Helen Lempriere Mid-20th century representations of Aboriginal themes Gloria Gamboz

The best-known legacy of the While living in and London in half of the 20th century has created Australian painter, sculptor and the 1950s, Lempriere was influenced some contention, and these works are printmaker Helen Lempriere by anthropological descriptions of now being reinvestigated as part of (1907–1991) is the sculpture prize Australian Indigenous cultures, and a broader examination of emerging and travelling scholarship awarded in developed a highly personal and Australian nationhood. A study of her name. Less well known, however, expressive mode of interpretation Lempriere’s life, influences and key are her post–World War II works that blended Aboriginal themes with works provides an insight into the exploring Aboriginal myths, legends her own vision. The appropriation cultural climate of post–World War II and iconography. Twelve of these of Aboriginal themes by non- , and the understanding of are held by the Grainger Museum Indigenous Australian women Aboriginal culture by non-Indigenous at the University of , and artists like Lempriere in the first women artists. have recently been made available on the museum’s online catalogue.1 They form part of a wider collection of works both by, and depicting, Helen Lempriere, bequeathed by Lempriere’s husband, Keith Wood, in 1996.2 The collection is likely to have come to the Grainger Museum through a mutual contact, the Sydney- based curator, collector and gallery director Elinor Wrobel, who curated a series of exhibitions at the Grainger Museum in the 1990s and staged two Lempriere retrospective exhibitions in the mid-1990s at her Woolloomooloo Gallery in Sydney.3 Lempriere’s works form part of an early 20th-century revival of interest in Aboriginal culture among settler Australians, and have been described as ‘an early attempt to express [Lempriere’s] belief in the basic duality of the European-Australian artist by combining Aboriginal themes with European colours and techniques’.4

66 Collections, issue 22, June 2018 Opposite: Helen Lempriere, Nimbawah lost, 1956, emulsion on board, 92.0 × 95.0 cm. 1996.5003, donated by Helen Lempriere and Keith Wood estate 1996, Grainger Museum Collection, University of Melbourne. © Reproduced courtesy Perpetual Trustees.

Early influences Colquhoun had studied drawing Lempriere’s art at Montsalvat Helen Lempriere was born into under Frederick McCubbin, and was largely continued in the Meldrumite a cultured, middle-class family in mentored by his friend and tonal- tonal tradition, the influence finally the affluent Melbourne suburb of school proponent Max Meldrum. dissipating following her marriage Toorak. Her mother, Dora Elizabeth One of Meldrum’s students, Justus to Keith Wood in 1945 and their Mitchell, and father, Charles Jorgensen, also taught Lempriere, and relocation to Sydney.14 Algernon Lempriere, were prominent later became an influential figure in in business, social and sporting circles, her artistic and personal development. New horizons and actively supported local artists The post–World War II cultural such as Janet Cumbrae Stewart, Bess Montsalvat landscape in Australia was a complex Norris Tait and Archibald (A.D.) Lempriere became a pupil of and rapidly changing one, with the Colquhoun, by commissioning Jorgensen in 1930, at one time country still recovering from both family portraits.5 The family also studying alongside her mother the war and the Great Depression.15 had strong ties to the performing Dora at Jorgensen’s Queen Street Sanders and Berryman describe arts: Dora Mitchell’s elder sister, studio in Melbourne.10 By 1935 ‘a small and under-developed Helen Porter Mitchell, was the noted Jorgensen had become a ‘dissident commercial gallery system and Australian soprano Dame Nellie ex-Meldrumite’11 and was building staid national and (the few) Melba; Dora and Melba’s father Montsalvat, an artist colony in regional galleries under the control (Helen’s grandfather) was the leading Eltham, which offered painters of conservative trustee boards’.16 Melbourne builder David Mitchell, a and craftworkers an opportunity Struggling for recognition and close colleague and friend of John H. to hone their artistic skills among wider acceptance, women artists Grainger, father of composer Percy likeminded artists, and to experience were still largely viewed as proficient Grainger.6 a freer, more meaningful life, imitators, naturally obedient and Helen Lempriere was interested in ‘free of materialism, oppression disposed to conform, and lacking art from a young age, recalling ‘I can and prurience’.12 Eschewing her the intellectual faculties required never remember a time when I did not conventional upbringing, Lempriere to create artwork of significance.17 paint’,7 and in her early twenties took followed Jorgensen to Montsalvat Several prominent men, including formal lessons with A.D. Colquhoun in the mid-1930s and later used the Max Meldrum and J.S. MacDonald at his studio in Little Collins Street financial independence afforded (director of the National Gallery of in Melbourne.8 An influential teacher by an inheritance to move there Victoria), had made pronouncements and tonal painter, Colquhoun taught permanently.13 Described as one about women’s unsuitability for the pre-eminent students including (Sir) of the notorious ‘bohemians’ who life of an artist, the poor quality of William Dargie, Harley C. Griffiths, inhabited the colony, she played an their work, and their ‘tremendous Rex Bramleigh and Hayward active role in its construction, making intrusion’ into the male-dominated Veal, with an ‘unquenchable zest mud bricks for walls and carving sphere of painting.18 Work produced for attainment’ and a ‘high ideal’.9 many wood and stone decorations. by financially independent women

