10works in focus Paintings from the Collection VOLUME 1

10 WORKS IN FOCUS: PAINTINGS FROM THE COLLECTION / VOLUME 1 1 This is the first in a series of 10 Works in Focus publications accompanying the State Library of NSW’s Paintings from the Collection permanent exhibition.

The State Library’s exhibitions onsite, online and on tour aim to connect audiences across NSW and beyond to our collections and the stories they tell. www.sl.nsw.gov.au/galleries

Members of Aboriginal and Torres Strait Islander communities are respectfully advised that this exhibition and related materials contain the names and images of people who have passed away. 10works in focus Paintings from the Collection VOLUME 1 Contents

5 Foreword

7 About the exhibition

8 A degree of neatness & regularity

10 An unknown warrior

12 We have survived

16 A new beautiful world

18 After life

20 Te Hapuku, Māori chief

22 A hint of eccentricity

24 A moment in time

26 Americans on campus

28 Letters to Beryl

30 List of works

A free exhibition at the State Library of NSW from 6 October 2018.

Macquarie Street Sydney NSW 2000 Telephone +61 2 9273 1414 www.sl.nsw.gov.au @statelibrarynsw

Curators: Louise Anemaat, Elise Edmonds, Richard Neville, Margot Riley Creative producers: Mary-Elizabeth Andrews, Karen Hall Creative producer, multimedia: Sabrina Organo Exhibition designer: Elin Thomas Graphic designer: Simon Leong Editor: Cathy Hammer Senior conservator: Felicity Corkill Unless otherwise stated all photographic work is by Digitisation & Imaging, State Library of NSW

ISBN 978-1-925831-04-7 (print) ISBN 978-1-925831-05-4 (pdf)

E&D-5053-10/2018 Print run: 10,000 Printed by Lindsay Yates Group on Ball & Doggett Maine Gloss 350 gsm and 150 gsm

© State Library of NSW 2018

4 10 WORKS IN FOCUS: PAINTINGS FROM THE COLLECTION / VOLUME 1 Foreword

A painting is like a poem, as the old This exhibition has been made saying goes. possible through the extraordinary collaboration of staff across the The State Library holds one of Library, from Research and Discovery the nation’s richest collections of to Exhibitions and Design, Collection . Together, these works Care, Digitisation and Imaging, Digital have a great deal to tell us about Channels, Learning Services and the who we are and where we are from. Mitchell and Dixson Librarians. The They have significant documentary support of the Library Foundation and value but their interest to us goes the generosity of individual donors well beyond this. Many of them has also been integral to bringing our have not been seen in public before. remarkable collection and the poetry Like poetry, they will mean different of our history to a wider audience. things to different people. Dr John Vallance With its new permanent exhibition, State Librarian Paintings from the Collection, the Library presents more than three hundred of the one thousand two hundred paintings in its collection. Two main genres predominate. Landscape studies, directly influenced by European models, which reflect the developing tastes and training of painters and their patrons as they gradually adjust to a new world. And portraits, initially of colonial officials, moving on to members of prominent families, aspirational emancipated convicts and finally literary and society figures.

Over the course of the exhibition, the series 10 Works in Focus will highlight selected pictures, drawing on external subject specialists and Library expertise to provide a greater understanding of the works on display and the stories they tell.

10 WORKS IN FOCUS: PAINTINGS FROM THE COLLECTION / VOLUME 1 5 6 10 WORKS IN FOCUS: PAINTINGS FROM THE COLLECTION / VOLUME 1 About the exhibition

The artworks in Paintings from the Room 3 works are predominantly Collection have been grouped together portraits, with the western wall to highlight their thematic, geographic featuring personalities from art, and temporal relationships. Beginning literature and politics. Family groups, in Room 1, we see works showing the related works and a handful of animal development of Sydney, from 1790s portraits make up the remaining walls. to a view of the newly constructed Barangaroo Reserve, Each of these paintings offers opened in 2015. a glimpse into the artist’s world — how they saw it, or how they were The eastern wall focuses on images of commissioned to portray it. They are Sydney Harbour and the keen observer a window into the past, but they also will spot two works looking across prompt us to ask what, and who, is Darling Harbour made more than not visible. These paintings are not 130 years apart. People populate impartial records. They often depict many of these views — bathers at an idealised view, favour particular a harbourside swimming enclosure, subjects and marginalise others. picnickers at Mrs Macquarie’s Chair, workers at the Atlas locomotive works, This is true both of individual works and local identity , who gave and collections as a whole. In many his name to Blues Point. cases, what has and hasn’t been preserved reveals as much about Room 2 takes us from Sydney to the past as the works themselves. regional , Australia Together these paintings provide and beyond. The southern wall is a sense of the way many Australians arranged by region, beginning with saw themselves, but they do the NSW South Coast and moving not reflect the experiences of all through the Hunter Region, Port Australians. They are a powerful Macquarie, Central West, Mid North reminder of how collections both and North Coast. Mostly featuring reflect and inform our understanding landscapes and streetscapes, these of history and ourselves. are interspersed with portraits of people who have regional affiliations.

The remaining walls are arranged in clusters, including a group illustrating the history of the Library, early governors and officials, a series of paintings from the goldfields; and works related to other states, the Pacific and New Zealand.

10 WORKS IN FOCUS: PAINTINGS FROM THE COLLECTION / VOLUME 1 7 A degree of neatness & regularity

In 1801 missionary John Youl wrote to Sydney — Capital New South Wales London to report of Sydney that ‘no was painted around 1800, most likely other spot on the face of the habitable in England from drawings made globe contains more witnesses of the locally. Standing on the west side of awful depravity of human nature. Sin, Sydney Cove, looking towards the like a mighty torrent, overspreads the Heads, the neat and orderly town, lit land.’ Early images of Sydney were by an optimistic sunrise, demonstrates very much aimed at challenging this the success of the colony — its solid powerful and persistent message. buildings and carefully laid out As Judge Advocate David Collins gardens refute the idea that it was noted in 1798, ‘From the disposition to a cesspit of depravity. crimes and the incorrigible characters of the major part of the colonists … On the right of the painting, on what is the word “Botany Bay” became a term now Bridge Street, are the homes and of reproach that was indiscriminately offices of Government administrators, cast on every one who resided in New which terminates with the two-storeyed South Wales’. Government House (now the site of the Museum of Sydney). By 1800 it was But others were less cynical — clear that the colony was not going gardener Peter Good noted in 1802 to fail despite the early famines. This that Sydney ‘has a fine appearance. painting is both an explicit statement It is seated at the end of a Snug Cove of its success and an implicit record of ... each house has a considerable space the dispossession of Aboriginal people, of Garden ground so that the Town who though in reality a very visible spreads over a great space … there presence in Sydney at the time, are is a degree of neatness & regularity.’ entirely absent from this painting.

Richard Neville Sydney — Capital New South Wales, c 1800 Mitchell Librarian and Director, by unknown artist oil on canvas Education & Scholarship, presented by Sir William Dixson, 1929 DG 56 | Refer to wall number 60 on p 31 State Library of NSW

8 10 WORKS IN FOCUS: PAINTINGS FROM THE COLLECTION / VOLUME 1 10 WORKS IN FOCUS: PAINTINGS FROM THE COLLECTION / VOLUME 1 9 An unknown warrior

This mysterious portrait of an would have seen these as benevolent unknown, handsome young Aboriginal gestures, today we would recognise man is believed to have belonged the role of such institutions in the to Governor . removal of Aboriginal children from The painting is by an unknown artist, their communities. created during the time Macquarie was Governor of NSW, sometime The repatriation of three human skulls between 1810 and 1821. The painting from the University of Edinburgh in was described as ‘One of the NSW 1991 reveals a more macabre side to Aborigines befriended by Governor the colonial government’s relations Macquarie’. with the Indigenous people of NSW. Originally held in the collections of Speculation about the possible the Edinburgh Phrenological Society, identity of the subject reveals one of the skulls has been identified the complex, often contradictory, as the Aboriginal man Cannabayagal relationships Macquarie formed with who was hanged after the raid of an local Aboriginal people. Macquarie Aboriginal camp at Appin in south- was closely associated with Bungaree, western Sydney in 1816. A second the Eora man who had accompanied skull is probably another Aboriginal Matthew Flinders on his 1801–03 man named Durelle, who was circumnavigation and mapping of the hanged alongside Cannabayagal. Australian continent. Bungaree was The remaining skull is that of an later given an inscribed breastplate unknown Aboriginal woman. by Macquarie, and allotted land at George’s Head on Sydney’s north The Appin massacre had occurred shore, in 1815. This portrait is unlikely on the morning of 17 April 1816 when to be of Bungaree, who would have at least 14 Aboriginal men, women been much older when acquainted and children were killed by soldiers with Macquarie. under the command of Captain James Wallis. A witness recalled Another, perhaps well-intentioned but that 30 shillings and a gallon of rum ultimately problematic act, was the was paid for each of the three heads opening of the Native Institution for brought to Sydney. The military children in in 1814. Around reprisals had been ordered by the same time, Macquarie initiated Governor Lachlan Macquarie. the annual distribution of blankets and food to local Aboriginal people. Ronald Briggs These annual feast days at Parramatta Curator/Indigenous Services Librarian, were used to entice enrolment at State Library of NSW the Institution, which was eventually closed in 1820 then reopened at Blacktown. Though contemporaries

