Australasiana

Total Page:16

File Type:pdf, Size:1020Kb

Australasiana Australasiana Collectors’ List No. 174, 2014 Josef Lebovic Gallery 103a Anzac Parade (cnr Duke Street) Kensington (Sydney) NSW Ph: (02) 9663 4848; Fax: (02) 9663 4447 Email: [email protected] Web: joseflebovicgallery.com 1. Johannes Janssonius (Dutch, 1588- JOSEF LEBOVIC GALLERY 1664). Indiae Orientalis, Nova Descriptio Established 1977 [Dutch Map Of The East Indies], 1630. 103a Anzac Parade, Kensington (Sydney) NSW Engraving, text including title in plate over- all, 42.7 x 56.7cm (paper). Soiling and minor Post: PO Box 93, Kensington NSW 2033, Australia rubbing overall, repaired tears, creases and missing portions. Tel: (02) 9663 4848 • Fax: (02) 9663 4447 • Intl: (+61-2) $3,800 Text includes “Amstelodami. Ioannes Ianssonius Email: [email protected] • Web: joseflebovicgallery.com excudebat.” Open: Wed to Fri 1-6pm, Sat 12-5pm, or by appointment • ABN 15 800 737 094 Original as issued. Important early map of Southeast Asia and the Philippines, and a land mark in the mapping Member of • Association of International Photography Art Dealers Inc. of Australia, first published by Jan Jansson in 1630. This International Fine Print Dealers Assoc. • Australian Art & Antique Dealers Assoc. is also the only Dutch printed map showing the 1606 discoveries of Willem Jansz, who in the Duyfken is attributed as making the first recorded European discovery of Australia, mapping the Cape York Penin- COLLECTORS’ LIST No. 174, 2014 sula. Ref: NLA. 2. Johannes Janssonius (Dutch, 1588-1664). Mar Di India, 1650. Hand- Australasiana coloured engraving, text including title in plate overall, 43.8 x 55.9cm. Centre fold, slight foxing overall, minor cockling On exhibition from Wed., 16 October to Sat., 22 November. and discolouration to margins. In bird’s- All items will be illustrated on our website from 22 October. eye maple frame. Prices are in Australian dollars and include GST. Exch. rates as at $3,800 Important map showing discoveries up to but time of printing: AUD $1.00 = USD $0.89¢; UK £0.54p not including Tasmania. © Licence by VISCOPY AUSTRALIA 2014 LRN 5523 Compiled by Josef & Jeanne Lebovic, Lenka Miklos, Mariela Brozky, Takeaki Totsuka, Dimity Kasz. 3. After Francis Wheatley (British, 1747- Cover illus: Adrian Feint, [Australia], 1934. Oil on canvas, item 132, p27. 1801), engr. Henry Macbeth-Raeburn (Brit., 1860-1947). [Captain Arthur Phillip], 1786/1936. Mezzo tint on chine collé, proof before letters and colouring, signed and anno tated “2nd state proof in progress” in pencil be low image, 62.9 x 42.7cm. Minor soiling, crin kles and tears to plate International Art mark and margins. $4,950 Old Master to Modern Master Engraved by Henry Macbeth-Raeburn after a 1786 oil painting by Francis Wheatley. This mezzotint, nor mally Our next catalogue in November will feature: Appel, issued with hand-colouring, is a rare uncoloured proof. Chagall, Corot, Durer, Leger, Man Ray, Miro, Moore, The portrait, depicting Phillip in his captain’s uniform, standing on a coastal shore, was painted in 1786 Passmore, Rembrandt, Villon and Vlaminck. probably in anticipation of his voyage to Australia. Ref: NPG, UK, NLA. This image is the only large, full-length portrait of Cap- Monument, 1968 by Man Ray tain Phillip. 