Gloria Gamboz Helen Lempriere 67 like Lempriere was further derided Inspiration and appropriation ethnographic or scientific curiosities and dismissed. Ambrus writes: A work dated 1949, Self-portrait in ethnographic or natural-history with Aboriginal motifs,24 suggests that museums, rather than in art galleries.28 After the end of World War II Lempriere was already familiar with A noted example is the collection and during the 1950s women Aboriginal art and culture while still of Western Arnhem Land bark artists ceased to have any visible living in Sydney, although most of her paintings and artefacts acquired by presence. The era of the 1950s early references to Aboriginal themes Walter Baldwin Spencer and donated represented the lowest point the date from her Paris and London to the National Museum of Victoria status of women in Australia had years in the 1950s, with works such from 1912 onwards.29 In 1929 the descended to since Federation as Crocodile hunters (1953), Kurungal first major exhibition of Aboriginal … Morals became even more with shield (1956) and Ceremonial art, titled Primitive art, was held at conservative, and bohemianism tree (1957).25 Her exposure to the National Museum of Victoria. It was a dirty word.19 Aboriginal culture may have been included bark paintings collected by primarily through books; in 1954, the Spencer, as well as work by Victoria’s Frustrated by this parochial and Australian UNESCO Committee Tommy McRae.30 Baddeley writes: conservative art establishment, and for Visual Arts published Australia: feeling ‘stuck’ with her art, in 1950 Aboriginal paintings—Arnhem Land, For the first time, items from Lempriere left Australia for Paris which included work by prominent Aboriginal culture were admired and London with her husband. Australian artist Margaret Preston. In for their unique aesthetic She held solo exhibitions in Paris, the introduction, English art historian significance and viewed as ‘art’ London, , the United States Herbert Read speculated that ‘the in the Western sense. The late and the , establishing mythical figures of Aboriginal legend 1920s witnessed the beginnings an international reputation while were authentic relatives of the heroes of a fascination with Aboriginal remaining relatively unknown in of classical European tradition which culture in . This Australia.20 In Paris she studied echo sympathetically in our collective was reflected in the use and drawing, line and composition with conscience’.26 Lempriere’s husband appropriation of designs and Fernand Léger, and the use of colour worked for UNESCO in the early motifs from Aboriginal art in the with Fred Klein.21 Lempriere’s time 1950s;27 Lempriere may have been work of a number of Australian in Paris had a profound effect on her aware of, and influenced by, Read’s artists.31 sense of identity as an artist, and she juxtaposition of Aboriginal art with was deeply affected by contemporary European mythology. In the 1920s Margaret Preston artists who painted ‘what was inside In the late 19th and early 20th helped stimulate a new public them, not what they had been told’;22 centuries, Aboriginal culture was interest in Aboriginal art and culture. for Lempriere, the internal was largely represented by artefacts Inspired by her travels around Australia, ‘the country by which I am obtained by anthropologists during Australia, Preston wrote widely artistically fed’.23 inland expeditions, and displayed as about Aboriginal art and culture,

68 University of Melbourne Collections, issue 22, June 2018 Helen Lempriere, Eingana creating Man, n.d., oil on canvas, 65.0 × 81.0 cm. 1996.5001, donated by Helen Lempriere and Keith Wood estate 1996, Grainger Museum Collection, University of Melbourne. © Reproduced courtesy Perpetual Trustees.

