest of the six children James [1839-1910; railway engineer] and Marie Ann [1841- 1873; née Ayre] Conder, Charles also having seven stepsiblings. In 1872, the Conder family moved to Iddagonge North Kanara (a.k.a. Kantaka; south of Goa on west coast), India where James Conder was appointed executive railway engineer. A year after the death of his mother in May 1873 from tuberculosis, Charles (aged five-years) returned to England, but his father stayed in India until 1896. Charles was educated at boarding school at Eastbourne (1877-1883), England and in 1884 he was sent to New South Wales to work under his uncle, William Jacomb Conder [1831-1890], an official in the Lands Department who had immigrated to Sydney in 1851. On 13th June 1884, Charles Conder arrived in Sydney from London aboard the Windsor Castle, the trip having took 79 days around the Cape of Good Hope. In Sydney, he worked for the Lands Department which sent him on surveys in New South Wales country areas, where he [NAS] All on a Summer’s Day, combined surveying with sketching. In 1886-1887, Charles Conder became a lithographic Coogee 1888 – apprentice to Gibbs, Shallard & Co. where he provided illustrations to Illustrated Sydney News Impressionist (Tom Roberts) and was associated with Albert Henry Fullwood, Frank Mahoney and Benjamin E. Minns. painting on the Hill In Sydney, Charles Conder attended painting classes at the Art Society of NSW (later Royal April 1888; oil on cedar panel; 13.0 x 14.5 cm. Art Society) under plein-air landscape painter, Alfred J. Daplyn, who had been trained in Paris, Rome, New York and London. Conder was awarded several prizes for landscape and was popular Provenance among the artists of the Art Society, including Julian R. Ashton, Victor Mann, Girolamo Nerli and Purchased: 1980 from house sale in Woollahra, NSW others who he occupied on sketching and painting trips to the beauty spots of Sydney and its NOTE: I purchased this painting only knowing that it was environs. At the end-1887, Conder befriended a visiting Tom Roberts, the two artists sharing a well-executed Impressionist painting in a “9 by 5 views about Impressionism. In September 1888, Conder’s The Departure of the SS Orient was Impression” frame. It wasn’t until I viewed Lauraine purchased by the trustees for the Art Gallery of New South Wales. Diggins 1982 Exhibition that I was able to (with some “The most striking work in the pictures that follow is certainly that of Mr Charles Conder, and this apprehension) attribute and date the artwork to not at all because of the accuracy of this artist’s drawing, or indeed for any mechanical qualification, Charles Conder. but for the tone and colour his pictures show, their sentiment and composition, and in most cases for their sunny brightness, although this last feature is not evidenced in the fine picture purchased for the National Gallery. Mr Conder has studied the impressionist school and has succeeded in producing work full of the suggestiveness that gives the lay observer whose eyes are open to the sentiment of art something to grasp and hold on by. "The Departure of the Orient, Circular Quay” (No. 140), is one of the most character-marked pictures in the exhibition this year - misty and dim in tone, showing the scene on a drizzling morning, with groups of figures moving rapidly away, and the effect losing itself in the dull grey and mirk of a lowering sky. The contrast between the tone of this picture and that of others by Mr Conder, as for example the one called " A Taste for Literature" (No. 130), is very distinct and bold. As we shall see later on, the caractère of these others is all very much of a piece, and the one named may perhaps be taken as the most noticeable example.

{TOC – DICTIONARY OF AUSTRALIAN ARTISTS}

NOTE: Blue underlined text are ‘hot links’ that when {left clicked} will jump to indicated text section. Page 70

There is a stretch of blown grass, bright with dashes of blossomy colour; some way off a female figure at gaze, and in the foreground, occupying her attention, a calf playing with a newspaper. All this is simple enough, but there is such a feeling of brightness and sunshine over all, and a palpable suggestion of the open air about everything, and such a mellow effect produced by the softening off of the warm atmospheric effect in the foreground of the picture to the tender rose-flush of distance, that one cannot look at this artist's work without feeling all that the apparently rapid and careless dashes of the artist's brush were intended to convoy. Other equally effective bits from the same brush will occupy us again…” On Easter weekend April-1888, Charles Conder and Tom Roberts painted together at Coogee Beach, resulting in Conder’s All on a Summer Day, April 1888; Coogee Beach, Easter 1888 and Roberts’ Holliday Sketch, Coogee, April 1888. Between October 1888 and April 1890, Conder lived in Melbourne, initially sharing a studio with Roberts before renting his own in the Melbourne Chambers on Collins Street and later Gordon Chambers. Conder attended a few classes at the National Gallery of Victoria School under Fred McCubbin. Nicknamed ‘K’, Conder during the summers and on many weekends frequented the artists’ camps at Eaglemont, Box Hill and Heidelberg in the company of ‘Bulldog’ (Roberts), Spike (Streeton) and other artists who would later be dubbed the ‘Heidelberg School’. Conder joined Roberts, Streeton, Charles D. Richardson, Frederick McCubbin, Roger E. Falls and Herbert J. Daly in the exhibition of 9 by 5 Impressions at Buxton Galleries, Swanston Street in August 1889, also exhibiting at the Victorian Artists Society as well as sending work back to Sydney. His friend and mentor Girolamo Nerli also settled in Melbourne for a time, further influencing the development of the young Conder. An investment in silver mines4 and monies from his dying uncle William Jacomb Conder enabled Charles to travel to Europe to further his artistic studies. On 26th April 1890, he departed aboard the Austral for London where he stayed only three days before leaving for Paris in the company of three American artists. He studied at Académie Julien under Benjamin Constant and Jules Lefebvre and at Atelier Cormon, and he was influenced by Louis Anquetin [1861-1932] and Henri de Toulouse-Lautrec [1864-1901]. In 1894, Charles Conder took up residence in London and frequently visited Paris, Normandy and Dieppe where he visited his friends. After 1895, he was increasingly preoccupied with fan designs painted in watercolours on silk which laid the foundations of his fame. He was encouraged by William Rothenstein [1872-1945] to make lithographs. On 5th December 1901, Charles married Stella Maris Belford [1870-1912; née MacAdams; a wealthy Canadian widow] at the British Embassy in Paris, giving him financial security and high society social contacts. From 1907, Charles Conder was often confined to a sanatorium, dying of syphilis in 1909.

COLLECTIONS: NGA; AGNSW; NGV; AGSA; AGWA; TMAG; Mitchell Library; Art institute of Chicago. BIBLIOGRAPHY: extensive; numerous newspaper articles.

4 Table Talk (11th April 1890); the investment was a recommendation from his close friend Herbert J. Daly (see below).

{TOC – DICTIONARY OF AUSTRALIAN ARTISTS}

NOTE: Blue underlined text are ‘hot links’ that when {left clicked} will jump to indicated text section. Page 71

CRISP, JAMES ALEXANDER [ New South Wales, Queensland, Victoria, New Zealand, USA ] BORN: 1879 at Sydney, New South Wales DIED: 25th June 1962 at Sydney, New South Wales James A. Crisp was a professional painter, printmaker, illustrator and sign-writer. He was the third eldest child of the eleven children of Elisabeth Theresa [1850-; nee Armstrong] and Henry James (Senior) [1844-1926; operator general store] Crisp. On 18th October 1911, he married Marie E.W. Walther [1889-1951] at Newtown, the couple having two daughters. James was the brother of Henry J. Crisp [1886-1951], who was also a painter and prominent Council member of the Royal Art Society. The two brothers operated a successful sign-writing business ‘Crisp Bros.’ that greatly reduced the amount of time that they could devote to their art. James A. Crisp received his artistic training at J.S. Watkins’ Art School and privately under Harry Garlick. Throughout most of his life James was good friends with Sydney Long. In the early 1900s, he worked as an illustrator for the Bulletin with . On 31st July 1905, James Crisp arrived at San Francisco aboard the S.S. Sonoma. He worked for the Sunset and Wasp publications in San Francisco, but family affairs and the San Francisco earthquake precipitated his early return to Australia the following year. After his return, James A. Crisp contributed drawings and cartoons to the Bulletin, Lone Hand and Town and Country Journal magazines. He was close friends with Henry Lawson for whom he illustrated several poems. By 1911, Crisp was producing oils, watercolours and black- and-white art of Australian fauna. After World War I, he favoured oils as a medium and his subject matter widened to include marine paintings, portraits, still-lifes and landscapes. He frequently exhibited oil, watercolour and black-and-white art at the Royal Art Society (1902-1933). In 1930s, a number of his images were stenciled onto ceramic items produced in the United Kingdom. James A. Crisp is primarily remembered for his paintings, illustrations and etchings of Australian fauna. He drew from subjects he kept as pets in his backyard where he had kookaburras, cockatoos, magpies, wallabies and possums. From these subjects, he captured not only the image but the character of his subjects. In Sydney, he exhibited at the Royal Art Society, serving on its Council. In Melbourne, he exhibited with the Australian Artists Society, in Brisbane with the Royal Queensland Artists Society and in Adelaide with the Royal S.A. Society of Artists. [181] Sheep Grazing From 1922, James A. Crisp produced more than 60 intaglio prints using the etching and circa 1912; oil on board; 27.5 x 16.0 cm; drypoint techniques, having learned the etching process from J. Barclay Godson. Crisp possessed signed: “ J.A. Crisp” (lower left). his own large press on which he printed his own editions. He is best known for his images of Australian fauna (kookaburras, cockatoos, magpies, possums and kangaroos) and also PROVENANCE landscapes and seascapes of New South Wales, Queensland, Victoria and California. In 1922, PURCHASED: circa 1999 from John Williams. he became a member of the Australian Painter-Etchers’ Society, serving on its Council (1934- James A. Crisp is remembered for his paintings, 1937). During the 1920s and 1930s, he exhibited more images than any other Australian at the illustrations and etchings of Australian fauna. He drew International Printmaker Exhibitions in Los Angeles, California. many of these from subjects he kept as pets in his COLLECTIONS: NGA; AGNSW; Manly Art Gallery; NLA; National Library of New Zealand; New backyard where he kept kookaburras, cockatoos, York Public Library. magpies, wallabies and possums. From these subjects, he BIBLIOGRAPHY: 1994 interview with Crisp’s daughters; Australian Watercolour Painters; Encyclopedia of captured not only the image but the character of his Australian Art; Story of Australian Art; numerous newspaper articles. subjects.