2 4. After John Cleveley the Younger 7. Joseph Lycett (Aust., c1775- (Brit.,1747-1786). View Of Huaheine, One Of c1828). View Of Captain Piper’s Naval The Society Islands In The South Seas [Tahiti], Villa, At Eliza Point, Near Sidney 1787. Aquatint with etching, text including title [sic], New South Wales, 1825. Hand- and artist’s name in plate below image, 43.6 x coloured aquatint with etching, text 60.2cm. Foxing overall. Framed. $6,600 in cluding artist, title and date in plate Text reads “Drawn on the spot by Ja’s Cleveley. below image, 23 x 32.4cm. Slight off- Painted by Jn’o Cleveley, London. F. Jukes aquat. To setting to upper portion of image, minor His most Sacred Majesty George III, of Great Britain, foxing and stains overall. France & Ireland, King, defender of the faith, this view $1,850 of Huaheine, one of the Society Islands in the South Text includes “Lycett delt et execut’t. London, Seas, is most humbly dedicated by His Majesty’s most published May 1, 1825, by J. Souter, 73 St dutiful & devoted subject and serv’t, Tho’s Martyn.” A Paul’s Church Yard.” photocopy of the original prospectus, circa 1788, is affixed to frame verso. This is one of four views issued after the watercolours by John Cleveley, based on drawings by his brother, James, the ship’s carpenter who sailed with Captain Cook on his last voyage on the ship 8. Louis Auguste de Sainson (French, 1801-1887). Resolution. Perruche À Collier Jaune, Mâle and Perruche À Tête This print is a very rare uncoloured proof of the first impression which was sold for 18 shillings in 1788. It Pourpre, Mâle [Australian Parrots], 1830. Pair of engra vings, is an exceptionally strong impression with good margins, differing in quality from the standard issue which text including plate number, artist and title in each plate tends to be a much lighter printing and is normally hand-coloured to hide any weakness in the impression. Ref: NLA; Wiki. above and below image, 40.9 x 26.7cm (approx. each). Minor foxing and crinkles, stains to edges of margins, slight rubbing to lower portion of image. 5. After Charles Alexander Lesueur (French, The pair $1,650 1778-1846). Nouvelle Hollande: Nouvelle Galles Du Text in each plate includes “Voyage de l’Astro- Sud [Brown And Red Platypus, NSW], 1807. Colour labe – Zoologie. Oiseaux. Nou velle Hol lande. engraving, printed à la poupée, with added hand- J. Tastu édit.” Text also includes “ Pl. 23. J.G. colouring, text including artist, engraver and title in Prêtre pinx. Man ceau sc. Son bec vu de face” plate above and below image, 24.4 x 31.7cm. Minor and “Pl. 22. A. Prévost pinx. Mafsard sc. Port- du-Roi Georges.” foxing, trimmed upper margin, mount burn. $990 The engravings are from the l’Astrolabe Text includes “XXXIV. C.A. Lesueur del. J. Milbert direx. De voyage, captained by Dumont D’Urville, from l’Imprimerie de Langlois. Choubard sculp. 1. Ornithorinque 1826 to 1829. Ref NLA. brun (Ornithorincus fuscus N. foemina). 2. Ornithorinque roux (Ornithorincus rufus N. masc.)… This engraving was in the atlas published for the Peron and Freycinet 9. Indenture Between James Mudie And William expedition Voyage de Decouvertes aux Terres Australes. Atlas par Mm. Lesueur et Petit. Paris: De l’Impri- Smith, 1831. Letterpress document on paper watermarked merie Imperiale [1807].” Ref: NGA. “J. What man, Turkey Mill, 1825”, inscribed, dated and signed in ink in various hands including Bishop Broughton, head of 6. After William Westall (British, 1781- the Church of England, and William Lithgow, Auditor-general, 1850). View Of Port Bowen, From The 40.2 x 25.2cm. Missing portions and tears to edges, slight Hills Behind The Watering Gully, 1814. discolouration and creases overall. Engraving, text including artist, title and $1,650 date in plate below image, 15.4 x 23cm William Smith was only 8 years old, an orphan when he was indentured (image). Trimmed upper plate mark, minor to Mudie until age 21, in 1844. James Mudie (1779-1852), a Scottish- foxing, paper loss and repaired tears to born free settler of Australia, was an officer of marines who was eventually dismissed, a large landowner in Hunter River district, a brutal edges of margins. $1,650 and unpopular magistrate in Maitland, and the author of a controversial Text includes “Published by G.