One of the NSW Aborigines befriended by Governor Macquarie, c 1810–21 by unknown artist oil on wood panel acquired c 1914 ML 696 | Refer to wall number 129 on p 33

10 10 WORKS IN FOCUS: PAINTINGS FROM THE COLLECTION / VOLUME 1 10 WORKS IN FOCUS: PAINTINGS FROM THE COLLECTION / VOLUME 1 11 We have survived

Joseph Lycett has captured a critical is dying, and being replaced point in time for Awabakal. Look at the by the intruders’ corruptions? buildings in the background starting to dominate the landscape that was Lycett has captured a window in time once the domain of only my people. which shows a society that has existed They are now competing with the for thousands of years now fighting to invaders for the right to survive. Their continue the ways of the ancestors. traditional lands are being seized. I look at this work as a descendant; Their food sources and the resources but I also turn to the future and look they relied on to survive are being as an ancestor who wants to leave a decimated by these invaders from an legacy for those to come, just as I have alien land. Hunger and disease have been left that same legacy by those ravaged their population, but they depicted. still carry on traditions that have for millennia successfully formed and We are still here, we have survived. nurtured Awabakal society. Shane Frost Lycett shows us many ceremonies Awabakal descendant taking place here which are a collage of traditional practices brought together for this one work. Gaining the trust of my people, being privileged to witness these sights, he gives us the benefit of looking back through this window of time, also allowing us the honour of becoming part of everything taking place.

See the two large trees in the foreground, one alive, one dead. A tooth evulsion (initiation ceremony) is taking place under the dead tree, a tradition that was under threat at that time because of the white fella’s intrusion. Under the living tree, if you look closely, you will see that the group of men gathered around the fire are sharing a clay pipe (man seated passing it to the man standing) while around them continue the old ways. Is Lycett trying to convey the notion that a once alive and vibrant society

Corroboree at Newcastle (detail), c 1818 by oil on wood panel presented by Sir William Dixson, 1938 DG 228 | Refer to wall number 121 on p 33

12 10 WORKS IN FOCUS: PAINTINGS FROM THE COLLECTION / VOLUME 1 10 WORKS IN FOCUS: PAINTINGS FROM THE COLLECTION / VOLUME 1 13 Corroboree at Newcastle, c 1818 by Joseph Lycett oil on wood panel presented by Sir William Dixson, 1938 DG 228 | Refer to wall number 121 on p 33

14 10 WORKS IN FOCUS: PAINTINGS FROM THE COLLECTION / VOLUME 1 10 WORKS IN FOCUS: PAINTINGS FROM THE COLLECTION / VOLUME 1 15 A new beautiful world

Professionally successful and 63 years of age, in 1830 the English picturesque landscape painter John Glover (1767– 1849) made a most unlikely move, migrating to Van Diemen’s Land, some 17,000 kilometres away. Explaining the decision to his patron Sir Thomas Phillipps just prior to his departure, Glover wrote ‘… the expectation of finding a new Beautiful World — new landscapes, new trees new flowers than a dozen vessels riding at anchor new Animals Birds &c &c is delightful in Sullivan’s Cove. Ever the country to me …’ As this painting clearly boy, Glover was as interested in demonstrates, his expectations growing as in building; the painting is were not disappointed. inscribed: ‘The Geraniums, Roses, etc. will give some idea how magnificent Before they settled on a grant of land the garden may be had here’. in the colony’s mid-north, Glover, his wife Sarah and his eldest son Hobart Town, taken from the garden John Richardson Glover lived for where I lived is a key work of the nine months at Stanwell Hall, Hobart artist’s early Australian oeuvre. Town, an eight-room Georgian stone Probably conceived as a companion residence owned by wool-buyer Henry piece to Mt Wellington and Hobart Hopkins. (The building still survives — Town from Kangaroo Point, 1834 in Melville Street, West Hobart.) Based (Tasmanian Museum & Art Gallery on a sketchbook drawing made on the and National Gallery of Australia), spot in the spring of 1831, the painting a view from the other side of the River was completed at the artist’s country Derwent, in its celebratory, flourishing, estate, Patterdale, the following year. proprietorial mood it also prefigures Glover’s later and equally celebrated It presents the view south-east across rural version: A view of the artist’s the Derwent estuary, in a panoramic house and garden, Mills Plains, 1834–35 sweep from the Meehan Range in the (Art Gallery of South Australia). north to Mt Nelson in the south. In between these geological parentheses Dr David Hansen and the constructed landmarks of two Associate Professor, Centre for barracks buildings — for convicts on Art History and Art Theory, the left and soldiers on the right — we Australian National University see clear signs of the township’s rapid development: dockside warehouses, military-grid roadways, Government House, St David’s church, and more

Hobart Town, taken from the garden where I lived, 1832 by John Glover oil on canvas presented by Sir William Dixson, 1938 DG 6 | Refer to wall number 183 on pp 34–5

16 10 WORKS IN FOCUS: PAINTINGS FROM THE COLLECTION / VOLUME 1 10 WORKS IN FOCUS: PAINTINGS FROM THE COLLECTION / VOLUME 1 17 After life

Looking at the portrait of this young underdrawing. (The portrait had woman, so full of life, you would been in extremely poor condition never think it was painted after her when it was acquired from Sophia’s death. But we know the sitter, posed great-grandson.) so serenely in this picture, had died six months before it was exhibited The Library also holds Felton’s Victoria at the artist’s Sydney studio in late 1st (August, 1841), based on Charles September 1841. Wainwright’s engraving (1839) of Thomas Sully’s life study of the young Imagine if a beloved spouse were monarch (June 1838). Known to have suddenly to die — what would you inspected Sully’s work in London, do to secure a lasting visual memorial there are striking compositional in the days before photography? similarities between these two Felton Whether this portrait was portraits and both were hung in the commissioned early as a life study; artist’s 1841 exhibition. Almost an exact or posthumously, following the swiftly contemporary of Sophia, could this unravelling chain of events that led widely-circulated royal image have to the loss of her young life, cannot provided Felton with the perfect body be known with any certainty. What is double for his memorial commission? known is that Maurice Felton’s portrait Assuming the same half-turned of 21-year-old Sophia Statham O’Brien smiling stance, as if her name has just was reported to have been painted been called, Sophia is preserved for from a ‘cast taken after her death’ and all eternity as queen of her earthly an ‘engraving said to resemble her’.* colonial domain.

Naval surgeon-turned-artist, Maurice Margot Riley Felton (1803–42) may also have Curator, State Library of NSW officiated at his subject’s demise, in his capacity as a doctor registered to practice in the colony. Sophia died on a Sunday in February, at her home in Brisbane Water. Felton needed to travel several hours from Sydney by steamer to be on hand within the first 24 hours after Sophia’s death to make a plaster cast of her face before rigor mortis contorted her features. During recent conservation work, infra-red photography of the canvas revealed the ‘mask-like’ quality of the artist’s

Mrs F O’Brien, 1841 by Maurice Felton oil on canvas acquired 1975 *‘The Fine Arts’, The Sydney Herald, 23 September 1841, DG 427 | Refer to wall number 292 on p 38 page 2, viewed 07 May 2018.

