July 16 - 22, 2017: Issue 321

A Historic Catalogue And Record Of Pittwater Art I – Of Places, Peoples And The Development Of Australian Art And Artists

Artists and Artists Colonies
CONRAD MARTENS (1801-1878) Entrance to Narrabeen Lake 
watercolour signed, titled and inscribed verso: Entrance to Narrabeen Lake by Conrad Martens 39.5 x 44.5 cm
courtesy The Alan & Margaret Hickinbotham Collection
William Joseph Macpherson on Narrabeen Lagoon - 'Narrabeen' (nos. 45-46, 48-51). Circa 1890 to 1910 - from State Library of NSW Album: 'Box 21: Glass negatives including views of New Zealand farms, Sydney Harbour, Narrabeen, and maypole dancing at the SCG, ca. 1890-1910.' Presented by David William Macpherson, 2014 - Above: c071860040 in this series - courtesy Mitchell Library, State Library of NSW. Visit: The Macphersons of Wharriewood

From Conrad Martens to William Lister Lister to Sydney Long 

In these three formative Australian artists can be seen the shift from traditional methods of painting and subjects chosen to suit an established market, to the print and experimental visions that created stylistic works that, in turn, ended up creating their own market and unleashing the concept of art as something which can continually develop and express more.

One of the most intriguing photographs shared with us, courtesy of David James OAM, former Mayor and Councillor of Pittwater, underlines some Artists who have been very successful, and associated with names such as Roberts and Streeton at Sirius Cove at Mosman, such as McCubbin, Longstaff, Alec Colquhoun, Abbey Alston, Fred Williams, from the Melbourne sprung Heidelberg School of Painting members, have created Art that focused on and celebrated Pittwater. Fred Williams, for instance, once lived at Narrabeen.
Heidleberg School of Painting members, ca. 1887-1891 / Grouzelle
Signatures / Inscriptions: "F. M. Williams, Green Hills Narrabeen" -- on verso- Grouzelle / 69 & 71 Swanston Street / Late Royal Arcade / Melbourne: Dated from Photographer's studio.

The photograph is signed on the verso. Signatures include F. McCubbin, Fred Williams, Alec Colquhoun, Abbey Alston, J. Longstaff, Llewellyn Jones
The Heidelberg School was an Australian art movement of the late 19th century. The movement has latterly been described as Australian Impressionism as the term "Heidelberg" is a reference to the then rural area of Heidelberg east of Melbourne where practitioners of the style found their subject matter, though usage expanded to cover other Australian artists working in similar areas. The core group painted there on several occasions at "artist's camps" in the late 1880s and early 1890s. Besides Arthur Streeton and Walter Withers, other major artists in the movement included Tom Roberts, Frederick McCubbin and Charles Conder.

The term has since evolved to cover painters who worked together at "artists' camps" around Melbourne and Sydney in the 1880s and 1890s. Roberts first visited Sydney in 1887. There, he met the young Conder, and a strong artistic friendship blossomed. The pair painted together at the beachside suburb of Coogee in early 1888 before Conder joined Roberts on his return trip to Melbourne.

When a severe economic depression hit Melbourne in 1890, Roberts and Streeton moved to Sydney, first setting up camp at Mosman Bay, a small cove of the harbour, before finally settling around the corner at Curlew Camp, which was accessible by the Mosman ferry. Other plen air painters occasionally joined them at Curlew, including prominent art teacher and Heidelberg School supporter Julian Ashton, who resided nearby at the Balmoral artists' camp.

 Julian Ashton saw him then as 'a slim, debonair young man … with a little gold pointed beard and fair complexion', who, when he was not painting, 'was quoting Keats and Shelley'. 

Arthur Streeton camp at Mosman 1892 to 1893, courtesy State Library of NSW. Image No.:a4364007h 

Percy F.S. Spence by Tom Roberts, 1896

Tom Roberts, artist, ca. 1893-1920 / photographed by G.V.F, Talma Studios - from photocard, back of which has written on it 'Tom Roberts, Artist'. Courtesy State Library of New South Wales. Image No.:a4443001h 

Spence was a fellow artist and friend of Roberts whom he had known from their time together in 1892 at the artists' colony 'Curlew Camp', in Little Sirius Cove on Sydney Harbour's north shore. Aged 28 at the time of this portrait, he was a frequent illustrator for Cosmos, a general interest magazine of the period, a resident of Manly, about whom we share a little in the A Historic Catalogue And Record Of Pittwater - Coastal Landscapes and Seascapespage.

Surf-bathing - girls' life-saving team' by Percy Spence. Australia beach, 1910
CAPTION PRINTED BELOW PICTURE: 'Surf-Bathing-Girls' Life-Saving team at Practice'
Antique colour print from a watercolour painting - Published by Adam and Charles Black, London

Fancy Dress Procession.
The Manly surf carnival yesterday drew an enormous crowd to the village by the sea. A fine, warm day smiled on the proceedings, and surf conditions were good. The southern end of the ocean beach was thronged by holiday-makers, and on the hill overlooking the scene were several thousand persons, clustering on the various points off vantage. 

The proceedings began with a procession, the feature of which was a display supposed to show the arrival of Lieutenant Shackleton and party at the South Pole.'The Amateur Fishermen's Association had a good display, and a good setting was provided in the "Early Settlers' Camp" and the "Surf banner," upheld by a girl in flowing robes, who was surrounded by lusty children in bathing dress. On the banner read, "Health greets the surfer." The local fire brigade appeared in their turn-out, and the various competing surf clubs in costume, with the residents of Manly, in motor-cars and carriages, made up a really interesting procession. 

The procession over, the surf competitions and displays were begun. 

The results were as follow— Alarm Reel Race. — First heat, Thirroul; second heat, Manly; third heat, North Steyne; fourth heat, Maroubra. . Final: Manly, 1; North Steyne, 2; Merubra, 3. Wheelbarrow Race.— Brown and Johnson (Coogee). Surf Race (five competitors).— Cecil Healy, L. Solomons, S. M'Kelvey, T. S. Smith, and l A. Wright. Result:— Cecil Healy jumped in, and was followed by Smith, and then came Solomons. Smith put in a fine effort, and just missed a shoot that might have taken him to victory. It was the only chance. 
Rescue and Resuscitation Competition.— Bondi, 1; North Steyne, 2; Coogee, 3. Cock-fighting.— A. T. Browne and C. Mondel (Coogee). Inter-club race and Resuscitation Competition.— Little Coogee, 1 ; Manly No. 1, 2; North Steyne, 3. 

During the afternoon a fine exhibition of life-saving was given by the following team of ladies:— Patient, Miss Aggie Sly; support, Miss Dorothea Cracktanthorp ; belt, Miss Dot Wessberg; 1st line, Miss Amy Cox; 2nd line, Miss Joyce Wessberg; 3rd line, Miss Flora Glen; reel, Miss Nellie Kuhl; nurses, Nurse Alice Glen and Nurse Jessie Sly

In the surf-shooting R. M'Kelvey made some beautiful runs, but had a board. J. Holland and C. Healy also gave an exceptionally fine exhibition.  The Misses Jessie and Agnes Sly and Miss Lemers were little behind the men in this exhibition. Manned by Stan.. Jones (capt,), A. A. Watson, A. W. Bye, V. Rowlands, and W. A. Kellner the surf boat shot in in the breakers in fine style, and drew enthusiastic applause from the crowd. 

A spectacular feature of the afternoon was a grand display entitled "Arrival of raft with shipwrecked crew, attack by cannibals, and rescue by men-o'-war." It was carried out very successfully, and created considerable amusement. Owing to lack of time many events were dropped, the Iast decision not being given till nearly 7 p.m.  MANLY SURF CARNIVAL. (1910, March 20). The Sunday Sun (Sydney, NSW : 1903 - 1910), p. 1. Retrieved fromhttp://nla.gov.au/nla.news-article226883634

Streeton, 'From my camp', 1896 - Sirius Cove

Tom Roberts - Smike Streeton age 24, 1891. Held by the Art Gallery of New South Wales

Streeton has a few works whose subject is different Pittwater views - many of Palm Beach over a few decades and from Sunrise Hill on more than oneoccasion:

Gum tree, windy ridge, Palm Beach c.1926 Arthur STREETON

Palm Beach and Barrenjoey Arthur STREETON
Oil on cedar panel, 22.8 x 71.1 cm 

Palm Beach and Barrenjoey, c. 1926
Oil on wood panel, 22.5 x 71 cm
The Collection of Sir Leon and Lady Trout, Christies, Brisbane.
Mr. Arthur Streeton, in his collection of paintings now on view at the Macquarie Galleries, Bligh-street, demonstrates anew that sense of colour and atmosphere, and that fine appreciation of the poetic qualities of landscape painting, which have given him a notable place among Australian artists. One spirited example of this fact is furnished in his oil painting "The Valley," wherein the foreground, cast in heavy shadows, and relieved only by the deep green of a group of trees, is in pointed contrast to the sweeping panorama in the distance, revelling in delicate effects of sunshine until the gaze is carried to the blue of the far-off hills. This is an exceedingly well-balanced and vigorous picture. In "Palm Beach," a great stretch of coast, the artist has not been so convincing, but, nevertheless, this subject possesses many points of merit. There are two effective views of Sydney Harbour, one in particular, No. 5, attracting attention by its spacious adjustment of blue water, head-land, and sky, with the high buildings of the city as an imposing background. The "Last of the Messmates" is a capital rural scene, endowed with strength by Mr. Streeton's ad-mirable treatment of the light of the low sun against the trunk of the huge fallen tree, which dominates the picture.

"Evening," a peaceful countryside, and "The Oatfield," with its harvested stacks of grain in a golden foreground, furnish other typical examples of Mr. Streeton's art in catching the essential qualities of a land-scape, and transferring these with freshness and conviction to his canvas. There are three striking Venetian subjects. The smallest of these is a little gem, depicting the life of the Grand Canal, with the dome of Santa Maria della Salute dominating the scene. Some watercolour sketches, designed by Mr. Streeton during his war service, when he had charge of a recreation hall, and found it necessary to produce arresting colour announcements of coming entertainments, add interest to the exhibition. Among these two charming figures of dancers, and another of a singer and her accompanist, both manifestly intent upon their work, are full of animation.
ART EXHIBITIONS. (1928, March 6). The Sydney Morning Herald (NSW : 1842 - 1954), p. 9. Retrieved from http://nla.gov.au/nla.news-article16447163

'Palm Beach' — By Sir Arthur Street on

One of the many striking pictures now on view at Sir Arthur Streeton's exhibition at David Jones's George-street gallery. Sir Arthur's work is always attractive, and both in landscape and still life this display is rightly commanding public interest. "Palm Beach" — By Sir Arthur Streeton (1937, April 14).Sydney Mail (NSW : 1912 - 1938), p. 25. Retrieved from http://nla.gov.au/nla.news-article160504058

Along with Streeton and Withers, Tom Roberts, Charles Conder and Frederick McCubbin are considered key figures of the movement. Drawing on naturalist and impressionist ideas, they sought to capture Australian life, the bush, and the harsh sunlight that typifies the country.

The works of these artists are notable, not only for their merits as compositions, but as part of Australia's cultural heritage. The period leading up to Federation in 1901 saw an emerging sense of Australian nationalism, and is the setting for many classic stories of Australian folklore, made famous in the works of bush poets associated with the Bulletin School, such as Henry Lawson and Banjo Paterson. The Heidelberg School's work provides a visual complement to these tales and their images have become icons of Australian art. Many of their most significant works are held in Australia's major public galleries, including the National Gallery of Australia, the National Gallery of Victoria and the Art Gallery of New South Wales.

Arthur Ernest Streeton (1867-1943), by John Longstaff, c 1912 (?!!). Courtesy National Library of Australia, nla.pic-an21726482

Mr. Arthur Streeton is regarded as Australia's greatest landscape artist. Streeton has been in England for some years, and, though 52 years of age, he served for two years in France, and was seriously wounded. It is interesting to note that he intends returning to Australia in January, and. "will get-away to the bush and paint." The Commonwealth Government, which possesses fifty of Streeton 's war paintings, has requested him to paint "The Battle of the Hindenburg Line." PERSONAL (1920, January 1). Daily Examiner (Grafton, NSW : 1915 - 1954), p. 4. Retrieved from http://nla.gov.au/nla.news-article195354934


Sir,-As Mr. Fred Leist writes, the tariff makes no discrimination as to "imported works of art," and brand them all under one category, whether Australian or foreign, whether imported by residents here, or merely brought . in as a business speculation by on art dealer, or are genuine samples of work by Australian artists, who are returning home after study abroad. His grievance is a very real one.

Arthur Streeton complained bitterly to me of the large amount of money he lost through the Customs in 1914, when he had the bad luck to be at sea with a load of his canvases, half way out to Australia, and war was declared. He had to go through with it, get his canvases into Australia, and keep them here. He could not reclaim one penny from the Customs. He was lucky to sell "Malham Cove" to the Sydney Gallery, and little else besides, at his exhibition, which barely paid expenses, and left not a penny of profit.

Exhibitions of work from other countries are of a certain amount of value to students here, as their judgment is exercised by com-parison, but their scope of appreciation is limited to the extent of the taste in selection of the dealer who exhibits these works for sale. All ambitious students wish to go abroad to Increase their knowledge and improve their | work by study in the best ateliers of Europe, ! and by visits to the great art galleries of the . world. But many will be deterred from doing so, even If they have the means, as the time and money so spent would be a bad Invest-ment If they have to pay for the privilege of bringing samples of their work back home with them. Is It any wonder that some of our best artists have sought appreciation and a decent living in America?

I am, etc.,
Narrabeen, May 3. ANNA M. REAY.
LETTERS (1930, May 6). The Sydney Morning Herald (NSW : 1842 - 1954), p. 6. Retrieved from http://nla.gov.au/nla.news-article16671224

PINK roses named after her uncle Sir Arthur Streeton the famous Australian artist will be worn in her hair by Miss Sylvia Streeton when she marries Mr Timothy Eveleigh of Muswellbrook at St Stephen's Church Macquarie Street on Saturday. A bridal veil of Brussels lace 150 years old will be lent by a family friend. Miss Streeton who is the daughter of Mr and Mrs Herbert Streeton of Coogee will be attended by Miss Helen Eveleigh and Leading Wran Shirley Streeton. The bridegroom-to-be is the younger son of the late Mr Thomas Eveleigh and of Mrs E. Eveleigh of Killarney Muswellbrook.
SOCIAL NEWS and EVENTS...Season at Palm Beach... A Zero for a Christmas Gift... (1944, December 6). The Sydney Morning Herald (NSW : 1842 - 1954), p. 6. Retrieved from http://nla.gov.au/nla.news-article17930465

Memorial Show of Streeton's Works
At the National Gallery, in the Latrobe and North Octagon courts, is being held a memorial show of the paintings of the late Sir Arthur Streeton, who died at Olinda 12 months ago. There are 240 examples of his genius, in both oil and water colors. These make it plain that he is Australia's first artist. His variety was great. He tackled all forms of landscape, but preferred distant views, in daylight; and then, not at its extremes; there are few dawns and sunsets among his paintings. There are no nocturnes in this exhibition, tor the reason that, if any exist, they are hidden somewhere. Only once or twice did he paint the sea as his special subject, though often as incidental to a picture. His best work was done in Australia, which he left for Europe in 1897 (not 1898, as in the catalogue). Abroad his best work was done in Egypt and Italy; the less lucid air and weaker, because humid, light of Britain being not so stimulating to his senses. 

Nevertheless, in both England and Scotland he did some remarkable work; there was no one there either in vision or trade skill to equal him. In England the pressure is great to conform, to what has been agreed upon as correct by the right people, who in art are not the painters but those learned in literature, philosophy or anything but painting, also, the propertied or the titled, though, as here, the university people are putting in the hardest work to get cultural control. To some extent Streeton yielded to this pressure. To get any notice he had to be classifiable. He elected to be in the Constable class: but, really, he was a better painter than Constable ever was, as can easily be seen by comparing any of his sketches with the four owned by our gallery. The time for shibboleths has gone. 

From War to Peace 
For nearly four years of the last war, Streeton served in the R.A. M.C. He was in Wandsworth Hospital, along with Roberts, Coates and other artists. In 1917, when he was 50, he was discharged, and in 1918 given a commission in the A.I.F., for which he did wonderful work, as anyone who visits the war museum at Canberra can see. The bulk of the residue of his paintings, after meeting Government demands, he gave to the R.S.S. I.L.A. and the military clubs. After, the war, on his way back to Australia, via Canada, he painted scenes in British Columbia, and by no one as yet has any part of Canada been so well depleted/ Back: home, he settled for a while in Melbourne, but at last established himself for good in the Dandenong Ranges, where, after his wife's death, he more and more secluded himself. 

He was extraordinarily gifted with senses exceptionally keen and active—sight, hearing, taste, small and touch, the parent of them all. His hands were big and strong, but so competent and controlled that he could work on a 10-foot canvas or a small panel equally well. Apart from the artistry of his work, his dexterity was such as to call forth from very skillful painters exclamations of astonishment. The Roberts Influence He learned accuracy in drawing in the famous lithographic house of Troedel, where another fine draftsman, Charles Wheeler, also learned it. He went to the National Gallery School of Art, but left it when Tom Roberts came back from Europe with principles of teaching which appealed to Streeton more than those which obtained at the gallery' school. The Streeton catalogue makes Folingsby's methods the cause of Streeton's leaving. This is not so; it is as incorrect as the statement that "Roberts brought Impressionism' to Australia." 

Another mistake is to think of Conder as an influence in Australian painting. While Conder was here he took all his complexion from Streeton, and always said so. When he left here he left his Australian brand of art behind and never again painted in the same way. Roberts was Streeton’s only teacher. He preached open-air work for landscape, exact drawing and the painting method of Lepage. In any case, Streeton would have devised a good method of his own; but Roberts's variant of ' Lepage's saved him a lot of trials and errors.  Back„for, 8opd, rooted again In Australia, he painted brilliantly; no better Intrinsically than when left it. 25 years earlier, but with much accumulated knowledge the virtuoso. Time has added and will continue to add, to Streeton's value. Viewed either as to quality or quantity, his is the greatest contribution in the whole realm of Australia s culture. He began at the age of 15 to produce good work, and until he died kept to an extraordinarily high level of artistry. He was knowledgeable in literature and music, and, like Longstaff, always Interested In the Ideals, notions and methods of other painters, let them be never so humble. The catalogue is very well got on but it should have more dates given to the paintings. Many are on the paintings in Streeton's own hand. In the case of the portrait of Marshall Hall, though 1892 is written in paint under the artist's signature, in .. brackets) it is 1889. No. 18, Narrabeen, Streeton says, in his own writing, was done in 1890 but the catalogue has it as 1894. There are several misspellings of proper names, and Lady Streeton has not even been given her right name. All the dates were ascertainable from the canvases and the artist's own exhaustive catalogue… OUR GREATEST ARTIST (1944, September 5). The Age(Melbourne, Vic. : 1854 - 1954), p. 2. Retrieved from http://nla.gov.au/nla.news-article206003565 
Fred Matthews Williams (1855-1929) Australia was born in Chester, England and settled in Melbourne around 1878. He attended the National Gallery School where he was a member of the Buonarotti ClubWilliams showed landscapes at the Club that he painted at Lilydale in 1883 and at Williamstown in 1884. His fellow pupils included McCubbin, E P Fox, David Davies and John Longstaff.