&W. Nicol, Pall book published in London in 1837, titled The Felonry of New South Mall, Feb. 12, 1814.” Engraved by L. Scott to Wales, which “ferociously” attacked anyone who Mudie thought had in illustrate Matthew Flinders’ voyage. any way opposed him. Ref: Wiki, ADB. 3 10. Portrait Of William Lamb, Lord Melbourne, 11. After William John Huggins (Brit., 1781-1845). 1833. Lithograph on chine collé, text including [H.M. Revenue Cutter “Prince George”, On Voyages Melbourne’s facsimile signature, artist and date To And From Sydney], 1836. Pair of hand-coloured below image, 45.8 x 36.6cm (image). Slight soiling, aquatints with etching, text including artist, engraver, crinkles and foxing overall, tears to margins. date and title in plate below image, 31.2 x 45cm (image). $2,950 Slight foxing and stains overall, with trimmed plate mark. Text includes “Plate 2. Drawn on the stone by B.R. Haydon from the original study for the picture of the Reform Banquet, The pair $8,800 now painting for Earl Grey, and gratefully dedicated to his Text in one image includes “Painted by W.J. Huggins, Marine Lordship by his permission. Published by Tho’s McLean, Painter to His Majesty, and published for him May 1836, by F.S. 26, Haymarket, London, June 25th, 1833. Printed by Crawley, 105 and 106, Leadenhall St, London. Engraved by C. Rosenberg. To his Royal Highness Prince George of Cumberland, K.G., this plate representing H.M. C. Hullmandel.” Held in the National Library of Australia Revenue Cutter Prince George of 72 tons, John Roach, Commander, on her voyage from London to collection. Sydney, New South Wales, off the island of St Pauls, An unusual and rare portrait of Lord Melbourne. encountering a tremendous hurricane in lat. 39½ S, long. 78 E, August 1833, is with His Royal Highness’s permission most respectfully dedicated by his obliged 12. After Charles Rodius and humble servant James Roach.” Text in the (British/Aust., 1802-1860). Vue other image includes “…this plate representing H.M. Revenue Cutter Prince George… on her voyage from De La Rade De Sydney Et Du London to Sydney, New South Wales, in lat.
Recommended publications
  • 07 July 1980, No 3
    AUSTRALIANA SOCIETY NEWSLETTER 1980/3 July 1980 •• • • • •• • •••: •.:• THE AUSTRALIANA SOCIETY NEWSLETTER ISSN 0156.8019 The Australiana Society P.O. Box A 378 Sydney South NSW 2000 1980/3, July 1980 SOCIETY INFORMATION p. k NOTES AND NEWS P-5 EXHIBITIONS P.7 ARTICLES - John Wade: James Cunningham, Sydney Woodcarver p.10 James Broadbent: The Mint and Hyde Park Barracks P.15 Kevin Fahy: Who was Australia's First Silversmith p.20 Ian Rumsey: A Guide to the Later Works of William Kerr and J. M. Wendt p.22 John Wade: Birds in a Basket p.24 NEW BOOKS P.25 LIST OF ILLUSTRATIONS p.14 OUR CONTRIBUTORS p.28 MEMBERSHIP FORM P.30 Registered for posting as a publication - category B Copyright C 1980 The Australiana Society. All material written or illustrative, credited to an author, is copyright. pfwdaction - aJLbmvt Kzmkaw (02) 816 U46 it Society information NEXT MEETING The next meeting of the Society will be at the Kirribilli Neighbourhood Centre, 16 Fitzroy Street, Kirribilli, at 7-30 pm on Thursday, 7th August, 1980. This will be the Annual General Meeting of the Society when all positions will be declared vacant and new office bearers elected. The positions are President, two Vice-Presidents, Secretary, Treasurer, Editor, and two Committee Members. Nominations will be accepted on the night. The Annual General Meeting will be followed by an AUCTION SALE. All vendors are asked to get there early to ensure that items can be catalogued and be available for inspection by all present. Refreshments will be available at a moderate cost.