18 10 WORKS IN FOCUS: PAINTINGS FROM THE COLLECTION / VOLUME 1 10 WORKS IN FOCUS: PAINTINGS FROM THE COLLECTION / VOLUME 1 19 Te Hapuku, Māori chief

Émigré artist Gottfried Lindauer would have been in 1877 when the (1839–1926) is widely recognised work was produced. Born in the late for more than 70 Māori portraits 1700s and having survived fierce painted in New Zealand during the intertribal warfare during his youth, late-nineteenth and early-twentieth Te Hapuku came to hold significant centuries. Although in many ways influence in Hawke’s Bay. In 1840 romanticised European constructs, he was one of the signatories to the these remarkable images are valued Treaty of Waitangi, the agreement by Māori today as taonga — treasured entered into by Māori and the Crown memorials to ancestors and kin. that is regarded as the founding document of New Zealand. Lindauer was born in Pilsen, Bohemia in 1839 and trained at the Academy Te Hapuku’s imposing appearance of Fine Arts in Vienna. He later suggests an autocratic temperament. established a portrait studio in Pilsen His full-facial moko or tattoo signifies before migrating to New Zealand in his high-ranking status and symbolises 1874 to avoid compulsory military his genealogy and achievements; also service. The following year in Auckland inspiring fear and admiration. He wears he encountered businessman Henry a prized kiwi-feather cloak and huia Partridge who, like many European feathers in his hair, which underscore settlers, erroneously believed that his standing. The mere pounamu — Māori were a dying race. Partridge greenstone club — in his right hand commissioned Lindauer to record their was a revered weapon, often passed lifestyle and customs for posterity down from one generation to the next. and extended his patronage over 30 Though Lindauer has idealised his years. The artist’s reputation reached subject in line with the conventions its height after the opening of the of formal European portraiture, he Lindauer Art Gallery in Auckland in bestows upon Te Hapuku the dignity 1901, where the detailed naturalism of befitting his eminence among his his representations of Māori attracted people. popular acclaim. Kendrah Morgan The majority of Lindauer’s Senior Curator, Heide Museum commissioned portrait subjects were of Modern Art distinguished figures. This painting depicts Te Hapuku, a leader of the Ngāti Te Whatuiāpiti hapu, a clan from the Hawke’s Bay region. Lindauer regularly created his portraits by projecting pre-existing photographs onto the canvas, which explains why the chief appears younger than he

Mr Hapuku, 1877 by Gottfried Lindauer oil on canvas acquired c 1960 DG 302 | Refer to wall number 146 on p 34

20 10 WORKS IN FOCUS: PAINTINGS FROM THE COLLECTION / VOLUME 1 10 WORKS IN FOCUS: PAINTINGS FROM THE COLLECTION / VOLUME 1 21 A hint of eccentricity

One of Australia’s most influential Portraiture was Lambert’s principle artists, George Washington Lambert source of income, yet A Man with a (1873–1930) was versatile, talented Rabbit seems unlikely to have been a and prolific. His subjects ranged from commissioned work. In her account of striking Edwardian portraiture to iconic his career, Thirty Years of an Artist’s images of the Australian landscape, Life (1938), Lambert’s wife, Amy, from paintings of major battles during recorded that he refused to sell the World War I to large sculptural works portrait to the sitter. Lambert kept the created during the later years of portrait until the end of his life. his life. A Man with a Rabbit is one of several Born in St Petersburg, Russia, Lambert works acquired by the State Library migrated with his widowed mother from Lambert’s estate in 1931. and sisters to Sydney in 1887, where he attended Julian Ashton’s art classes. Louise Anemaat Following the award of the first New Executive Director, Library & South Wales Travelling Fellowship to Information Services and Dixson Europe in 1900, he spent most of the Librarian, State Library of NSW next 20 years based in London. He considered himself to be an Australian artist and finally returned in 1921.

A Man with a Rabbit is a beautifully rendered, somewhat playful portrait that is at once classically posed and relaxed — it suggests social credibility yet hints at eccentricity.

An inscription on the reverse of the canvas, dated March 1932, notes that Lambert had ‘painted a portrait group of Baroness de Neufville and two children and the “Man with the rabbit” is a portrait sketch of the Baron de Neufville’.

Painted in de Neufville’s London home, Houlgate, the painting was exhibited in the Modern Society of Portrait Painters annual exhibition in London in 1910 titled ‘Le Baron de Neufville’.

A Man with a Rabbit, 1910 by George Washington Lambert oil on canvas acquired 1931 ML 357 | Refer to wall number 246 on p 36

22 10 WORKS IN FOCUS: PAINTINGS FROM THE COLLECTION / VOLUME 1 10 WORKS IN FOCUS: PAINTINGS FROM THE COLLECTION / VOLUME 1 23 A moment in time

Wartime Sydney, 1942, 8.20 am on the GPO’s George Street clock. Barrack Street is shrouded in morning shadow, heightening the containing form of this narrow roadway.

Roland Wakelin (1887–1971) constructed his work from colour rather than detail, from time spent as a student of Antonio Dattilo Rubbo through a European sojourn during the early 1920s. From the 1930s he deepened the tone of his colours and dimmed Sydney’s bright light. In most of his many city paintings the artist’s view is from a distance, adding a contemplative air.

In contrast, the viewpoint of Wakelin’s Barrack Street is more intimate — its focus the main city thoroughfare of George Street. There is activity on the street despite the early hour. In the foreground a young city worker purchases a newspaper from a street seller; another city girl hurries towards a George Street tram. World War II looms over the scene via an Air Force him the target of abuse and rejection recruiting billboard on the GPO while by Sydney’s art establishment during a crane is dismantling the clock tower. the 1920s and 1930s. In 1942 his steely Still one of the tallest structures in resolve and years of quiet work were Sydney, the GPO tower was taken finally being rewarded in sales and down during 1942 to deny Japanese recognition, and Wakelin was granted pilots a landmark and to prevent its a retrospective exhibition at the collapse during feared air raids. Darwin Art Gallery of NSW. had been bombed in February 1942, The Pacific War brought upheaval and and Japanese submarines had entered fear to Sydney but it also gave new Sydney Harbour at the end of May, the opportunities and experiences to many latter causing more panic than damage. Sydneysiders like the young women Wakelin’s unapologetic modernism, in Barrack Street. Roland Wakelin’s together with a preference for Barrack Street details a moment contemporary urban scenes, made of this heady time. Dr Caroline Butler-Bowdon Barrack Street, Sydney, 1942 Director, Strategy and Engagement, by Roland Wakelin Sydney Living Museums oil on canvas on board acquired 2016 reproduced courtesy of the Estate of Roland Wakelin ML 1486 | Refer to wall number 62 on p 31

24 10 WORKS IN FOCUS: PAINTINGS FROM THE COLLECTION / VOLUME 1 10 WORKS IN FOCUS: PAINTINGS FROM THE COLLECTION / VOLUME 1 25 Americans on campus

Appointed lecturer in the art department at Sydney Teachers’ College in 1941, Isabel MacKenzie recalled that the cosy family atmosphere of the college changed dramatically once the Japanese had entered the war in December 1941.

Sydney Teacher’s College was co-located on the grounds of Sydney University where American Military Police units were billeted; their tents lined up in neat rows on the oval. In her memoirs, MacKenzie described the impact of the Americans on campus: the arrival of the ‘black tartar’ tents and the young girls with ‘luxuriant hair-dos’ who gathered at the oval’s American MPs were charged with edge to see them, standing so close maintaining peace between American to the fence that they practically servicemen and the Australian ‘ate iron’.* population, in addition to guarding The first contingent of American supplies in trains and at docks. Yet GIs had arrived in Brisbane on drunken riots and criminal offences 22 December 1941. While most of inevitably occurred. In Sydney 1943, the American forces were based in major brawls broke out at Bondi, Hyde northern cities, Sydney became a Park (where 200 onlookers witnessed main centre for leave. By early 1942, the fighting), and at Circular Quay. Sydney was on a war footing and It was hard to determine whether the tertiary institutions were not exempt. MPs kept order, or contributed to the MacKenzie’s male students and problem. Unlike local police, the US colleagues began to enlist or were MPs carried guns; which Australians called up. The remaining students viewed with suspicion. These armed dug air raid shelters on the college MPs, with their six-shooters hanging tennis courts and lecturers made tea in holsters were deemed ‘gun-happy’ and meals for them. Staff learnt fire- and out of place in Australian cities. fighting techniques, first aid and took Several accidental and sometimes turns guarding the college buildings deadly shootings were reported at night. The college basement in the Australian press. became the headquarters of the Civil Defence Force. Elise Edmonds Senior Curator, State Library of NSW

United States Military Police encamped at Sydney University, 1944 by Isabel MacKenzie oil on canvas on board presented by Isabel MacKenzie, 1971 reproduced courtesy of the estate of Isabel MacKenzie ML 686 | Refer to wall number 52 on pp 30–1 *Isabel Walker MacKenzie papers, 1923–1972, MLMSS 2996

26 10 WORKS IN FOCUS: PAINTINGS FROM THE COLLECTION / VOLUME 1 10 WORKS IN FOCUS: PAINTINGS FROM THE COLLECTION / VOLUME 1 27 Letters to Beryl

In late 1997, the State Library of NSW discoveries in Australia, Europe, wrote to Beryl Whiteley with some New York and elsewhere, through to welcome news. The Library had just the success and struggles of his later purchased a ‘charming’ portrait of years. All the letters are fascinating — her by her son, Brett Whiteley. It was they formed an important part of my a nostalgic painting, and if it looked Whiteley biography* — but it’s hard to a bit stiff, then maybe that was just go past Brett’s letter to Beryl, in late a case of youthful inexperience. Beryl 1960, as he looked forward to moving was delighted: ‘What a lovely surprise!’ to London: ‘Something selfish of me again’, he wrote, ‘but gee work is the Her son Brett had died five years whole of my want’. earlier. At the time of his death, aged 53, he was a household name. And Ashleigh Wilson here, after all this time, was a painting Brett Whiteley biographer he had done of his mother, a vibrant and Arts Editor, The Australian personality known as ‘Ning’, a source of both affection and exasperation throughout his life.