In a student exhibition of 1887 Longstaff's, 'Breaking the News' (now in the AGWA), won a travelling scholarship whilst Williams won an honourable mention.

Around 1891, he tried his luck upon the Coolgardie Goldfields and his sketches of the goldfields were reproduced in local papers. He later moved to Perth, where he lived in Melville Terrace, South Perth. He was instrumental in helping to establish Perth's first art school, the Art Department at the Perth Technical School, becoming its first art instructor. His first solo exhibition in Perth was in 1910.

He moved to Sydney around 1915, where he died in 1929.

His work is represented in the Art Gallery of Western Australia and the Mitchell Library in Sydney. - McKenzie's Auctions, Perth. 

In the Supreme Court of New South Wales.
In the matter of the will of Frederick Matthews Williams, late of West Lake Side, Narrabeen, near Sydney, in the State of New South Wales, artist, deceased.
PURSUANT to the Wills, Probate and Administration Act, 1898, the Testator's Family Maintenance and Guardianship of Infants Act, 1916, and the Trustee Act, 1925: Notice is hereby given that every creditor or person having any debt or claim upon or affecting the estate of the above named deceased, who died on or about the 7th day of July, 1929, and probate of whose will was, on the 30th day of October, 1929, granted by the Supreme Court of New South Wales to Alexander Robert Macgregor, is hereby required to send in particulars in writing of such debt or claim to the undersigned, on or before the 26th day of March, 1930, at the expiration of which time the executor will proceed, to convey and distribute the property and assets of the said deceased to or among the persons entitled thereto, having regard only to the debts or claims of which he then has notice; and notice is hereby further given that the said executor will not be liable, for the property or assets or any part thereof so conveyed or distributed, to any persons of whose debt or claim he shall not have had notice at the time of such conveyance or distribution.
Proctors for the Executor,
2b Castlereagh-street, Sydney.
2462  £1 12s.
PROBATE JURISDICTION. (1930, January 24). Government Gazette of the State of New South Wales (Sydney, NSW : 1901 - 2001), p. 423. Retrieved from http://nla.gov.au/nla.news-article223073429 

The above brief bio doesn't really give us much of an insight Mr. Williams temperament - although these kinds of articles, run a little coldly and to sell papers, should also be taken with a grain of salt .  They do give us an insight into the wold and life of a man obscured by time and lack of good records, and one just as obscure photograph of this former Narrabeen resident and Artist:

What promised to be a long-drawn out case was started on Tuesday morning before …Mrs. Anna Williams claimed separation, maintenance and custody of several children, from Frederick Matthew Williams on the grounds of cruelty, desertion and wilful neglect in providing sufficient means of support for his family. Mrs. Williams is a bright little lady, who has apparently done her utmost to make the best of her married life. 
defendant received he used to hand his wife £2 per fortnight to keep the house and that amount, Mrs. Williams' claims, was not sufficient to keep them all in a proper manner, and without doubt, she is quite correct. From her own admissions, however, the defendant has clearly doing much better at some time in the past. Mrs. Williams frequently referred to "my property" at South Perth. The property it transpired consisted of two houses, and the complainant admitted that her husband had paid for the two houses which he placed in her name to provide for the future of herself and the children. Williams himself is an elderly, grey-bearded man, and does not look the fiery person of maniacal temper, which his wife claims he is. Still, as the vulgar proverb has it, it is not wise to judge a sausage by its overcoat. From the statements made by the complainant, it appeared that her life became unbearably miserable during the early months of last year. At this time the defendant put out of employment, and the complainant after her daily and heavy domestic duties were done, at night to the study of  ...'shorthand and typewriting'. Subsequently she secured a position as typist at '20/ per week, working at an office during the day and doing house work at night. 
The defendant stayed home, read novels, growled that he "was not going to mind the baby, told his wife that £1 per week was no good, and why didn't she earn more. He ate eleven hundred eggs a year while the family had bread and dripping, called her vile names, threatened her, and otherwise abused her, etc.. .. . The last straw was placed on the burden early in July last year. The night was wild and stormy, and Mrs. Williams was in a nervous and terrified state. She awakened her husband, and he addressed her fondly as a snivelling idiot. 
On July 4 the complainant left home, arranging for her husband’s sister to attend to the children and a few days later, went to Melbourne, where she pursued a course of study at a business college. In proof whereof she produced a bundle of receipts for fees paid, and a diploma of proficiency. Her sole object in doing so, the complainant averred, was to quality herself to secure a good position where she could earn enough to keep her children. She returned to W.A. at Easter time, and went to South Perth to see her husband and children. The former repulsed her violently, and the latter welcomed her with delight. Mrs. Williams resumed her household duties, but the position was too strained; to stand any tension. A couple of days later she had business in Perth. At the South Perth jetty her husband suddenly pounced upon her and snatched the child from her. She tried to recover it, and he held her by the hands while she reciprocated by kicking him on the shins. Two water policemen came along, and according to Mrs. Williams, they held her while her husband escaped with the baby. Since then she has not been able to see it and has lived apart from her husband. 
In answer to Mr. Downing, the complainant stated she had signed a deed of trust, regarding the property, under conipnKi,.;!. Wi.'i ; she was at Melbourne her husband had tried to ... her to sell low him one-sixth share, but she had firmly refused to do so. Mr. Downing produced an advertisement, printed in June of last year, in which a lady, with £100, was assured of a share... in the sale of "a toilet requisite."' Mrs. Williams enquired into the matter, and thought there might be a chance to make money. It turned out...
Mr. Noel …, a next door neighbor of the Williams' for several months during last year, stated that Mrs. Williams always gave him the impression of being a most womanly woman. The children were always kept beautifully clean and neat. Williams behaved brutally to her. James Townsend and He...Wintel gave corroborative evidence, for the defence, Frederick Williams gave his wife a terrible character. According to him, she was of a discontented, grumbling and dissatisfied disposition, and had a vile, and unreasonable temper. Latterly she appeared to have lost all control of herself, used bad language, and turned the house into a hell. To various accusations made against him, he gave a general denial, and stated that the only time he had touched his wife was about l'J years ago, when she exasperated him so much that he seized her by the wrists, and gave her a shaking. Mrs. Williams, who was sifting ill the Court, interjected, "By the throat." The defendant responded with a sardonic "Ha! Ha'." His wife, he declared, always cursed Western Australia, child-bearing, housekeeping, and everything in Heaven and earth and W.A., in appropriate language. In June last, Mrs. Williams suggested he should agree to mortgage the houses to provide her with funds to enter into the enterprise with, the alleged Doctor Burns. He declined to accede, and more quarrelling ensued until the complainant left home on July 4. He saw her twice in. Perth before she left the State, and sent messages to her, but all advances were ignored. When he left the Government service, Mr. Williams stated he express his desire to exercise his artistic skill, and his wife thoroughly concurred.. Subsequently, he held an exhibition of paintings which was the most successful of its sort held in Perth He worked hard, and it was not true that he had done nothing but read novels. The weekly allowance question came next under review. The defendant admitted having allowed his wife £2 weekly but he paid a number of things himself, including rates insurance, buying boots, butter and fruit and other sundries. Referring to the return of Mrs. Williams, the defendant said he believed she had intended to steal the baby, and he had intercepted her it the South Perth jetty. He had not struck her, but simply caught her wrist, when she tried in hit him. He appealed to the water policeman for assistance and they had kept her while he returned home with the child. As consequence of her behavior, Williams stated his health was shattered i... to in any work profession, if he had aiwa;. eat.d his willed he had always treated her with respect, he ... Hayne his cross-examined. WILLIAMS’S WAYWARD WAYS. (1911, June 3). Truth (Perth, WA : 1903 - 1931), p. 6 (CITY EDITION). Retrieved from http://nla.gov.au/nla.news-article211803777 

The hearing was continued yesterday in the Divorce Court before Mr. Justice Burnside of the action in which Anna Margaret Reay Williams sought for a judicial separation from her husband, Frederick Matthews Williams, an artist, of Perth, on the grounds of habitual cruelty. Mr. R. S. Haynes, K.C., with him Mr. A. S. Haynes appeared for the petitioner, and Mr. V. F. Smith, with him Mr. A. Downing, for the respondent. Cross-examined further by Mr. Smith, petitioner said that before leaving for Melbourne she had made all arrangements for the care of the children, and had written to her husband's sister, Mrs. Barrow, about them. Mr. Smith : Is this the lady you called "an old cat" in the Local Court recently?' Witness: Yes, but I did not know her catlike' propensities before I went to Melbourne. How long have you known Mrs. Barrow? My husband was ashamed to introduce her to me for some years. She is a woman of inferior birth and education. What do you- mean by saying that your husband was ashamed of her. Did you not marry her brother? No, I did not marry her brother, I married Mr. Williams. Witness, continuing, said it was on July 4, 1910, that her husband ordered her to go out and earn her living, and sneered at her so bitterly for earning, as little as £1 a week. It was shortly after that she decided she must get away for a change 'and also 'take the opportunity of studying while in Melbourne so that she could earn more money. 'On' her return from Melbourne she had gone to her house at South Perth, Perth and collected some linen and cutlery for her own use. The property was hers, and were other gifts or something she had paid for out of her own pocket. Mr. Smith: Did you quarrel with your husband's sister, who was staying in your house on your return?"-Witness: I did, because of her endeavours to influence my daughter against me. Did you order her out of the house with her niece?- I did, because of her insulting behaviour. Did you also offer to "pitch out" the niece's little boy?-Of course not, the dear little chap. "Dear little chap," of course he was. 'Mr. Haynes: What's the use of treating the lady in that manner. Witness: He sneers at anything I say. I love the little fellow, I am fond' of all children. Mr. Smith: Oh, how very nice. His Honour: .I think, Mr. Smith, I can follow the case without comment from you. Mr. Smith: Did you say to Mrs. Barrow when you first entered the house: '"The same old chairs, the same old tables?" -Witness: And the same old packing cases. Yes, I did say. that. -Did you say, "I cannot go back to all this after the good time I had in Melbourne and. all, the 'gentlemen I had to talk to? "I did not. Did you not say you had so many gentlemen: to talk to?-I never use the word "gentlemen.". Only uneducated people use it. I speak of "men." After taking the things out of the house you. went-back the next day to effect a reconciliation?-Yes, I did. . I went up to my husband with my arms out with the:-intention of making it up. He repulsed me and roared roared at me and called me approbrious, names " ' Were you not highly, theatrical? ‘I was not.' He himself was the theatrical one In what way?--I think he said, "Avaunt," or some such outlandish word. What else' did he say? - He was inarticulate at first, and then roared' again. And you then made for the baby?-No, I made for the broom to protect myself. When I did try to pick up my baby he jumped in between us. But-I did get baby in the end and she and I spent the night on the floor. The next day you went of to the jetty with the baby?-I did. But he reached the jetty before me and seized me violently by the wrists just as I passed the waiting room. He forced me back, and tried to throw me into the water. Did you not try to strike him first? -Certainly not, but I kicked him in the shins in self-defence. I 'had to' defend myself as I would from any other wild beast: He was like a maniac. -Did you attempt to kick. him about the body?-No. ' If you wore hobble-skirts you would not kick much higher than a man's shin. It was the hobble skirt which saved-him. When the ferry came in did not two policemen get hold of you ?-Yes, because of what my husband, had said.. - At the same time I asked them to protect me from him. Did you threaten to assault the policemen? -Please remember that it was a case of three men to one woman, and that both my arms were held. -Mr. Haynes: Wait until You see the two policemen. Mr.' Smith:. Were you shrieking and foaming at the mouth?-I was crying with grief at having my child wrenched from me and with humiliation at the indignity. Your husband did not strike you?-No, but he held my wrists and as soon as the police had hold of me -he ran off with the baby. If ordinary intelligent people had seen what happened they would have known-who was in the wrong?--I do not think water police come under that category. What-happened next?-I laid an information at the local police station, but did not take out a summons. I also laid 'an in• formation against the water police, but was insulted by Inspector Lappin for my pains. Witness, continuing, said-she had proceeded against her husband for maintenance- in the Police Court, but Mr. Roe had stated that the case was too difficult and complicated for him to deal with and accordingly dismissed it. "Was not one of the bones of contention your dislike for Perth?-The climate does not Agree-with me. 'Perhaps you did not like the work. We all have to work, you know.- But your work is cooler than mine. Not when I meet such ladies as yourself. -I am glad if I can make you feel warm, too. You wanted to go to Melbourne?--Yes, for all our sakes, but I had only to suggest it for my husband to oppose it. Re-examined by Mr.. Haynes, petitioner said that when in Melbourne she studied hard and passed an examination. She felt sure, that if her husband had gone over to Melbourne he would have got on well. She herself would have been prepared to help with her own earnings to the best of her ability. Her brother, the engineer in chief of railways in Victoria, would have helped her too. She did not ask for alimony but merely wanted the custody of her baby girl of 5 years of age. Noel Boehn Helm, residing at South Perth, deposed to having been a near neighbour of the Williams family. In his opinion the petitioner was a good wife and a good mother and brought up her children splendidly. She had heaps to do, and he had seen her cutting the wood, doing the washing, making drains, and doing other hard work while the husband sat on the verandah doing nothing. The respondent in fact had left his wife to do all the work about the place. he had used bad language towards her, and on one occasion he threw a stake at her. Dr. Kenny deposed to the petitioner having come to him once or twice in a very nervous, excitable state. On another occasion she came to him showing injuries to her wrists, which had been severely bruised. Charlotte Dobbin, a married woman, and sister of the petitioner, deposed to having resided at South Perth in the petitioner's home. In her opinion the respondent ever preserved an attitude of studied coldness to wards his wife and did not treat her as a husband should. He would frequently place a book on 'the' meal table 'and read all through the meal. Mr. Smith: surely you do not object to a husband reading a morning paper with his chop?-Witness: I should think it very rude of him if he did it without asking me. But to read a book! It was an insult to his wife and most discourteous. Furthermore, he would never pay her any attention, never wait on her or place a chair for her. It is no wonder his wife was unhappy. 'Alfred B. Mayer said that he and his wife had taken the petitioner in at a time when she was in great distress. Her husband tried repeatedly to blacken her character and had gloried in the fact that he had spat at her in Hay street. He had also gone on to say that if his wife was in a state of poverty I would not lift a hand to save her." Mary Kingsmill, wife of Mr. Walter Kingsmill, M.L.C., deposed to having known the petitioner for over 20 years. The petitioner was a kind, loving mother, and appeared to have the love of her children. 
Mr. Smith : It is not unusual for a wife if the husband is not in good circumstances to do the washing --Witness: No. Or to chop wood?--I suppose not. Mr. Haynes: Not if you have a lazy husband.. -Mr. Smith: Or when you have a nice wife. (Laughter.) . Margaret Reeves, a housekeeper, deposed to having gone with the petitioner one evening to see her children, and to the wife having been refused-admission. Mr. Smith: Did not the respondent call out to Grace that her mother wanted her? -Yes. What did she say?-She did not want to Was anything said about the baby?- The respondent said she was in bed. What time was it?- Nearly 9 o'clock. Mr. Smith: A nice time to wake a baby! Mr. Haynes: What do you know about it? Mr. Smith: In my long experience of you I have learned a great deal. Re-examined, witness ,said that the child was not called in a way that would tend to induce her to go to the door. At this stage the-Court adjourned until 10.30 the following morning. 

Mrs Williams leaving the court     Mr. Williams leaving the court

ARTIST'S WIFE'S PETITION. (1912, April 17). The West Australian (Perth, WA : 1879 - 1954), p. 10. Retrieved from http://nla.gov.au/nla.news-article23869997 


A Suit for Judicial Separation-Judgment Reserved
A considerable amount of dirty linen was washed in the Divorce Court last week, when Anna Margaret Reay Williams proceeded against her husband, Frederick Matthews Williams, for a judicial separation. Each of the par-ties is well known in the West, the de-fendant having achieved some distinc-tion as a painter and black-and-white artist. He is an art instructor at the Technical School, and among his pri-vate pupils are the daughters of His Excellency the Governor.


The parties, who were married at Fremantle in 1893, had been concerned previously in proceedings in the Police and Local Courts, and there is no necessity to go over the ground again. It is the old, old story of an unhappy marriage arising from incompatibility of temper. The wife alleges things against the husband, and the latter makes counter-allegations against his better half, and each endeavors to gain possession of the four children of this unhappy marriage, albeit the real bone of contention is a child of five. The principal feature of the proceedings was the demeanor of Mrs. Williams. She appeared in the box handsomely dressed on every occasion, and sustained a severe cross-elimination with imperturbable calm, answering questions with the facility that comes of innate conversational powers, and frequently scoring over learned counsel by ready repartee and epigram-matic force.

The hearing of the evidence and of counsel's addresses-Mr. R. S. Haynes, K.C., and Mr. Arthur Haynes appeared for the lady, and Mr. Villeneuve Smith and Mr. Downing for the gentleman lasted from Monday till Friday. Mr. Justice Burnside has still to deliver his decision. WILLIAMS AND HIS WIFE (1912, April 21). Sunday Times (Perth, WA : 1902 - 1954), p. 3. Retrieved from http://nla.gov.au/nla.news-article57730361

F. M. Williams, A Depiction of Mt Eliza from the Western Side of Mill Point, South Perth
Watercolour, 56 x 89 cm, courtesy Fine Art, McKenzies Auctioneers, Perth.