Gloria Gamboz Helen Lempriere 69 in articles such as Art for crafts: of Kitsch Australiana’.39 Topliss, and distinctive ceramics that Aboriginal art artfully applied (1924), however, defends Preston’s advocacy combined abstracted Aboriginal The Indigenous art of Australia (1925) of Indigenous art as following the designs with Art Deco style, and in and The application of Aboriginal example of European modernists the 1950s designers Anne Outlaw, designs (1930).32 Preston believed such as Pablo Picasso and the Alexandra (Nan) MacKenzie and that Aboriginal art was part of the Blaue Reiter group, with the Frances Burke designed textiles visual heritage of all Australians,33 initially purely aesthetic approach for public buildings, including the and that ‘the adaptation of these ultimately transforming into ‘a Qantas International Terminal at designs by non-Aborigines was strong nationalist and anti-colonial Sydney Airport, that incorporated sophisticated, enlightened, and ethic’. 40 McCaughey also suggests images or symbols derived from necessary for the development that, by the 1940s, Preston’s use of Aboriginal art.44 Croft offers a of Australian art’.34 For Preston, Aboriginal motifs was ‘broader, with forgiving appraisal of these early Aboriginal themes and motifs a better understanding of its content designs, suggesting that: provided the ‘key to establishing a and purpose’. 41 Preston’s continuing national art that reflected the soul research into Aboriginal culture had The majority of these artists, of the vast and ancient continent of engendered an understanding that who in today’s world would Australia’.35 The search for a national Aboriginal art was not based on visual be accused of appropriation, art by white Australians like Preston representation, but on knowledge of were for the most part well- has pointedly been described as an the land and all things growing in and intentioned in their efforts to identity problem, stemming from on it; she wrote in 1941: ‘Know your treat Aboriginal visual culture artists being ‘painfully aware of the subject and paint your knowledge’.42 with respect. Their works also derivative and displaced nature of Other artists, such as Jacqueline acted as a counter-balance to the their British culture’.36 Thomas posits Hick and Roma Thompson, racist and demeaning depiction that one way for artists to create a incorporated Aboriginal themes into of Aboriginal stereotypes which distinct Australian iconography was their work. A member of the George appeared in the first half of the to incorporate Australian Indigenous Bell modernist group, Thompson century.45 culture into art and design.37 produced several works in the 1940s Preston’s early adaptations of and 1950s that ‘reflected her interest She adds, however, that these artists’ Aboriginal themes and motifs for in Aboriginal art and its application. efforts to create a new Australian design and decorative purposes In particular, she felt a strong affinity style using Indigenous art, culture and did not acknowledge spiritual or for the simplicity of Aboriginal forms designs were ‘safely at arms-length cultural significance or content.38 as well as for their “Australianness”’.43 from the people who rightfully had Derogatory appellations of Preston In the 1930s, potters Olive Nock and claim to the stylistic elements being included the withering ‘Mother Marina Shaw produced innovative appropriated’.46

70 University of Melbourne Collections, issue 22, June 2018 Helen Lempriere, The Arunda, c. 1950–58, oil on canvas, 116.0 × 89.5 cm. 1996.5002, donated by Helen Lempriere and Keith Wood estate 1996, Grainger Museum Collection, University of Melbourne. © Reproduced courtesy Perpetual Trustees.

Representative works in the Grainger Museum Lempriere’s works from the 1950s–60s incorporate Aboriginal themes that are largely ‘abstract, surreal and symbolic’.47 Her use of imagery is described by Burr:

Primordial legends, superstitions and aboriginal ceremonies have for Helen Lempriere a poetic mystery that has permeated her consciousness so deeply that it has become a haunting image of life … The figures are formed by distinct hints from stylised rock drawings. These schematic, briefly indicated silhouettes seem to emerge ethereally, like spirits from amorphous landscape surroundings that depend for their existence on eerie vaporous shapes which only imply identifiable forms.48

Nimbawah lost (see page 66) depicts the Nimbawah Man, a Dreamtime creator, who becomes lost in Arnhem Land and ultimately transforms himself into a rock formation.49 The undated painting Eingana creating Man (see page 69) depicts a female rainbow serpent—creator