    [Show full text]
  • Download Here
    Heritage Newsletter of the Blue Mountains Association of Cultural Heritage Organisations Inc March-April 2016 ISSUE 43 ISSN 2203-4366 Photographers – through their eyes There is a particular group of people to whom we, as people/organisations interested in our history, owe a huge dept. That is - the photographer. Be it the official or professional or private photographer, they provide us with pictures of both ourselves and our nation, at specific points in time. Their work is a historical record, showing the meaning and intensity of life at the time, and the current social dynamics that accompany them. The Macquarie Dictionary (1995) defines a photographer as a person who carries out “the art of producing images of objects on sensitized surfaces by the chemical action of light or of other forms of radiant energy, as x-rays, gamma rays, cosmic rays etc”. Obviously today in a more modern definition, this would be expanded to include digital experiences. However, for the recording of historical subjects, this former definition would ring true. Many photographers in the 19th and 20th centuries sought to celebrate the communities of people who work to lay the foundations of the country, to record specific events, covering both individual stories, and town and rural life. Incline, Kembla Coal, King Katoomba clouds, Phillips Chinese wool wasking, Kerry When we look at a photo, what are we looking at? Many photos bring us back again and again, and we see something different every time. The photographer may have sought to depict a particular event, person, but inadvertently has recorded a variety of other material, such as fashions and tools, landscapes and buildings, cultures and social customs, techniques and trades.
    [Show full text]
  • Winter 2012 SL
    –Magazine for members Winter 2012 SL Olympic memories Transit of Venus Mysterious Audubon Wallis album Message Passages Permanence, immutability, authority tend to go with the ontents imposing buildings and rich collections of the State Library of NSW and its international peers, the world’s great Winter 2012 libraries, archives and museums. But that apparent stasis masks the voyages we host. 6 NEWS 26 PROVENANCE In those voyages, each visitor, each student, each scholar Elegance in exile Rare birds finds islets of information and builds archipelagos of Classic line-up 30 A LIVING COLLECTION understanding. Those discoveries are illustrated in this Reading hour issue with Paul Brunton on the transit of Venus, Richard Paul Brickhill’s Biography and Neville on the Wallis album, Tracy Bradford on our war of nerves business collections on Olympians such as Shane Gould and John 32 NEW ACQUISITIONS Konrads, and Daniel Parsa on Audubon’s Birds of America, Library takes on Vantage point one of our great treasures. Premier’s awards All are stories of passage, from Captain James Cook’s SL French connection Art of politics voyage of geographical and scientific discovery to Captain C THE MAGAZINE FOR STATE LIBRARY OF NSW BUILDING A STRONG ON THIS DAY 34 FOUNDATION MEMBERS, 8 James Wallis’s album that includes Joseph Lycett’s early MACQUARIE STREET FRIENDS AND VOLUNTEERS FOUNDATION Newcastle and Sydney watercolours. This artefact, which SYDNEY NSW 2000 IS PUBLISHED QUARTERLY 10 FEATURE New online story had found its way to a personal collection in Canada, BY THE LIBRARY COUNCIL PHONE (02) 9273 1414 OF NSW.