The result of the five days' hearing of the petition of Anna Margaret Reay Williams for a judicial separation from her husband, Frederick Matthews Williams, on the grounds of persistent cruelty, was on the 28th. inst, announced in the Supreme Court by Mr. Justice Burnside. That the public had got wind of the matter was evidenced by the crowded state of the gallery.
Mr. E. S. Haynes, KC, with him Mr. A . Haynes, appeared for the petitioner, and Mr. V. F. Smith, with him Mr. A. Downing, for the respondent.
In the course of his reserved judgment His Honour said that on the issues which had been raised in the pleadings he had to determine these things-had the respondent been guilty of legal cruelty to the petitioner, and, if so, had that conduct been condoned by the petitioner? If not, was such conduct the outcome of serious provocation at the hands of the petitioner, and. finally, what was the cause of the present separation between the respondent and the petitioner ? In regard to the first point no judge had attempted to define legal cruelty. The essential features of cruelty were, however, well known and understood. These were actual violence of such a character as to endanger life, limb, or health, and to arouse a fear or reasonable apprehension as to personal safety. The ground for the Court's interference, on the question of cruelty was one of safety to the wife and the impossibility of her fulfilling her matrimonial duties owing to her living in a constant state of dread. In considering the conflicting evidence which had been tendered in that instance His Honour had not over-looked the demeanour of the parties as indicated from the witness-box. After making every passable allowance for the exaggeration, which might be expected in such a case he had come to the conclusion that neither of the parties could be regarded as absolutely reliable. Counsel for the petitioner had stated that all efforts to effect a reconciliation between the parties had been fruitless. That such should have been the case did not surprise His Honour. The parties appeared to him to take a special delight in giving their evidence in a manner calculated unnecessarily to give pain one to the other, and it was forced upon his mind at an early stage of the case that the springs of bitterness had polluted the waters of truth. It seemed, too, that the dictates of reason and self-respect might sometimes be overshadowed by uncontrolled passion and a will that refused to be bent. After dealing exhaustively with the evidence, and coming to the time when the respondent lost his position in the Mines Department and the parties had come back to Perth with very little income to live upon, His Honour said that when poverty began to look, in at the door what affection, still remained . on either side had speedily escaped through the window. The petitioner claimed that her husband would not supply her with money for her clothes, while the respondent said it was impossible to supply the inordinate demands of his wife. What appeared to have put the finishing touches upon already strained relations was an advertisement, which appeared in the "West Australian" newspaper in June, 1910. Apparently without consulting her husband, the petitioner communicated with the advertiser. She received a reply from the man and showed it to her husband, whose advice she desired. That advice- appeared to have been summed up in the words. "Tell the advertiser to go to the devil." His Honour thought it was much to be regretted that with -his greater knowledge of the affairs of the World the husband did not see his way to couch his advice in civil terms. He was well aware at that time, of the excitable disposition and imaginative temperament of his wife, and His Honour could conceive nothing more fertile- of disturbances than the want of civility on the husband's part. The petitioner, with equal knowledge of her husband's disposition and temperament, would have done well to have allowed the matter to drop. Instead of that she had an interview with the advertiser, in her house in the absence of her husband, another meeting by arrangement took place between them, and there was also an accidental meeting in the General Post Office. 
His Honour could not help thinking that if the wife desired to put an end to the conjugal relations between herself and her husband she could not have set about it in a better way. The parties accordingly became, further estranged, quarrels and offensive epithets became frequent, and separation one from the other followed. After leaving her home in June, 1910, the petitioner said she asked her husband to let her go to Melbourne on the grounds of ill-health. The husband refused. In July she went to Melbourne with the full knowledge that her husband suspected that the cause of her going, was not entirely due to ill-health. What had happened in connection with his wife's going out to earn her own living did not seem to justify a separation. It could not be suggested that even if the husband had applied an offensive term to his wife and mooted she should go out and work she would be justified in leaving the house without notice or without intimation as to her destination. From the wife's general attitude while she was away in Melbourne anti immediately upon her return, His Honour was forced to the conclusion that, whatever may have been her intentions in returning, living with her husband as his wife was not a primary one. The scene on the-South Perth jetty formed a fitting climax to" the situation, and it was remarkable that the account given by independent witnesses differed materially from that given by either party. The two persons concerned appeared, to have been in such a state as to have had but little idea of what was actually going on. His Honour had .no hesitation in saying that cohabitation between them now was impossible, and that the blame lay equally upon both parties. They appeared to be of a violent and easily excited disposition, and neither seemed to possess sufficient mental balance to counteract their outbursts of temper add" passion. He concluded that if the wife really feared violence and ill treatment her conduct would have been different. It struck him as peculiar that not a single witness bad shown that the husband had laid hands on the wife. With regard to the spitting incident, it indicated the extent to which barbarity yet existed in the minds of people of today under the veneer of civilisation. If the petitioner's version of the incident were true, it did not appear that she resented the insult in a manner that might have been expected. Her subsequent conduct caused his Honour to hesitate before accepting her version at' all, for she repeatedly wrote suggesting that her husband should rejoin her in Melbourne. His Honour had finally concluded that these parties were utterly unfit for each other's society. He could not see that "the one was more to blame than the other. They must carry the blame upon the shoulders of each other. He was not satisfied that the respondent's conduct towards the petitioner was such as to constitute legal cruelty. He was not satisfied that he ever used actual violence or ever Intended seriously to use it or that the wife ever feared or was affected by his conduct. He was not convinced that the complaint of ill-health arose more from her husband's conduct than from her dislike for the city of Perth and her desire to substitute for it the city of Melbourne. She was apparently of an exceedingly excitable and imaginative temperament, and had allowed herself to take an exaggerated view of the conditions of life. The unfortunate disposition of the husband tended to aggravate the symptoms rather than to alleviate them. The disposition of the one seemed to be an irritant for the disposition of the other, the result being that they were both now left with much food for reflection. The law did not justify his Hon-our in separating the husband and wife judicially. They had separated themselves m fact, end so long as each continued to maintain his and her present' attitude towards the other his Honour had no doubt that they would remain apart. He was unable to find the respondent guilty of legal cruelty, and would therefore dismiss the petition. No order was made as to costs. AN ARTIST'S WIFE. (1912, May 4). Western Mail (Perth, WA : 1885 - 1954), p. 35. Retrieved from http://nla.gov.au/nla.news-article37418361 

Is this the unhappy Anna Margaret Reay Williams? Perhaps a daughter? A series of letters appears in newspapers signed by an Anna M Reay, address, Narrabeen, from 1930 on.

If it this is Mr. Williams winsome wife, and they did separate, he never lost this picture, and a lady of the same name resided at Narrabeen, penning very good insights, from soon after he passed away until she moved, back to 'Heidelberg', Melbourne:

Photo courtesy David James OAM

Sir,-In her description of "Country Inns" in the "Herald" of May 10, Miss Gwen Mere-dith mentions a hundred-year-old building at Mittagong, formerly a wayside inn, but now being used as n "guest" house. I crave per-mission to relate an interesting story of this old place, which was Imparted by "mine host" to some of us who were guests at the time.

In the course of conversation he mentioned the "dungeons " We immediately demanded to see them. Lifting a large wooden trapdooi in the floor ol the verandah, he disclosed a flight of old and well-worn stone steps leading Into a large excavated chamber, dimly lighted by small windows, well-baired, high up in the walls, the sills being on a level with the outer ground, where the tennis courts now are. A very large "boker's oven" was set in to one of the inner walls On the other side of the dungeon was a range of semienclosed cells the whole length of the wall, each cell having a strong Iron ring attached to a large bolt embedded In the wall He explained that in the old days when convict« were being transported between Sydney, Parra-matta and Berrima gaols, the coach carrying them used to stop for refreshments, and a change of horses at this old Inn. Ihe con-victs used to be taken from the coach, still manacled and chained, and secured In the cells until It was time to take the road again.

I am, etc.,
Narrabeen, May 12. ANNA M. REAY.
COUNTRY INNS. (1930, May 14). The Sydney Morning Herald (NSW : 1842 - 1954), p. 10. Retrieved from http://nla.gov.au/nla.news-article16694922

Sir,-It is a serious reproach to New South Wales that its capital city, professing to be the richest and most important in the whole of Australia, should be laid open to attacks such as have appealed in the Press for years past, and which one has to read even to the present. I refer to the frequent complaints of the pollution of the beautiful surfing beaches along out coasts by sewerage deposits and other unwholesome and disease-breeding matter. Our Australian beaches have borne the reputation of being the best in the world for beauty of setting lovely stretches of clean sandy shores, and the finest suiting conditions, all along the thousands of miles of coast-line of this huge island continent.

I have even read descriptions of our wonderfully trained and efficient life savers and of the work of their clubs (accompanied by photographs) in English newspapers, and have wondered whether English people and intending tourists from foreign countries may have seen complaints about pollution of some of the Australian beaches. Such publicity would not be conducive to a large Influx of oversea visitors, whom we should attract to our shores, and so make the tourist traffic as profitable as it should be.

I myself can contribute direct testimony to the pollution of Bondi beach. Not so very long ago I visited this beach with my youngest daughter, with the intention of surfing on a Boxing Day. As we walked along the sand at the edge of the water we were horrified and disgusted by the sight and smell of putrid masses of poultry entrails wishing about in the nearer waves, and being washed up onto the sand with each roller. We now take our sea-bathing on the still unspoiled beaches north of Manly.

The city of Perth, Westerm Australia awoke many years ago to Its responsibilities as regards public health matters. Following upon the large increase of population caused by gold-fields activities, the city instituted a sewerage system septically ticated. Consequently the beautiful waters of the Swan River and its twelve-mile estuary, which is shark-free, and reaches to the port of Freemantle remain unpolluted and retain their pristine, sparkling clarity a joy forever to the people of that enterprising city, who without fear may disport themselves, and proudly take their visitors swimming, fishing, yachting, and boat racing, or, on the Indian Ocean front, at Cottesloe and other surfing beaches, to enjoy the lolling waves of the cleanest surf in the world

Quite possibly, tourists may decide to disembark at Fremantle, and not come any further round the coast, since they are so well catered for.

I am, etc.,
Narrabeen. Jan. 17
LETTERS (1936, January 20). The Sydney Morning Herald (NSW : 1842 - 1954), p. 5. Retrieved from http://nla.gov.au/nla.news-article17208510

An article by the same lady:
How Sex Can Be Taught by Anna M Reay (1930, June 29). The Sun (Sydney, NSW : 1910 - 1954), p. 3 (CRICKET STUMPS). Retrieved fromhttp://nla.gov.au/nla.news-article224263880

(To the Editor of "The Sun")
May I suggest to your correspondent, "E.M.D.," that she can end all her worries with regard to her daughter in the same way as I did, viz., by simply declining to allow  her to do anyhomewaork at all, and forbid her to carry heavy books to and from school every day. In fact, it would be wise If "E.M.D." kept the girl away from school for a whole month or more, until her health has recovered, and still forbade the homework and carrying of books on resumption. There is no legislation whatever against parents caring for the health and development of their children. In fact, it Is their first duty and of Infinitely greater importance to the children than the results of school examinations are to either them or their teachers. 

This was the action I took for my girls, and I was neither arrested nor imprisoned for writing to the headmistress, stating my reasons for not allowing homework. I also stated to the head-mistress that I would keep the girls at home altogether if the teachers were unable to give them sufficient Instruction during ordinary school hours, and I would resume instructing them myself, as I had done until the eldest was 12 years of age. (And this, In addition to my household duties.) After school hours, the children played In the open air until the evening meal, and later they were joined in games and dancing by their young friends of the neighborhood. Consequently, their bodies were healthy, their minds receptive, and they advanced literally by leaps and bounds through their classes, being moved up two classes at a time. Finally, they gained four scholarships and a bursary.

Narrabeen, May 18.
TOO MUCH HOMEWORK (1936, May 20). The Sun (Sydney, NSW : 1910 - 1954), p. 15 (COUNTRY EDITION). Retrieved fromhttp://nla.gov.au/nla.news-article231324332

Letters to The Editor
Jaggers Bronzes
Sir,-Before any more damage Is Inflicted upon the valuable Jaggers bronzes which have recently been placed In the grounds of the National Gallery a substantial iron spiked fence should be placed round each of these art treasures. Melbourne is fortunate In being In possession of this rare statuary, there being only two of each of these bronzes in existence-the other pair is in England-and there can be no duplication, for the moulds were destroyed upon completion. Perhaps there are few persons other than artists who know that sculptors take particular pride In the degree of "bloom" appearing upon their finished work when It is received from the founders. No hands must touch that "bloom," nothing must brush against It; it must be preserved at nil costs. It is with chagrin that I have noticed the destructive effect wrought already upon these magnificent figures by Ignorant on-lookers, who are not satisfied to stand half-way between the two where the best possible view is to be lind of either; they must go close and handle everything within reach-rub the toes of the boots, pull at the chains of "The Driver," and spoil the appearance of the .."blooming" surface.

-Yours, &c,
ANNA M. REAY. Heidelberg, March 27.
Letters to The Editor (1937, March 30). The Argus (Melbourne, Vic. : 1848 - 1957), p. 6. Retrieved from http://nla.gov.au/nla.news-article11052820

To have such a renowned painter here just prior to WWI, instead of settling at Mosman or Manly, is perhaps a forgotten part of our history of Artists. It is also invites you to wonder how many of this school of Artists 'camped at Narrabeen' - certainly many of them have works named for that place of many moods and many views.

What is also very pertinent here is not only the photographs David James OAM has from an earlier period, and from the same source, of Narrabeen, but also one that a replica the below Williams artwork, which David has (in a very fragile condition - sighted by writer), is a pencil drawing that looks a lot alike the Narrabeen in the background. :

Fred M. Williams, The Landing at Anzac Cove Gallipoli 1915
Gouache, 52 x 76 cm, courtesy Leonard Joel, Melbourne

One of the photos from David's collection of Narrabeen - 1915 or earlier?

One more of F. M. Williams works (?) -  signature - which, in small handwritten script on same, is said to be taken from a photograph
Photo courtesy David James OAM

Arthur Streeton, Manly Beach, 1895

To Herman, Jolly and Murch

Weaved through their own paths are those of artists who chose to live in Pittwater, probably because it was once much cheaper to do so and that freedom from financial stress allowed them to pursue creative ways, never a very lucrative calling unless you are consistently selling works. Those that settled here became artists colonies of sorts as well, especially in suburbs where a few or more artists lived or visited regularly and led to the commencement of locally based exhibitions and shows as much as a great creative conversation being able to take place between these artists and their obviously individual styles or different modalities of creative work, whether in paint, and its many styles and developments in themes, in prints, in ceramics, in sculpture – in act in every established genre of Art imaginable, some of these worked in by just one artist!

How did we get from Artists camping out at Narrabeen after leaving a Lister Lister art class to early Art Shows at Mona Vale and Avalon RSL? 
Improved roads along with the advent of motor vehicles and motor bikes allowed access to and from Pittwater as well as an easier means of transporting all thew accouterments required for painting in the open air. This place remaining somewhere that was peaceful and could be afforded, especially during the Depression years of the 1930's when so many were moving or camping here, as being able to catch a fish meant the family didn't go hungry, and being a place that is an inspiration in its surrounds, beauty and seasonal or even daily moods, all contributed to Pittwater being an early and still constant place for Artists.

There have been so many Artists who have resided in Pittwater areas for a season or permanently that an in-depth study listing all would require several volumes. The website of the Manly Art Gallery & Museum has an excellent list, including allowing you to know what works each created are housed at Manly. Here small insights into those who resided by lagoon, paddock and beach, especially where they overlap as mates, as 'colonies' and 'salons' of sorts, and in investing and changing what is Australian Art itself will allow a picture of these threads to weave the essence of why Pittwater remains a place with a dynamic and evolving Art focus and remains a place where Artists work to support each other's developments and works - The Pittwater Artists Trail or the Offshore Artists Gone Fishing Gallery being just two great examples of the current year round celebrations of creations this community has.

Narrabeen - Camping to Cottages (and Caravans!)
Who were those that were taught by Mr. Lister Lister that went camping at Narrabeen to create 'plein air' works?
Some articles record Mr. Lister working mostly at Freshwater Beach - a spot easily accessible from his home at Mosman via The Spit punt - the 1901 Art Society show including his "Freshwater Beach Near Manly.", one of several works on Freshwater the gentleman completed.

Fed by articles proclaiming the beauty of the place, improvements in tracks and transport to gain access, and affordable to the ever slim Artists' purse, Narrabeen became and remained the place to visit and create works of - here the elements of air, water and earth met in sky, landscape and lagoon combine to offer views ever changing and that suited the ever changing and developing style of each individual Artist.. 

Narrabeen does not, in common with other parts of Australia, possess an everlasting summer; but it is, however, a Paradise for those in search of quiet and pleasure. A more delightful spot for ruralising than Narrabeen does not exist in Australasia. To the wearied and faded business man it affords a haven of rest and retirement such as no other spot within easy distance of the city can. The natural beauties of the district alone are attractions. But added to this there is the best of shooting and the best of fishing and boating, and no finer sport for the artist to indulge his proclivities for sketching, or the young and agile to follow their fancies in the shape of cricket, &c. As a holiday resort it abounds in every essential to pleasure. For those fond of aquatics and fishing there is a magnificent lake, and for those fond of these beauties and excitement of the ever rest less sea there is a beach, unrivalled in New South Wales for wild and romantic scenery, stretching from Long Reef to near the far-famed Barrenjoey, with a most beautiful view of sea and coast. There are also salt and fresh water bathing, and boating parties who make the easy trip up the gorge at the head of the lakes will not soon forget its beauties — the waterfalls, the mountainous banks, with every kind of ferns and wild flowers, and tall palms, some 40ft or 50ft high. A visit to Mount Ramsay will also repay the visitor the trouble of climbing to the top, from which a most delightful panorama of coast, sea, and lake scenery is obtained. Now that the steamboat fares to Manly are reduced so liberally, a trip to Narrabeen is within reach of all classes, and a day spent at that quiet, secluded, and most beautiful of our watering places should be a great benefit to a number of people during the holiday season. Narrabeen. (1893, December 23).Evening News (Sydney, NSW : 1869 - 1931), p. 3. Retrieved from http://nla.gov.au/nla.news-article112936347 

In the Sydney Artists' Colony.
By Alfred R. Coffey.
The artists' life may be regarded as a decidedly pleasant one notwithstanding the drawbacks from a monetary point of view, for buyers are scarce in Australia, and most of the colonials have been too busily occupied up to the present to pay much attention to art. A From his first start as a student, however, the artist finds a keen enjoyment in his work.

Take the ordinary life of one of our principal Sydney artists, W. Lister Lister, President of the Art Society. He has large classes for landscape painting, and is very much liked by all his pupils. 'Uncle' (as he is called by some of those who have been longest with him), followed by a dozen or more lady students, is a familiar sight at Freshwater Beach, and other sketching places. Of course, he is always tied down to the city, and goes away on several painting tours during the year. Occasionally some of his pupils get up a party, and stay at Narrabeen for a month or so, and have a delightful time, painting all day, and then boating on the lagoon or impromptu musical programmes at night.