Hang on, though — something isn’t right. It might look like Beryl, but that doesn’t mean Brett was the artist. If it was done in the 1940s, as the styling suggests, then Brett would have been barely ten. If it was done a decade later, then we can discount Brett, since the early stirrings of his talent are well documented. Should we consider an illustrator at the Northwood sketch club he often frequented? William Edwin (Wep) Pidgeon, perhaps, or Jack Santry?

Either way, it would be a stretch to attribute this picture to Brett Whiteley, which is why the Library no longer does so. Its presence, though, reminds us of the invaluable family archive that Beryl made available to the Library. The remarkable series of letters reveal in rich, intimate detail her son’s evolution as an artist and a man, from his early

Beryl Whiteley, c 1940s by unknown artist oil on canvas on board presented by the State Library of NSW Foundation in association with Mocopan and Seppelt’s Wines, 1997 *Brett Whiteley: Art, Life and the Other Thing ML 1170 | Refer to wall number 232 on p 36 by Ashleigh Wilson, Text Publishing, , 2016.

28 10 WORKS IN FOCUS: PAINTINGS FROM THE COLLECTION / VOLUME 1 10 WORKS IN FOCUS: PAINTINGS FROM THE COLLECTION / VOLUME 1 29 List of works All works are oil on canvas unless otherwise specified

WEST WALL

WEST WALL NORTH WALL WEST WALL NORTH WALL

ROOM 1 ROOM 2 ROOM 3 SOUTH WALL SOUTH WALL

EAST WALL NORTH WALL EAST WALL

SOUTH WALL N

EAST WALL The 10 Works in Focus are shown in yellow

ROOM 1 – WEST WALL

6 14 41 52 1 27 28 18 24 32 35 45 48 7 56 11 53 2 3 19 20 42 15 36 37 8 25 29 57 21 22 33 46 49 4 54 38 39 43 9 16 58 12 13 23 5 26 30 31 34 40 10 17 44 47 50 51 55

1 New Government House, 6 South Head [The Gap], 12 Picnic at Mrs Macquarie’s 18 View of Miller’s Point and 1841 c 1855 Chair, c 1855 Darling Harbour, c 1870 by Conrad Martens by unknown artist, by unknown artist by unknown artist presented by Sir William after FC Terry presented by Sir William oil on board Dixson, 1929 oil on canvas on board Dixson, 1935 acquired 1965 DG 55 unknown provenance DG 265 DG 392 ML 623 2 View of old Government 13 City and Harbour of Sydney 19 Garden Island from the House, Sydney, NSW as it 7 Sydney Cove, c 1855 New South Wales from Domain, June 24th, 1841 appeared when vacated by by unknown artist, above Vaucluse, c 1855 by Maurice Felton Sir in 1845, after FC Terry by George Edwards Peacock oil on tin 1845 oil on canvas on board acquired 1943 presented by Mrs Edward by George Edwards Peacock unknown provenance ML 155 Bundock, 1945 oil on board ML 624 ML 640 14 Government House, 1854 acquired 1937 8 Sydney Heads, c 1850 by Joseph Fowles 20 Government House Sydney ML 658 by unknown artist oil on board NSW from the statue of 3 View of Lyons Terrace, Hyde presented by Mrs F Pearson, acquired 1939 Sir , c 1845 Park, Sydney, NSW, 1849 1951 ML 434 by George Edwards Peacock by George Edwards Peacock ML 257 oil on board 15 Old Domain Baths, 1881 oil on commercial artists acquired 1979 9 Sydney Cove, after 1845 by ‘E F B’ board ML 657 by Mrs Heriot Anley acquired 1966 presented by Sir William presented by Colonel Barnett DG 388 21 Old St Phillip’s, Church Hill, Dixson, 1949 N Anley, 1935 undated DG 218 16 A family group with canoe, ML 374 by unknown artist possibly near Clovelly, 1886 4 Old Government House, 1841 oil on board 10 View of the town of by William Pitt Wilshire by Conrad Martens unknown provenance Parramatta from May’s Hill, oil on board presented by Sir William ML 456 c 1840 presented by Mrs John Dixson, 1929 attributed to George Bibb, 1919 22 View in Woolloomooloo Bay DG 65 Edwards Peacock ML 569 ... taken from lower Domain 5 Woolloomooloo Bay, c 1875 oil on board Road, 1849 17 Emu Hall, Penrith, 1866 by unknown artist acquired 2001 by George Edwards Peacock by Joseph Fowles acquired 1982 ML 1226 oil on board acquired 1990 DG 469 presented by Sir William 11 A day’s picnic on Clark ML 1009 Dixson, 1949 Island, 1870 DG 219 by Montagu Scott presented by Miss EA Hill, 1930 ML 3

30 10 WORKS IN FOCUS: PAINTINGS FROM THE COLLECTION / VOLUME 1 23 Sydney from St Leonards, 32 Millers Point from Balmain, 41 Argyle Street looking 50 Bank of New South Wales 1841 c 1840 towards the Observatory Sydney [George Street by Conrad Martens, by unknown artist Hill, c 1902 Sydney], c 1855 presented by Sir William acquired 1984 by Julian Rossi Ashton by unknown artist Dixson 1929 ML 919 oil on wood acquired 1997 DG 62 acquired 1933 ML 1168 33 View from the window, 1842 ML 861 24 Woolloomooloo Bay and by Conrad Martens 51 Garden Island, 1924 Grantham, c 1855 presented by Sir William 42 Old St Mary’s Cathedral, by Douglas Dundas possibly by Henry Robinson Dixson, 1929 undated presented by Mrs H Gallop, Smith DG 41 by Norman Carter 1973 presented 1970 presented by Norman Carter, ML 737 34 George Street, Sydney, 1883 ML 805 1962 by Alfred Tischbauer 52 United States Military ML 175 25 Explorers on river bank, presented by Sir William Police encamped at c 1920s Dixson, 1935–36 43 The Sailors Return Hotel, Sydney University, 1944 by John Samuel Watkins DG 210 c 1902 by Isabel MacKenzie acquired 2016 by Sydney Long oil on canvas on board 35 Marshalling Yards, ML 1485 transferred from the presented by Isabel White Bay, 1952 Art Gallery of NSW, 1920 MacKenzie, 1971 26 The Founding of Australia. by George Lawrence ML 853 ML 686 By Capt RN oil on card on composition Sydney Cove, Jan 26th 1788, board 44 5 pm aboard South Steyne, 53 Argyle Street and Cut, 1937 acquired 2012 1938–74 c 1902 by Algernon Talmage RA ML 1281 by JS Cornelius by Sydney Long presented by Mr Robert O acquired 1978 transferred from the 36 Burdekin House, Macquarie Albert AM, 2000 DG 435 Art Gallery of NSW, 1920 Street, Sydney, undated ML 1222 ML 854 by Portia Geach 45 The Sussex and the Vicar, 27 Vineyard, Castle Hill, 1927 presented by Miss FK Geach, 1965 54 Ferry Lane, c 1902 by Robert Johnson 1961 by Colin Sykes by Sydney Long oil on board ML 444 acquired 1991 transferred from the acquired 2016 ML 1035 Art Gallery of NSW, 1920 37 Design for a fresco for ML 1487 ML 855 the children’s chapel in 46 Clyde Street, c 1901 28 Howells’ Mill Parramatta, St James’ Church, 1929 by Sydney Long 55 Palm Beach, 1945 1849 by Ethel Anderson transferred from the by Adrian Feint by George Wickham acquired 1989 Art Gallery of NSW, 1920 oil on canvas on board acquired 1992 ML 1078 ML 318 acquired 2011 ML 1050 ML 1260 38 Anthony Hordern’s fire, 47 In Cumberland Street, c 1902 29 A direct north general view c 1901 by Alice Muskett 56 Macquarie Street, Sydney of Sydney Cove…, 1794 by Cecelia Maclellan acquired 1920 c 1916–35 by unknown artist presented by the Misses ML 1040 by Frances Payne presented by Sir William Maclellan, 1954 oil on board 48 Barangaroo Headland Park Dixson, 1929 ML 348 acquired 2016 from the Stamford on Kent, DG 60 ML 1504 39 Old Houses in Wentworth 2015 30 Stephen Butts on a white Street, c 1901 by Jane Bennett 57 Oxford Street interior, 1942 horse, Macquarie Street, by Howard Ashton acquired 2015 by Herbert Badham Sydney, c 1850 Transferred from the ML 1457 oil on board by Joseph Fowles Art Gallery of NSW, acquired 1991 49 Fairy Bower, Manly, 1956 presented by Sir William date unknown ML 1019 by Alan Grieve Dixson, 1938 ML 1435 oil on masonite 58 War Memorial, c 1934 DG 250 40 The Atlas Works Sydney — acquired 1984 by Herbert Reginald Gallop 31 Pitt Street, Sydney, making the first locomotive DG 463 presented by Mrs H Gallop, c 1864–80 engine, 1881 1973 by unknown artist by Arthur Collingridge ML 735 acquired 1960 presented 1920 DG 347 ML 584