    [Show full text]
  • Poetry and Public Speech: Three Traces
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by The University of Sydney: Sydney eScholarship Journals online Poetry and Public Speech: Three Traces DAVID McCOOEY Deakin University Contemporary poetry is routinely seen as ‘marginal’ to public culture. As Simon Caterson wrote in the Sunday Age in 2005, ‘Poets have never been more numerous, and never less visible’ (31). The simultaneous ubiquity and marginality of poets is usually noted in terms of poetry having lost its status as a form of public speech. The American critic Dana Gioia, in his oft-cited essay ‘Can Poetry Matter?’ (1991), asserts that ‘Without a role in the broader culture…talented poets lack the confidence to create public speech’ (10). Such a condition is often noted in nostalgic terms, in which a golden era—bardic or journalistic—is evoked to illustrate contemporary poetry’s lack. In the bardic model, the poet gains status by speaking for the people in a form that is public but not official. Gioia evokes such a tradition himself when he describes poets as ‘Like priests in a town of agnostics’ who ‘still command a certain residual prestige’ (1). In the Australian context, Les Murray has most often been associated with such a bardic role (McDonald, 1976; Bourke, 1988). In the journalistic model, one evoked by Jamie Grant (2001), the poet is presented as a spokesperson, authoritatively commenting on public and topical events. This model is supported by Murray in his anthology The New Oxford Book of Australian Verse (1986). In the introduction to this work, the only historical observation Murray makes is that ‘most Australian poetry in the nineteenth and early twentieth centuries first saw the light of day in newspapers’ (xxii), before poetry became marginalised in small literary magazines.
    [Show full text]
  • The Mccubbin Times15 August 2009
    THE McCUBBIN TIMES, 15 AUGUST 2009 THE McCUBBIN TIMES, 15 AUGUST 2009 ART NOTES ART NOTES MELBOURNE CELEBRATES FEDERATION Stature Still Increasing McCUBBIN SHOW 15 AUGUST 2009 in Centenary Year INSPIRING National HEN posterity has cast its vote the artistic RETROSPECTIVE exhibition of paintings by Wstature of the late Frederick McCubbin is the late Frederick McCubbin at the Latrobe Gallery of likely to increase, and in inverse ratio the later Gallery,A National Gallery, fulfills expectations. work of Sir Arthur Streeton may lose some of It is the major artistic event of the year. its present day popularity. Australia uring his youth to 1910. Within this period OMPRISED of 56 ART SHOW Streeton was the artist painted some of works drawn from showcases D C EARLY AUSTRALIAN undoubtedly the greater his finest work. private collections, and The McCubbin Times artist. Consciously or By State and provincial gall- IMPRESSIONIST Frederick unconsciously, he fell a Special eries, it has been brought victim to the charms of Correspondent together to mark the Twenty-four canvasses by Frederick McCubbin, one of McCubbin success and the poet made in London centenary of the artist’s the originators of the school of An exhibition of 76 works way for the businessman. birth and to do honour to a landscape painting, which with McCubbin’s art, on the His former broad state- of art created by Frederick great landscape painter. modifications, still dominates McCubbin during the last other hand evolved steadily ment of tone had been re- Australian art, are showing at Subject of comment in eleven years of his life, and towards the end of placed by the broken colour this column (25/10/55), the Sedon Gallery, Elizabeth Street.