Lister is a hard worker, as shown by his contributions to the annual exhibitions, many of his pictures having been purchased for the National Gallery, including 'The Ever Restless Sea.' (1892)....In the Sydney Artists' Colony. (1897, December 25). The Catholic Press (Sydney, NSW : 1895 - 1942), p. 5. Retrieved from http://nla.gov.au/nla.news-article104407228 

Emily Rowena Sharp, Narrabeen Lagoon - signed 'Emily Rowena Sharp' lower left; inscribed and dated 'Narrabeen Lagoon / June 17 1892' 

Emily was born 1862 in Sydney to Jonathan Plowright Sharp and Ann Sharp, the eldest of three daughters and two sons. Her creative life was cut short, perhaps a victim of the Bubonic Plague which hit Sydney in January 1900 and claimed victim after victim in Burwood during June. The Sharp's second born, a son, Cecil - born 1863, died a few months after Emily. As soon as it was apparent the disease was arriving through ships, in mid January 1900, discussions took place to place some suburbs and streets in quarantine, prior to people being moved to the old Quarantine Station at Manly. That this daughter and soon passed away at home is wondered at as when someone died in a house from the disease, the whole family was moved to the Quarantine Station - more under Extras. 

The above early Winter painting, created by a woman now mature at 30 years of age, captures some of the darkness this season reflects, while its title shows the lady knew the place is tidal, a lagoon, not a lake. What may she have created years on?:

SHARP. — May 15, at Brentwood, 38 Norwood-street. Petersham, Emily Rowena, eldest and dearly-loved daughter of J. P. and A. Sharp. Family Notices (1900, May 16). The Australian Star (Sydney, NSW : 1887 - 1909), p. 1. Retrieved from http://nla.gov.au/nla.news-article229380726 

SHARP. — The Funeral of the late Mr. CECIL EDWARD SHARP will leave his parents' residence, "Brentwood," No. -38 Norwood-st., Petersham, THIS (MONDAY) AFTERNOON, at 2 o'clock punctually, for Petersham station, and thence to Necropolis. Family Notices (1900, August 13). The Sydney Morning Herald (NSW : 1842 - 1954), p. 10. Retrieved from http://nla.gov.au/nla.news-article14330115 

Bubonic Plague.
Up to date 214 persons have been quarantined. There have been 32 cases of plague and 11 deaths. Eight hundred people have now been inoculated. Two further cases of plague were reported up to late on Sunday night, one from Annandale and one from Leichhardt; both victims are young men. Bubonic Plague. (1900, March 26).Wellington Times (NSW : 1899 - 1954), p. 2. Retrieved from http://nla.gov.au/nla.news-article139001819 

THE NARRABEEN LAKES-A PICTURESQUE HEALTH RESORT NEAR MANLY. (See letterpress on page 19.) Manly to Broken Bay. (1893, November 11). Australian Town and Country Journal (Sydney, NSW : 1870 - 1907), p. 30. Retrieved from http://nla.gov.au/nla.news-article71191632

John W. Tristram hangs his "Looking South at Narrabeen" rather unfortunately close to W. Lister Lister's "Freshwater Beach Near Manly."The two pictures (treat of the same seaboard, bout the pupil , hals in' this case outstripped the master. One seems to see the paper through 'Mr. Lister's production, while Mr. .Tristram's rocks,: waves, and sky appear actualities.THE ART SOCIEY OF N. S. W.—TWENTY-SECOND EXHIBITION. (1901, September 7). Australian Town and Country Journal (Sydney, NSW : 1870 - 1907), p. 22. Retrieved from http://nla.gov.au/nla.news-article71471959

Mr. Tristram became a resident of Mosman in 1899 until he passed away in 1938. His 'Looking South at Narrabeen' was followed by more paintings on this subject:

Cliffs at Narrabeen 1918 - Watercolour on paper, signed and dated lower right: J. W. Tristram - 1918, 25.5 x 36 cm

Narrabeen Heads, 1927- Watercolour, signed 'J. W. Tristram' and dated lower left, 22 x 27.5 cm
Courtesy of Leonard Joel © John William Tristram or assignee

Perhaps the hardest test of the artist is afforded by the production of the cabinet picture. The faults of a large canvas may be and often are overlooked by reason of a general effect -which is pleasing to the eye being achieved, and, unless the drawing is distinctly bad. or the coloring crude, it will pass muster in an exhibition. Particularly, is this. the case when the big picture of a striking or popular subject is 'skyed' in a favorable light. Cabinets, on the other hand, challenge criticism by reason of their moderate dimensions and their proximity to the visitor. The distance which lends enchantment to the view is lacking, and such, errors of craftsmanship as have been committed reveal themselves readily. Even minor faults of technique seem to...
The president of the society, Mr. W. Lister Lister, shows two seascapes, 'A Summer Day' and 'Freshwater Beach,' which, though charming in their way, are not up to the quality of the artist's similar work in water colors. Old friend, Mr. Dattilo-Rubbo has several examples of his cultivated industry. The heads of an old man and an old woman are admirable specimens of portraiture, and the sketches of 'Shelly Beach' and 'Blue Fish Point at Manly' have a special interest for all who have seen the originals. CABINET PICTURES. (1909, March 13). Evening News (Sydney, NSW : 1869 - 1931), p. 10. Retrieved from http://nla.gov.au/nla.news-article113350145

Tristram, Cliffs at Narrabeen, 1918
Mr. John W. Tristram
Mr. John W. Tristram, the well-known artist, died last Thursday at the age of 67. Mr. Tristram, who was born at Old Brompton Castle, in Kent, arrived in Sydney when he was 10 years old. He entered the Education Department as an architectural draughtsman, being the last man to enter the service by warrant under Governor Loftus, and he remained in the service for 45 years. He retired a few years ago. Among the buildings erected under his supervision are the Sydney Conservatorium and the Armidale Public School. Apart from his skill as a water colourist, Mr. Tristram was a gifted musician, though he never published any of his compositions. He is survived by Mrs. Tristram, two sons, and two daughters. MR. J. W. TRISTRAM. (1938, August 22). The Sydney Morning Herald (NSW : 1842 - 1954), p. 5. Retrieved from http://nla.gov.au/nla.news-article17489942

In fact, spending time in Pittwater to create woks features in many Australian Artists portfolios':

Recently Mr. W Green, Tamworth’s well-known water color and black and white artist, spent a fortnight’s boating around the Hawkesbury and Newport and as the result of sketches made he has painted a fine collection of water colors which are on view at his Book Arcade, Peel street, thepictures include views of Broken Bay, the Hawkesbury, Cowan Creek, Lovett's Bay, Refuge Bay, Pitt water, Putty Beach Brisbane Water, Lion Island Barrenjoey, Bilgoela Head, Wagstaffe Point, and Palm Beach. TAMWORTH ARTIST'S PICTURES. (1921, May 17). The Northern Daily Leader (Tamworth, NSW : 1921), p. 1. Retrieved from http://nla.gov.au/nla.news-article104817511 

Exhibition at Turramurra
The veteran artist Mr. George Collingridge is exhibiting at the Masonic Hall, Turramurra, a large collection of paintings in oils and water' colors. The display was opened last night by Mr. Fitzsimons M.L.A., in the presence of a large gathering. In the oil section there are many attractive landscapes. A great deal of attention was given to "Australian Bent Tree," "The Basin, Pittwater," "Upper Mangrove Creek," "Balmoral Beach," and "'Upper Warara Creek," nil of which are treated sympathetically. But the best of the pictures are in the water colors — a versatile collection. There are many drawings of old Sydney — "Argyle Cut," "Lower Fort-street," "Blue's Point in 1880," and "The Oldest House." Among the landscapes those receiving attention were "Solitude," "The Moon is Up." "Hornsby," "Kendall's Narara," "From Berry's Buy," and "Mangrove Creek." The show remains open until Saturday. VETERAN ARTIST'S DISPLAY (1924, May 22). The Sun (Sydney, NSW : 1910 - 1954), p. 10 (FINAL EXTRA). Retrieved fromhttp://nla.gov.au/nla.news-article223385607 

George Collingridge had a home at Berowra, stone cottage 'Capo di Monte', at Collingridge Point from around late 1881/1882. He recalls in many of the articles he wrote and that were published in various newspapers and periodicals, that he enjoyed walking. He also has a skiff, so would have had access to Pittwater, the Central Coast, and other inspirational views along the Hawkesbury.

George was winner of 1st Prize for engraving at the 1879 Sydney International Exhibition and co-founder (with his brother Arthur) in 1880 of the Art Society of N.S.W., now the Royal Art Society of N.S.W. 

A few extracts about, from and by the 'Hermit of Berowra':

George Alphonse Collingridge De Tourcey, Mosman's Bay
Watercolour, signed lower right 1889, 34 x 24 cm

George Collingridge, of the Art Society, N. S. W.
GEORGE Collingridge was born at Codmington, Oxfordshire, England, in 1847 ; went to Paris 185^ where he became a pupil of the French, master Hapigny. In 1867 he went to Renae, and served as a soldier under Pius IX., fought at Mentana, and the siege of Rome. While in Italy, Mr. Collingridge studied the old masters at the Vatican, walked from Borne to Naples to make studies in the Roman Carapagna/and returned to Paris., during 1869, but was obliged to leave again for, London on account of the siege of Paris. He left by the last train available for the departure of strangers In London he became associated with the art department of the, " Graffic" and ‘Illustrated London News," but returned to Paris after the Commune. There he found- his nice studio riddled with shells, and pillaged by Communists. 

During 1875 he went on a tour of Scotland, on foot, and filled many sketch books with views from Edinburgh to John o' Groats. Visited the Orkney and Shetlands in 1878. Went to Spain to make sketches of  the marriage of Alphonso for the of Monde Illustre," also to study the architectural beauties of old Spanish towns, such as Toledo, Fontarabu, &c. He came out to New South Wales in 1879, to cultivate art under a sky brighter even than those of Italy or Spain. 

With his, brother Arthur, who is also an artist, he has taken an active part in the progress of the Art Society, of which these gentlemen are the founders.

Before the formation of the Art Society of New South Wales the scattered elements of artistic genius might have striven in vain to .emo to the front and command the attention of lovers of art in the colony. The second annual exhibition of the society has proved how combination gives power. Pictures have been sold to the amount of nearly  600, and the society is not two years old. It was therefore a happy thought on the part of Messrs. G. and A. Collingridge on their arrival in Sydney to suggest a scheme for the launching of the new organisation. The society was formally constituted at a meeting held on July 16, 1880, when a council and officers were elected for the ensuing year. Mr. E. Combes, C.M.G., M.L.A., is the actual president, and the work of the society has received a fresh impetus since his accession to office. r. J. C. Hoyte, the late president, is now the vice-president of the society. From the success achieved in so short a time we  may augur well of the future progress, of .the, Art . Society of New. South Wales. 

George Collingridge, of the Art Society, N. S. W.
George Collingridge, of the Art Society, N. S. W.(1882, January 21). Australian Town and Country Journal (Sydney, NSW : 1870 - 1907), p. 17. Retrieved from http://nla.gov.au/nla.news-article70964565 

It would seem impossible that any of the water frontages in the County of Cumberland had not been mapped, yet Mr. Collingridge was responsible for rectifying rather a big mistake in the chart, showing the shores, creeks, and gullies In the Berowra district, north of Hornsby. The mistake consisted in the omission of four or five miles of water frontage from Still Creek to Calabash Bay. The error, however, was soon rectified. 
"I took up a selection on Berowra Creek in the early eighties," he says, "and was there for five years. There was no North Shore railway line or any other railway then, and to get home from town I took the Parramatta boat to Ryde, and rode or drove to Berowra —a matter of three or four hours, and then pulled about five miles up the creek to Collingridge Point. My selection was always considered as cut off from the outer world, except by approach on the water. Once, coming home, I was lost In the bush, and wandered about for 10 miles, discovering in my wanderings a long road on the top of a ridge, which I have never been able to find since. I judged the distance by the ruins of an old mill which I came across, and which I know was 32 miles from my selection on Berowra Creek," Mr, Collingridge breaks away from his reminiscences of the early. Berowra days and says he was born at Codington Manor, Oxfordshire, In October, 1847, and that In 1853 his father and mother, with the five children, went across to France....71 YEARS YOUNG (1919, May 18). The Sun (Sydney, NSW : 1910 - 1954), p. 9. Retrieved from http://nla.gov.au/nla.news-article221452709 

Old Peat's Ferry Road
By George Collingridge
IF our new members of Parliament wish to show that they really intend to do some good for their country, one of the first things they will attend to will' be the reconstruction of the Old Peat's Ferry road and the replacing of the punt across the Hawkesbury River that many years ago caused Newcastle and Sydney to be in closer touch by a ..-mile shorter route than nowadays. Peat's Ferry forty-five years ago was an important place, coming down from Berowra Creek in my light cedar skiff, I often used to call in for my letters the did Peat's Ferry post-office, and I made the sketch given here in the year 1882. The place has changed a lot since then, and is now crowded with houses. There was 'good accommodation at the old-fashioned hotel on the Mooney-Mooney side, and ....— 'Globe Trotter.' Outdoor Australia. (1925, July 8). Sydney Mail (NSW : 1912 - 1938), p. 12. Retrieved fromhttp://nla.gov.au/nla.news-article160084951 

Mr. George Collingridge.
MR. GEORGE COLLINGRIDGE, The veteran artist and author, had an exhibition of his pictures at the Masonic Hall, Turramurra last week. They consisted chiefly of landscapes in the Hawkesbury and Hornsby district. Mr. Collingridge has been identified with art so many years that the high quality of his work is well known. His absolute sincerity reveals itself in a pleasing way. He has the sure touch of a sound draughtsman, the atmosphere of his pictures is restful, and regarded as a collection they have special value. Such remarkable changes are taking place on the northern side of the harbour that a number of his works might well be purchased for their historical importance. In a period when young artists are "expressing themselves" sometimes somewhat weirdly, It is refreshing and satisfying to visit and exhibition of an artist whose mind is fixed on Nature's beautifies rather than upon an ambition to use Nature as a background for some freakish interpretation that is supposed to represent "personality". For sincerity we have to look to artists like Mr. Collingridge. Mr. George Collingridge. (1924, May 28).Sydney Mail (NSW : 1912 - 1938), p. 16. Retrieved fromhttp://nla.gov.au/nla.news-article166151542 

Reviews of the Week Hermit of Berowra
'Round and Round the World,' by the Hermit of Berowra (George Collingridge). Published by the author, Hornsby, N.S.W.
Mr. George Collingridge has just published Part I. of his work, 'Round and Round the World.' It is a dainty little brochure containing many picturesque illustrations of his art in word-cutting. There intrudes in his work many references to that detestable, make-belief language, Esperanto, better named a lingo, and his subject-matter is at times amusing, if not ambitious in design. But it is not as an author we review his work, but as an artist whose talents might have taken him far along the road to success had he concentrated oil his subject. He was born in Oxfordshire, England, in 1847, but spent the greater part of his early days in France. He began as a student in architecture under Viollet de Due, but he abandoned this for wood-engraving, and he has some beautiful work to his credit. He has executed some of the finest work in France, and possesses many medals in world competitions for 'wood engraving. Mr. Collingridge was a pupil under Corot, and also took landscape lessons from Harpignies. His wood cuts are really a delight to the eye, and when placed under the magnifying glass the lines look almost perfectly executed. BOOKS AND WRITERS (1925, August 23).Sunday Times (Sydney, NSW : 1895 - 1930), p. 5. Retrieved from http://nla.gov.au/nla.news-article128160877 

George Collingridge, 1847-1931. Title [The home of the hermit] [picture] / Geo. Collingridge- circa 188-?, wood engraving ; 13.8 x 8.5 cm. Courtes National Library of Australia. Image No.: nla.obj-136199872-1 

Vanishing Gum Trees
By George Collingridge
THE elevated plateau that extends towards Cowan, between the Lane Cove River and Middle Harbour, is fast becoming populated, and the magnificent gum trees that lend such charm to the scenery in these parts are gradually disappearing, but giving place, however, to beautiful homes. Not long ago this extended region of the north side of Sydney Harbour, comprising Turruamuura, Warrawee and Wahroonga, away back on the high -rough tablelands beyond the little settlement that fringed the shores of Port Jackson, was a terra incognita to Sydney folk. The country, being broken and sleep, was considered too difficult of access for settlement. A rough track meandered through a deep forest of gigantic cum trees, and along that track, on certain days, and at certain hours, one might meet with the carts and drays of the few pioneers whose main occupations were timber getting and the culture of fruit and vegetables, which they brought down to the shore to be ferried across to Sydney by the successors of Billy Blue and Benelon. 

TURRAMURRA GUM TREES. From a woodcut by George Collingridge.

ONE fine day, the idea occurred to somebody that a railway might be constructed along the track which had gradually wore for itself the title of Lane Cove-road. After many delays the idea was put into execution, notwithstanding the great outlay caused by the nature of. the country traversed and the tunnels that had to be pierced through the hills in order to reach by convenient slopes the high lands which command such magnificent views of the harbour, Sydney, and .Blue Mountains in the far off horizon. No sooner was the railway finally opened from Milson's Point and connected with the northern line at Hornsby, than a sudden transformation took place, and now all along the railway line new suburbs have been called into existence. Of all these, none. I think, can vie with Turramurra, Warrawee and Wahroonga for all the manifold requisites of model suburbs. In the silent glens and deep forests, where a few years ago the hardy sportsman tracked the wallaby, possum, and native bear, happy homes, cosy and artistic, have been carved out of the primeval forest, and occupy almost every available hillcrest in this elevated and healthy region. From the railway line between Turramurra and Wahroonga, turn on which side you may, you catch sight of the red tiles of those up-to-date residences modelled on the early English style of architecture, peeping through the greenery of the balmy eucalypti. Vanishing Gum Trees (1926, October 27).Sydney Mail (NSW : 1912 - 1938), p. 40. Retrieved from http://nla.gov.au/nla.news-article166522578 

George Collingridge, 'Patonga. Broken Bay.' 
Watercolour, 30x21cm - Royal Art Society of NSW label verso.