ROOM 1 – NORTH WALL

63 66 59 61

64 60 62

65

59 Sydney Cove, c 1800 61 Wynyard Park during 63 Demolition 76 Pitt Street, 65 View of Sydney Harbour by unknown artist Wynyard Station 1927 Bridge under construction, acquired 1923 excavations, 1927 by Norman Carter c 1930 ML 443 by AE Macdonald presented by Norman Carter, by MK Smyth acquired 1951 1962 presented by Mrs MK Burnell, 60 Sydney — Capital New ML 938 ML 209 1961 South Wales, c 1800 ML 302 by unknown artist 62 Barrack Street, Sydney, 1942 64 Picnic at The Rocks, 1952 presented by Sir William by Roland Wakelin by Roland Wakelin 66 Wynyard Park & the Dixson, 1929 acquired 2016 acquired 1997 Old Scots Church DG 56 ML 1486 ML 1169 during Wynyard Station excavations, 1927 by AE Macdonald acquired 1951 ML 936

10 WORKS IN FOCUS: PAINTINGS FROM THE COLLECTION / VOLUME 1 31 ROOM 1 – EAST WALL

67 90 95 101 71 76 81 84 96 77 91 68 72 102 82 85 97 73 78 92 98 103 69 74 79 86 87 88 93 83 99 75 80 104 70 89 94 100

67 Sydney Harbour near 78 Morning at the Heads 88 Government House and 97 View of the Heads of Watson’s Bay, 1851 of Port Jackson, or the Fort Macquarie Sydney NSW Port Jackson NSW looking by George Edwards Peacock Pilot’s Look-out, 1850 from the Botanical Gardens, north from a hill above presented by Sir William by George Edwards Peacock 1846 Vaucluse Bay, 1846 Dixson, 1932 oil on board by George Edwards Peacock by George Edwards Peacock DG 205 presented by Sir William oil on board oil on board Dixson, 1932 presented by Sir William bequeathed by Sir William 68 Billy Blue, 1834 DG 204 Dixson, 1929 Dixson, 1952 by John B East DG 336 DL 12 oil on board 79 Fig Tree Bridge, Lane Cove, possibly presented 1933 before 1954 89 Looking west from the roof, 98 Residence of the Hon ED ML 560 by Herbert Reginald Gallop 204 Clarence Street, 1986 Thomson, Sydney, NSW, oil on canvas on plywood by Jeff Rigby 1845 69 Vaucluse from the hill, 1841 bequeathed by Dr RJ Pope, acrylic on canvas by George Edwards Peacock by Conrad Martens 1954 acquired 1990 oil on commercial artists presented by Sir William ML 733 ML 1015 board Dixson, 1929 acquired 1963 DG 159 80 Fort Denison, 1923 90 Sydney Harbour, 1888 DG 355 by George F Harris by Charles Edward Conder 70 Government House, Sydney acquired 1972 unknown provenance 99 Supreme Court House, c 1860 DG 407 DG 428 Sydney, NSW, 1845 by unknown artist by George Edwards Peacock oil on board 81 View in Sydney Harbour, 91 Government House, c 1850 oil on board presented by Dr AH Marks, c 1880 by George Edwards Peacock acquired 1931 1932 by Margaret I Coulter oil on board ML 659 ML 998 presented by W Chambers, presented by Sir William 1957 Dixson, 1932 100 Port Jackson NSW. View 71 View from Craigend looking ML 391 DG 206 in Double Bay South Side over Government House Middle Head in the distance and Domain, 1845 82 Sydney Harbour looking 92 Dawes Point showing (near sunset), undated by George Edwards Peacock west, 1848 Sydney Harbour Bridge in by George Edwards Peacock acquired 1966 by Jacob Janssen the course of construction, oil on board DL 14 acquired 1932 c 1927 presented by Sir William ML 45 by Herbert Reginald Gallop 72 View north from Dixson, 1929 oil on canvas on plywood Craigend looking over 83 Boating scene in Sydney DG 37 presented by L Parker in Woolloomooloo and Harbour, before 1926 memory of Mrs Nan Keesing, 101 The Harbour, Neutral Bay, Port Jackson, 1845 by Alfred James Daplyn 1949 Sydney, c 1930–40s by George Edwards Peacock presented by Miss M Dowe, ML 437 by James Ranalph Jackson oil on board 1961 bequeathed by Helen Selle, bequeathed by Sir William ML 495 93 Sydney NSW from Garden 2012 Dixson, 1952 Island. Government House 84 Port Jackson from Dawes ML 1295 DL 15 to the left, 1846 Point, c 1842 by George Edwards Peacock 102 Milsons Point, c 1960s 73 Darling Point, 1886 by unknown artist, bequeathed by Sir William by James Ranalph Jackson by Gother Victor Fyers Mann after John Skinner Prout Dixson, 1952 oil on board presented by Sir William unknown provenance DL 7 from the estate of Sir Erik Dixson, c 1950 ML 625 Langker, c 1980s DG 246 94 Pyrmont, Barker’s Mills, 85 Sydney Harbour looking ML 967 Sydney 1859 74 Parsley Bay, c 1845 towards the Heads, 1848 by Christie 103 Sydney from Sandy [Rose] by George Edwards Peacock by Jacob Janssen presented by Mrs E Bay, 1840 oil on board acquired 1932 Ewington, 1934 by Conrad Martens presented by Sir William ML 46 ML 1426 bequeathed by Sir William Dixson, 1929 86 The Heads of Port Jackson Dixson, 1952 DG 34 95 Custom House and part NSW from off the North DL 23 of Circular Wharf, Sydney 75 Vaucluse, 1851 Head — a squall, 1846 NSW, 1845 104 The Swimming Enclosure, by George Edwards Peacock by George Edwards Peacock by George Edwards Peacock 1941 bequeathed by David Scott oil on board oil on board by Herbert Badham Mitchell, 1907 presented by Sir William presented by Sir William oil on board ML 236 Dixson, 1929 Dixson, 1929 bequeathed by Dr RJ Pope, DG 333 76 Mosman Bay, 1916 DG 38 1954 by John Campbell 87 Port Jackson NSW. The ML 573 96 Customs House and Circular acquired 1984 Floating Light — (Morning), Quay, Sydney NSW, 1845 DG 464 1846 by George Edwards Peacock by George Edwards Peacock 77 View of part of oil on board oil on board Woolloomooloo and presented by Sir William presented by Sir William Mr Barker’s house and mills Dixson, 1929 Dixson, 1929 with Bradleys Point, 1844 DG 35 DG 334 by George Edwards Peacock oil on board acquired 1965 DG 372

32 10 WORKS IN FOCUS: PAINTINGS FROM THE COLLECTION / VOLUME 1 ROOM 2 – SOUTH WALL

128 111 118 121 125 139 105 134 107 109 112 113 129 130 136 137 138 119 122 126 106 108 114 115 131 132 140 110 135 123 124 127 116 117 120 133