{TOC – DICTIONARY OF AUSTRALIAN ARTISTS}

NOTE: Blue underlined text are ‘hot links’ that when {left clicked} will jump to indicated text section. Page 72

DALY, HERBERT JAMES [ NSW, VICTORIA, WESTERN AUSTRALIA, UK, EUROPE, NORTH AFRICA ] BORN: 4th March 1865 at Roscommon, Mountbellew, Ballinasloe, County Galway, Ireland DIED: 29th December 1929 at Wicklow, Rathdrum, Ireland Herbert J. Daly was a painter, draughtsman, surveyor, mining engineer and journalist. He was born in County Galway to William Dawson [1825-1906; landowner] and Anna Letitia [1838- 1898; nee Digby] Daly. Herbert received his education at London’s Royal Mathematical School (Christ’s Hospital) and Charter House School before serving in the . On 9th June 1888 at Victoria, he married Katherine Emily (Kitty) Mitchell [1859-1927], the daughter of the late William H.F. Mitchell and sister to Sir Edward Mitchell. After his wife’s death, he married Dorothy Samuels, sister of Chief Justice Samuels of the Supreme Court of Ireland. In 1881, Herbert J. Daly immigrated to Australia, settling in Sydney where he worked as a [182] Mediterranean (Salerno) Harbour draughtsman and surveyor’s assistant for the N.S.W. Survey Department with Charles Conder. circa 1911; oil on canvas; 32.0 x 45.0 cm; In 1885, Herbert Daly moved to Melbourne where he was employed as a journalist for Table Talk. signed: “ Daly H.J.” (lower right). In 1887, he travelled to Western Australia where he took out the first miner’s rights issued for the Yilgarn goldfields. The following year, he returned to Melbourne to marry and work for the Provenance Victorian Department of Mines. Between 1895 and 1896, he travelled widely in Australia as a PURCHASED: 1997 from Leonard Joel’s. journalist, illustrator and special mining editor for the Argus. In 1896, he became the manager of Between 1888 and 1890, Herbert J. Daly received his the Hannan’s Mining Company at Kalgoorlie, West Australia. Between 1897 and 1898, he artistic training at the National Gallery of Victoria School travelled and worked in South Africa and United Kingdom before returning to Melbourne where under Fred McCubbin and in August 1889, Daly exhibited he worked for Consolidated Mines Selection Company and also operated his own mining at Melbourne’s iconic 9 x 5 Impression Exhibition with consultancy practice. Between 1900 and 1908, he was a director of the North Broken Hill Silver Tom Roberts, Arthur Streeton, Charles Conder, Fred McCubbin and a few other artists, who became known as Mining Co. and the Jubilee Gold Mining Co. of Ballarat. ‘The Heidelberg School of Artists’. After Daly’s Between 1888 and 1890, Herbert Daly received his artistic training at the National Gallery retirement in circa 1909, he travelled and lived in Europe of Victoria School under Fred McCubbin and in 1889, he exhibited at The 9 x 5 Impression and was for a time based in Paris where in 1911, he Exhibition. After his retirement in circa 1909, Daly travelled and lived in Europe and was for a studied under E. Phillips Fox with whom he travelled and time based in Paris where in 1911, he studied under E. Phillips Fox with whom he travelled and painted in North Africa, France and England. Daly also painted in North Africa, France and England. Daly also associated and painted with Rupert Bunny associated and painted with Rupert Bunny and many other leading French, British and American artists. In Europe, and many other leading French, British and American artists. In Europe, Herbert Daly exhibited Herbert Daly exhibited in Paris, at the Hibernian Society in in Paris, at the Hibernian Society in Dublin and also in Glasgow and . In 1912, Daly had Dublin and also in Glasgow and Edinburgh. In 1912, a solo exhibition at the Fine Art Society Gallery in Melbourne which was well received. Herbert Daly had a solo exhibition at the Fine Art Society Gallery in Melbourne which was well received. “Mr Daly shows 30 of his own paintings gathered during his many artistic forages under eastern skies. He never hesitates in his use of colour, and as he views a scene as does he desire the spectator to view it. His brush rarely fails him when sunlight is concerned, taking for instance, `Sunlight in an Old Moorish Town, Algeria’, as one of his best examples of summer glow, while `St Ives, Cornwall’, shows the painter in subdued and harmonious mood, using a palette of light brown and purple with dexterity and pleasing effect. As the work of an amateur, the collection is decidedly meritorious.”

{TOC – DICTIONARY OF AUSTRALIAN ARTISTS}

NOTE: Blue underlined text are ‘hot links’ that when {left clicked} will jump to indicated text section. Page 73

In 1916, Herbert Daly again exhibited at the Fine Art Society Gallery along with Ethel Carrick Fox, Ina Gregory, Violet Teague, Alexander Colquhoun and others. In 1918, he exhibited at the Athenaeum Gallery in support of the Red Cross and also the Australian Art Association (1920) and in Paris (1927). Herbert J. Daly was a member (1897-1922) of the Institute of Mining and Metallurgy (London) and a member of Royal Societies Club (until 1912). After his death in 1929, he left an estate of 10,000 pounds in England and in 1943, his widow left his private collection of paintings to the Art Gallery of Western Australian, including works by Herbert Daly, Rupert Bunny, A.W. Davidson, Auguste Delecluse, William Laparra, William Watt Milne, Adolphe Montecelli, Sydney Thompson, Abel Trouchet and Margurite Von Briesbroeck.

COLLECTIONS: AGWA; Witt Library (Courtauld Institute of Art, London). BIBLIOGRAPHY: The Cyclopedia of Victoria, 1903; Golden Summers, Jane Clack and Bridget Whitelaw, 1986; Table Talk (24th June 1896); Argus (10the September 1912); Australasian (4th January 1930); Perth’s Daily News (9th February 1943); numerous newspaper articles.

{TOC – DICTIONARY OF AUSTRALIAN ARTISTS}

NOTE: Blue underlined text are ‘hot links’ that when {left clicked} will jump to indicated text section. Page 74

FULLWOOD, ALBERT HENRY [ New South Wales, Tasmania, Victoria, Queensland, New Zealand, South Africa, New Guinea, UK, Europe ] BORN: 15th March 1863 at Birmingham, United Kingdom DIED: 1st October 1930 at Waverley (Sydney), New South Wales Albert Henry Fullwood was a professional painter, illustrator, printmaker and art teacher. He was the sixth eldest of the nine children of Frederick John [1832-1883; jeweler] and Emma [1831- 1895; née Barr] Fullwood. On 14th December 1883, Henry Fullwood arrived in Sydney aboard iron barque Rialto at age 20-years. On 13th October 1896, he married Clyda Blanche Newman [1871-1918] at Woollahra, the couple having three children (Phillip L. [1897-1911], Geoffrey B. [1899-1973] and Marjorie C. [1903-1904] Fullwood). Albert Henry Fullwood received his artistic training at the Birmingham Institute on a three- year scholarship and reputedly studied at London’s South Kensington School of Art and Paris’s academies. At the age of twenty, he arrived in Sydney where he was employed as a lithographic draughtsman and designer for the Town and Country Journal. In the mid-1880s, he was a staff artist for the Picturesque Atlas of Australasia, enabling him to travel around Australia and New Guinea. He also contributed to the Bulletin, Illustrated Sydney News and Sydney Mail. Fullwood became a prominent member of the Royal Art Society (from 1884) but dissatisfaction with non-professional influences encouraged him to be a founding member of the Society of Artists, serving on its Council. During the 1890s, he shared a studio with Frank P. Mahony and painted with Julian R. Ashton, Tom Roberts, Arthur Streeton and others at the artists’ camp at Sirius Cove. Fullwood produced numerous impressionistic landscapes in oils and watercolours of Sydney Harbour’s coves and the bushland around Sydney’s environs, especially the Richmond District. He also made repeated painting trips to Tasmania. In 1891, his oil painting The Station Boundary was purchased by the Art Gallery NSW and was awarded a Medal at [NAS] “ Old Sand Sculptor, Bondi ” the 1893 World’s Columbian Exposition in Chicago. 1924, watercolour & gouache; 18.0 x 13.0 cm; After the bank crash of 1893, Albert Henry Fullwood suffered considerable financial signed: “ A.F. ’24 ” (lower left). hardship. In mid-1900, he had sold his possessions and took his family to the United States via A rare image of daylight swimming at beach culture at Cape Town (South Africa), where he painted the city, the slave markets, Table Top Mountains, Australia’s iconic Bondi Beach. While the watercolour was and a number of Boer War related images. In January 1901, Fullwood had a sell-out solo most like painted en plein air, Albert Henry Fullwood also exhibition at the Miller’s Gallery at 293 Fifth Avenue, New York. Even though he achieved create a limited edition etching of the scene, there being a financial success in the United States, in July 1901, he travelled to London to exhibit and work number of watercolour and etchings sets produced by as a freelance artist for the Graphic and other magazines. Here he became an avid disciple of Fullwood. James McNeill Whistler, afterwards often freely quoting Whistler’s theories on art. In 1902, Fullwood had three favourable exhibitions in London which were followed by solo exhibitions in Paris, Berlin and Dresden. He was soon exhibiting paintings at the Royal Academy (1906, 1909, 1911-1915, 1919, 1926) and at Paris’s Old and New Salons. In England, he was a member of the Chelsea Arts Club.