Twisted Gums near Gosford from - Wood-Engraving and Wood-Cutting by George Collinridge. (1928, October 10). Sydney Mail (NSW : 1912 - 1938), p. 47. Retrieved from http://nla.gov.au/nla.news-article158402548

Mr. George Collingridge, artist and litterateur, who some years ago was associated with this district, died at the Coast Hospital on Monday, June 1, aged 84 years. Mr. Collingridge was born at Godrington Manor House, in Oxfordshire, but spent his youth in France. He received his education from an English-man resident in Paris, and attended the Ecole des Jesuits de Vangirard. In 1863, he became a student in architecture under Viollet-le-Duc and an apprentice at wood engraving. He also attended classes at the Ecole dee Beaux Arts. There he became acquainted with Corot, and was the great artist 'b only pupil. He also took lessons from Chapeu, for the figure, and from Harpignies, for landscape. With Vierge and others, who subsequently won their way to fame in the world of art, he illustrated with woodcuts "L 'Histoid du Consulat et de L 'Empire de Thiers," "Gil Bias," "Don Quixote," and other important works of the period. His studies and work were interrupted by events in Italy, where Garibaldi bad taken the field. Mr. Collingridge enlisted in the Papal Zouaves and served in nineteen engagements. Then came a tour through Italy and a return to Paris, from which the members of his family got away just in time to escape the siege by the Prussians, and the Commune. In London he worked for the "Graphic" and the ''Illustrated London News." With his brother Arthur, he came to Sydney in 1879,. and .with his brother he founded the (now Royal) Art Society. In addition to painting pictures, he worked for the "Sydney Mail" and other illustrated papers. His activities, however, were not confined to . art. He investigated records "and literature on the early navigators of the Indies and the Pacific, his familiarity with the French, Italian, Portuguese, and Spanish tongues giving him a great advantage in that respect. He wrote a number of books dealing with the subject, these including the "First Discovery of Australia and New Guinea," and the "Discovery of Australia." Still later, he followed la the footsteps of Lewis Carroll and brought out "Alice in One Dear Land" and "Through the Joke in Glass." Mr. Collingridge was not without honor in his own day, in recognition of his work. He was made a fellow of the Royal Historical Society, a member of the Royal Geographical Society, and of various geographical societies in other countries, and was a member of the Spanish Order of Isabela la Catholics and a Knight of the Portuguese Order of Santiago. He was also keenly interested in the study of Esperanto. ' 

For some years he was an art teacher at the Technical College, and he held a similar post at Barker College, Hornsby. Mr. Collingridge married a daughter-of the late Mr. T. C. Makinson. She predeceased him. He is survived by three sons, Messrs. Austin, Wilfred, and Joseph Collingridge, and one daughter, Miss Catherine Collingridge. Mr. justice Heydon and Mr. J. M. Watkins, barrister-at-law and Parliamentary draughtsman, are brothers-in-law, and Mrs. A. Collingridge, of Ryde, is a sister-in-law. The funeral took place on Tuesday from St. Charles Roman Catholic Church, Ryde, the remains being interred in the Field of Mars Cemetery in the presence of a large gathering of relatives and friends. The officiant was the Rev. Father Gell. BEYOND THE VEIL (1931, June 11). The Gosford Times and Wyong District Advocate (NSW : 1906 - 1954), p. 5. Retrieved fromhttp://nla.gov.au/nla.news-article163888181 

The Late Mr. George Collingridge.
The death of Mr. George Collingridge at the Coast Hospital on June 1, fortified by the rites of Holy Church, removes a name well known in Catholic art and literary circles. Mr. Collingridge was one of the two remaining men in Australia who had fought with the Papal Zouaves in Rome. The deceased gentleman was born at Godington in 1847. At 21 years of age he was professor of English at Arceuil College, Paris. For three years he taught a variety of subjects. During a long and honorable career of interesting and exciting events, it would be difficult to particularise any special feature. He was two years in the Papal Zouaves and fought in nineteen engagements. He came to Australia in 1872 on the 'Lusitania.' His brother, Arthur, also come to Sydney, and was one of Sydney's leading artists. He died in 1907. Mary Collingridge, a sister, was a noted teacher of French at Hunter's Hill, and died some years ago at Chatswood. Charles Francis became a priest and accompanied the Soudan expedition in 1885. He was a splendid chaplain and wrote many works of interest. He returned to England and joined the Jesuit Fathers. Another son, Alfred, Papal Zouave, was killed at the battle of Mentana on Nov. 3, 1867. 

The Collingridge family is one, of the oldest Catholic families in England, and has given many priests, nuns and Bishop to the Church. The family dates from about the time of William the Conqueror in England, and has always been Catholic. During the last two centuries there have been the following men of note in the family: Right Rev. Peter Bernardine Collingridge, born in Oxfordshire, 1757, became Vicar Apostolic of the Western District, etc. Dr. Collingridge died on 3rd March, 1829. The Right Rev. Peter Bernardine Collingridge was 72 years of age. The Rev. Peter (Canon) Collingridge, Rector of Holy Trinity, Bermondsey, died June 17, 1866. His brother, the Rev. Ignatius Collingridge, was born June 30, 1807, died June 11, 1889, aged 82\ and during his 58 years in Holy Orders he had many parishes. The Rev. Thomas Collingridge was born on July 3, 1771, died' Nov. 11, 1854, aged 83. He was Prefect of Stonyhurst, and afterwards 40 years at the Society's old mission at Hooton, Cheshire. William Collingridge, of Godington, Oxon., married Louisa Maguire, a cousin of the Rev. Alfred Maguire, who. built the church at Hethe and had charge of the mission there. William Collingridge's sister Frances Collingridge, entered the convent of Beaulieu at the Rue d'Enfer, Paris. The Late Mr. George Collingridge. (1931, July 2). Freeman's Journal(Sydney, NSW : 1850 - 1932), p. 26. Retrieved from http://nla.gov.au/nla.news-article118076229 

As one reviewer stated of the 1900 Art Society Exhibition:
Three landscapes next attract attention — 'The Lagoon, Narrabeen' (what would our artists do without Narrabeen?) by Daplyn; 'Showery Weather,' by the same artist; and Lister's 'South Coast.' THE ART SOCIETY. (1900, August 25). Evening News (Sydney, NSW : 1869 - 1931), p. 3. Retrieved from http://nla.gov.au/nla.news-article112589488

There are so many paintings and etching and woodcarvings of Narrabeen Lagoon from as soon as people put brush to canvas here until current days it would be a large task to find and list them all. Some have been Finalists and one claimed the Wynne Prize. A few examples: 1935: Edith C Horrocks -Narrabeen, 1966: Elizabeth M Hegarty - Still waters, Narrabeen and Lilie Lowe - Sunlit Path at Narrabeen and that which won the prize in 1940, Sydney Long's, The Lake, Narrabeen.

The Art of the Year: (1907, August 28). The Sydney Mail and New South Wales Advertiser (NSW : 1871 - 1912), p. 550. Retrieved from http://nla.gov.au/nla.news-article163662643

Mr. Long spent a lot of time on the Northern Beaches. He became involved with a group of artists, writers and thinkers (including Christopher Brennan) who met at Newport in the 1920s. Later, his own students (including Bim Hilder, Donald Friend, Cedric Flower and Richard Ashton) were invited to weekend camps on his land at Narrabeen [1]. Frank Hodgkinson maintains that his understanding of the process of painting was due to Long: ‘It was Sydney Long who gave Hodgkinson the first taste of what real painting could be, when he visited Long at his caravan on Narrabeen Lake’ [2].

Sydney Long was also a huge supporter of the Manly Art & Historical Collection and his name is on the Founders’ Roll, a testament to his support for the establishment of the Gallery, to which he donated this painting Green and gold when the gallery opened in 1930. The Gallery also has one of his etchings, The old Customs House, Palm Beach, c.1928.

Sid Long
An artist at work.
Should you take it into your head to go for a walk round Narrabeen Lakes during the week-end you will probably see a rowing boat with a curious-looking addition to it and should you be accompanied by one of the local inhabitants, boat and
' rower will be pointed out to you with some pardonable pride.
“SEE that boat' that’s Syd Long rowing ".
“He paints round here."

Sometimes the rower in his boat gets a more Imposing title from the onlookers. Impressed with The dignity of art, they refer to him as "Sir Sydney Long," or even as a sort of combination personality, “Sir Sydney Longstaff."

Sydney Long likes to take the foreshores as his subject and paint them from the water, and that is where the skiff comes in handy. The addition to the boat is a sort of portable easel, a most satisfactory arrangement should the day remain calm, but not so easy to manage when an irritating wind arises.
Indeed, getting the placid fore-shores of the creeks and bays of Narrabeen Lakes on to canvas is not always plain sailing. As, for instance, the occasion when Mr. Long picked out a most delightful scene spent a day's work on it, and returned the following weekend to go on with the study, only to find that a horse had, most inconsiderately, died there, making the place quite unapproachable for even the most enthusiastic of artists.

"That picture is still unfinished," he remarks sadly, but he thinks that the skeleton of the horse will be very useful some time to teaching students the anatomy of the noble animal. So in this case the present, very ill wind is later on going to bring the students some thing. 

The day's painting finished, Mr. Long returns to his week-end residence the grounds of which run from Lagoon-street down to the lake. It is probably inaccurate to apply such a permanent-sounding word as residence to the brilliantly painted caravan which stands on the allotment, but the fact that the caravan has what estate agents would call "all mod convs," including electric light and radiators and water laid on, would almost entitle it to be called a cottage.

The caravan has quite a history of its own. Built originally for an Englishman, who had his own ideas of seeing Australia in comfort, the wooden caravan was fitted with all sorts of elaborations, including a large wine-bin. But either the Englishman saw all he wanted to of Australia or else the horse that pulled the caravan lay down on the job. Anyhow, the touring days of the vehicle were soon declared over, and it was left abandoned in a field at Springwood, where its gipsy-like aspect attracted Mr. Long, who promptly bought it.

Probably the horses In that district all belong ' to the same horses' union, for the one hired to bring the caravan down from the Mountains likewise objected strenuously and also lay down on the Job. The caravan, therefore, arrived somewhat inappropriately at Narrabeen on a lorry.

Sid Long recto: (The artist's caravan at Narrabeen) verso: (studies of a boat) late 1920s. Copyright © Estate of Sydney Long. Courtesy Ophthalmic Research Institute of Australia and NSW Art Gallery.

The Artist's Wife.
Mrs. Long does not very often go down to Narrabeen. She is not able to, for demands are made on her time by her hobby. Perhaps hobby is too slight a word to apply to Mrs. Long's love for animals. She spends a good deal of her time taking in poor waifs and strays of the feline world and finding homes for them if possible. Mrs. Long is a member of the R.S.P.C.A., and was an ardent worker for the London society before she arrived in Australia.

The artist's wife.
The present guardian of Syd Long's studio is a very lucky tabby cat, who made a thin living from the dust-bins of George-street before Mrs. Long found it. A fat, purring animal, this cat is very conscientious about its duty of scattering the rats that used, before its arrival, to chew the books and papers in the Attic Galleries. -S.W. AN ARTIST AT WORK. (1934, September 27). The Sydney Morning Herald (NSW : 1842 - 1954), p. 21 (Women's Supplement). Retrieved from http://nla.gov.au/nla.news-article17134155 

Another interesting, though rather uneven painter is Rhys Williams. "Narrabeen Lakes" and "Stately Gums" display his sense of balance and his quiet command over colour and atmospheric effect. But "Middle Harbour" is a little harsh, with its flare of metallic blue, and the large canvas, "Camden Pastures," seems rather featureless, as though a small subject were being seen in an elongating mirror. H. C. Hadley's pictures are also predominantly pleasant, though they Include one or two less happy efforts. The best of them are "Morning Haze," "A Pastoral," "Lengthening Shadows," and "After the Storm"-all clear and definite, yet marked by an inherent delicacy of treatment. AUSTRALIAN ART SOCIETY. (1934, June 13). The Sydney Morning Herald (NSW : 1842 - 1954), p. 10. Retrieved from http://nla.gov.au/nla.news-article17091129

Boat Shed, Narrabeen
Oil on board, signed lower right Sydney Long, 40 x 31.5 cm – taller version

Left: The portrait of Dr. J. Forbes McKenzie, of Melbourne, painted by Max Meldrum, which yesterday was awarded the 1940 Archibald Prize by the Trustees of the National Art Gallery. The same artist won the prize last year. 
Right: Sydney Long's landscape painting, "The Lake, Narrabeen," which was awarded the Wynne Art Prize. Mr. Long won the prize in 1938ARCHIBALD AND WYNNE PRIZE PAINTINGS — NEW GUINEA EARTHQUAKE — VISUAL EDUCATION COURSE. (1941, January 22). The Sydney Morning Herald (NSW : 1842 - 1954), p. 14. Retrieved from http://nla.gov.au/nla.news-article17730191 

William Lister Lister's Wynne Wins:
1898 The Last Gleam
1906 The Golden Splendour of the Bush
1910 Mid Song of Birds and Insects Murmuring
1912 Sydney Harbour
1913 Federal Capital Site
1917 Windswept Marshes
1925 Track through the Bush

Alvah Earlington Rosebray

ROSEBRAY.- December 4, 1943, at Manly Hospital, A. Earlington Rosebray, late of Narrabeen. Family Notices (1943, December 6). The Sydney Morning Herald (NSW : 1842 - 1954), p. 8. Retrieved from http://nla.gov.au/nla.news-article17890171 

MANLY DISTRICT HOSPITAL will benefit from the sale of 150 watercolours by the late Alvah Earlington Rosebray, some of which are on view at the Tourist Bureau window, Martin Place. Rosebray was a well known Sydney black and white artist, but had largely lost contact with artistic circles for many years. What is Happening in Your Home State (1944, June 8). Army News (Darwin, NT : 1941 - 1946), p. 2. Retrieved fromhttp://nla.gov.au/nla.news-article47695294 

Sydney artist wins recognition —six months after his death
AN artist who spent most of his life in Sydney struggling for recognition has been brought prominently before the public during the past fortnight six months after his death. '
He was A. Earlington Rosebray, a contemporary or the older art school, whose Illustrations appeared in Sydney weeklies 30 or 40 years ago. Resenting commercial work and aspiring to paint for the love of his art, Rosebray cut himself off from most of his friends and retired to a beach Most of his former colleagues thought he had drifted, and said he wouldn't be heard of any more In the art world. But Rosebray was painting things as he saw them and, like that famous artist, Turner, putting them away in drawers. 

His collection of paintings and drawings has attracted lively attention in windows at the Tourist Bureau, and in a room on the fifth floor of Challis House, where they are being sold to provide a memorial to the artist — an endowed cot in Manly Hospital, where he died. Many of his bright watercolors have been sold. The remainder will be disposed of this week. The display closes on June 23. Among the collection left in the artist's will to Mr. and Mrs. A. S. Rashley, of Narrabeen, is a portrait of the artist, which Mrs. Rashley Intends to offer to the NSW Art Gallery. Sydney artist wins recognition --six months alter his death (1944, June 18). The Sun (Sydney, NSW : 1910 - 1954), p. 2. Retrieved from http://nla.gov.au/nla.news-article231696038 

Alvah Earlington Rosebray  - Untitled (Beach Bathers) 23 x 30cm - courtesy Lawsons, Fine Art Auctioneers

Mr. A. E. Rosebray’s Work.
'An Australian artist, whose work should meet with the Instant appreciation of local art lovers, is Mr. A. Earlington Rosebray, who will hold an Impromptu exhibition of water color drawings in the Hall of the Muses, George-street, City, to-day, at 2.30 p.m. The display has been arranged by the management of the "Muses' Magazine," and will Include landscapes, seascapes, and depletions of wild life In New South Wales. The artist is a native of that State, and is represented in the National Gallery there.

Mr. Rosebray for some time resided in the bush, and has happily caught the atmosphere in a series of colorful and clear-toned pictures.Some of his studies are notable for the grace of their conception, and the rare poetic feeling revealed. "Solitude," an exquisite pastel-tinted Impression of a wind-tossed tree against a dim haze of sea and sky, has an ethereal and mystic qualityThe same Indefinable charm is convoyed In "Nocturne, Hawkesbury River," In soft blue tones, and In "Softly Steals the Night," with the faint silver of the moon perches the blue shades above a dwelling on the dark hillside.

"Lengthening Shadows," Is another enchanting low-toned study, with a faint, luminous quality. Distinctly light treatment is evidenced in the soft glow of "Misty Dawns," while "Wind Swept Saplings," has a note of unrest, deepened by the vibrant color in the foreground. Free, flowing treatment is shown in the unusual bush subjects, "The Glow of Eventide." and "Evening Mists," with their soft, but subdued color: A luminous sky, and fine gradations in the tones of sea and shore, distinguish "The Cliff Shadow," while "Summer" has a delightful glow. 

Typically Australian is the contrast of clear light and faint shadow In "Sunlit Gums, Cootamundra," and the same characteristics are revealed In "Morning Light, Hawkesbury River," "Evening Glow," with the depiction of wallabies In a secluded space, Is a line nature study. Entirely different In treatment Is "The Revellors," a fantastic Impression of figures In fancy dress, playing In a moon-silvered glade. "Evening Sea," the one oil painting, appeals with its delicate tones and grace of line. The black and white work, chiefly live sketches of birds and animals, reveals the artist In happy and humorous mood. DISTINCTIVE PICTURES. BY AUSTRALIAN. (1928, June 13). Daily Standard (Brisbane, Qld. : 1912 - 1936), p. 9 (3 p.m. EDITION). Retrieved from http://nla.gov.au/nla.news-article178951784 

Mr. Rosebray judged this Hawkesbury River (Show) annually 

Judge — Mr. A. E. Rosebray.
Original sketch in crayon by boy or girl under 16 years — Neale Burcher 1, Miss V Charley 2; Miss V Gurney 3; head in crayon, original, by amateur — Miss M A Jones 1, Miss F Gurney 2, Miss D Huggins 3 ; original, watercolor, landscape— Miss V Charley 1, Miss D M Watkins 2, W F G Hope 3 ; oil painting, landscape — Miss I 0 Brown 1, Mrs. A Broadhurst 2 ; Miss M M Woodriff 3 ; ditto, flowers — Miss I Dunston 1, Miss F Gurney 2, A Pereival3 ; ditto, figure, Miss M M Woodriff 1, Miss R Mayne 2, Miss I (3 Brown 3 ; ditto original landscape, amateurs — Miss M M. Woodriff 1, F Biddle 2, Miss B E Day 3 ; ditto flowers, amateurs — Miss M. M Woodriff 1, Miss I Dunafcon 2, Miss B Burcher 3 ; ditto figure— Miss E Jones 1, Miss M M Woodriff 2, Miss B E Day 3 ; hand painting, on silk or satin — Miss F Gurney 1, Miss S Perry 2, Mrs. E J Dyer 3 ; map of Australia, by boy or girl not over 15 years — Miss S Gurney 1, Miss Pearlie Prosser 2, Miss E Gurney 3 ; map of N, S. Wales, showing roads, railways and telegraphs, by boy or girl not over 15 years — Miss P Pt'osaer 1, Miss E Gurney 2, Miss S Gurney 3 ; be3t drawing by pupil attending any school — Miss F Aylwin 1, Neale Burcher 2, Miss A Sharp 3 ; best specimen handwriting by boy or girl under 11 years attending any school — Miss A Sharp 1, Aubrey Kilduff 2, Jack Bourke 3. FINE ARTS. (1906, May 12). Windsor and Richmond Gazette (NSW : 1888 - 1954), p. 9. Retrieved from http://nla.gov.au/nla.news-article85668968 

Manly Shooting Tragedy
SYDNEY. Monday.— A retired commercial artist, who gave £418 to a friend at Manly last night, was found shot through the head a few minutes later.The dead man was Frederick William Pears, 55, an ex-serviceman, Taiyul Road, Narrabeen.