Gloria Gamboz Helen Lempriere 71 of the universe.50 Kerr notes that Cultural borrowings themes acknowledged their Lempriere painted in colours that Lempriere’s works of the 1950s–60s sources and were operating ‘within owe nothing to Aboriginal art, and were inspired largely by descriptions the parameters of a developing that the general effect of works such of Aboriginal myths and legends nationalism’ in Australia.59 Croft as this ‘more closely resembles the found in anthropological texts.55 also refers to: surreal frottages of Max Ernst— Unlike Margaret Preston, however, with similar echoes of fin de siècle Lempriere was more interested in another, less complicated place symbolism’.51 A preface to the ‘expressing the atmosphere evoked and time, when the bower bird catalogue for Lempriere’s Paris, in the legends and the relationship approach to art and culture was Amsterdam and London exhibitions these mythical figures had to accompanied by an essentially in 1963 contended that ‘she does not the land than in copying specific anthropological manner— attempt to illustrate aboriginal cults forms’.56 Sometime in the early an essence that was rather or legends … she seeks to emphasise 1970s, Lempriere and her husband innocent in its intent [which] their mystic qualities and to translate visited Central Australia and made harks back to a time when the them into (European) visual a documentary film about the artists’ purpose, through their experiences’.52 region, where the couple would work, was truly to honour the An address label on the back almost certainly have encountered creators of the work which of The Arunda suggests that this Indigenous art.57 Works such as initially inspired them.60 painting (see page 71) was made Man and kangaroo (c. 1965–70) are a while Lempriere was living in Paris, striking contrast to the earlier works, The influence of Aboriginal art on between 1950 and 1958. The title notably in Lempriere’s depiction of the development of a new national presumably refers to the Arrernte Aboriginal rites and ceremony and identity is, however, interrogated by people of Central Australia, whose her use of earth tones, referencing Thomas: Dreaming stories were some of the the ochres used by Aboriginal artists. first recorded by outsiders.53 Burr This work (opposite) represents a ‘Influence’, in this history, is writes that Lempriere’s works ‘are radical stylistic shift for Lempriere, perhaps not the right word, concerned with human situations, who was by now seeking to represent because that implies an so figures are always present, Aboriginal culture in a more direct active power, that is exercised sometimes tangible and terrestrial, way. Lempriere also experimented by an influencing artist or at others phantasmagorical’.54 with materials to create a more form, upon another artist or The central figure inThe Arunda ‘authentic’ look, often manipulating another work. Under colonial suggests the latter, and is surrounded paper to emulate the rough texture circumstances, we might by vivid, otherworldly colours of bark.58 assume that the active party is that complement the mystical More broadly, Cooke suggests not on the indigenous side, but representation of the subject. that non-Indigenous Australian on that of the dominant settler artists who appropriated Aboriginal population.61

72 University of Melbourne Collections, issue 22, June 2018 Helen Lempriere, Man and kangaroo, c. 1965–70, monotype print, 43.0 × 57.0 cm. 04.0080, donated by Helen Lempriere and Keith Wood estate 1996, Grainger Museum Collection, University of Melbourne. © Reproduced courtesy Perpetual Trustees.