{TOC – DICTIONARY OF AUSTRALIAN ARTISTS}

NOTE: Blue underlined text are ‘hot links’ that when {left clicked} will jump to indicated text section. Page 75

When World War I commenced, Albert Henry Fullwood enlisted in the Royal Army Medical Corps, serving as an orderly with Tom Roberts, Arthur Streeton and George Coates. The physical demands of working twelve-hour shifts as a medical orderly took their toll on the 52-year-old Fullwood, who had taken ten years off his age, in order to join the R.A.M.C. After receiving a medical discharge in 1917, he was appointed an official war artist with the Australian High Commission in London, painting a number of war scenes in France primarily using watercolours. Demobilized on 31st December 1919, Fullwood embarked for Sydney in February 1920. He settled in Sydney and held solo exhibitions in Sydney and Melbourne. During this time, he became a member of the Australian Watercolour Institute (1924-1930). On 1st October 1930, Albert Henry Fullwood died from pneumonia in the War Memorial Hospital, Waverley, leaving an estate valued £844. Albert Henry Fullwood produced a large number (over 200) of intaglio prints using the etching and drypoint techniques. Prior to arriving in Australia, he had some experience with printmaking techniques. In 1893, he produced his first Australian etching under the guidance of Livingston Hopkins, but this proved to be commercially unsuccessful. In 1903, he studied intaglio printmaking with his good friend Eirene Mort at the London Central School of Arts and Crafts under Luke Taylor and was strongly influenced by American etcher James McNeill Whistler. While in the United Kingdom (1902-1920), Fullwood produced numerous etchings including scenes of English inns, villages and countryside. Upon returning to Sydney, he produced a large number of etchings including cityscapes, landscapes and seascapes. From 1926, he taught etching at the Australian Black and White Artists’ Club. He also produced a number of monotypes and a few lithographs including House of Parliament and Trickenham Ferry Fullwood’s etchings were internationally well received with a number of his prints being purchased by the British Museum and Dresden Print Room. He was a foundation member of the Australian Painter-Etchers’ Society, serving on its Council (1921-1924) and as Vice-President (1923-1924). He exhibited internationally with the Chicago Society of Etchers and International Print Makers Exhibitions in California.

COLLECTIONS: NGA; AGNSW; AGSA; NGV; Newcastle and other regional art galleries; National Library of Australia; Mitchell Library; British Museum; Museum of N.Z.; New York Public Library. PORTRAIT: by James P. Quinn (AGNSW); by Squire Morgan (1930; Mitchell Library). BIBLIOGRAPHY: Australian Watercolour Painters; Encyclopedia of Australian Artists; Masterpieces of Australian Printmaking; “A.H. Fullwood”, Art in Australia, 1:8 1921; Dictionary of Australian Biography; Design and Art Australia Online; New York Herald (22nd January 1901); numerous newspaper articles.

{TOC – DICTIONARY OF AUSTRALIAN ARTISTS}

NOTE: Blue underlined text are ‘hot links’ that when {left clicked} will jump to indicated text section. Page 76

JONES, JOHN LLEWELYN [ Victoria, New South Wales; Queensland ] BORN: 1866 at Melbourne, Victoria DIED: 13th December 1927 at North Sydney, New South Wales Llewellyn Jones was a professional painter, photographer, art teacher and beekeeper. He was a middle child of the eight children of Henry [1832-1897; railway worker] and Edith Eliza [1837-1915; nee Wilson] Jones. Llewelyn Jones married Isabel Corbett [1871-1946; a fellow art student and graphic artist], the couple having five children. J. Llewelyn Jones received his artistic training at the National Gallery of Victoria School (1883-1889) under George Follingsby and Fred McCubbin, being awarded the 1888 Judge's Prize and a number of other prizes. He initially was employed as a photographer before dedicating his time to painting. Between 1888 and 1893, he conducted a ‘Private Ladies Class’ [184] Yachts on Sydney Harbour teaching painting and drawing in Bendigo and in 1899, established a School of Design in Prahran (Melbourne). circa 1910; oil on panel; 13.0 x 19.0 cm; signed: “ J. Llewelyn Jones ” (lower left). In late-1880s, Llewelyn Jones was one of the first artists to join Arthur Streeton and Tom Roberts at the Eaglemont artists’ camps and is considered to be one of the Heidelberg School PROVENANCE painters. In 1888, Streeton gave him Impression for Golden Summer which was later exhibited PAINTED: circa 1910 shortly after moving to Sydney. at the 9 by 5 Impression Exhibition even though it was much larger (29.6 x 58.7 cm) than most PURCHASED: 1995 from Leonard Joel’s. of the other paintings. In 1890, the Art Gallery of N.S.W. purchased his oil, The Dry Season. J. Llewelyn Jones received his artistic training at the He often painted with Arthur Streeton, Fred McCubbin, E. Phillips Fox and Louis Abrahams on National Gallery of Victoria School (1883-1889) under sketching trips to Box Hill, Templestowe and Diamond Creek. As Streeton noted in the Argus George Follingsby and Fred McCubbin, being awarded the “Two of Follingsby’s students E.P. Fox and Llewellyn Jones, immediately began painting 1888 Judge's Prize and a number of other prizes. Between 1888 and 1893, he conducted a ‘Private Ladies Class’ impressions from Nature. This exciting revelation of works painted in the open air, instead of being teaching painting and drawing in Bendigo and in 1899, composed in a studio, spread rapidly through Melbourne, and later in Sydney, and this revelation established a School of Design in Prahran (Melbourne). and influence from Europe, through Roberts, became the foundation of what is best in Australian Art at the present time” (R.H. Croll, Tom Roberts, p.139) In late-1880s, Llewelyn Jones was one of the first artists to join Arthur Streeton at Eaglemont artists' camps and is After marriage and birth of his children, Llewelyn Jones applied himself to supporting his considered to be one of the Heidelberg School painters. In family and between the late-1890s and 1916, reduced his time painting and exhibiting. In 1913- 1890, the Art Gallery of N.S.W. purchased his oil, The Dry 1914, he taught painting and drawing at Charters Towers in Queensland. After a move to Season, which encouraged him to move to Sydney. In Sydney, he tried beekeeping, worked as a commercial traveler and conducted art classes. He 1913-1914, he taught painting and drawing at Charters Towers in Queensland. After a move to Sydney, he tried exhibited at the Anthony Hordern’s Gallery and the Society of Artists. beekeeping, worked as a commercial traveler and In Melbourne, Llewelyn Jones was a member of the Australian Artists’ Association and conducted art classes. Victorian Artists' Society, while in Sydney he exhibited with the Society of Artists and the Australian Watercolour Institute. COLLECTIONS: AGNSW; NGV. BIBLIOGRAPHY: Artists Camps; Australian Watercolour Painters; Encyclopedia of Australian Artists; Art in Australia (1:8 1921; J. Llewellyn Jones); The Art of Llewellyn Jones by Paul H. Bonnar; numerous newspaper articles.

{TOC – DICTIONARY OF AUSTRALIAN ARTISTS}

NOTE: Blue underlined text are ‘hot links’ that when {left clicked} will jump to indicated text section. Page 77

LINDSAY, NORMAN ALFRED WILLIAM LINDSAY [ New South Wales; Victoria; United Kingdom; USA ] BORN: 23rd February 1879 at Creswick, Victoria DIED: 21th November 1969 at Springwood, New South Wales Norman Lindsay was a painter, printmaker, sculptor, author, cartoonist and illustrator. Norman was the third eldest of the ten children of Robert Charles William Alexander Lindsay [1843-1915; surgeon from Londonderry, Ireland] and his wife Jane Elizabeth [1848-1932; daughter of Rev. Thomas Williams, Wesleyan missionary], five of the children becoming famous artists and writers (Percival Charles [1870-1952], Sir Lionel Arthur [1874-1961], Norman Alfred Williams [1879-1969], Ruby [1885-1919] and Sir Ernest Daryl [1889-1976]. On 23rd May 1900, Norman married Catherine (Kate) Agatha Parkinson in Melbourne, the couple having three sons (Jack [1900-], Raymond [1903-] and Philip [1906]) before divorcing 1918. On 14th January 1920, Norman married Rose Soady, his longtime mistress at Strathfield, New South Wales. Norman was primarily a self-taught artist, but he did receive some formal training from Walter Withers. He possessed a natural genius for adapting styles and techniques to the artistic medium that attracted him. At the age of seventeen, Norman left home to join his brother Lionel in Melbourne where he contributed illustrations to the Hawklet, Freelance, Tocsin and Rambler. At the age of twenty-two, Norman moved to Sydney to join the staff of the Bulletin where he provided illustrations and cartoons. During his career, he illustrated (pen-and-ink and prints) books by Australian authors and wrote and illustrated his own books. Norman Lindsay was an accomplished pen-draughtsman, watercolourist, oil painter, writer and cartoonist, as well as being a leading printmaker. He attracted acclaim and controversy in [183] The Model Australia, the United Kingdom and United States. He exhibited with the Society of Artists (from 1907) and was a member of the Australian Watercolour Institute (1930-52). a.k.a. Exotic Stare 1930s; oil on canvas on board; 21.0 x 17.0 cm PRINTMAKING (1897, 1906, 1916 - 1930s) signed: “ N.L. ” (lower left). Norman Lindsay is considered to be one of Australia’s premier printmakers of his generation and he is highly regarded around the world. He produced 200 published and 175 unpublished PROVENANCE intaglio prints using etching, drypoint and aquatint techniques, as well as a small number of PAINTED: Sometime in 1930s at Springwood using lithographs and relief prints using woodcut technique. one of his favourite models, Rita, who he used repeatedly in oils, watercolours and etchings and In 1897, Norman experimented with etching under his brother Lionel’s guidance, but at this drawings. Rita had a Spanish mother and Asian time Norman did not continue with the medium. In 1906, Norman again took up intaglio father, giving her exotic features, including an olive printmaking with his brother Lionel undoubtedly giving him pointers on the technical aspects of complexion, oval face, almond-shaped eyes, cupid’s bow lips and long black hair. the art. It was not until 1917 that encouraged Norman to take up etching as a serious artistic media, giving him instruction on intaglio printmaking. By 1917, Norman Lindsay PURCHASED: 1995 from private collector. was publishing and exhibiting his intaglio prints which were an immediate success. Norman disliked printing his etchings and most of his prints were printed by his wife Rose Lindsay who was also the model for many of his images.

{TOC – DICTIONARY OF AUSTRALIAN ARTISTS}

NOTE: Blue underlined text are ‘hot links’ that when {left clicked} will jump to indicated text section. Page 78

Norman’s images are like no other Australian printmaker of his time. In fact, there is no painter-etcher in the world whose work can be easily compared to Norman’s images. In most of his images, Norman etched the entire surface of the plate with fine lines and texture. He introduced to Australia an Arcadian hyperborean world inhabited by nudes, nymphs and satyrs, modelled on the voluptuous paintings of Rubens and the Swiss artist Arnold Bocklin. The uninhibited exotic nature of many of his images produced unparalleled controversy and censure from religious groups and moralists in Australia and the United Kingdom. During most of his artistic life, Norman Lindsay waged a private campaign against what he referred to as wowserism. While Norman Lindsay was a foundation member of the Australian Painter-Etchers’ Society, he remained detached from the controversies that surrounded his brother . COLLECTIONS: NGA; AGNSW; AGSA; AGWA; NGV; QAG; Newcastle Regional Art Gallery; Armidale Regional Gallery; NZNAG; British Museum; Fine Arts Museum San Francisco. PORTRAIT: etched portrait by Lionel Lindsay; Caricature: October 1907 Lone Hand (Dyson) BIBLIOGRAPHY: Australian Watercolour Painters; Encyclopedia of Australian Artists, Story of Australian Art; many more.