    [Show full text]
  • The Impact of the American Doctrine of Discovery on Native Land Rights in Australia, Canada, and New Zealand
    University of Dayton eCommons School of Law Faculty Publications School of Law 2011 The mpI act of the American Doctrine of Discovery on Native Land Rights in Australia, Canada, and New Zealand Blake Watson University of Dayton, [email protected] Follow this and additional works at: https://ecommons.udayton.edu/law_fac_pub Part of the Indian and Aboriginal Law Commons eCommons Citation Watson, Blake, "The mpI act of the American Doctrine of Discovery on Native Land Rights in Australia, Canada, and New Zealand" (2011). School of Law Faculty Publications. 73. https://ecommons.udayton.edu/law_fac_pub/73 This Article is brought to you for free and open access by the School of Law at eCommons. It has been accepted for inclusion in School of Law Faculty Publications by an authorized administrator of eCommons. For more information, please contact [email protected], [email protected]. The Impact of the American Doctrine of Discovery on Native Land Rights in Australia, Canada, and New Zealand Blake A. Watson† The landmark decision in the United States regarding Indian land rights is Johnson v. McIntosh, an 1823 decision authored by Chief Jus- tice John Marshall. The Supreme Court in Johnson unequivocally re- jected the most favorable view of indigenous land rights—that the native inhabitants own the land they occupy and are free to retain or sell their property.1 Yet the Court did not adopt the least favorable view of Indian land rights either—that the tribes of America are trespassers without ownership or possessory rights. Instead, Marshall endorsed an interme- diate position. On one hand, he declared the Indian nations “to be the rightful occupants of the soil, with a legal as well as just claim to retain possession of it, and to use it according to their own discretion .
    [Show full text]
  • Code De Conduite Pour Le Water Polo
    HistoFINA SWIMMING MEDALLISTS AND STATISTICS AT OLYMPIC GAMES Last updated in November, 2016 (After the Rio 2016 Olympic Games) Fédération Internationale de Natation Ch. De Bellevue 24a/24b – 1005 Lausanne – Switzerland TEL: (41-21) 310 47 10 – FAX: (41-21) 312 66 10 – E-mail: [email protected] Website: www.fina.org Copyright FINA, Lausanne 2013 In memory of Jean-Louis Meuret CONTENTS OLYMPIC GAMES Swimming – 1896-2012 Introduction 3 Olympic Games dates, sites, number of victories by National Federations (NF) and on the podiums 4 1896 – 2016 – From Athens to Rio 6 Olympic Gold Medals & Olympic Champions by Country 21 MEN’S EVENTS – Podiums and statistics 22 WOMEN’S EVENTS – Podiums and statistics 82 FINA Members and Country Codes 136 2 Introduction In the following study you will find the statistics of the swimming events at the Olympic Games held since 1896 (under the umbrella of FINA since 1912) as well as the podiums and number of medals obtained by National Federation. You will also find the standings of the first three places in all events for men and women at the Olympic Games followed by several classifications which are listed either by the number of titles or medals by swimmer or National Federation. It should be noted that these standings only have an historical aim but no sport signification because the comparison between the achievements of swimmers of different generations is always unfair for several reasons: 1. The period of time. The Olympic Games were not organised in 1916, 1940 and 1944 2. The evolution of the programme.
    [Show full text]
  • Duke Visits Australia, New Zealand
    Duke Visits Australia, New Zealand 1915 By EDWIN NORTH MCCLELLAN The Grand Duke Paoa Kahanamoku of Waikiki flashed like j speeding comet across Hawaiian Skies in 1911-Toured the Stat* 1911 acclaimed by all and, at Philadelphia, prepared for the 191 Stockholm Olympics under George Kistler-Broke world's record t those Olympics and was personally congratulated by King Gustaf- lavishly honored on Mainland and Hawaii-Continued his victor u, on Continent 1913-1914-Welcomed home by a proud Hawau-Thei EDWIN N. MCCLELLAN Australia and New Zealand-A tumultuous sendoff as The Duke Geor^ Cunha and Manager Francis Evans sailed November 30, 1914 o VENTURA for Down Under-Arrived Sydney, December 14, 191 midst a roaring ALOHA. (PART ONE) "Say, when is the first meet at which I have to show? inquired The Duke of Wi, liam F. Corbett, who had boarded the Ventura to report the great arrival, tor th Sydney Sun. "January second," replied Mr. Corbett. He got interesting mformatio from the three Americans, particularly from Our Duke-44! he Human Fish, \V a kiki Wizard," "Swimming Flash" and "Wonder of Wonders," as the Australian an New Zealanders soon were calling the world's fastest sprint-swimmer. "All three of the gentlemen from Hawaii sported bright yellow bands round thei hats-probably their Club's Colors," wrote Mr. Corbett. "Duke Kahanamoku is development of the famous Waikiki Beach." " A CORDIAL FORMAL WELCOME World War had begun the precedin The welcome by the massed citizens at summer. the dock was soul-warming to the three DUKE'S "MODEST RESERVE"; Americans.