105 View of a coastline, possibly 114 Stanwell Park, c 1935 122 Neighbourhood Watch, 131 Girl on a bike, Cudal, near the Illawarra, c 1845 attributed to Douglas 2009 Orange, New South Wales, by unknown artist Dundas by Robyn Sweaney 1945 bequeathed by Sir William acquired 2011 acrylic on linen by Herbert Badham Dixson, 1952 ML 1259 acquired 2009 oil on pulpboard DL 6 ML 1431 acquired 2010 115 Stanwell Park, before 1958 ML 1445 106 Collection day, 2011 by Herbert Reginald Gallop 123 Ford on the Lower Hunter, by John Bokor presented by Mrs H Gallop, c 1840s 132 Maria Little, c 1895 oil on board 1973 by Joseph Docker by Tom Roberts acquired 2013 ML 736 presented by Mrs K Brown, presented by Sir William ML 1304 1968 Dixson, 1943 116 Stockyard, near Jamberoo, ML 643 DG 319 107 Gibraltar Rocks, 1886 Arthursleigh, 1839 by Charles Edward Conder 124 St Thomas’s Church, 133 View at Burrundulla, farm by Conrad Martens oil on board , 1832–42 of George Cox, Mudgee, bequeathed by David Scott presented by Sir William by Joseph Backler New South Wales, 1841 Mitchell, 1907 Dixson, 1951 presented by Miss Amy by Conrad Martens ML 107 DG 263 Warlters, 1917 presented by Sir William ML 273 Dixson, 1929 108 View of Arthursleigh, 1839 117 The South Australian Alps DG 83 by Conrad Martens as first seen by Messrs. 125 Port Macquarie, c 1840 bequeathed by David Scott Hovell and Hume on the by Joseph Backler 134 View of Tenterfield, 1861 Mitchell, 1907 8th November 1824, undated unknown provenance by Joseph Backler ML 105 by George Edwards Peacock ML 354 acquired 1996 presented by Mrs CF ML 1124 109 Sunset in New South Wales, 126 Mount King George from Roberts, 1921 1865 the Bathurst Road, 1848 135 Edward DS Ogilvie, 1894–95 ML 144 by Eugene von Guérard by Conrad Martens by Tom Roberts acquired from Mr Bell, 1953 118 Port Macquarie, NSW, c 1840 bequeathed by David Scott presented by Mrs Giselda ML 258 by Joseph Backler Mitchell, 1907 Carson, 1972 presented by Sir William ML 106 ML 687 110 Cabbage trees near Dixson, 1929 the Shoalhaven River, 127 Port Macquarie, c 1840 136 The squatter, Dr R B Kelley, DG 107 New South Wales, 1860 by Joseph Backler 1939 by Eugene von Guérard 119 Northern entrance to presented by Thomas Dick by Norman Carter acquired 2007 Burrangalong Cavern Esq., 1915 presented by Norman Carter, ML 1398 (Abercrombie Caves), near ML 324 1962 Bathurst, New South Wales, ML 228 111 Unidentified landscape from 128 The road to Bathurst, 1946 1843–49 a drawing by Robert Hoddle, by Douglas Dundas 137 , c 1925 by Conrad Martens c 1837–81 acquired 2015 by Norman Carter bequeathed by David Scott by Thomas Clark ML 1455 acquired 1926 Mitchell 1907 presented by Sir William ML 104 ML 98 129 One of the NSW Aborigines Dixson, 1943 befriended by Governor 138 Dr James Mitchell, 1854 DG 256 120 Interior of Burrangalong Macquarie, c 1810–21 by Marshall Claxton Cavern (Abercrombie 112 View of Murrengenberg by unknown artist presented by the EC Caves), near Bathurst, Mountain and Bundawang oil on wood panel Merewether Estate Trustees, New South Wales, 1843–49 Mountain, from a drawing acquired c 1914 1965 by Conrad Martens by Robert Hoddle, c 1852–83 ML 696 ML 7 presented by Sir William by Thomas Clark Dixson, 1929 130 Henry Cox’s place, 139 In the reading room, presented by Sir William DG 163 Broombee, Mudgee, c 1931–42 Dixson, 1943 New South Wales, 1841 by Roland Wakelin DG 255 121 Corroboree at Newcastle, by Conrad Martens oil on board c 1818 113 Jimmy Read of Bowral, presented by Sir William acquired 1989 by Joseph Lycett undated Dixson, 1929 ML 1001 oil on wood panel by unknown artist DG 87 presented by Sir William 140 Sydney Public Library, c 1931 oil on board Dixson, 1938 by Normand Henry Baker presented by Mr AD DG 228 acquired 1963 Merewether Busby, 1947 DG 354 ML 439

10 WORKS IN FOCUS: PAINTINGS FROM THE COLLECTION / VOLUME 1 33 ROOM 2 – EAST WALL

144 141 145

142 146 148 151 150 153 149 152 143 147

141 Castle Rock, Cape Schanck, 144 View of Mr Slaney’s House, 147 Portrait of Il Netunno, 150 Aboriginal hunting, undated Victoria, 1865 , Lat. 29 1 – later Marquis Cornwallis, attributed to Thomas by Nicholas Chevalier South Long. 168 East, c 1800 under sail, 1793 Balcombe bequeathed by David Scott by unknown artist by Frans Balthazar Solvyns acquired 1920 Mitchell, 1907 acquired 2010 oil on panel ML 568 ML 693 ML 1254 acquired 2004 151 Aborigine fishing, c 1853 ML 1353 142 Landing in Bounty Bay, 145 The memory of what has by Thomas Balcombe c 1825 been and never more will 148 A group of Australian oil on board by Frederick William be. Harieta, an Arawa Aborigines, possibly acquired 2015 Beechey chieftainess, 1916 in Sydney, c 1849 ML 1453 acquired 1934 by Charles Frederick Goldie by unknown artist 152 Aborigine fishing by ML 114 acquired 1960 oil on board torchlight, c 1853 DG 301 acquired 2010 143 The Lady Nelson, undated by Thomas Balcombe ML 1253 by unknown artist 146 Mr Hapuku, 1877 oil on board presented by Captain GN by Gottfried Lindauer 149 Aboriginal hunting acquired 2015 Hector, 1922 acquired c 1960 kangaroos, 1840s ML 1454 ML 86 DG 302 by unknown artist 153 Aborigines hunting, 1858 oil on cardboard by Thomas Balcombe acquired 2006 acquired 2008 ML 1394 ML 1410

ROOM 2 – NORTH WALL

164 176 181 159 171 154 156 162 168 173 180 184 182 160 165 166 177 178 161 163 185 169 170 172 174 175 183 155 157 158 167 179

154 Commander Robert 159 Bush fire [a view at night], 165 Goldminer, 1861 170 Solomon Wiseman, Johnston RN, 1856 undated by James Anderson c 1820–38 by Richard Noble by Naylor Gill acquired 2004 by unknown artist presented by Mrs Robert oil on board ML 1349 oil on board Johnston, 1926 bequeathed by Sir William presented by Mrs DJD 166 Mr E Hargraves the gold ML 462 Dixson, 1952 Litchfield, 1994 discoverer of Australia Feb DL 3 ML 1086 155 Captain , 12th 1851 returning the salute c 1825 160 The shepherd, undated of the gold miners [5th] 171 Arrival of Burke & Wills at by unknown artist by Samuel Thomas Gill of the ensuing May 1851, Flinders River 1861, 1862 acquired 1934 oil on board undated by Edward Jukes Greig ML 13 bequeathed by Sir William by Thomas Balcombe presented by James Best, Dixson, 1952 bequeathed by Clare Annie 1923 156 Governor Charles Augustus DL 43 Marsden, 1964 ML 807 FitzRoy, c 1855 ML 532 by Henry Robinson Smith 161 Gold diggings, Ararat, c 1858 172 Sir Thomas Livingstone unknown provenance by Edward Roper 167 Mining camp, possibly Mitchell, c 1830s ML 159 presented by Sir William Victorian, c 1855–60 by unknown artist Dixson, 1929 attributed to David Tulloch bequeathed by Livingston F 157 Military review, probably in DG 15 oil on board Mann, 1933 New South Wales, after 1860 presented by Sir William ML 24 by unknown artist 162 Stoneleigh, Beaufort near Dixson, 1929 oil on board Ararat, Victoria, 1866 173 Andrew Hamilton Hume, DG 17 acquired 1938 by Eugene von Guérard 1843–49 ML 574 acquired 1953 168 William Romaine Govett, by Joseph Backler DG 231 1843 oil on canvas on masonite 158 Major James Nunn, by C Day presented 1963 Australian Mounted Infantry, 163 The Gold Commissioner’s oil on board ML 504 c 1840 station at Timbarra, presented by Sir William attributed to Joseph Fowles New South Wales, c 1870 174 The Macdonald River, Dixson, 1934 acquired 2014 by Louisa Green-Emmott Wiseman’s Road, 1840 DG 223 ML 1321 acquired 2011 by Conrad Martens ML 1262 169 William Charles Wentworth, presented by Sir William 1872 Dixson, 1933 164 A gleam of light, c 1910 by James Anderson DG 346 by Frederick McCubbin presented by Fitzwilliam bequeathed by Helen Selle, Wentworth, 1910 2012 ML 411 ML 1293