{TOC – DICTIONARY OF AUSTRALIAN ARTISTS}

NOTE: Blue underlined text are ‘hot links’ that when {left clicked} will jump to indicated text section. Page 79

LISTER (A.K.A. BUTTREY), WILLIAM LISTER [ New South Wales, UK, Europe ] BORN: 27th December 1859 at Manly, New South Wales DIED: 6th November 1943 at Mosman, New South Wales William Lister Lister was a professional painter, art teacher and marine engineer. He was the second eldest of the thirteen children of John Armitage [1819-1886] and Elisabeth Kirby [1830-1912; nee Bateson] Buttrey, who in 1874 changed the family name to ‘Lister’ by deed poll to insure an inheritance from the mother’s side of the family. After marrying, the Lister family immigrated to Sydney, arriving on the Duke of Wellington on 30th March 1852. However, in circa 1867, the family returned to the United Kingdom. In 1899, William Lister Lister married Bessie Emeline Wilkerson Waldron [1864-1935; a.k.a. Mrs Alfred M. Jenkins], the couple having one daughter and two stepdaughters. In 1870s, William Lister Lister received his initial artistic training at the Bedford School of Art (Bedfordshire, East England) under Bradford Rudge [1813-1885] and for two-years at Pont Sainte Maxence (60 kilometer north of Paris). In late-1870s or early 1880s, he moved to Glasgow, Scotland where he joined the St Mungo Art Club, where he painted with James Guthrie [185] “ In the Shadows (Lane Cove) ” and Edward A. Walton, who later formed the Glasgow Boys. Before returning to Australia in circa 1893; oil on board; 34.5 x 44.5 cm; 1888, Lister Lister had exhibited at Edinburgh’s Royal Scottish Academy of Art, Manchester Art signed: “ W. Lister Lister ” (lower left). Gallery and London’s Royal Academy, Royal Society of Painters in Oils, Royal Society of British Artists and British Empire Society of Artists. He was also reputedly a member of the Royal Provenance Cambrian Academy (Wales). In addition to studying art, Lister Lister had trained for four years PAINTED: circa 1893 and shows the influence of as a marine engineer at the College of Science and Arts in Glasgow and at the Fairfield Australia's pioneer impressionists, who were painting in Sydney at the time. Engineering Works, afterwards becoming a ship’s engineer. During his four years at sea, he voyaged to Americas, the West Indies and throughout the Mediterranean. Collection: Lynette Young, 13 Chastleton Avenue, Toorak; In 1888, William Lister Lister returned to Sydney where he exhibited with the Royal Art Society and taught art from his studio at Victoria Arcade (by 1893 at the Paling’s Building) and PURCHASED: 1994 from Lawson’s. at high schools, his students included Australian Impressionists Jessie Scarvell and Sophie William Lister Lister was best known for his large traditional Steffanoni. He soon became one of Australia's leading landscape painters and in 1889, the Art landscapes in oil and watercolours. Between 1898 and Gallery of NSW purchased his Wilberforce Oak, 1888, the first of eleven of his paintings to be 1940, he was 13 times a finalist in the Art Gallery of NSW’s acquired for their permanent collection. He was seven-times winner of the Gallery’s prestigious prestigious Wynne Prize for Landscape, winning a record 7 Wynne Prize for Landscape (1898, 1906, 1910, 1912, 1913, 1917, 1925) and was also awarded times. While he generally didn’t exhibit impressionistic the 250 guinea Commonwealth Government Prize (1913) for a picture of the Federal Capital paintings, Lister commented to a journalist site. He was equally accomplished in oils and watercolours, being celebrated as a painter of shimmering seascapes and coastal vistas. In 1943, he was killed in a Sydney street accident “When Streeton and Roberts were camped at Sirius and three years later the Art Gallery of NSW held a memorial exhibition of his paintings (1946). Cove, all the Sydney artists adopted an impressionistic technique for a time.” In 1900, William Lister Lister was appointed a trustee of the Art Gallery of NSW and from 1919, was the Gallery’s Vice-President. In Sydney, he was a Fellow of the Royal Art Society, Lister Lister taught large classes for landscape painting, serving on its Council, as Vice-President and as President (for more than 40 years). In Adelaide, including Jessie Scarvell and Sophie Steffanoni and took he was an exhibitor at the Royal S.A. Society of Arts’ Federal Exhibitions. more than a dozen lady students to Freshwater Beach, and other sketching places. Before returning to Australia in 1888, COLLECTIONS: NGA; AGNSW; AGSA; NGV; TMAG; QAG; NZNG; Cardiff AG (Wales); Geelong Lister Lister had direct contact with the Scottish AG; Mitchell Library. impressionists associated with the Glasgow Boys. PORTRAIT: Portrait by Lawson Balfour [AGNSW]; BIBLIOGRAPHY: Australian Watercolour Painters; Encyclopedia of Australian Artists; Story of Australian Art; Australian Dictionary of Biography; Design and Art Australia Online; numerous newspaper articles.

{TOC – DICTIONARY OF AUSTRALIAN ARTISTS}

NOTE: Blue underlined text are ‘hot links’ that when {left clicked} will jump to indicated text section. Page 80

MCINNES, WILLIAM BECKWITH [ Victoria, UK, Europe, North Africa ] BORN: 18th May 1889 at St Kilda, Victoria DIED: 9th November 1939, East Melbourne, Victoria William B. McInnes was a professional painter and art teacher. He was the second eldest of the five children of Malcolm [1862-1917; clerk] and Alice Agnes [1867-1937; née Beckwith] McInnes. On 24th February 1915, William married Violet Muriel Musgrave [1892-1968; an artist], the couple having at least six children and living at Alphington near Ivanhoe and the Yarra Valley. At age 14-years, William B. McInnes commenced his artistic training at the National Gallery of Victoria School (1903-1911) under Fred McCubbin and Bernard Hall. Failing to win the Travelling Scholarship and after a successful joint exhibition with Frank R. Crozier at the Athenaeum Gallery, on 1st May 1912, he departed Melbourne to study in Europe for three years. While in London, he was met and was influenced by John Singer Sargent, but this was cut short by the outbreak of war. While in the United Kingdom, McInnes exhibited at Royal Institute of Oil Painters in London. On his return in May-June 1915, he held a sellout solo exhibition of his Impressions of England, Scotland, Morocco, Spain and Victoria at the Athenaeum Gallery. In 1925, he revisited the United Kingdom and Europe. In 1916, William B. McInnes replaced Fred McCubbin at the National Gallery of Victoria School for a time, the teaching position becoming permanent in 1918 after McCubbin’s death. In 1916, McInnes was awarded the Art Gallery of NSW’s prestigious Wynne Prize for Landscape. During his success career as a landscape painter, he was considered by many to be the successor of Arthur Streeton, his contemporaries including and . McInnes was admired for his virtuoso technique in oil “a crisp, vigorous and unerring use of the square brush in depicting air and sunlight”. [186] Children in Bush In the 1920s, William B. McInnes built a reputation as a portrait painter, receiving numerous a.k.a. Lost for the Moment commissions and winning the Art Gallery of NSW’s prestigious Archibald Prize for Portraiture circa 1911; oil on board; 29.5 x 22.0 cm; seven times (1921-1924, 1926, 1930 and 1936). In 1934, McInnes was acting director of the signed: “ W.B. McInnes ” (lower left). National Gallery of Victoria and on Bernard Hall’s death in 1934 was appointed Head of Gallery’s School, resigning the position in 1939. He was also appointed art advisor to the Felton Bequest. Provenance In Melbourne, William B. McInnes exhibited with the Victorian Artists’ Society, Australian Art PAINTED: circa 1911 before leaving Melbourne to study in Europe. Association (serving as its President), and Australian Academy of Art. Interstate, he exhibited at PURCHASED: 1995 from Joel’s. most of the interstate art societies. Throughout his career, William B. McInnes suffered from poor health, including congenital heart disorder. He died in 1939 and the following year memorial In 1886, Fred McCubbin painted Lost at Box Hill, in 1940, exhibitions were held at the National Gallery of Victoria and the Art Gallery of New South Wales. the painting being acquired by the Felton Bequest for the National Gallery of Victoria. It seems that every Australian COLLECTIONS: NGV; AGNSW, AGSA; regional art galleries. impressionist painted a similar scene of a child or children PORTRAIT: self-portrait (Art Gallery of New South Wales) alone and lost in the Australian bush. BIBLIOGRAPHY: Encyclopedia of Australian Art; Story of Australian Art; Dictionary of Australian Art; Design and Art Australia Online; numerous newspaper articles.