    [Show full text]
  • Hullo Marmaduke
    HULLO MARMADUKE Year of release: 1924 • Scenario: Beaumont Smith Initially scripted under the working title, The King of Australia,1 Hullo Marmaduke is the story of a naive young remittance man and his adventures in Australia. It was the first of two moving pictures to star English variety comedian Claude Dampier during his second lengthy visit to the Australasian region, the other being The Adventures of Algy (1925). Both films were written, directed and produced by Beaumont Smith. Dampier was given leave of absence from his contract with Fullers' Theatres to take part in shooting, as was Jimmy Taylor, then a member of Dampier's revue company. Another prominent Australian-based vaudeville performer to appear in the film was Cyril Northcote. Hullo Marmaduke is now considered a lost film. The youngest son of a noble English family, Marmaduke is sent out to Australia on the R.M.S. Osterley with his faithful valet Huggett. At Fremantle he is swindled by two card sharps out of most of his money. With his remaining money he travels to Adelaide and then the gold fields where he hopes to make his fortune. On the voyage he meets up with Mrs Mary Morton, a barmaid, and her young daughter Margie who are searching for their husband and father, Mike Morton. Mary is later killed during a burglary, however. Complicating matters is the fact that one of the men is Mary's husband. With her dying breath she asks Maramduke to look after her daughter. Faced with this new responsibility he goes on to make his fortune as a prospector and lavishes money on his ward.
    [Show full text]
  • 2020 Yearbook
    -2020- CONTENTS 03. 12. Chair’s Message 2021 Scholarship & Mentoring Program | Tier 2 & Tier 3 04. 13. 2020 Inductees Vale 06. 14. 2020 Legend of Australian Sport Sport Australia Hall of Fame Legends 08. 15. The Don Award 2020 Sport Australia Hall of Fame Members 10. 16. 2021 Scholarship & Mentoring Program | Tier 1 Partner & Sponsors 04. 06. 08. 10. Picture credits: ASBK, Delly Carr/Swimming Australia, European Judo Union, FIBA, Getty Images, Golf Australia, Jon Hewson, Jordan Riddle Photography, Rugby Australia, OIS, OWIA Hocking, Rowing Australia, Sean Harlen, Sean McParland, SportsPics CHAIR’S MESSAGE 2020 has been a year like no other. of Australian Sport. Again, we pivoted and The bushfires and COVID-19 have been major delivered a virtual event. disrupters and I’m proud of the way our team has been able to adapt to new and challenging Our Scholarship & Mentoring Program has working conditions. expanded from five to 32 Scholarships. Six Tier 1 recipients have been aligned with a Most impressive was their ability to transition Member as their Mentor and I recognise these our Induction and Awards Program to prime inspirational partnerships. Ten Tier 2 recipients time, free-to-air television. The 2020 SAHOF and 16 Tier 3 recipients make this program one Program aired nationally on 7mate reaching of the finest in the land. over 136,000 viewers. Although we could not celebrate in person, the Seven Network The Melbourne Cricket Club is to be assembled a treasure trove of Australian congratulated on the award-winning Australian sporting greatness. Sports Museum. Our new SAHOF exhibition is outstanding and I encourage all Members and There is no greater roll call of Australian sport Australian sports fans to make sure they visit stars than the Sport Australia Hall of Fame.