In the 1960s, the cross-cultural Conclusion 2 Information provided by Grainger Museum dynamic between the white and The Grainger Museum’s collection staff. 3 Elinor Wrobel for Woolloomooloo Gallery, Aboriginal populations began to of Helen Lempriere’s works from ‘Press release: Helen Lempriere 1907–1991’, shift, with social and political events the 1950s–60s serves as a significant 1993 (copy held in Grainger Museum influencing choices made by non- illustration of the understanding administrative files); Woolloomooloo Gallery, Helen Lempriere: Retrospective exhibition Indigenous artists: of Aboriginal culture by a non- Part II—Paintings from 1950’s-60’s (exhibition Indigenous woman artist in the catalogue), Sydney: Woolloomooloo Gallery, The Referendum of 1967, mid-20th century. Lempriere’s use 1994 (copy held in Grainger Museum granting indigenous people of Aboriginal themes and motifs Collection); also Leslie Hetherington, email correspondence with Gloria Gamboz, full Australian citizenship, occurred in the context of a develop- 20 January 2018. foreshadowed the greater ing Australian nationhood, the post- 4 Joan Kerr, Heritage: The national women’s struggles for land rights and war cultural environment for women art book: 500 works by 500 Australian women artists from colonial times to 1955, Sydney: self-determination which artists, and Lempriere’s personal Craftsman House, 1995, p. 388. emerged in the 1970s and 80s. need to stay connected to her native 5 Les Hetherington, ‘Lempriere, Dora Elizabeth As a result, Aboriginal culture Australia while living overseas. The (1873–1958)’, People Australia, Canberra: was viewed in a different light collection also serves as an important National Centre of Biography, Australian National University, peopleaustralia.anu.edu. and issues arose regarding cultural record of the appropriation of au/biography/lempriere-dora-elizabeth-18520/ indigenous appropriation, Aboriginal culture by white Australian text33896, viewed 16 October 2017; Leslie authenticity and ownership.62 artists, and of a period of history that Hetherington, email correspondence with Gloria Gamboz, 4 April, 14 May and foreshadowed greater control by the 19 October 2017. We do not know Lempriere’s views Indigenous peoples of Australia over 6 Kay Dreyfus, ‘Grainger, George Percy (1882– on Aboriginal self-determination their own art and imagery. 1961)’, Australian dictionary of biography, vol. 9, and the appropriation of Aboriginal Melbourne University Press, 1983, published online by National Centre of Biography, themes; we do know that her Gloria Gamboz is undertaking a Master of Australian National University, adb.anu.edu.au/ thematic material changed in the Cultural Materials Conservation at the University biography/grainger-george-percy-6448. late 1960s following travels to of Melbourne, specialising in the conservation of 7 Helen Lempriere, interview with Hazel painted works. Cambodia and the Great Barrier de Berg, 31 August 1965. Sound recording, DeB 114, Hazel de Berg Collection, National 63 Reef. In writing about the early Author’s acknowledgements: I thank Helen Library of Australia, Canberra. use of Aboriginal themes by Arnoldi, University of Melbourne cultural 8 Hetherington, ‘Lempriere, Dora Elizabeth Australian artists, Cooke sums collections projects coordinator; Dr Heather (1873–1958)’. Gaunt, curator, collections and exhibitions at 9 Peter W. Perry, ‘Colquhoun, Archibald up both the controversy and the the Grainger Museum; Les Hetherington from Douglas (Archie) (1894–1983)’, Australian quandary: ‘appropriation has been the Australian National University; and William dictionary of biography, vol. 17, Melbourne part of the history of art from its very Henderson, for their support and encouragement. University Press, 2007, published online by beginning—the difference being that National Centre of Biography, Australian 1 See ‘Grainger Museum: Search collections’, National University, adb.anu.edu.au/biography/ this appropriation was the art of a opus.its.unimelb.edu.au/gm/imu. colquhoun-archibald-douglas-archie-12339/ colonised people’.64 php?request=search. text22167.