{TOC – DICTIONARY OF AUSTRALIAN ARTISTS}

NOTE: Blue underlined text are ‘hot links’ that when {left clicked} will jump to indicated text section. Page 81

OFFICER, EDWARD CAIRNS R.B.A. (“ Artist of the Never Never ”) [ VICTORIA, NEW SOUTH WALES, TASMANIA, NEW ZEALAND, EUROPE, UK; NORTH AFRICA ] BORN: 19th September 1871 at Murray Downs, Swan Hill, Victoria DIED: 7th July 1921 at Moonooloo, Macedon, Victoria Edward Officer was professional painter, art teacher and a grazier, who earned the title “Artist of the Never Never”. His family operated Kallara Station in northwest New South Wales for decades, so he was well acquainted with outback landscapes, life and hardships. He was the third son of Suetonius Henry [1830-1883] and Mary Lillias Rigg [1845-1931; nee Cairns; daughter of Rev. Adam Cairns] Officer and the grandson of Sir Robert Officer [1800-1879; speaker of [187] Australian Pastoral Tasmanian House of Assembly for many years]. On 14th December 1908, Edward Officer married Grace Eleanor Fitzgerald [1872-1948; daughter of Sir Thomas Fitzgerald [1838-1908] ], the a.k.a. Homestead, Kallara, NSW couple having no children. circa 1907; oil on canvas; 37.0 x 74.5 cm; Edward Officer was initially educated at Toorak College where Fred McCubbin was the Art signed: “ E. Officer ” (lower left). Master who encourage the boy to take up art as a profession. Officer furthered his artistic training Provenance at the National Gallery of Victoria School (1893-1894) under Fred McCubbin and Bernard Hall, EXHIBITED: December 1908 exhibition where and at the Melbourne School of Art (1893-1894) under E. Phillips Fox and Tudor St George Edward Officer was dubbed “Artist of the Never Tucker where he was awarded prizes for his landscapes. Never”. On 4th February 1895, Edward Officer and three other members of his family boarded the PURCHASED: 1996 from private collector. RMS Arcadia at Sydney destine for London. By mid-1895, Edward Officer was furthering his artistic studies in Paris at the Académie Julien (1895-1896) under Jean Paul Laurens and Benjamin Constant and later in London with Solomon J. Solomon. During the summer months, Officer travelled to Etaples where he and American impressionist Max Bohm [1868-1923; resident in Etaples between 1895 and 1904] organised an exhibition of student art, including works by Australian impressionists James Quinn and Iso Rae) at Paris-Plage, a fashionable cafe in the area. Officer later received guidance from the French landscape painter Henri-Joseph Harpignies [1819-1916] who had been influenced by the Barbizon artists. Between 1895 and 1899, Officer continued to study in Paris and made painting trips to Etaples, Normandy, Britany and other French scenic spots. In 1896, he exhibited with London’s Royal Institute of Painters in Oils and between 1897 and 1899 at Paris’s Old and New Salons. In 1899, he was elected to the Royal Society of British Artists. In mid-1900, Edward Officer returned to Australia and took over the Melbourne School of Art with Lilla Reidy as his Assistant. However, by mid-1901, he had settled at the family property Kallara. In 1903, he was awarded the Art Gallery of NSW’s prestigious Wynne Prize for Landscape Painting with an outback scene of Glenora, Tasmania. Between 1904 and 1905, he again toured Europe and also painted in North Africa.

{TOC – DICTIONARY OF AUSTRALIAN ARTISTS}

NOTE: Blue underlined text are ‘hot links’ that when {left clicked} will jump to indicated text section. Page 82

After his return to Australia, in October 1905, Officer had a bit of a confrontation with the Selection Committee of Sydney’s Royal Art Society over their rejection of three of his oil paintings, one which had been hung on the line at the Royal Society of British Artists and had receive ‘favorable’ notice from London’s art critics. He held an exhibition of landscapes in December 1908 at the Guild Hall, Melbourne, which included views of Kallara, Normandy, Tasmania and Victoria, the art critics dubbing him “Artist of the Never Never”. His pastoral interests lent veracity to his paintings of bush scenes, especially in comparison to those painted by plein-air artists on day trips from the cities. He drew a solid and grandiose style from the casual and poetic motifs of the Heidelberg School, retaining the lively surface but deploying brushstrokes with self-conscious vigour: his most distinctive works bring a lyrical vividness to the traditional Australian landscape. After marrying in December 1908, Edward Officer and his wife visited Europe, settling in Giverny, France for a time and travelling through Greece before returning via New Zealand and the Pacific Islands. In January 1911, the couple returned to Melbourne where they purchased a home (named ‘Moonooloo’) at Black Rock. In 1912, he had a highly successful solo exhibition at the Athenaeum Gallery, the National Gallery of Victoria purchasing Woolshed through its Felton Bequest. During the First World War, Officer was declared medically unfit for military service and instead performed activities for the Red Cross and donated the proceeds from war-time exhibitions of his work to the organisation. In 1919, he sold his house at Black Rock and settled on a property in the Upper Macedon District, which he also named Moonooloo. In the United Kingdom and Europe, Edward Officer exhibited at London’s Royal Institute of Painters in Oils and Paris’s Old and New Salons. In Australia, he exhibited in most state art societies, and was a Council member of the Victorian Artists’ Society. On 30th August 1912, Edward Officer was a founding member and first President of the Australian Art Association, a closed organization with membership only by invitation. In 1916, Edward Officer was appointed a trustee of the National Gallery of Victoria, a position he held until his death. On 7th July 1921, he died of influenza at his property at Macedon, Victoria aged 50-years, leaving an estate valued at £18,000.

COLLECTIONS: AGNSW; NGV; Library of Victoria; Sydney University; a number of regional art galleries.

BIBLIOGRAPHY: Australian Watercolour Painters; CAOP; Castlemaine; Encyclopedia of Australian Artists; E. Phillips Fox; Australian Dictionary of Biography; Design and Art Australia Online; Sydney Sunday Times (3rd February 1895); Table Talk (1st December 1899); Age (1st July 1899; 3rd December 1900); Argus (23rd December 1903; 13th November 1912; 25th June 1914; 12th April 1916; 26th June 1920; 18th October 1920); Melbourne Punch (18th June 1896); Sydney Morning Herald (4th October 1905; 14th April 1908); Adelaide Gadfly (2nd December 1908); Herald (8th July 1921); numerous newspaper articles.

{TOC – DICTIONARY OF AUSTRALIAN ARTISTS}

NOTE: Blue underlined text are ‘hot links’ that when {left clicked} will jump to indicated text section. Page 83

PATERSON, JOHN FORD [ Victoria, UK (especially Scotland) ] BORN: March 1851 at Dundee, Forfarshire, Scotland DIED: 30th June 1912 at Carlton (Melbourne), Victoria John Ford Paterson was a professional painter, decorator and occasional poultry farmer. He was a middle child of the ten children of John Ford [1814-1873] and Elizabeth [1813-1883; nee Stewart] Paterson. His brothers included Charles [1843-1917] and Hugh [1857-1917] Paterson, who were well-known Melbourne artists and decorators. His cousin was Scottish artist, James Paterson [1854-1932], a member of the ‘Glasgow Boys, who championed Impressionism in Scotland. In 1872, the Paterson family migrated to Melbourne. Despite being popular, J. Ford Paterson never married, and in 1880s, built a family home at 258 Beaconsfield Parade, Middle Park (St Kilda) which became a meeting place for many of the Heidelberg artists. Before leaving Scotland, J. Ford Paterson had received his artistic training at Edinburgh’s Royal Scottish Academy School and exhibited at the Academy while still a teenager. In [188] “ Esplanade, St Kilda, 1893 ” Edinburgh, he worked for a time as a decorator, before arriving with his family in Melbourne (1872) 1893; oil on canvas; 39.5 x 49.5 cm; 5 where they established Paterson & Brothers, a firm of decorators. In 1875, J. Ford Paterson signed: “ J. Ford Paterson ” (lower right). returned to Scotland where he continued his studies in landscape painting under George Whitton Provenance Johnstone [1849-1901] RSA and was associated with the Scottish plein air artists known as the PAINTED: 1893 and is likely to have been painted Glasgow Boys including William McTaggert, James Guthrie, James Lawson Wingate and James from J. Ford Paterson's frontyard at 256 Paterson. During this time, J. Ford Paterson exhibited in Edinburgh, Glasgow, Liverpool and Beaconsfield Parade, St Kilda. Manchester. He became well-known and a bit notorious in London where he frequented the PURCHASED: 1996 from Leonard Joel’s Savage Club. In November 1884, J. Ford Paterson returned to On 19th November 1884, J. Ford Paterson returned to Melbourne aboard the SS Aberdeen Melbourne aboard the SS Aberdeen after ten years after ten years in Scotland and England. After his return, J. Ford Paterson established a reputation studying and painting in Scotland. After his return, he as a plein air landscape painter, closely associated with the Heidelberg artists but closer in style established a reputation as a plein air landscape painter, th closely associated with the Heidelberg artists but closer in to the Glasgow School, placing him among the important art influencers of the late-19 and early- style to the Glasgow School, placing him among the 20th centuries. In 1900, his Bush Symphony attracted attention when exhibited at the Old Court important art influencers of the late-19th and early-20th Studios in Melbourne and was purchased by the National Gallery of Victoria. In 1892, he returned centuries. Esplanade, St Kilda was likely to have been to Scotland for a visit. painted from Paterson's frontyard after he had designed J. Ford Paterson was closely associated with and the painters of the Heidelberg and built his house at 256 Beaconsfield Parade, St Kilda, this residence becoming a popular meeting place for School. His artworks were included in collections of Australian art exhibited in London in 1886 Australia's early impressionist artists. The colours are and 1898, attracting favourable comment from R.M. Stevenson and other art critics. In Melbourne, bolder and brighter than those used by Streeton and J. Ford Paterson was a well-known character who was retiring and careless in dress, willingly Roberts, showing the influence of the Scottish commenting on art spontaneously, his popularity suggesting an outgoing personality. He impressionists who in turn were closely aligned with the frequented the artists’ smoke nights in Melbourne and was famed for his jovial Scottish airs and French Impressionists. J. Ford Paterson had painted with the Glasgow Boys, who were Scotland’s leading always brought the house down with his rendition of 'We are nae fu'. impressionist group.

5 Paterson & Brothers monopolized the decoration of wealthy homes and such public buildings as Government House, Melbourne Town Hall, the Parliamentary Library and the Prahran Public Library. In 1888, the Paterson Brothers built the in Collins Street East as an art centre at a cost of £9000.