A friend of Pears, Mr. George L.  Jones, told police that Pears called at his home at 9.30 p.m. yesterday. 
Pears, he said, gave him two wallets containing the money, and told him: 'I have mucked things up — I am going to say good-bye to the world now.' 

Jones said that Pears then took what looked like a revolver, from his pocket, and walked down the road. As Jones watched, Pears bent over on the roadway. Jones heard a report and rushing over, found his friend shot through the head. Jones called Manly Ambulance, but Pears was dead on arrival at Hospital. ARTIST'S DEATH (1950, April 25 - Tuesday).National Advocate (Bathurst, NSW : 1889 - 1954), p. 1. Retrieved fromhttp://nla.gov.au/nla.news-article161200289 

Lance Vaiben Solomon

Lance was born in Liverpool, New South Wales, a son of Edwin Arthur Vaiben Solomon on the (20 September 1877-), a cabinetmaker, and his wife Jessie Elizabeth Solomon, née Black (1874 – 13 May 1951). Vaiben Solomon (1802–1860) an emancipist transported in 1818, was a grandfather. He studied at the East Sydney Technical College and the Royal Academy School in London.
He married and moved to Narrabeen, New South Wales.

He won a New South Wales travelling scholarship in 1939. He presented one of his works to HM the Queen Mother during her visit to Australia, won the Wynne Prize twice; in 1946 for January Weather, and again 1953 for The River Bend.

Archibald Prize Won By SA Artist
Sydney: A South Australian artist (Ivor Hele) today won the £500 Archibald Prize-Australia's highest art award-with a portrait of Sir Henry Simpson Newland.
It was the second time Hele had won the Archibald Prize.
Lance Solomon (51), of Narrabeen (N.S.W.) won the £40 Wynne Prize for landscape painting, with "The River Bend."
Eric Smith won the £90 Sir John Sulman Prize, with a mural--"Convicts," Berrima, 1839; The Old Courthouse." Archibald Prize Won By SA Artist (1954, January 22). Barrier Miner (Broken Hill, NSW : 1888 - 1954), p. 1. Retrieved from http://nla.gov.au/nla.news-article49413434 

He also won Royal Agricultural Society Easter Show 1961, 1962 and 1965. His work is shown in the National Gallery of Australia, Canberra and several State galleries.

In A Tribute to Lance Vaiben Solomon (1913–1989)including a Foreword by Sir William Dargie and Biographical Notes, includes many references to Norman Lindsay, who was a sincere friend of Solomon. 

Jennings, Eddi and Benkendorff, Robin. A Tribute to Lance Vaiben Solomon (1913–1989). ill. SOLOMON, Lance Vaiben. Kenthurst, Sydney: Dekiki, 1990. Includes a Foreword by Sir William Dargie and Biographical Notes, inc. many references to Norman Lindsay, who was a sincere friend of Solomon.

Lance Solomon - Narrabeen Artist - (1913-1989)

His works of his home, Narrabeen, and surrounds are numerous, he was prolific, talented and clearly immersed in his environment. He was also a rather lovely gentleman according to those who knew him!

Long Reef
Oil on canvas laid down on board, 59.5 x 75 cm,  -Spring Auction of Australian & International Paint, Leonard Joel, Melbourne.


MELBOURNE. May 14-The judges of the £1000 Dunlop art contest unanimously agreed that no picture entered In the competition deserved the first prize of £300.The second prize of £200 was won by Mr. L. Solomon, of Narrabeen, Sydney, for his painting of "TheYabbies Pool." DUNLOP ART CONTEST. (1951, May 15). Cairns Post (Qld. : 1909 - 1954), p. 3. Retrieved from http://nla.gov.au/nla.news-article40371251 


Little Narrabeen
Oil on board, signed lower left L. Solomon, 24 x 29 cm

Narrabean Lakes, Study
Ink & wash, signed lower right, titled lower left, 17.5 x 13.9 cm

'Pittwater Blue,' 1952
Oil on board, 24 x 29 cm - courtesy Australian & International Art, Davidson Auctions, Sydney.

Oil on board, 14 x 19 cm courtesy  E. J. Ainger Pty.Ltd., Melbourne.

Down by the Creek
Oil on board, 45 x 40 cm courtesy Fine Art, Jewellery, Decorative Arts & Antique Furniture , Lawsons, Sydney.
Elanora Heights and Warriewood - A Valley of Misty and Mystical Dreamers
On the verge of Mona Vale, and backing on to Warriewood, is a little place once called 'Rock Lily' due to the abundance of the same little flower that once grew there. This in turn became the name for the Rock Lily establishment founded by Leon Houreaux, now where there entrance to the village centre of Mona Vale is in 1880-1881. 

Mr Houreaux liked a mural, in fact he liked a mural so much he covered the interior walls of the Rock Lily 'hotel' with his artworks and these became an added attraction to the great food Charlotte Boutin was serving up to those visiting by coach. 

Picture of Leon Houreux from: The Black Giant at Cremorne. (1893, November 25). Illustrated Sydney News (NSW : 1881 - 1894), p. 3. Retrieved from nla.gov.au/nla.news-article63672406

The place became so famous, or infamous according to some in reference to what was purported to go on there, that the Lindsay family visited in the Spring of 1907. Norman Lindsay's brother Lionel, another great Australian Artist, took some of his wonderful photographs of Monsieur's creations - with his daughter and her husband in the frames:

From State Library of NSW Album: Portraits of Norman and Lionel Lindsay, family and friends, ca. 1900-1912 / photographed chiefly by Lionel Lindsay. Image No.: a2005209h and below: a2005210h

Justine Leontine and Auguste Briquet - 1907. One of Leon's murals i son the wall behind them.

When the whips cracked in city streets
THERE must have been something incurably magnetic and romantic about the whip-cracking days of horse bus transport In Sydney some 50 years
One of the out-of-town , coach-bus services had some colorful touches. It was Black's on the Manly-Rocklily run, which branched at Mona Vale, one service going on to Newport and the other to Church Point. 

Inn-keeper was rival
Fred White used to go with his father as far as the Rocklily Hotel, where Monsieur. Leon Houreux could do justice to the gourmets.Houreux was an artist with the brush as well as the meat-chopper. And he was not above running a coach service of his own when Black's refused to run on account of bad weather. The coach was Houreux's business lifeline: no coach, no customers. 

"To force Houreux to run;" recalls Jim Shaw, still at his farrier's forge at Bayview, "Black sent his son as a decoy passenger when the weather was bad, but Houreux's coachie wouldn't accept him. 'Go in your father's' he said. Black's franchise for a feeder service to Church Point was dependent on the provision of a daily service, and resenting the keen opposition of the Frenchman, he retaliated by charging 1/6 from Church Point to Rocklily. A small court action settled Black, and from that time Houreux was given a free hand. 

Picturesque route 
These affairs of the parish didn't concern the Whites who continued along the bush track in a smaller coach, past Brock's La Corniche, a white elephant of the first order, past the "racecourse" where Brock's horses exercised, and up the steep grade to the west side of Bushrangers Hill, overlooking Newport and Pittwater. Now let us return to town and see how the buses are faring in the new days of a new century. ...
When the whips cracked in city streets (1954, May 19). The Sun (Sydney, NSW : 1910 - 1954), p. 31 (LATE FINAL EXTRA). Retrieved fromhttp://nla.gov.au/nla.news-article230782798 

Rock Lily 1893 picture: A Christmas Holiday Trip. (1893, November 25). Illustrated Sydney News (NSW : 1881 - 1894), p. 14. Retrieved from http://nla.gov.au/nla.news-article63104125 - 

For more visit; The Wild Coachmen Of Pittwater - A Long And Sometimes Bumpy Ride On Tracks Instead Of Roads

The Rock Lily visited by the Lindsay family in 1907 – who may have returned to visit friend of the Norman Lindsay, Lance Solomon, in Narrabeen.

Rock Lily Hotel [Narrabeen] from State Library of NSW Album: Portraits of Norman and Lionel Lindsay, family and friends, ca. 1900-1912 / photographed chiefly by Lionel Lindsay. Image No.: a2005211h - Auguste and Justine Leontine Briquet are on front entrance way

Mona Vale, Waterview-Streets 'Mad Mile' - the 1920's to late 1940's
Mona Vale became a very popular area following the Halloran sales at Warriewood, so much so that a public school was opened to meet the demand of people settling here. George Brock was losing his wonderful Brock's Mansions at this time, with grounds filled with statuary and a rather grand fountain, which French couple Henri and Hedwig Rainaud later renamed 'La Corniche' to signal to their avid connoisseurs they had moved from Drumtochty, (Figtree Flat) Bayview to the Mona Vale beachfront.

The sleepy little village was becoming a 'go to' place for weekend visitors and those who settled brought their love of Art with them:

In addition to the pictures purchased by the National Art Gallery, further important sales have been effected. The committee of the Millions Club have purchased, as a nucleus to a collection they intend to instal in their rooms, the following works: "Sand Dunes, Mona Vale," by W. Lister Lister, and "Summer Idyll," by John Banks. ROYAL ART SOCIETY'S EXHIBITION (1922, August 8). The Sydney Morning Herald (NSW : 1842 - 1954), p. 10. Retrieved from http://nla.gov.au/nla.news-article16017822 

Members of the Royal Art Society and other artists are busy designing the black and white and coloured screens which will be a feature of the Black and White Artists' Ball, to be held in the Paddington Town Hall on July 29. To augment the proceeds of the ball, which will be given to the Picton Lakes T.B. Settlement, a motor treasure hunt will be held on Sunday, when cars will leave the Art Gallery at 10.30 am. for Mona Vale. Mr.Grant Hanlon is In charge of arrangements.
NEAR AND FAR. (1929, July 29). The Sydney Morning Herald (NSW : 1842 - 1954), p. 5. Retrieved from http://nla.gov.au/nla.news-article16571375

The appeal fund of the T.B.  Sailors and Soldiers' Association will hold one of its final activities before the fund is closed, a combined motor picnic and treasure hunt at La Corniche, Mona Vale, on September 1. The party will start from the Art Gallery, Sydney, at 10.30a.m., where clues will be given out. For those who do not wish to take part in the hunt a special programme of amusements will be provided at Mona Vale.
NEAR AND FAR. (1929, August 23). The Sydney Morning Herald (NSW : 1842 - 1954), p. 4. Retrieved from http://nla.gov.au/nla.news-article16577706

In 1936 the Hawkins’s family moved to Waterview Street, Mona Vale living there for the next 23 years.  This area was affectionately named ‘The Mad Half Mile’ for the great number of artist and writers living there, including at one period, Arthur Murch and Raymond Glass. Here that he established his working routine and began painting on masonite which he thought was better suited to the Australian climate than canvas and it was cheaper.   
Family life and the environs of Mona Vale became important motifs of Hawkins’ work. Then Mona Vale was an area of natural bush, tropical vegetation, market gardens and semi rural suburbs. The peaceful and verdant rendition of the area in A view of Newport, 1943 does not give insight into the harshness of the Australian climate or into the war time austerities that Hawkins was living under at the time.  His fixed British war pension did not take into consideration the high war time inflation and the family had to rely on their garden to provide them with fruit and vegetables and chickens! 
Weaver wrote to his brother in 1943 that his wife ‘Rene sticks to her gardening courageously, but it was a heart breaking job this year with almost continual drought. The earth is everywhere crying for rain, rain, and more rain’[3]. .  As a practitioner of different artistic styles, this work contrasts sharply with his bleak, moralistic modernist works, sometimes mural size, concerned with war fare and over population.

His love of his new home is shown through his works and working - including being among those who would protect the natural bush in Mona Vale as an honourary ranger:
The Contemporary Art Society was an important part of his life, exhibiting his work from 1944 -1970, and for which he was Vice President and President.  He also lectured and reviewed exhibitions promoting contemporary art.

Weaver Hawkins, Citrus above Pittwater, 1943
oil on masonite 61.00 x 71.00 signed l.r. Exhibited: Modern Australian Painting 2010 (2010)

Weaver Hawkins, 1950 Wynne Finalist for - In Mona Vale

WILD Flowers and Native Plants Protection Act, 1927:— The undermentioned persons have been appointed as honorary rangers for the purposes of this Act:—
Brammer, John Kyneton, Bassett-street, Mona Vale; Collins, Edmund Henry, Ocean Grove, Collaroy; Gould, Charles Sidebottom, Daintree, Salvation-street, Mona Vale; Gould, (Mrs.) Margaret Irene, Daintree, Salvation-street, Mona Vale; Hawkins, Harold Frederick Weaver, Waterview-street, Mona Vale; Hawkins, (Mrs.) Irene Eleanor, Waterview-street, Mona Vale; Kentwell, Graham Harold, Elimatta-street, Mona Vale; Kentwell, (Mrs.) Eunice, Elimatta-street, Mona Vale; Myers, (Mrs.) Enid, 29 Lueretia-avenue, Longueville; Savage, (Miss) Ethnee, Bayview-road, Mona Vale; Savage, (Mrs.) Fanny Stephney, Bayview-road, Mona Vale; Toovey, (Miss) Roslyn Phyllis, Hillcrest-avenue, Mona Vale; Young, (Miss), Annie Lawson, The Tropics, Crescent-road, Mona Vale.
J. J. CAHILL, Minister for Local Government. 
APPOINTMENT OF HONORARY RANGERS. (1945, June 15). Government Gazette of the State of New South Wales (Sydney, NSW : 1901 - 2001), p. 1032. Retrieved from http://nla.gov.au/nla.news-article225482291 

Charles Sidebotham (Strom) Gould was born August 1910. He was also known as Charles Sidebotham Gould, Strom Gould. He was an Artist (Painter), Teacher and Cartoonist / Illustrator. Gould came to Australia from England in 1937. Employed as the Sydney Morning Herald's first art director, Gould also drew its first comic strip in 1944. Cartoons signed 'Gould’ appeared in Australia: National Journal and in Australia Week-end Book 1 (1942), e.g. “What be a’goin’ on around 'ere?” (German parachutist about to land on head of farmer while rest of farm people and animals flee), and others in vol.2 (1943). Gould drew the SMH 's first comic strip, an untitled gag sequence first published in December 1944. (It was followed by an English strip called 'Mr and Mrs’ and the US 'Penny’ by Haenigsen in January 1945.) Gould returned to England in 1946-51 and was succeeded as art director on the SMH by William (Nick) Nicholas (1946-50), et al (listed Souter, 630).

John Coburn’s lithograph Garden was printed by Strom Gould at Sydney c.1960 (NGA) when both were teaching at East Sydney Technical College. His abstract painting, Sundrenched Bush 1966 (Manly AG), is reproduced in Therese Kenyon (ed.), The Studio Tradition: National Art School 1883-2001(Manly AG catalogue, 2001, 32). He died at Port Douglas, Queensland, on 31 July 1992.

Roslyn Toovey is a sister of Dora Toovey – wife of James R Jackson Jackson, 1924 to 1947. 

James R Jackson, Summer day, Mona Vale (1937). Bequest of Roslyn Phyllis Toovey 1991 – to Art Gallery of NSW 


Photo May Moore.
FOR some years past the paintings of Mr. James R. Jackson have been a notable feature of the Royal Art Society's exhibitions. This year his panel (he has no fewer than 12 pictures on view) is the principal one in the show. His bright and pleasing colours attract the general public; the sterling technical qualities of the works secure the admiration of artists and critics. Mr. Jackson is now regarded as one of the few Australian painters who really count.
There are some Sydney art-lovers who saw in the first work exhibited at the Art Society's exhibition of 1910 by Mr. Jackson the factors which make for success. His colour sense was unusually good from the outset, and it has since been trained and improved. Rejoicing in the brilliant display of colour harmonies which Nature makes in Australia, Mr. Jackson set himself to reproduce them. His early impressionist landscapes and his bold treatment of the figure in the open air gave a note of gaiety to his exhibits which contrasted agreeably with the graver and often stodgier pictures near by. Colour is, after all, the most important element of a painting. The selective sense is shown in the theme and fundamental training in the daughtsmanship, but neither good drawing nor interesting subject will compensate for lack of beauty in colour. One might grade artists by their ability to render colour in its true tonal values and in its less obvious and vulgar appearances. And one might almost say that if a person is endowed with a fine colour sense all other requirements of artistry will l:e added unto him. Mr. Jackson's progress as an artist is indicated by the increasing subtlety of his handling of paint and his treatment of more difficult aspects of the figure. Figure painting is more exacting than landscape, and less saleable; so that fewer artists attempt it seriously as compared with those who 'go in for' landscape. 

JAMES R. JACKSON virtually began his artistic career with drawings and paintings of the figure. At the age of 8 he came to Sydney from New Zealand, where, in the town of Palmerston North, he was born on the 3rd July, 1886. While a youngster he amused himself considerably with a few coloured chalks. His father saw some of these drawings, and then showed the boy a small painting made by one of his employees. James said that he didn't think much of it. The father, amused at his assurance, said: 'The day you can do anything as good as that you will be somebody.' James replied that if he had a box of colours he could do as well as that very quickly.

'ALONE.' This striking work attracted a good deal of attention when it was exhibited at one of the Royal Art Society's shows.

A box of paints was given to him, and he set to work with them enthusiastically. After leaving school he obtained employment with a firm of decorators in Sydney, and made use of any spare time in painting for his own enjoyment. One day his employer found a clashing sort of painting on the wall, and said: 'What does this mean? Who did this?' James proudly confessed that alone be did it. 'Well, you've used up a lot of valuable paints. If you want to take up this sort of thing, I'll introduce you to an artist I know, and he'll teach you.' Shortly afterwards young Jackson was introduced to Frank Mahony, who was then instructor at the classes of the Art Society of N.S.W. He studied with Mahony for some seven or eight months, and when the latter went to England his last words to his pupil were: 'Stick to it, Jackson; I think you’ll get on all right.