    [Show full text]
  • Ii: Mary Alice Evatt, Modern Art and the National Art Gallery of New South Wales
    Cultivating the Arts Page 394 CHAPTER 9 - WAGING WAR ON THE ESTABLISHMENT? II: MARY ALICE EVATT, MODERN ART AND THE NATIONAL ART GALLERY OF NEW SOUTH WALES The basic details concerning Mary Alice Evatt's patronage of modern art have been documented. While she was the first woman appointed as a member of the board of trustees of the National Art Gallery of New South Wales, the rest of her story does not immediately suggest continuity between her cultural interests and those of women who displayed neither modernist nor radical inclinations; who, for example, manned charity- style committees in the name of music or the theatre. The wife of the prominent judge and Labor politician, Bert Evatt, Mary Alice studied at the modernist Sydney Crowley-Fizelle and Melbourne Bell-Shore schools during the 1930s. Later, she studied in Paris under Andre Lhote. Her husband shared her interest in art, particularly modern art, and opened the first exhibition of the Contemporary Art Society in Melbourne 1939, and an exhibition in Sydney in the same year. His brother, Clive Evatt, as the New South Wales Minister for Education, appointed Mary Alice to the Board of Trustees in 1943. As a trustee she played a role in the selection of Dobell's portrait of Joshua Smith for the 1943 Archibald Prize. Two stories thus merge to obscure further analysis of Mary Alice Evatt's contribution to the artistic life of the two cities: the artistic confrontation between modernist and anti- modernist forces; and the political career of her husband, particularly knowledge of his later role as leader of the Labor opposition to Robert Menzies' Liberal Party.
    [Show full text]
  • Michael Leunig the Night We Lost Our Marbles Sans.Fm
    M ICHAEL LEUNIG T HE NIGHT WE LOST OUR MARBLES D ESERT JOY 2016 Acrylic on canvas 106 × 122 cm T HE NIGHT WE LOST OUR MARBLES II 2016 Acrylic on linen 76 × 92 cm T HE TIDE COMES IN 2016 Acrylic on canvas 91 × 76 cm P ILGRIM 2016 Acrylic on linen 92 × 71 cm F RIENDLY FACES 2016 Acrylic on linen 91 × 66 cm U NDERSTORY 2016 Acrylic on linen 71 × 81 cm C LIMBING UP THE FENCE 2016 Acrylic on linen 66 × 76 cm P SYCHE 2016 Acrylic on linen 76 × 66 cm P IXIE TEA 2016 Acrylic on canvas 70 × 60 cm E ARTHSCAPE 2016 Stabilised earth on linen 70 × 60 cm M AN WITH DOG 2016 Acrylic on linen 66 × 51 cm M E AND YOU 2016 Acrylic on canvas 51 × 61 cm N OCTURNAL DANCE 2016 Acrylic on canvas 50 × 60 cm T HE NIGHT WE LOST OUR MARBLES 2016 Acrylic on canvas 51 × 60 cm H OLY FOOL IN TREE 2016 Acrylic on wood 50 × 45 cm E BB AND FLOW 2016 Acrylic on linen 51 × 41 cm H OLY FOOL WITH BIRDS 2016 Acrylic on canvas 50 × 40 cm H OLY FOOL 2016 Acrylic on canvas 40 × 50 cm L IFEBOAT 2016 Acrylic on linen 51 × 40 cm A FFINITY 2016 Acrylic on linen 42 × 45 cm T HE ESCAPEE 2016 Acrylic on linen 36 × 46 cm E ACH OTHER 2016 Acrylic on wood 40 × 35 cm F AMILY TREE 2015 Acrylic on canvas 35 × 28 cm B EE BIRD 2016 Acrylic on linen 26 × 31 cm M ICHAEL LEUNIG— T HE NIGHT WE LOST OUR MARBLES Michael Leunig is an Australian cartoonist, writer, painter, philosopher and poet.
    [Show full text]