34 10 WORKS IN FOCUS: PAINTINGS FROM THE COLLECTION / VOLUME 1 175 In the valley of the Grose, 178 A mountain inn, 1862 181 Port Arthur, Tasmania, 1833 184 Patterdale landscape, 1880 by Joseph Fowles by unknown artist Tasmania, 1833–34 by William Charles Piguenit presented by Sir William oil on board by John Glover bequeathed by David Scott Dixson, 1929 acquired 1941 acquired 1958 Mitchell, 1907 DG 18 ML 185 DG 230 ML 571 179 View of Proposed Town 182 Hobart Town, 1857 185 Launceston, 1860 176 Chief Derah Mat [Derrimut] of Adelaide, c 1836 by Henry Gritten by Frederick Strange of Port Philip, 1836 by William Light presented by Sir William presented by David Scott by Benjamin Duterrau oil on board Dixson, 1943 Mitchell, 1903 presented by Sir William presented by Sir William DG 345 ML 110 Dixson, 1938 Dixson, 1929 183 Hobart Town, taken from the DG 371 DG 157 garden where I lived, 1832 177 Captain William Hilton 180 George Augustus Robinson, by John Glover Hovell, 1866 1853 presented by Sir William by unknown artist attributed to Bernardino Dixson, 1938 presented by Mrs CF Giani DG 6 Roberts, 1921 acquired 1939 ML 34 ML 27

ROOM 2 – WEST WALL

195 186 191 199 205 202 196 198 200 187 188 192 206 201 203 204 189 190 193 194 197

186 Portrait of Mrs William 190 George William Evans, 196 Thomas Townshend, 202 John Macarthur, c 1850 Paterson, after 1799 (possibly) 1847 1st Viscount Sydney, c 1785 by unknown artist by unknown artist by Thomas James Lempriere attributed to Gilbert Stuart presented by Sir William presented by Sir William oil on canvas on board presented by Sir William Dixson, 1935 Dixson, 1929 acquired 1911 Dixson, 1929 DG 222 DG 172 ML 33 DG 214 203 Governor Richard Bourke, 187 Portrait of Governor 191 Colonel William Paterson, 197 Scene inside Newgate c 1835 , c 1800 c 1799 Prison, 1812 by unknown artist by unknown artist after William Owen by oil on canvas on panel oil on canvas on board presented by Sir William acquired 1990 bequeathed by David Scott donated through the Dixson, 1929 ML 1003 Mitchell, 1907 Australian Government’s DG 175 ML 125 198 Sir Joseph Banks, c 1808–09 Cultural Gifts Program by 192 Phillip Parker King, c 1816 by Thomas Phillips 204 Midshipman Edward Riou, Philip King and David King, by unknown artist presented by Sir William 1776 2010 acquired 1933 Dixson, 1929 by Daniel Gardner ML 1257 ML 11 DG 25 acquired 2011 188 Portrait of Anna Josepha ML 1263 193 Captain Arthur Phillip, c 1787 199 The ‘Vineyard’, Parramatta, King, c 1800 by Francis Wheatley 1840 205 Elizabeth Macarthur, by unknown artist acquired 1908 by Conrad Martens undated oil on canvas on board ML 124 presented by EH Macarthur, by unknown artist donated through the 1945 presented by Sir William Australian Government’s 194 Phillip Parker King, c 1817 ML 48 Dixson, 1935 Cultural Gifts Program by by unknown artist DG 221 Philip King and David King, oil on canvas on board 200 Sydney from Bell Mount, 2010 donated through the 1813 206 Untitled, possibly Lachlan ML 1258 Australian Government’s by Stephen Taylor Macquarie, c 1805–24 Cultural Gifts Program by presented by Sir William by unknown artist 189 Governor King, undated Philip King and David King, Dixson, 1948 presented by Lt Col Charles by unknown artist 2014 DG 100 Greenhill, 1914 presented by P Parker King, ML 1318 ML 37 Esq., 1965 201 Governor Bourke’s statue, ML 546 195 The mock trial, 1812 overlooking the Harbour, by Francis Greenway 1842 acquired 1990 by Conrad Martens ML 1002 transferred from the Art Gallery of NSW, 1926 ML 99

10 WORKS IN FOCUS: PAINTINGS FROM THE COLLECTION / VOLUME 1 35 ROOM 3 – WEST WALL

218 222 254 210 244 228 229 237 207 231 247 250 258 214 216 240 242 252 226 223 255 211 219 234 245 248 208 232 238 259 256 224 230 235 212 220 241 243 251 253 209 215 217 227 233 249 236 246 260 239 257 213 221 225

207 Self-portrait, 1952 221 Conrad Martens, 1853 235 Jean Sandro Russell, 1894 249 Faith Bandler, c 1957 by John Allcot by Pierre Nuyts by John Peter Russell by Elsa Russell acquired 1987 presented by Sir William presented by AJ Perier, 1954 oil on masonite ML 974 Dixson, 1943 ML 146 donated through the DG 266 Australian Government’s 208 Child in carrying cloak, 236 Al fresco, 1927 Cultural Gifts Program by c 1850 222 Dr JJ Streeter, c 1895 by Herbert Badham Faith Bandler, 1998 by unknown artist by Catherine Elizabeth oil on plywood ML 1175 acquired 2004 Streeter acquired 2010 ML 1351 acquired 1977 ML 1444 250 Portrait of a woman, DG 432 undated 209 Lieutenant JJ Peters, 237 Gladys (Mrs John) Moore, by George Washington late 28th Regiment, 1840 223 Hal Porter, c 1934 1931 Lambert by Maurice Felton by William Dargie by Norman Carter acquired 1931 presented by PJ Meyer, Esq., acquired 1966 presented by Norman Carter, ML 246 1922 DG 386 1962 ML 196 ML 322 251 Millicent Preston-Stanley, 224 Rosa Campbell Praed, 1884 1950 210 Dame Mary Gilmore, 1891 attributed to Emily Praed 238 Margaret Coen, 1932 by Mary Edwards by Ethel Anna Stephens acquired 1991 by Edmund Arthur Harvey acquired 1968 oil on canvas on board ML 1039 acquired 2012 DG 396 acquired 1986 ML 1305 225 James Dunlop, c 1826 ML 952 252 Rod Quinn, 1941 attributed to Augustus Earle 239 Ure Smith’s flat, 1939 by Hayward Veal 211 AB Paterson, ‘Banjo’, 1927 presented by Jessie by Norman Carter presented by the Fellowship by Agnes Noyes Goodsir Elizabeth and Robert Innes acquired 2015 of Australia Writers, 1971 presented by Eadith Kay, 1966 ML 1474 ML 801 Campbell Walker, 1928 ML 554 240 Self-portrait, 1930 ML 269 253 Margaret Fink, 1987 226 Cornelius Delohery by Norman Carter by Judy Cassab 212 Conrad Martens, c 1840 Self-portrait, 1855 presented by Norman Carter, acquired 2016 by Maurice Felton by Cornelius Delohery 1962 ML 1477 oil on board presented by HJ Delohery, ML 168 presented by Miss Coombes, 1953 254 Stuart Campbell Esq., c 1933 241 Florence Rodway, 1910 1921–22 ML 216 by Nina Orloff by Norman Carter ML 28 donated through the 227 Benjamin Boyd, c 1830–40 presented by Norman Carter, Australian Government’s 213 Fancy self-portrait, 1840 by unknown artist 1962 Cultural Gifts Program by the by Maurice Felton presented by Georgina ML 339 Godson of Stuart Campbell, oil on wood panel Brade, 2016 242 Self-portrait, 1940 2002 Transferred from the Art ML 1461 by Jack Noel Kilgour ML 1240 Gallery of NSW, 1922 228 Pixie O’Harris, 1938 presented by JN Kilgour, 1981 ML 457 255 Percy Reginald Stephensen, by Mary Edwards ML 864 1943 214 Bernhardt Otto Holtermann, acquired 1988 243 Mr Hans Heysen, 1938 by Robert Grothey 1872–85 ML 982 by Norman Carter acquired 1966 attributed to J Kemp 229 Gayfield Shaw, 1918 presented by Norman Carter, ML 567 presented by BO by William Beckwith McInnes 1962 Holtermann, 1952 256 Randolph Hughes Esq., acquired 1986 ML 242 ML 265 c 1916 ML 953 244 Portrait of Nancy May by Edward H Wolfe 215 Caroline Chisholm, 1852 230 Mrs Tryphena A Dibbs, 1897 Kilgour, 1932 acquired 1966 by Angelo Collen Hayter by Tom Roberts by Jack Noel Kilgour DG 400 acquired 1983 presented by NSW Dept of presented by JN Kilgour, 1981 DG 459 257 Elizabeth Riddell Health in conjunction with ML 865 with black cat, 1946 216 Sarah Osborne, c 1860 Graythwaite Nursing Home, 245 Dorothy in a lime jacket, by Dahl Collings by unknown artist 1986 1940 oil on board presented 2001 ML 954 by Douglas Dundas presented by Geoffrey ML 1232 231 Mrs WA Holman, 1917 acquired 1997 Collings, 1997 217 Henry Smithers Hayes of by John Samuel Watkins ML 1153 ML 1138 the Brisbane [Steam] Mill, presented by U Kidgell, 1950 246 A Man with a Rabbit, c 1910 258 Self-portrait, c 1940s Parramatta Road, 1845 ML 286 by George Washington by Herbert Reginald Gallop by Joseph T Dennis 232 Beryl Whiteley, c 1940s Lambert presented by Professor RA acquired 1983 by unknown artist acquired 1931 Gallop, 1974 DG 458 oil on canvas on board ML 357 ML 741 218 Self-portrait, c 1895 presented by the State 247 Portrait of Jack Kilgour 259 Douglas Stewart, 1941 by Catherine Elizabeth Library of NSW Foundation sketching a model, c 1940s by Margaret Coen Streeter in association with Mocopan by Nancy May Kilgour acquired 1995 acquired 1977 and Seppelt’s Wines, 1997 acquired 1986 ML 1091 DG 431 ML 1170 ML 958 260 Winter self-portrait, 2000 219 Patrick White, 1965 233 Domesticity, 1959 248 The convex mirror, c 1916 by Tom Carment by Desmond Digby by Herbert Badham by George Washington acquired 2001 oil on board oil on canvas board Lambert ML 1227 presented by Patrick White, acquired 2014 oil and pencil on wood 1978 ML 1310 bequeathed by Helen Selle, ML 813 234 Frances Cory (Mrs Edward 2012 220 Self-portrait, 1890s Gostwyck), c 1820s ML 1292 by Arthur Collingridge by unknown artist acquired 1969 acquired 1970 DG 397 DG 404