{TOC – DICTIONARY OF AUSTRALIAN ARTISTS}

NOTE: Blue underlined text are ‘hot links’ that when {left clicked} will jump to indicated text section. Page 84

In the economic depression of the 1890s, J. Ford Paterson took up poultry farming, but continued to paint and exhibit. In 1902, he was elected president of the Victorian Artists’ Society, and in the same year was appointed a trustee (1802-1912) of the Public Library, Museums and National Gallery of Victoria. In 1912, he died of apoplexy after a long illness. J. Ford Paterson was a primarily an oil painter of landscapes, but also painted fine watercolours. His paintings are linked to the Scottish impressionistic style, exhibiting lyrical and romantic characteristics. Better than any Australian artist, he suggested a sense of mystery in his pictures. He always insisted that the Australian landscape had "a new sensation to offer, a new beauty to explain”. He possessed an in-depth understanding of the Australian countryside, a delicate sense of colour, sound drawing, and poetical feeling. He was not a prolific painter, but he ranked among the more important artists working in Australia at the end-19th century. In Melbourne, J. Ford Paterson with Charles Conder, Tom Roberts and others broke away [189] Settling the Sheep at Dusk, 1890 from the Victorian Academy of Art to establish the Australian Art Association which in 1888, 1890; watercolour & gouache; 16.5.0 x 21.5 cm; amalgamated as the Victorian Artists' Society, serving as its President and also exhibiting with signed: “ J. Ford Paterson ’90 ” (lower right). the Yarra Sculptor Society. He was a Trustee of the National Gallery of Victoria (1903-1912). In Provenance Sydney, he was an exhibitor at the N.S.W. Academy of Art, Royal Art Society and the Society of PAINTED: 1890 and is related to the oil painting Artists. In Adelaide, he was an exhibitor at the Royal S.A. Society of Arts' Federal Exhibitions. Nearing the Camping Ground in the Art Gallery In November 1932, the Grosvenor Gallery (107 Elizabeth Street, Melbourne) held "Memorial of NSW’s Collection. Exhibition of Picture" of his artworks, Arthur Streeton commenting PURCHASED: 1996 from Leonard Joel’s.

“... a pioneer artist possessing the finest convictions. He painted in his own determined fashion to In 1890, Nearing the Camping Ground was purchased please himself,... he never diverted from the path of his own beautiful ideal.” by the Art Gallery of NSW. Strongly influenced by the J. Ford Paterson was short in stature, quiet in manner, thoughtful and kindly. Glasgow Boys and Scottish Colourists, J. Ford Paterson brought a colouration and mood to Australian COLLECTIONS: NGA; AGNSW; NGV; QAG; AGSA; AGWA; Ballarat AG; Bendigo AG; Impressionism that was quite different from Tom Robert’s Castlemaine AG; Newcastle AG. Heidelberg artists or the students and followers of E. Phillips Fox and Tudor St George Tucker. The Glasgow PORTRAITS: Golden Summer. Boys had been disillusioned with academic painting and BIBLIOGRAPHY: Artists’ Camps; Australian Watercolour Painters; Encyclopedia of Australian Artists; Golden favoured contemporary rural scene and worked en plein Summers; Dictionary of Australian Biography; Design & Art Australia Online; numerous newspaper articles. air directly in front of the subject. They were strongly influenced by the of Dutch and French art, especially the Naturalist paintings of Jules Bastien-Lepage [1848-1884], and also by the tonal painting of the American artist James McNeill Whistler.

{TOC – DICTIONARY OF AUSTRALIAN ARTISTS}

NOTE: Blue underlined text are ‘hot links’ that when {left clicked} will jump to indicated text section. Page 85

QUINN, JAMES PETER QUINN [ VICTORIA, UK, EUROPE ] BORN: 4th December 1869 at Melbourne, Victoria DIED: 18th February 1951 at Prahran, Victoria James P. Quinn was a professional painter, art teacher and official war artist. He was the third son of John Frederick [1833-1881; born at Antigua, Canary Islands] and Ann Fawcett [1838-1881; née Long] Quinn, James being the fourth of at least six children. John Quinn had been a restaurateur and publican at 60 Bourke Street for several decades and lived at Prahran when he and his wife died in 1881 within months of each other, afterward the children living with guardians. On 29th September 1902 at Putney in England, James Quinn married Blanche Louise Guernier [1882-1961; French art student] who had given birth to his son earlier in the year and gave him a second son two years later. James P. Quinn’s guardians apprenticed the 16-year-old to an engraver and between 1886 and 1903, Quinn studied at the National Gallery of Victoria School under Frederick McCubbin, George Folingsby and Bernard Hall. Quinn was awarded a number of student prizes before being [190] “ View of Heidelberg ” awarded the School’s prestigious Travelling Scholarship in December 1893. 1901; oil on canvas board; 25.5 x 33.5 cm; On 17th March 1894, James Quinn departed Melbourne aboard the RMS Ophir destined for signed: “ J. Quinn ” (lower right). London but upon arrival proceeded to Paris. Between 1894 and 1901, he continued his artistic training at Académie Julien, Académie Colarossi, Académie Delacluse and Ecole des Beaux Arts Provenance under Jean Paul Laurens. He also spent time painting at Etaples with Rupert Bunny, Hilda Rix PAINTED: 1901 while living at Charterisville Nicholas and Iso Rae, and at other French scenic locations. In 1902, Quinn married and moved before returning to Europe and marrying; to London where he exhibited at the Royal Academy and also at Paris’s Old and New Salons, exhibited in Australia after return his in 1934 for being awarded an ‘Honourable Mention’ in 1912 for his oil painting Mother and Sons. Quinn 15 and later 25 guineas; became a member of the Royal Institute of Painters in Oil and Royal Society of Portrait Painters. PURCHASED: 2008 from William’s. During World War I, Quinn was appointed an official Australian war artist and in 1919 was appoint an official artist for the Canadian War Records Sections. After the war, he established In December 1893, James Peter Quinn was awarded the himself as a portrait painter of the aristocracy, politicians and military. His reputation was National Gallery of Victoria’s prestigious Travelling occasionally tarnished by his bon vivant lifestyle and his occasional larrikin behavior. His Scholarship, which enabled him to further his artistic studies in Paris and London. Though best-known for his successful London career was ended with the tragic illness and death of his son, Rene, which portraits, Quinn developed a landscape style closely caused a family breakdown. associated with the French Impressionists. While James In 1937, James P. Quinn returned to Melbourne where he became a prominent member of Quinn’s portraits are quite academic in their approach, his the city’s art community. He opposed the formation of the Australian Academy of Arts (which landscapes demonstrate an impressionistic flair that he brought him into conflict with Prime Minister ), was a member of the Savage Club, adopted in the Victorian artists’ camps in the late-1880s was appointed to the National Theatre Arts Festival’s steering committee, and undertook and early-1890s and later continued to develop while numerous portrait commissions. Between 1937 and 1951, he taught art and was President of the panting in Estaples alongside Rupert Bunny, E. Phillips Victorian Art School and taught briefly at the National Gallery of Victoria School where his Fox and Iso Rae in France. students affectionately called him ‘Jimmy Quinn’. He continued to live a bohemian life often appearing to border on poverty, this often obscuring his importance as a painter. COLLECTIONS: NGA; AGNSW; AGSA; QAG; AWM; Ballarat AG; Bendigo AG; Castlemaine AG, Fremantle AG; Geelong AG; Hamilton AG; Shepperton AG. BIBLIOGRAPHY: Australian Watercolour Painters; Encyclopedia Australian Artists; Melbourne Punch (21st December 1893); Herald (16th March 1894); Dictionary of Australian Biography; Design and Art Australia Online; numerous newspaper clippings.

{TOC – DICTIONARY OF AUSTRALIAN ARTISTS}

NOTE: Blue underlined text are ‘hot links’ that when {left clicked} will jump to indicated text section. Page 86

ROSE, HERBERT GEORGE [ Victoria, New South Wales, New Zealand, UK, Europe, North Africa, Middle East; India ] BORN: 1st February 1889 at Malvern, Victoria DIED: 15TH January 1937 at Delhi, India Herbert Rose was a professional painter, printmaker and photographer. He was the eldest of the two sons of George [1861-1942; photographer] and Elisabeth Willis [1859-1929; nee Wickham] Rose. His father was a pioneer photographer in Melbourne and the founder of the Rose Stereograph Company where Herbert assisted in the photographic department. Herbert Rose received his artistic training at the National Gallery of Victoria School (1913- 1919) under Bernard Hall, Fred McCubbin and William B. McInnes, being award a number of prizes. Between 1924 and 1926, Rose travelled through the United Kingdom, Europe and North Africa where he continued his studies in London and Paris for three years. Herbert Rose travelled extensively (more than 38 countries) taking pictures for his family’s company, as well as painting, drawing and etching the places he visited. On 24th February 1924, [191] “ Summer Pastoral at Harrietville Rose arrived in London aboard SS Hobson Bay after travelling and painting in New Zealand. On (near Mount Buffalo, Victoria) ” nd 22 September 1926, he arrived in Melbourne from London aboard SS Esperance Bay, after circa 1910; oil on canvas board; 24.5 x 33.5 cm; two-and-a-half year furthering his artistic training and painting in England, France, Italy and North signed: “ Herbert Rose ” (lower left). Africa. On 26th September 1932, Rose returned to Melbourne aboard the SS Ormonde after spending three years travelling and painting in the United Kingdom, France, Spain and North Provenance Africa. He was traveling in Europe again by the end-1934 and died in the following January on PAINTED: circa 1910; his way back to Australia. He had exhibited at the Royal Academy (1932, 1933, 1935 and 1936), PURCHASED: 1993 from Leonard Joel’s. New Salon (1935, 1936) and in the United States. In August 1927, March 1930, November 1932, Herbert Rose was the “Painter of the Picturesque” and June 1937 and May 1952 (post-humorously), he held highly successful solo exhibitions at the “Painter of Sunlight”, sunshine and effects of light Sedon Gallery in Melbourne. fascinated him, and he faithfully painted the sunlit villages, Herbert Rose produced more than 50 intaglio prints primarily using the etching and drypoint towns and landscapes that he witnessed on his travels. He techniques. His images were mainly cityscapes (Melbourne and Sydney) and foreign scenes offered a more refined style than the Heidelberg School or (France, Italy, Spain, North Africa and the Middle East). While in Paris, he became friendly with even followers of E. Phillips Fox. Herbert Rose faithfully a group of Americans, who promoted his paintings and prints in the United States. In 1921, he painted the sunlit villages, towns and landscapes that he was a foundation member of the Australian Painter-Etchers’ Society, serving as its Honorary witnessed on his travels. He travelled extensively touring Melbourne Secretary (1922-1924). and painting in Victoria, Europe, United Kingdom, United Herbert Rose was the “Painter of the Picturesque” and “Painter of Sunlight”, sunshine States, North Africa, Syria, Persia and India. and effects of light fascinated him, and he faithfully painted the sunlit villages, towns and landscapes that he witnessed on his travels. He travelled extensively touring and painting in Europe, United Kingdom, America, North Africa, Syria, Persia and India. While travelling by motor vehicle from Paris to India on a sketching and painting trip, he contracted diphtheria in Delhi and died at the age of 47 years. He was a member of the Victorian Artists’ Society (1915-1933). COLLECTIONS: NGA; AGNSW; NGV; AGSA; LaTrobe Library; and regional art galleries. PORTRAIT: photo (Table Talk (17th December 1929); Bulletin (11th August 1927); Caricature (Star 28th April 1934). BIBLIOGRAPHY: Encyclopedia of Australian Artists; Australian Dictionary of Biography; Design and Art Australia Online; numerous newspaper articles.