Gloria Gamboz Helen Lempriere 73 10 Sonia Skipper, My story: Tales from a pioneer of 21 Hetherington, email correspondence. 39 De Lorenzo, ‘Be Aboriginal’, p. 14. Montsalvat, Melbourne: Black Jack Press, 2005. 22 Lempriere, interview with Hazel de Berg. 40 Topliss, and feminism, p. 126. 11 Joan Kerr, ‘Helen Lempriere’, in Helen 23 Hetherington, email correspondence. 41 McCaughey, Strange country, p. 130. Lempriere: Retrospective exhibition Part I: 24 Kerr, ‘Helen Lempriere’, p. 13. 42 Margaret Preston, ‘New development in Paintings from 1930’s–50’s (exhibition 25 Hetherington, email correspondence; Kerr, Australian art’, Australia National Journal, catalogue), Sydney: Woolloomooloo Gallery, ‘Helen Lempriere’. 1 May 1941, reprinted in Elizabeth Butel (ed.), 1993, p. 3 (copy held in Grainger Museum 26 Herbert Read, cited in Jennifer Phipps, Art and Australia by Margaret Preston: Selected Collection). Kirsty Grant and Susan van Wyk, I had a writings 1920–1950, Sydney: Richmond 12 Max Teichmann, ‘Jorgensen, Justus (1893– dream: Australian art in the 1960’s (exhibition Ventures, 2003, p. 83. 1975)’, Australian dictionary of biography, catalogue), Melbourne: National Gallery of 43 Kerr, Heritage, p. 296. vol. 14, Melbourne University Press, 1996, Victoria, 1997, p. 19. 44 Baddeley, ‘Motif & meaning’, p. 5. published online by National Centre of 27 Hetherington, email correspondence. 45 Croft, ‘You must remember this …’, p. 19. Biography, Australian National University, 28 Claire Baddeley, ‘Motif & meaning: Aboriginal 46 Croft, ‘You must remember this …’, p. 19. adb.anu.edu.au/biography/jorgensen- influences in Australian Art 1930–1970’, in 47 Baddeley, ‘Motif & meaning’, p. 4. justus-10644/text18919. Motif & meaning, p. 3. 48 James Burr, ‘Foreword’ (London, 1965), 13 Hetherington, ‘Lempriere, Dora Elizabeth 29 Lindy Allen, ‘The early collection and reprinted in Helen Lempriere: Retrospective (1873–1958)’. exhibition of art work by Aboriginal artists’, in exhibition Part II, p. [1]. 14 Kerr, ‘Helen Lempriere’, p. 3. Carolyn Rasmussen, A museum for the people: 49 Unknown artist, The man Nimbawah, 1948, 15 Brenda L. Croft, ‘You must remember this …’, A history of Museum Victoria and its predecessors Art Gallery of New South Wales, www. in Motif & meaning: Aboriginal influences 1854–2000, Melbourne: Scribe, 2001, artgallery.nsw.gov.au/collection/works/9281, in Australian art, 1930–1970 (exhibition pp. 142–4. viewed 24 October 2017. catalogue), Ballarat Fine Art Gallery, 1999, 30 Allen, ‘The early collection and exhibition of 50 Kerr, ‘Helen Lempriere’, p. 7. p. 17. art work by Aboriginal artists’, pp. 143–4. 51 Kerr, ‘Helen Lempriere’, p. 7. 16 Anne Sanders and Jim Berryman, ‘Visual arts’, 31 Baddeley, ‘Motif & meaning’, p. 3. 52 Anonymous preface to Lemprière exhibitions / in The encyclopedia of women & leadership 32 See Elizabeth Butel (ed.), Selected writings: expositions / exposities ’63 (catalogue of in twentieth-century Australia, Australian Margaret Preston, Sydney: ETT Imprint, 2015. exhibition at Galerie Furstenberg, Paris, and Women’s Archives Project, 2014, www.women 33 Glenn R. Cooke, ‘Aboriginal motifs in the Kunstzaal Magdalene Sothmann, Amsterdam), australia.info/leaders/biogs/WLE0448b.htm. decorative arts, “an art for Australia from London: 1963, cited in Kerr, ‘Helen 17 Sanders and Berryman, ‘Visual arts’. Australians”’, in Motif & meaning, p. 14. Lempriere’, p. 7. 18 Helen Topliss, Modernism and feminism: 34 Catherine De Lorenzo, ‘Be Aboriginal’, in 53 Alice Springs Town Council, ‘Indigenous’, Australian women artists, 1900–1940, Sydney: A changing relationship: Aboriginal themes www.alicesprings.nt.gov.au/living/living-alice- Craftsman House, 1996, p. 38. in Australian art 1938–1988 (exhibition springs/indigenous, viewed 23 October 2017. 19 Caroline Ambrus, Australian women artists: catalogue), Sydney: S.H. Ervin Gallery, 54 Burr, ‘Foreword’, p. [1]. First Fleet to 1945: History, hearsay and her say, National Trust of Australia (NSW), 1988, 55 Kerr, ‘Helen Lempriere’, p. 6 Canberra: Irrepressible Press, 1992, p. 161. p. 18. 56 Kerr, ‘Helen Lempriere’, p. 6. 20 Kerr, ‘Helen Lempriere’, pp. 10–11. 35 Roger Butler, ‘Margaret Preston: Australian 57 Hetherington, email correspondence. Lempriere’s works are held in major public printmaker’, National Gallery of Australia, 58 Hetherington, email correspondence; Kerr, collections in Australia, the US and Israel, nga.gov.au/preston/essay.cfm, viewed ‘Helen Lempriere’, p. 7. including the National Gallery of Australia, 16 October 2017. 59 Cooke, ‘Aboriginal motifs in the decorative Art Gallery of New South Wales, Queensland 36 Noel Thomas, ‘Dangerous territory: Indigenous arts’, p. 9. Art Gallery, Tasmanian Museum and Art reference in Australian art’, in Motif & 60 Croft, ‘You must remember this …’, p. 22. Gallery, and the Queen Victoria Museum and Meaning, p. 24. 61 Thomas, ‘Dangerous territory’, p. 24. Art Gallery. See ‘Lempriere, Helen Dora’, in 37 Thomas, ‘Dangerous territory’, p. 26. 62 Baddeley, ‘Motif & meaning’, p. 5. The new McCulloch’s encyclopedia of Australian 38 Patrick McCaughey, Strange country: Why 63 Kerr, ‘Helen Lempriere’, pp. 7–8. art, Melbourne: Miegunyah Press, 2006, p. 606; Australian painting matters, Miegunyah Press, 64 Cooke, ‘Aboriginal motifs in the decorative Kerr, ‘Helen Lempriere’, p. 11. Melbourne University Publishing, 2004, p. 132. arts’, p. 9.

74 University of Melbourne Collections, issue 22, June 2018