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“ Dictionary of Australian Artists ” 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 Australia 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 Sydney 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 painting 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 United Kingdom is part in the artist’s professional career. Australia’s women artists often of Europe, but in the world of Australian art 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 paintings 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 [ VICTORIA, SOUTH AUSTRALIA, EUROPE, UK ] BORN: 13th May 1869 at Islington, London, England DIED: 29th July 1960 at St Kilda, Melbourne, 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, New South Wales 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 National Gallery 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] Yarra River 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 Paris, France.
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