{TOC – DICTIONARY OF AUSTRALIAN ARTISTS}

NOTE: Blue underlined text are ‘hot links’ that when {left clicked} will jump to indicated text section. Page 87

TAYLOR-GHEE, ROBERT EDGAR [ Victoria ] BORN: 23rd September 1869 at Ballarat West, Victoria DIED: 10th July 1951 at Kalorama (Dandenong Ranges), Victoria Robert Taylor Ghee was a professional painter, art teacher and later optician. He was the only child of John [1834-1896; metallurgist] and Rosanna [1827-1911; nee Edgar] Taylor Ghee, who had been Irish immigrants. On 7th December 1914, Robert married Ethel Rose Donne [1888- 1916] and on 1st May 1923, married Sophia Wehle [1892-1981], both couples having no children. He lived at the Melbourne suburbs of Healesville (1895-1905), Richmond (1905-1911) and Toorak (from 1912). From circa 1912, he commenced a career as an optician, but continued to paint and exhibit, retiring from optometry in 1939 after a heart attack. [192] “ South Wharf, Melbourne ” Robert Taylor Ghee received his initial artistic training at the Ballarat School of Mines and before 1925; oil on board; 18.0 x 28.0 cm; Industry (1886-1887) before enrolling at the National Gallery of Victoria School (1889-1892) under signed: “ R. Taylor Ghee ” (lower left). Fred McCubbin, George Folingsby and Lindsay Bernard Hall, being awarded a number of prizes. Here Taylor Ghee became good friends with David Davies and a number of the other Heidelberg Provenance School artists. Between 1910 and 1930, he held a number of solo exhibitions of his paintings at PAINTED: before 1925; the Block Arcade, Queens Hall and Athenaeum Gallery on Collins Street. From 1895, he taught EXHIBITED: August 1925 at Solo Exhibition in Queen’s Hall Gallery on Collins Street” (Argus painting and drawing in Healesville. 25th August 1925) “bold in treatment and interesting in colour schemes”.

PURCHASED: 1994 from Leonard Joel’s.

[193] “ Through the Forest, Fernshaw, Victoria ” a.k.a. Wool Wagon through the Giants, Gippsland 1908; oil on canvas; 29.5 x 45.5 cm; signed: “ R. Taylor-Ghee ” (lower left). Provenance PAINTED: 1908; related to Hauling the Logs in the National Gallery of Victoria Collection. PURCHASED: 1993 from Goodman’s.

{TOC – DICTIONARY OF AUSTRALIAN ARTISTS}

NOTE: Blue underlined text are ‘hot links’ that when {left clicked} will jump to indicated text section. Page 88

Robert Taylor Ghee was a follower of the Heidelberg School of Impressionism. He painted almost exclusively in oil and even though his canvases were usually small in size he commanded generally high prices compared to other leading artists of the period. In 1903, his artistic talent was officially recognized when the National Gallery of Victoria purchased his impressionist oil painting, Donnelly's Creek, Healesville, and acquired three other of his oils for its permanent collection ( Hauling the Logs, From Duke’s Dock and Evening at Hazeldene, Church Street, Richmond ). Robert Taylor Ghee was an impressionist oil painter of bush genre, cityscapes, river-harbour scenes and still-lifes. His palette was generally more restrained than the Heidelberg School artists, usually using somber colours. His painting, Bourke Street, Melbourne, 1905, invites comparisons with Tom Roberts' painting of the same subject. In Melbourne, Robert Taylor Ghee was a member of the Victorian Artists' Society (from 1895) and Melbourne Art Club. In September 1995, he was honoured by a retrospective exhibition of his art at the Old Treasury Building (Melbourne). COLLECTIONS: NGV; M&AGNT; La Trobe Library. BIBLIOGRAPHY: Encyclopedia of Australian Artists; Design and Art Australia; Ballarat Star (10th July 1886; 19th July 1887; 21st March 1912); Age (13th November 1889; 13th November 1890); Argus (13th November 1889; 18th November 1891; 26th August 1925); Telegraph (13th November 1890); Table Talk (14th November 1890); Healesville Guardian (17th My 1895); Herald (17th November 1895); Fitzroy City Press (13th February 1903); Australasian (10th September 1910).

[194] Australian Bush Camp before 1910; oil on board; 20.5 x 29.5 cm; signed: “ R.T. Ghee ” (lower left). Provenance PAINTED: before 1910 around Healesville. EXHIBITED: “Picturesque Healesville” September 1910 at solo exhibition at Block Builds on Elizabeth Street (Herald (13th September 1910)) “The artist paints the many phases of bushland life about the homestead, the mail coach seen through the trees, and following his sheep through a cloud of dust.” PURCHASED: 1994 from Leonard Joel’s.

{TOC – DICTIONARY OF AUSTRALIAN ARTISTS}

NOTE: Blue underlined text are ‘hot links’ that when {left clicked} will jump to indicated text section. Page 89

TINDALL, CHARLES EPHRAIM SMITH [ New South Wales, UK (especially Scotland), China, Japan ] BORN: 10th July 1863 at Fraserburgh, Aberdeenshire, Scotland DIED: 8th July 1951 at Mona Vale (Sydney), New South Wales Charles E.S. Tindall was a professional painter (primarily a watercolourist), lithographer, illustrator and art teacher. He was the youngest of the seven children of James [1824-1913] and Jean [1822-1879] Tindall. In circa 1886, he married Mary [-], the couple having two daughters ((Agnes) Nessie [circa 1887-1976; Mrs Sydney B. Lloyd; an Australian artist) and Phyllis [1898- 1950; Mrs Oswald Piper]) and two sons (Murdoch Charles [1889-1943] and Conrad Lindsay [1892-1948; lost leg during World War I]). In 1887, Charles Tindall immigrated to Australia, his wife Mary and daughter Agnes arriving in August 1888 aboard RMS Iberia. Having initially trained as a lithographer in Glasgow, Charles E.S. Tindall enrolled at Sydney Technical College (1887-1888) under Lucien Henry but by 1889, had transferred to the Art Society of NSW’s classes (1889-1892) under Alfred P. Daplyn, winning a number of prizes. Tindall claimed to have had his first lessons (1887-1888) in colour from Charles Conder and was strongly [195] “ Whale Beach (Sydney) ” influenced by British watercolourist Henry S. Hopwood. In September 1889, Tindall was elected circa 1918; watercolour; 27.0 x 35.0 cm; a member of the Art Society of NSW, serving on its Council (1896-1922) and as an officer of its signed: “ C.E.S. Tindall ” (lower left). Brush Club [1888-1897]. From 1896, Tindall presented art classes in watercolour painting and by the 1920s offered lessons in marine painting. PROVENANCE Charles E.S. Tindall was best known for his watercolours of Sydney Harbour, other marine PURCHASED: 1990 private collector. images and ships portraits (many in oil), but also painted fine watercolour landscapes. In 1898, A Charles E.S. Tindall was primarily a watercolourist, one of Westerly – Circular Quay, Sydney was exhibited at the Exhibition of Australian Art at the a group of Sydney-based artists who relied on watercolour Grafton Galleries, and in 1923, at the Exhibition of Australian Art at the Royal Academy. In sales instead of oil paintings. Tindall claimed to have his 1902, the Art Gallery of NSW purchased his Gone are the days, the first of seven of his first art lessons from Charles Conder and was a member watercolours to enter the collection. of the Art Society of NSW’s Brush Club [1888-1897] along th On 8 July 1903, Charles E.S. Tindall boarded the Empire for Japan via Manila, Hong Kong, with Julian R. Ashton, Albert Henry Fullwood, Livingston Shanghai, exhibiting paintings of this trip in September 1904. In 1936, he visited his homeland of Hopkins, Henry S. Hopwood (British watercolourist), Scotland and in 1939, again visited the United Kingdom, arriving at London aboard the SS George W. Lambert, William Lister Lister, Sydney Long, Automedon on the 10th June 1939, but departed on the 14th November (10 weeks after outbreak Frank P. Mahony, G.V.F. Mann, Benjamin E. Minns, David of World War II) aboard the SS Largs Bay. In August 1923, Sydney’s prominent watercolourists, H. Souter, , David G. Reid, John W. Tristram including Joseph H. Bennett, Alfred J. Daplyn, Albert Henry Fullwood, Sydney Long, Benjamin E. and John S. Watkins; Marion Eliza Drewe (a.k.a. Drew) Minns, Martin Stainforth and Charles Tindall established the Australian Watercolour Institute being the only lady of the nearly 100 artist membership. [1923-present]. At the its first exhibition in 1924, Tindall exhibited fifteen works, mainly of Sydney After the split between the Royal Art Society and Society Harbour and the Snowy Mountains and continued with the group until his retirement in 1945. In of Artists, the Brush Club faded and was finally wound up February 1921, December 1927 and September 1928, he had solo exhibitions at Anthony Hordern in November 1897. Gallery and Rubery Bennett’s Australian Fine Art Gallery. in 1928, he was appointed Associate of the Royal Art Society, and in 1935 he was promoted to Fellow of the Royal Art Society. COLLECTION: AGNSW; Australian National Maritime Museum; Aberdeen Art Gallery. BIBLIOGRAPHY: Australian Watercolour Painters; Encyclopedia of Australian Artists; Story of Australian Art; Design and Art Australia Online; Sydney Morning Herald (23rd January 1888; 30th July 1891); Daily Telegraph (8th January 1891; 7th January 1892); Evening News (8th July 1903); numerous newspaper articles.