36 10 WORKS IN FOCUS: PAINTINGS FROM THE COLLECTION / VOLUME 1 ROOM 3 – SOUTH WALL

261 262

261 Ann Piper and her children, 262 Captain John Piper, c 1826 c 1826 by Augustus Earle attributed to Augustus Earle presented by Mrs B Dale presented by Mrs B Dale and Mr RH Cox, 1921 and Mr RH Cox, 1921 ML 6 ML 672

ROOM 3 – EAST WALL

263 264 274 271 286 288 268 277 279 281 283

265 275 272 285 287 289 278 280 282 284 269 270 266 267 273 276

263 Alexander Macleay, 270 Alexander Smail, 1860 277 Christina Sinclair, 1846 285 John Redmond Barnes before 1848 by Joseph Backler by Joseph Backler Scarvell, 1855 possibly by William Owen presented by Mrs D presented by Mrs I Morris, by Richard Noble or Frederick Richard Say Rosemond and Mrs I 1952 acquired 1999 presented by Evelyn, Lady Rosemond, 1969 ML 173 ML 1194 Macleay, 1943 ML 646 278 Emma, Harriet, and 286 Portrait of John Larking ML 19 271 Anna Elizabeth Walker, 1840 Fanny Samuell, c 1857 Scarvell, 1855 264 Elizabeth Macleay, by Maurice Felton by Fortescue Hitchins by Richard Noble before 1847 bequeathed by Miss AO acquired 1999 acquired 2010 by unknown artist Walker, 1936 ML 1199 ML 1250 presented by Evelyn, Lady ML 341 279 Alexander Sinclair, 1846 287 Sarah Scarvell, 1855 Macleay, 1943 272 John Marquett Blaxland, by Joseph Backler by Richard Noble ML 20 c 1839 presented by Mrs I Morris, acquired 2004 265 View above Rose Bay, 1841 attributed to Maurice Felton 1952 ML 1339 by Conrad Martens bequeathed by Miss AO ML 165 288 Portrait of Sarah Scarvell presented by Sir William Walker, 1936 280 Thomas Watson, 1859 (nee Redmond), 1855 Dixson, 1921 ML 423 by Joseph Backler by Richard Noble DG 59 273 Quong Tart, c 1880s presented by Mrs PF Talboys, acquired 2010 266 Portrait of Emily by unknown artist 1987 ML 1251 Macpherson, c 1870s oil on board ML 970 289 Elizabeth Mary Scarvell, 1855 by unknown artist acquired 2004 281 James Sinclair, 1846 by Richard Noble oil on paper on canvas ML 1346 by Joseph Backler acquired 1999 acquired 2010 274 Harriott Blaxland, c 1840 presented by Mrs I Morris, ML 1195 ML 1441 attributed to Maurice Felton 1952 267 Portrait of Isabel bequeathed by Alice O ML 190 Macpherson c 1870s Walker, 1936 282 Hannah Watson, 1849 by unknown artist ML 329 by Joseph Backler oil on paper on canvas 275 Jane Elizabeth Blaxland, presented by Mrs PF Talboys, acquired 2010 c 1835 1987 ML 1442 by unknown artist ML 969 268 Thomas Chapman & Master oil on wood 283 Harriet King, nee Lethbridge, Robert Cooper Tertius, 1840 bequeathed by Miss AO 1854 by Maurice Felton Walker, 1936 by Marshall Claxton presented by Miss R ML 446 acquired 1993 Kirkwood, 1970 276 Ancestral portrait of Quong ML 1074 ML 663 Tart’s mother, c 1888 284 Sarah Cobcroft, 1856 269 Margaret Moore Smail, 1858 by unknown artist by Joseph Backler by Joseph Backler oil on canvas on board presented by Lady Colin presented by Mrs D acquired 2004 Davidson, 1962 Rosemond and Mrs I ML 1347 ML 169 Rosemond, 1969 ML 647

10 WORKS IN FOCUS: PAINTINGS FROM THE COLLECTION / VOLUME 1 37 ROOM 3 – NORTH WALL

293 294 290

295 296 297

291 292 298 300 301 299

290 Brush scene, Brisbane Water, 294 Kangaroo dog owned by 297 Captain Frederick John 300 Robertson Royal Menagerie 1848 Mr Dunn of Castlereagh Butts and a fellow officer – 9 Strand, c 1820 by Conrad Martens Street, Sydney, 1853 of the 77th (East Middlesex) by unknown artist presented by Sir William by Thomas Balcombe Regiment of Foot, Hyde acquired 2012 Dixson, 1929 presented by Mrs AL Bourke, Park, Sydney, 1858 ML 1354 DG 165 1943 by Joseph Fowles 301 View of Bungarribee NSW, ML 336 presented by Sir William 291 Victoria 1st, 1841 1858 Dixson, 1938 by Maurice Felton 295 Male and female red by Joseph Fowles DG 251 acquired 1989 kangaroos in a Liverpool acquired 1999 ML 992 Plains landscape, c 1819 298 Plover (age 5), 1848 ML 1193 attributed to JW Lewin by Thomas Balcombe 292 Mrs F O’Brien, 1841 acquired 1979 oil on board by Maurice Felton ML 852 acquired 2008 acquired 1975 ML 1407 DG 427 296 Race horse and jockey, undated 299 Old Jorrocks (age 16), 1848 293 Kangaroo dog owned by by Joseph Fowles by Thomas Balcombe Mr Dunn of Castlereagh presented by RJ Fawcett, oil on board Street Sydney, 1853 1960 acquired 2008 by Thomas Balcombe ML 427 ML 1408 presented by Mrs AL Bourke, 1943 ML 335

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38 10 WORKS IN FOCUS: PAINTINGS FROM THE COLLECTION / VOLUME 1 10 WORKS IN FOCUS: PAINTINGS FROM THE COLLECTION / VOLUME 1 39 40 10 WORKS IN FOCUS: PAINTINGS FROM THE COLLECTION / VOLUME 1