JACKSON did stick to it, and studied at the Art Society's classes for about, seven years altogether. Like most of the students, he wanted to go to London, and fixed a date ahead by which time he thought he would have enough money for the trip. At first the date was 1909, but afterwards he altered it to 1907. However, he left Sydney in 1906 for Melbourne with the intention of studying for a while under Mr. Bernard Hall at the National Gallery there. He was notable to join Mr. Hall's class, but received a good deal of encouragement from the late Mr. Fred McCubbin, and after three weeks in Melbourne decided to go on to London. He secured a passage for a moderate sum via Cape Horn, and arrived in London early in 1907. Two days after his arrival in the great city, and without waiting to see the sights, Mr. Jackson applied for admission to Messrs. Brangwyn and Swan's New Art School. Applicants generally have to wait some time for admission, as the number of pupils is limited; but luck was with Jackson, as there happened to be a vacancy that day, and he began work in the school next morning. Both Brangwyn and Swan were much liked by their pupils for their geniality and practical advice. They used to call Swan 'Old Tones,' because he was always telling them that tone values were the; things that mattered — 'tones, my boy, tones.' 

When Brangwyn first saw Jackson's painting he said: 'Too hot — too hot!' and passed on. Next time he looked at Jackson's work for a few minutes, took his brush, and started to paint in some grey tones to reduce the warmth. He asked Jackson where he came from. The pupil replied: 'Australia, where we have a very good thing of yours, sir, in the Sydney Gallery— 'The Scoffers.' ' Brangwyn said: 'Oh, yes; and you have a very good thing of Madox Brown's the — 'Chaucer Reading his Poems Before John of Gaunt.' ' He also said that he had for some time wished to go to Australia, but was afraid he could not get away from his work. He now had opportunities for painting the things he liked, and unless there was pleasure in one's work it could not be much good. SIX happy months were spent at the New Art School, and then Jackson went on to Paris, where he joined the Academy Colarossi. For twelve months he worked there, with Renard and Gorgia as the principal teachers. At the end of the year they told him that he had made such good progress that he should try for the Salon in the following year. However, he could not finance a longer stay, and had to return to Sydney. 

While at the Colarossi one of the students, an American, came to Jackson and some others and said: 'Look here, you fellows, my Dad is coming over from home, and I have to put up an exhibition of marine paintings in a devil of a hurry. He is a shipowner, you know, and all he thinks of is ships. I am supposed to be here to learn how to paint ships, and I've none to show him. For goodness' sake help me to knock some up in time.' They all agreed, an. I set to work, so that by the time Dart arrived his son had quite a creditable collection of marine paintings to show him. Dad was pleased, and allowed his son to continue his studies, which he did — but studies in the nude, not of ships. Mr. Jackson used whatever spare time he had in Paris in studying the masterpieces in the galleries or in walking expeditions into the country, and once in Belgium. He was much impressed by the paintings of the Impressionists, especially Manet and Degas, and his handling of light shows their influence. Some Algerian scenes by Morot — horses on dusty roads under strong sunlight and similar subjects reminiscent of Australia — also appealed to him.

NARRABEEN LAKE,' One of Mr. Jackson's pictures at the Royal Art Society's Exhibition now in progress.

In Paris he saw a good deal of the work of Phillips Fox, who had been for some years in Australia, and whose fine treatment of human figures out of doors had already strongly appealed to him. 
FOR the most part Mr. Jackson paints in the open air on the coast near Sydney. He has spent some time painting inland at such places as Sofala and Hill End, but he can find all the landscape subjects he wants near at hand in Sydney. Already he has covered a fairly wide range of subjects. The opinion of many of his friends is that he has been most successful in painting the figure in the subdued light of an interior. Such a canvas as 'Morning in the Studio,' which many of our readers will remember, in which a simply dressed and attractive girl is posed against the studio wall and beside a small mirror which reflects her face, is somewhat of a triumph over technical difficulties. His open-air studies are, however, more generally popular. The picture purchased last year by the N.S.W. National Gallery is a seascape of particular fine quality. Mr. Jackson is never content In rest at any stage of accomplishment he has reached, but endeavours to go higher and further.
'DREAMING.' This fine example of Mr. Jackson's work was purchased some time ago by the trustees of the National Art Gallery of New South Wales. A CLEVER LANDSCAPE AND FIGURE PAINTER (1921, August 10). Sydney Mail (NSW : 1912 - 1938), p. 16. Retrieved from http://nla.gov.au/nla.news-article162034626 

James R Jackson, Beach Scene at Narrabeen
Oil on wood panel Signed and dated '26 lower right

Dora Toovey

TWO ARTISTS—at home and at large.
If you call on the James R. Jackson couple — he is the well-known landscape painter and she is known for her painting as Dora Toovey — you will find their delightful home perched on a cliff above The Spit, and you will sit on a sun-drenched terrace and let your city. Weary eyes enjoy an unsurpassed view of harbour and headland — or roam into the two comfortable, spacious studios the house contains and sigh with satisfaction that artists can have such a glorious place to work in. This, you feel, is the place for masterpieces!

Right: On the Fish River. — Mr. James R. Jackson takes his ease at the camp luncheon table with a camp guest while Mrs. Jackson works the camera.

BUT then you discover that the bulk of their work is done in much less comfortable — though not less happy — circumstances. For the Jacksons roam far afield for their subjects and leave the house on the cliffs for weeks on end, pioneering per car and camp through thinly settled districts for Australian beauty that is not to be captured on canvas in a comfortable studio. Art isn't as easy as all that. 'It is sometimes difficult to find individual and truly Australian scenes,' says Dora Toovey. 'The easily accessible places are so quickly painted out, and then there are districts that have been so splendidly treated by certain artists that they seem peculiarly these artists' country. And so we have formed the habit of pioneering the country, looking for fresh material. We have to consider the contours of the land, the light and colour, and there is no golden rule to work by. You can tell nothing from maps, and even a distance of a mere twenty miles can deceive. I remember on one camping trip we were making for a certain district, and at a distance of twenty miles my husband decided the location just couldn't offer anything, and we turned away from it. Two years later we passed through the part we had scorned, only to find it offered scope for weeks of work.'

The Jacksons set out in a car with a camping body, which they have dubbed 'The Pack-hard' because by the time everything is on, including the baby's bath, the bedding, and the meat-safe perched precariously on top, it seems the best name for the conveyance. Their camping trips over the last few years have led them into some odd adventures and experiences, and they have come very close to being flooded out once or twice. On one occasion they pitched camp late at night, and woke to find themselves camped in the bed of a river, the river being the kind that runs in two courses, one dry at the moment. A rise higher up might have prevented, them telling the story! incidentally, they have devised a fine flood-warning. They place a kerosene tin on the water with a cup tied to a string hanging into it, so arranged that if the water rises during the night the contraption will set up a din and wake them in time to shift camp if flood threatens. In one camp on the Fish River they had quite a scamper, with the car sliding in and out of the water, as the bank was giving, in spite of their haste. Camping on the Gloucester River, the tree-lizards made off with the frying-pan, probably for the sake of a little fat left in it, and, seeing what a vital thing is a frying-pan in a camp, that was no small disaster.

Jacqueline Jackson with Dusty at the rose-hung doorway of the lovely home of Mr. and Mrs. James R. Jackson, on a Seaforth cliff above The Spit.
Left: Magpies outside the Jackson camp on the Murrumbidgee, in the Federal Capital Territory. They were tamed with gifts of food, and soon became regular callers.

Mrs. James R. Jackson (Dora Toovey) at work in her sunny studio.

Banana-palms grow in this little porch on to which Mr. Jackson's studio opens. (A Cazneaux picture.)

SOFALA proved interesting. During the depression the district was full of mining camps of both amateurs and old hands. One day they were taken by an old miner to see his mine. He called down to his mate in the depths of the earth, 'I've brought a couple of people to see the mine, and one's a lady.' 'Gee! Then you'd better shy down me pants,' came back the homely rejoinder. By night at Sofala the old miners would collect round the Jackson campfire, and many a tale of old mining days was told. These were in poignant contrast with some of the amateurs. One day, walking miles from nowhere, the artists were amazed to meet a woman dressed in Sunday calling clothes, complete with gloves, and when they later visited her camp they saw such un-camplike refinements as sheets being dried in the weekly wash. Yet, making an unexpected call another day, they found this same woman hauling up buckets of earth from the digging being done by her husband. They took a hand in a matrimonial alliance on the Paterson River. Asked to paint a portrait, they offered to take a photograph instead, and Mrs. Jackson remarked flippantly to the subject that 'she might turn him down.' 'She comes from the city, but she is guaranteed used to country life,' was the surprising rejoinder, and it transpired that the picture was for a matrimonial agency. The gratitude of the prospective bridegroom was expressed in gifts of cabbages and pumpkins and evening visits to the camp-fire, and two years later when they were in the same district they heard the sequel. The bride-to-be came up from Sydney, but as she turned out to be a widow with two children she was returned unclaimed. And for a final example of the Jackson camping propensities take their occasional jaunts on Narrabeen Lakes. They take a boat, and when night falls they fill it with gum-leaves to sleep on, hoist a tarpaulin on an oar — and there you are. But here Mrs. Jackson registers a complaint. Her husband will fish at night, and when he caught an eel which got loose in her bed of gum-leaves and just couldn't be caught she thought that was going a little too far. What would most of us give to exchange our daily grooves for a share of the joyous adventuring of these artists to and from their cliff-side home at Seaforth? But then we can't paint! 
TWO ARTISTS—at home and at large. (1935, September 11). Sydney Mail (NSW : 1912 - 1938), p. 23. Retrieved from http://nla.gov.au/nla.news-article160501105 

James R Jackson, Narrabeen Lakes
Oil on board, Dimensions: 29 by 39 cm, courtesy Sotheby's/Invaluable (The world's premier auctions and galeries).

Mr. Jackson's Exhibition.
MR. JAMES R. JACKSON has painted so many of the more easily accessible beauty spots near Sydney that the pleasure of those who attended his exhibition yesterday was considerably enhanced by the familiarity of many of the subjects. The artist's home Is at The Spit, so naturally this locality figures in the show. Yesterday afternoon, Mrs. Jack-son was present with her husband, and received many congratulations on his work. 

(Left to right.) ]MR. JAMES R. JACKSON, MRS. WILL ASHTON, and MRS. JACKSON discuss a picture at Mr. Jackson's exhibition which was opened by Mr, J. B. Waterhouse yesterday afternoon at David Jones's George-street store.

She is also an artist, painting under the name of Dora Toovey, and formerly accompanied her husband on caravan tours, on which they took their small daughter, Jacqueline, now aged eight. A little son, now eighteen months old, has prevented further caravanning for Mrs Jackson, as she finds the young man's energies dynamic. "He succeeded in driving two nails into a power point, the other day," Mrs Jackson said, "and then managed to turn on the current without getting electrocuted.'' Among those present at the exhibition, which was officially declared open by Mr J B Waterhouse, were Dr and Mrs Sinclair Gillies, Mr and Mrs Will Ashton, Mrs H Metcalfe, Mrs Norman Burdekin, Mrs J Sheils, Mrs G Murray, Mr and Mrs M T Cowan, Miss Jeanne Cowan, Dr and Mrs Huff Johnson, Miss Ruth Pearce Jones, Miss Lute Drummond, and Mr. Alfred Stephen. From Day to Day in Sydney. (1937, June 10). The Sydney Morning Herald (NSW : 1842 - 1954), p. 20. Retrieved from http://nla.gov.au/nla.news-article17374501 

Dora continued to visit Pittwater as well, teaching students. From Joshua Smith Artist (1905-1995), published and written by Yve Close 1998, p. 144-145: 

"One of the painters Josh and I met with each Wednesday to paint landscape was Dora Toovey. She knew the northern peninsula from South Head to Palm Beach in intimate detail, the best beach to paint on a dull day or when the sun shone, where we could find shelter from the blast of fierce winds, whether or not convenient toilets were available or a shop for hot food - a fount of useful information. 

People, living in houses clutching the cliffs of our coastline, knew her well. Sometimes they trundled heavy trays of afternoon tea up steep drives or stairs to refresh we three.

They provided semi-nude studies as they bared their breast to the elements. She neither flinched nor deviated from her course of action if she caused embarrassment to her unwitting subjects. Dora just worked on. 

One day, after we had spent the morning painting boats at anchor on Pittwater, a body of water cradled by Sydney's northern peninsula, we moved into the nearby beer garden of the Newport Hotel, intending to carry on with more work. People sat drinking at small tables in the dappled afternoon light; interesting subjects, according to Dora. Josh and I, too embarrassed to work openly, made small figure drawings in sketch books concealed beneath the table top. Not Dora! She nonchalantly set up her easel and gear, in full view of everyone, then commenced painting bare-chested young men and their companions. Before long they realised what she was doing, and gathered behind her to see the work. Totally unruffled, she ordered them back to their positions, saying 'otherwise you won't be in the painting'. They returned to the table like lambs, allowing Dora to finalise an appealing canvas. 

After working all day in the open, we retraced our steps to Dora's home high above Chinaman's Beach, where Josh and Dora often provided a musical interlude. Dora played the piano, while Josh sat beside her singing, both still wearing their hats."

Dora Toovey, Old Wharf, Newport, Pittwater,1975

Dora Toovey, Old Wharf, Newport, Pittwater,1976 (?)
Oil on canvas, 60 x 75 cm     

Another lady artists associated with Mona Vale:


ESME FARMER, of Mona Vale, who studied in Sydney with Fred Leist, and at various art schools and galleries abroad, will hold her first exhibition of pictures at the Macquarie Galleries. The exhibition will be opened by Miss Jeanie Ranken next Wednesday. Mrs. Farmer is the wife of F. Rhodes Farmer, who published his first novel, "Thirsty Earth," a few years ago; they have a three-year-old son, Bill. TO HOLD HER FIRST ART EXHIBITION. (1940, January 4). The Sydney Morning Herald (NSW : 1842 - 1954), p. 17. Retrieved from http://nla.gov.au/nla.news-article17651053 

 Finalist in Wynne Prize 1941 - Esme Farmer: Title Old Bakehouse, Mona Vale

Mrs. Farmer's Exhibition.
Among all the centres of population along the coastal road to Palm Beach, Mona Vale has been least spoiled by tourists. Half a mile from the beach are rows of tiny, picturesque farms, inhabited by simple rural people.
In her exhibition at the Macquarie Galleries, Esme Farmer has depicted the Mona Vale district with singular directness. Her style is as fresh and unsophisticated as the scenery. She joys in the growth of trees and vines and bushes, and she communicates that enthusiasm to the beholder.
Yet, although Mrs. Farmer places her colours and forms on canvas with such youthful liveliness, she has a solid record of academic study behind her. She won the figure painting competition at the Technical College, and, having gone to London, continued her researches at the Royal College, South Kensington, and at the St. John's Wood Art, School. The exhibition will be opened this afternoon by Miss Jeanie Ranken.
MONA VALE SCENES. (1940, January 10).The Sydney Morning Herald (NSW : 1842 - 1954), , p. 9. Retrieved from http://nla.gov.au/nla.news-article17663134 

EVERY contribution, good, bad or indifferent, was accepted for the first exhibition of arts and crafts arranged by the Mona Vale Community League.
Secretary of the League, Mr. Graham Kentwell, Sydney commercial artist, believes the exhibition to be unique, in that it is not intended as an ordinary art show. "We believe that any artistic effort justifies itself," he said yesterday.

"No attempt will be made to criticise the work, or to draw comparisons. The exhibition is merely to provide a meeting place for people whose aims are similar. "Standards will automatically rise as time goes on,".
The exhibition, which is housed in the recreation hall of the La Corniche building at Mona Vale, includes hundreds of works contributed by 60 members of the League. THIS ART EXHIBITION REJECTS NOTHING (1945, March 18). The Sun (Sydney, NSW : 1910 - 1954), p. 5. Retrieved from http://nla.gov.au/nla.news-article231710108 

MUCH travelled Londoners, Mr. and Mrs. H. Weaver Hawkins, who have made their home in the bushland at Mona Vale, between Pittwater and the sea, are on the executive committee of the Mona Vale Community League, which will hold its second annual arts and crafts exhibition at "La Corniche" from March 16.
Well-known professional artists living in the district, as well as amateurs, will exhibit. Mr. Hawkins, who paints under the name of "Raokin," the Italian interpretation of his surname, given him when living there, is planning an exhibition of his own water colors, drawings and oils at the Macquarie Galleries on February 27. His canvases bear the imprint of his sojourn in many lands. He has painted in southern France, Italy, Spain, Malta, Tahiti, Wellington, NZ, and, lastly, in Australia, where the Hawkins' have made their longest stay— 11 years. 

Mrs. Hawkins, who says she paints only for her own amusement, has decorated the inside doors of her home, the beams, and the kitchen furniture with peasant designs. The eldest of Mr. and Mrs. Hawkins' three children, Roleena, is in her fourth year of medicine at the Sydney University, Nigel sat for the recent Leaving exam., and hopes to do Medicine, and the younger boy Laric is still at high school. Community art and craft show (1946, February 3). The Sun (Sydney, NSW : 1910 - 1954), p. 12. Retrieved from http://nla.gov.au/nla.news-article228799054 

Artist H. Weaver Hawkins, in his studio at Mona Vale, examining a landscape painted by him at Burragorang. Right: His wife, Irene, with the fascinating murals painted by her in the dining room of their home. THE SUNDAY SUN Pages for women (1946, February 3). The Sun (Sydney, NSW : 1910 - 1954), p. 12. Retrieved from http://nla.gov.au/nla.news-article228799055 

VERY much an artists' gathering is the opening of exhibition of the late Frank Medworth's paintings by sculptor Lyndon Dadswell at Macquarie Galleries. Chatting with Mrs. Medworth and daughter Diana are Joshua Smith, Roland Wakelin, and Sali Herman. The Weaver Hawkins come up from Mona Vale, the Oscar Edwards, sculptor Paul Beadle, Italian artist Bissietta, and Justin O'Brien form interesting group. Also see director of Edge-cliff Design School, Mrs. Harold Sweetapple, and wife of American Consul, Mrs. Harold Hall, who manages to find some time for painting between official engagements.  Intimate Jottings (1950, September 16).The Australian Women's Weekly (1933 - 1982), p. 19. Retrieved from http://nla.gov.au/nla.news-article51600647 

AN exhibition of paintings by Mr. Maximilian Feuerring will be opened by Mr. H. Weaver Hawkins, at David Jones' Art Gallery on Monday.Social News, Gossip (1954, March 11).The Sydney Morning Herald (NSW : 1842 - 1954), p. 6 (Women's Section). Retrieved from http://nla.gov.au/nla.news-article18414022 

The engagement is announced of Miss Pamela Walker, only daughter of the late Mr. Gordon Walker, of Surrey, England, and of Mrs. John Toller, of Elizabeth Bay, to Flight-Lieutenant Terrence Friend, R.A.A.F., youngest son, of Mr. Leslie Friend, of Carrington, Jerry's Plains, and of Mrs. G. Leslie Friend, of Mona Vale. Miss Walker is training as a nurse at Manly Hospital. Her fiance, who has recently returned after 3½ years in England, is spending a 60-day leave on Glendon station, Warialda, of which he is part owner with his two brothers and sister.