{TOC – DICTIONARY OF AUSTRALIAN ARTISTS}

NOTE: Blue underlined text are ‘hot links’ that when {left clicked} will jump to indicated text section. Page 90

WATKINS, JOHN SAMUEL (A.K.A. ‘ WATTIE ’) [ New South Wales, Europe, United Kingdom ] BORN: 8th November 1866 at Wolverhampton, Staffordshire, England DIED: 25th August 1942 at Woollahra (Sydney), New South Wales John S. Watkins was a professional painter, art teacher and photographer. He was the eldest of the five children of Joseph William [1842-1909; iron foundry owner] and Hannah [1846-1943; nee Fowler; family of yeoman farmers] Watkins. In May 1916, he married Emily (Emmie) Griffin Cave [1890-after 1976] at Marrickville (Sydney), the couple having no children. After marrying, the Watkins lived at 7 Pockley Ave, Roseville, but after his retirement in 1938 the couple moved to a house at 141 Queen Street, Woollahra. In Wolverhampton, John S. Watkins initially studied at Dudley Road School and later attended the local branch of the South Kensington School of Art, where despite his youth was allegedly appointed to an art teaching position. In 1882 (aged 16-years), he immigrated to Brisbane, where he worked for a short time before proceeding to Sydney where he worked as a photographer. He continued his artistic training at the Royal Art Society School (1890-1893) under Julian R. Ashton, Alfred J. Daplyn and Frank P. Mahony and where he was awarded 2nd Prize Nude Study from Life (1891 & 1892), 1st Prize in Antique (1893), Life Class (1893) and Painting and Drawing (1893).

[196] Path to Harbour a.k.a. Blue Harbour, Sydney circa 1910; watercolour; 27.0 x 17.0 cm; signed: “ J.S. Watkins ” (lower left). [NAS] “ In the Pink ” oil on board; circa 1900; 36.0 x 32.0cm; Provenance signed: “ J.S. Watkins ” (lower left). PURCHASED: 1992 private collector. Provenance Comment: model was Watkins’ wife. Purchased: 1990 at Sotheby’s.

{TOC – DICTIONARY OF AUSTRALIAN ARTISTS}

NOTE: Blue underlined text are ‘hot links’ that when {left clicked} will jump to indicated text section. Page 91

In 1892, John S. Watkins was elected a member of the Royal Art Society, the following year being elected to its Council and Vice-President of its Brush Club. However in 1895, he joined the breakaway Society of Artists and was immediately elected to its Council. In 1901, Watkins deserted the Society of Artists a year before its last exhibition and rejoined the now Royal Art Society, being immediately elected to its Council (1902-1939). When the Society of Artists reformed in 1907, Watkins remained loyal to the Royal Art Society, becoming a Fellow in 1922 and Vice-President in 1924. On 21st April 1894, John S. Watkins departed aboard the RMS Orient for London but proceeded to Paris where he studied at Académie Colarossi and later at London. In June 1895, he returned to Sydney where he shared a studio in the Beaumont Chambers with Sydney Long. In 1898, Watkins had nine artworks selected for the Exhibition of Australian Art at London’s Grafton Gallery. In 1903, his oil Delores was purchased by the Art Gallery of NSW, although this work was later exchanged for The Mirror (1906).

In 1898, John S. Watkins established the Watkins Art School [1898-1939] at his studio at 88 King Street (floor above ’s Art School) and within a short time had more than twenty [197] Old Pymble, Sydney students. Watkins taught drawing and painting, as well as a life and outdoor painting class. Over Oil on board; circa 1900; 28.5 x 38.5cm; the following forty years, he relocated a further five times around the northern parts of central signed: lower right. Sydney, including 26 Hunter Street (1899-1908), corner of Jamieson and George Streets (1911- Provenance 1920); 38a Pitt Street (1921-1923), 56 Margaret Street (1924-1936) and 76 Pitt Street (1937- PURCHASED: 1992 from Leonard Joel’s. 1938). His School continued to grow, and he employed a number of assistants, including Alan D. Baker. By the time of his retirement in the late-1930s, he had taught approximately 5,000 students, including John Muir Auld, Normand H. Baker, John Banks, John Eldershaw, Henry Garlick, Henry Hanke, James R. Jackson, Walter L. Jardine, Sir Erik Langker, , Peter H. Lindsay and Frank W. Mahony, William E. Pidgeon and John Salvana. During World War I, John S. Watkins designed a recruiting poster titled Women of Queensland – send a man to-day to fight for you (1917). In 1932, he was appointed Trustee of the Art Gallery of NSW and later a member of its Marshall Bequest Committee, a trust that purchased Australian art for the Art Gallery of NSW. John S. Watkins was an all-round artist, proficient in oils, watercolours, pastel, charcoal and pencil. During June 1943, a loan memorial exhibition of sixty-two works was held at the National Art Gallery of NSW. Perhaps inspired by fellow art teacher Julian R. Ashton, Watkins began to write his memoirs, the whereabouts of this unfinished document remains unknown. After years of poor health, Watkins died at his Woollahra home on 25th August 1942. In April 1976, his widow sold her collection at the Bloomfield Galleries, Paddington, Sydney. A portrait of Emily Watkins purchased from the 1976 exhibition was later sold at Christies, Melbourne (2nd April 2003, lot 51) for $29,375, a record price for his work. COLLECTIONS: AGNSW. BIBLIOGRAPHY: Australian Watercolor Painters; Story of Australian Art; Encyclopedia of Australian Artists; Design and Art Australia Online; Sydney Morning Herald (7th January 1892; 21st April 1894; 15th June 1895; 12th August 1895); Daily Telegraph (23rd April 1894); Brisbane Courier (25th June 1932); numerous newspaper articles.

{TOC – DICTIONARY OF AUSTRALIAN ARTISTS}

NOTE: Blue underlined text are ‘hot links’ that when {left clicked} will jump to indicated text section. Page 92

WHYTE, DUNCAN MACGREGOR [New South Wales, Queensland, Western Australia, UK, Europe, USA & Canada ] BORN: May 1866 at Oban, Innis Cail, Argyllshire, Scotland DIED: 3rd December 1953 at Argyllshire, Scotland Duncan MacGregor Whyte was a professional painter and art teacher. He was the youngest of six children of Rev. Charles [1817-1899] and Elizabeth [1828-1899; nee Farquharson] Whyte. He was married to Mary Bernard [1870-1946; an artist], the couple having two sons and living in Oban, Scotland. In the early-1900’s, he built ‘The Studio’ at Balephuill on the Isle of Tiree (off west coast of Scotland), living there with his wife who had studied at Paris’s Académie Delecuse under Georges Callot and Paul Delance and was a highly regarded artist in her own right. Duncan MacGregor Whyte received his artistic training at Glasgow before studying at the State School at Antwerp (circa mid-1890s) under Pieter van Havermaet [1834-1897] and at Paris’s Académie Delecluse (late-1890s) under Auguste Joseph Delecluse [1855-1928], Georges Callot [1857-1903] and Paul Delance [1848-1924]. Whyte received numerous portrait commissions that enabled him to travel widely. From 1900, he lived in Glasgow and Isle of Tiree. On 18th November 1911, he departed Scotland aboard the SS Caledonia for New York via Moville (Ireland), arriving on 27th November 1911, leaving his wife and family behind in Oban, Scotland. He was on his way to Toronto, Canada, where he worked primarily as a portrait painter. On 10th May 1913, Duncan MacGregor Whyte arrived in Sydney from Vancouver (Canada) and Hawaii aboard the RMS Marama, his plans being to visit his four brothers. Within two months, he was advertising ‘Outdoor Sketching Classes’ in Sydney and is known to have painted around [199] The Road Home Coogee. The following year, he travelled to St George, Queensland where he stayed for two circa 1914; oil on canvas; 44.0 x 36.0 cm; years. In September 1916, he travelled to Perth via Sydney, staying for nearly five year. In Perth, signed: “ McG Whyte ” (lower right). he was associated with James Linton and John Horgan and received numerous portrait PROVENANCE commissions including Captain Hugo Throssell, the first Australian to be awarded the Victoria PAINTED: circa 1914 during Duncan MacGregor Cross during World War I, and Dr. Riley, the Archbishop of Perth. Whyte also taught ‘Outdoor Whyte’s ten years in Western Australia, Painting Classes in Oils and Watercolours’ at Leadersville (Perth). In September 1916 and March Queensland and New South Wales. 1919, he held solo exhibitions at St George House and Webb & Webb Gallery in Perth. He was PURCHASED: 1992 from Leonard Joel’s. known to love swimming and diving, and he had a reputation as being a bit of a bohemian. While On 10th May 1913, Duncan MacGregor Whyte arrived in Whyte was well-known as a portrait painter, he also produced numerous beach scenes, Sydney from Vancouver (Canada) and Hawaii, planning to landscapes and paintings of everyday life that are highly prized today. In Perth, he was a member visit his four brothers. Within two months, he was of the West Australian Society of Arts, serving as its Vice President and President. advertising ‘Outdoor Sketching Classes’ in Sydney, but On 21st March 1921, Duncan MacGregor Whyte arrived in London from Perth aboard the SS the following year, he travelled to St George, Queensland Ormonde having come via Fremantle, Colombo, Suez, Port Said, Toulon, Gibraltar, where he stayed for two years. In September 1916, he and Devon. In the United Kingdom, he exhibited at the Royal Scottish Academy, Royal Scottish travelled to Perth, staying for nearly five year. In Perth, he Society of Painters in Watercolours, Royal Academy (London), Walker Gallery and the Paris was associated with James Linton and John Horgan and Salons. In 1947, he was awarded the Glasgow Institute of Fine Arts' prestigious James Torrance received numerous portrait commissions Whyte taught Memorial Prize for his painting, The Last Rays of the Day. ‘Outdoor Painting Classes in Oils and Watercolours’ at COLLECTIONS: AGWA; Robert Holmes à Court Collection. Leadersville (Perth). While Whyte was well-known as a portrait painter, he also produced numerous beach BIBLIOGRAPHY: Encyclopedia of Australian Artists; Sydney Morning Herald (26th July 1913); West Australian scenes, landscapes and paintings of everyday life that are (27th September 1916); WA Sunday Times (15th October 1916); numerous newspaper articles. highly prized today. In 1921, he returned to Scotland.

{TOC – DICTIONARY OF AUSTRALIAN ARTISTS}