As a bomber pilot Flight-Lieut. Friend, who is a brother of Donald Friend, the artist, has taken part in many raids over Germany. Returning from a raid he crashed over England after flying right through the balloon barrage unharmed. Since then he has been attached to the Air Transport Auxiliary in England, flying all types of planes to operational aerodromes. Social News and Events (1945, March 14).The Sydney Morning Herald(NSW : 1842 - 1954), p. 6. Retrieved from http://nla.gov.au/nla.news-article27929818 

Please note, Ria Murch states in her book,  R. Murch, Arthur Murch: An Artist's Life 1902-1989 (1997- Ruskin Rowe Press), that 'The Mad Half Mile' was in fact in Waterview Street, Mona Vale and a name given to that area by Sydney Ure Smith in his Australia, National Journal as part of an article run in 1945. 

BRIGHTEST spot of colour in town this week is the strange jumper worn by Sydney painter and sculptor, Arthur Murch. An exhibition of his paintings is at present showing at the Moreton Galleries, and he is staying with the director of the galleries, John Cooper. Reason f
or his visit to Brisbane? He is painting a portrait of one of our loveliest younger set members.On Thursday Murch will return to his Avalon home in what is known as the 'Mad Half Mile.' In and Out of Brisbane with Annette (1949, May 19). The Courier-Mail (Brisbane, Qld. : 1933 - 1954), , p. 8. Retrieved from http://nla.gov.au/nla.news-article49672833 

"AUSTRALIA, NATIONAL JOURNAL" - Variety is the keynote of "Australia, National Journal." edited by Sydney Ure Smith and Gwen Morton Spencer. The May issue, just to hand, provides entertainment and interest on every page. The witty drawings by Wiz, Wall, Missingham, Molnar and others are evidence of the high standard of Australian humorous artists. Missingham sketches a gentleman "spook" carrying his head (blushing) under his arm who encounters a naked lady ghost. The caption reads, "Boy, was my face RED!"

Right: Michaelis, Margaret - circa 1945 - SYDNEY, C 1945. WWII OFFICIAL WAR ARTIST ARTHUR MURCH WITH HIS CAT. Image No.: P00933.005, courtesy Australian War Memorial.

A few insights into what else was going on at Mona Vale and surrounds that year:

MANLY and Warringah District Ambulance which patrols, with six waggons, 150 square miles of country, including 80 miles of surfing beaches, has been refused permission by the Commonwealth Directorate of Housing to build a sub-station, costing £3700, at Mona Vale.
RAISED by subscriptions from an appreciative public the ambulance already has the money to proceed with the building and would not require a Government subsidy.

Charles Le-Gallion

Last year the six ambulance waggons travelled 87,865 miles to treat 8009 cases, as against a mileage of 40,007 by four waggons in 1941-42 to treat 4317 cases. The establishing of a substation at Mona Vale would provide a quick service from Collaroy to Palm Beach and inland to French's Forest and St. Ives. Control of building operations passed from the Commonwealth to the State on October 31, and the situation is now up to the State Department of Labor and Industry. Last week 14-years-old Charles LeGallion lay on the roadway for an hour and a half at Palm Beach in agony and with ants crawling over his wounds. Trouble was experienced in contacting the local telephone exchange, but after the ambulance was notified a waggon covered the 21 miles from Manly to Palm Beach in less than 30 minutes. MANLY AMBULANCE DILEMMA (1945, November 4).Truth (Sydney, NSW : 1894 - 1954), p. 24. Retrieved from http://nla.gov.au/nla.news-article169361356 

The death occurred at his residence, Darley-street, Mona Vale on Sunday night of Mr. Robert Leslie, a partner in the once well-known Lithgow building firm of Short and Leslie. Mr. Leslie was 85 years of age and on retiring from the building trade some 20 years ago, he moved to Mona Vale. His wife predeceased him nine years, ago. Mr. Leslie was a staunch Labor man and always endeavored to return to Lithgow each year for the Six Hour celebrations, but failing health prevented him from doing so for the past few years. He leaves a family of four sons and three daughters — Richard Leslie and Mrs. J. Hammonds being residents of Lithgow, Jack (Wollongong), William (Enfield), Hector (Mona Vale), Mrs. F. Walton (Oatley) and Mrs. J. Gunn (Mona Vale). DEATH OF MR. ROBERT LESLIE (1945, December 20). Lithgow Mercury (NSW : 1898 - 1954), p. 2 (TOWN EDITION). Retrieved fromhttp://nla.gov.au/nla.news-article219732319 

Naval Men As Waiters 
When 15 members of the CENEF paid a visit to the CENEF All Services' Canteen at King's Cross yesterday, the "waiters" at afternoon tea were a number of British Naval servicemen, visiting the canteen. The men had previously visited the canteen last Christmas, and decided to do it as a mark of gratitude for the splendid time they had had there during the festive season The Mona Vale branch, of which Mrs. A G. Batten is president, has contributed regularly to the upkeep of the canteen since it opened three years ago, and the visit was In the form of an Inspection "to see where their money was going." NEWS for WOMEN (1945, June 7). The Sun (Sydney, NSW : 1910 - 1954), p. 8 (LATE FINAL EXTRA). Retrieved fromhttp://nla.gov.au/nla.news-article230445716 

Arthur Murch - later to move to Avalon and become a core member of Art there - teaching in Avalon Public school, as well as ensuring the school was funded through helping his wife Ria with exhibitions at the newly fledged school for youngsters - had a lady who frequented Lovett Bay and gave Australia one of its most famous poems, is stepping up to speak a few more words of praise - about him!

The art of Arthur Murch has lately undergone several curious transformations. After he had visited Central Australia, Mr. Murch began to paint with a full, rich palette of colour, in which red was an important element. Then, at the Archibald Prize show a few months ago, he exhibited two portraits of almost funereal darkness. One went yesterday with some interest, therefore, to see what his latest series of pictures at the Macquarie Galleries would offer.
The actual Impression created by this exhibition is a mixed one. There are undoubtedly some fine pieces of painting. Especially In delineating the nude human figure. Mr. Murch achieves modelling of a rarely delicate and individual sort. But, as a rule, the pictures seem fragmentary-a series of sketches for more important works, rather than self-contained compositions. Again and again, the visitor finds .himself wishing that the artist had carried his subjects further, Instead of leaving them so vague. The reason why this feeling of discontent is so strong is difficult to analyse. The lack of contrast in colour contributes to it. But. another factor is Mr. Murch's occasional failure to seize the essentials of form. The weakness is best exemplified in a drawing of a recumbent figure. Only on looking closely at the faint patches of light and shadow does the spectator realise the nature of the subject.
Yet, as already Indicated. Mr. Murch has in him the power to do really beautiful work, in a series of aboriginal heads, he sets forth with conscientious and meticulous skill, the character of the sitters. Then there are various still-life studies, headed by the gracious "Still Life in Sunlight," and ft large and rather gloomy portrait. All these pictures are in oils. "Hermannsburg Mountain" is a clear, fine example of work In watercolour.
The exhibition will be opened this afternoon by Miss Dorothea Mackellar. 
ART EXHIBITION. (1936, May 20). The Sydney Morning Herald (NSW : 1842 - 1954), p. 7. Retrieved from http://nla.gov.au/nla.news-article17326468 

Painting By Theory
Among the younger artists of Sydney, Mr. Arthur Murch impresses one with a sense of earnestness and individuality. His exhibitions are always Interesting, and his present one, held at the Macquarie Galleries, Bligh-street, Is worth a visit. With this painter theory takes the place of Instinct, and, up to a certain point; his theory is successful. ...
—a thing which the modern painter Is far too willing to forget. Mr. Murch while his outlook is sincere and his technical ability much to be admired, certainly escapes from any charge of over-sentimentality, but at the expense of lyric sense of delight which is not the least of the artist's gifts to the world.ARTHUR MURCH (1936, May 21). The Sun (Sydney, NSW : 1910 - 1954), p. 8 (LATE FINAL EXTRA). Retrieved from http://nla.gov.au/nla.news-article231316760 

Arthur Murch's exhibition of paintings at the Macquarie Galleries betrays a decided and interesting paradox.
Each aim in turn seems to result in the exact opposite. A simple conception is over-elaborated, heavy forms and a laborious technique seek to give lightness; a mildly, sun-drenched quality barely disguises a cold temperament.
He loves atmosphere, but his flavescent paintings are airless: he is a careful builder, yet seems to like the frivolous and cheerfully vulgar, which in turn appears studio-made.
The roguish look of his chalk head "Study" has the charm of a rococo cherub floating on a pink cloud, yet the drawing in his paintings is over-worked and occasionally badly pro-portioned. This work gives the impression that the artist puts his faith in his great technical accomplishments, and that he believes rather in the dictates of his head than those of his heart.
A purely logical mind in art is always dangerous.
In his "Squirrel," a painting of a voluptuous reclining nude with madame holding the animal, the luminosity of the girl's firm body invades every part of the picture to dissemble the shapes and blend the colour-tones. Each shape in turn Generates lights of its own, and all becomes over-laden and Indistinct with several bright colour patches adding to the confusion.
The passage of the bent head and swelling breasts of a young woman busily engaged in search is absolutely Boucher. This painting. "The Flea." is in some ways the best work.
However, the sugar-daddy plus chorus girl in "The Connoisseur." is pure Hollywood.
Among' other paintings of interest are: "Josses Mountain," "Capri,'' "The Bath," and "Rock Pool." ARTHUR MURCH (1944, June 15). The Sydney Morning Herald (NSW : 1842 - 1954), p. 6. Retrieved from http://nla.gov.au/nla.news-article27939002 

George Lambert and Arthur Murch at work on the sculpture "Recumbent warrior" - photo by Harold Cazneaux, 1920, courtesy National Library of Australia http://nla.gov.au/nla.obj-140194071

Mr Arthur Murch, the Sydney artist, who has been staying with Mr and Mrs John Cooper at Clayfield, left by plane this morning to return to his home at Newport Beach. Mr Murch will return to Brisbane early in the New Year to carry out three portrait commissions. PERSONAL (1945, November 13). The Telegraph (Brisbane, Qld. : 1872 - 1947), p. 3 (CITY FINAL LAST MINUTE NEWS). Retrieved from http://nla.gov.au/nla.news-article188759807

The Murch family lived there from 1940 on in a house called 'Dellwood' and returned in 1945, noting that it had become a 'mecca for artists'.  Mrs. Murch states in Chapter 8, 'The Mad Half Mile, Avalon and Other Places' that a photograph taken by Margaret Michaelis for the magazine article from which the phrase comes shows all of them at this property. 

Another, circa 1945, from the Australian War Memorial archives (above) was also taken by the same lady with a description of 'SYDNEY, C 1945. WWII OFFICIAL WAR ARTIST ARTHUR MURCH WITH HIS CAT', so that is 1945 Mona Vale in the background!

Ria states in the opening phrases of this chapter that although these houses had been largely empty in 1940, by 1945 artist Weaver Hawkins and family lived near by as did American Indian artist Raymond Glass, and writers such as poet John Thompson and his wife Pat whose adopted son is well known Jack Thompson, the actor.

Monolith Wins George V Memorial Prize
Plans for a 30ft monolith finished in Australian red granite and with engravings representing aboriginal life have won first prize in the competition for a design for the King George V Memorial. The memorial, is to be erected in the Botanical Gardens, at the cost of about £6,000, which has been sub-scribed by the public and the State Government in equal parts.
The winning designs selected yesterday at the Town Hall by the King George V Memorial Executive Committee of New South Wales are:
First prize of £200, and the com-mission to execute the work: Dr. H. Epstein, of Australia House, Carrington Street, City; and L. R. Dadswell, 21 Trelawney Street, Woollahra.
Second prize of £100: Arthur James Murch, Waterview Street, Mona Vale, and Frank H. Molony, 186 Queen Street, Woollahra.
Third prize of £75: A. H. Mack and A. D. Leary, architects, and Arthur Boqthroyd, artist, city.

The official description given of the winning design is that it is a monolith, which grows from the soil as part of the landscape. It bears an engraved design representing aborigine life, lt will have a cement core, and a highly polished veneer of Australian' red granite and a concrete foundation. The designers estimate its cost at £5,989.

The second prize design is described as a wall decoration symbolising events and phases in history associated with the reign of King George V. The main feature is "a wall enclosing one end of an elliptical arrangement of path and garden.

The third prize design provided for a swelling facade, carrying a frieze of bas-relief in bronze depicting historic scenes in his Majesty's life. A plaque of his Majesty would occupy the centre of the frieze.

Announcing the awards, the Town Clerk, Mr. Roy Hendy, said the com-mission to execute the work by the winners involved a provision that if it were not. gone on with within two years .the winner would be entitled, to three per cent, of the estimated cost, not exceeding £6,000. The second and third prizes would involve no further obligations.

The judges were Mr. Cobden Parkes, Mr. Hal Missingham, the Lord Mayor, Alderman Bartley, and Mr. John D. Moore.
When the report of the adjudicators was received yesterday nine of 29 executive members were present.
They were: Alderman Marks (representing the Lord Mayor), Mr. K; F. Coles (president of the Retail Traders' 'Association), Mr. Langker (president of thc Royal Art Society), Mr. Turner (president of the N.S.W. Chapter of the Institute of Architects), Mr. H. A. McClure Smith (Editor of "The Sydney Morning Herald"), Mr. E. Kennedy (Associated Newspapers), and Messrs. Hendy and J. W. Ferguson, Premier's Department, who were joint secretaries of the committee. Monolith Wins George V Memorial Prize (1946, November 20). The Sydney Morning Herald (NSW : 1842 - 1954), p. 3. Retrieved from http://nla.gov.au/nla.news-article27909499 

Arthur Murch Wins Archibald Prize
SYDNEY,- Friday. — Sydney artist, Mr. Arthur Murch, was this afternoon awarded the Archibald Prize for his portrait painting. The portrait was of fellow artist, Mr. Bonar Dunlop and the prize is worth £500. 
The Wynne Prize for, landscapes or sculpture, worth about £40, was awarded to Mr. George Lawrence for an Industrial scene entitled 'Two Rivers.' The Sir John Sulman Prize for mural decoration, worth £90, was won by Mr. J. Carington Smith for his cartoon and sketch of the proposed mural for a new State building in Tasmania. It was entitled 'Bush Pastoral.' Arthur Murch Wins Archibald Prize (1950, January 21). Illawarra Daily Mercury (Wollongong, NSW : 1950 - 1954), p. 1. Retrieved from http://nla.gov.au/nla.news-article136542181 

Another Sculptor/Painter associated with Mona Vale is Lucien (also spelt Lucian)Bruno Michalski:

While in a Displaced Persons camp in Europe sculptor Lucian Michalski scrounged stone, gypsum and bronze, scraped together painting materials.
Thus he started patching up the canvas of his life as an artist, ripped by the war in 1939 after he had spent four years studying at a Polish academy of arts. Now Michalski is in Graylands migrant camp, waiting to be assigned the labouring job at which he will serve his 'apprenticeship' in Australia. Hard work is nothing new to him. In 1944 he was taken, from Poland to Germany in a forced labour gang, worked on airfields, roads and other construction jobs. Now 30, Michalski wants to continue his art studies here when he gets the chance. He would like to set up his own studio. WAR MAKES SCULPTOR A LABOURER (1948, October 23). The Daily News (Perth, WA : 1882 - 1950), p. 16 (FIRST). Retrieved from http://nla.gov.au/nla.news-article80804398 

Contemporary Art Society
This year's exhibition of the Contemporary Art Society is being held at Parmer's Blaxland Galleries. One searches in vain for vitality in many of these pictures. The spirit of exploration is to be seen best in Maximilian Feuerring (The Golden Sheaf, In the Bathroom),  L. Michalski (Self Portrait). and Edward J. Sackey {The Petrified Forest). At Sydney Galleries (1951, June 1). Le Courrier Australien (Sydney, NSW : 1892 - 2011), p. 6. Retrieved from http://nla.gov.au/nla.news-article166976654 

Contemporary Art
There is enough material of high quality at this year's Contemporary Art Society show at the Education Department Gallery, Loftus Street, to hold one's interest through a very large number of exhibits.
Individual talent is emphasized in a Society that does not impose any tradition on its members—some of the members of the Contemporary Art Society have created their own traditions over the years and we see them exhibiting just the paintings we have come to expect from them. But within the frame of their own achievement, they have many interesting things to tell us. First of all, to mention a few of the paintings: Charles Salisbury's Moon Above, Bruce Armstrong's Trees in France and Tree, London, Maximilian Feuerring's The Steak, Carl Plate's Inside a Rose, and Edward Sackey's Low Tide attract attention. Armstrong's, pictures have plenty of vigour and clear colour; M. Feuerring's The Steak is spirited In colour and construction. Others are Ronald Steuart's Dying Rose, F. A. Booth'.-- The Academy Piece and Michael Kniit's Chess Players.
In the sculpture section, the work of Anita Aarons, Robert Klippel and L. Michalski deserve mention. Pure abstract painting is especially represented by Josef Albers' "Basic Design forms", one of which is reproduced on the cover of the Catalogue to the Exhibition.
There is a fine group of architectural studies, where the designs and photographs of the work of Harry Seidler are outstanding. His "House at Northbridge" and "House at Turramurra" appear to be practical, completely modern and admirably combine comfort with art.
The exhibition closes on November 19th.

Drawings and Lithographs
Margaret Olley has caught the spirit of France neatly and with more than superficiality in her drawings now at the Macquarie Galleries. I would suggest that the best is the Back of Notre Dame, just a little sombre, but that is in the nature perhaps of the season and location. It captures the built and dignity of the building without clumsiness.
At the same-Galleries is a selection of English lithographs. In general, these are the assured compositions of confident artists, conveyed with deft strokes and exquisite colouring. There are John Piper's Stone Wall, Anglesea; Edwin La Dell's All Night Cafe, Ceri Richards' Woman at Piano, Vanessa Bi-il's Woman with Book and Frances Hodgkins' Arrangement of Jugs.
The exhibition closes November 19th.

Sculpture in the Open Air
It is very pleasant to walk around an exhibition like the one organized by the Society of Sculptors and Associates in the Sydney Botanic Gardens. There has been a feeling that the exhibits are too widely spaced but I think it aids the appreciation of the exhibition in seeing each piece so completely on its own, and so considering it without being disturbed by other objects close by. One can thoroughly enjoy the exhibits in an encouraging atmosphere. 
The simplest of forms in an interesting material like a curiously grained sandstone or granite fit in well with the gardens and gain rather than loge sculptural value. Even the more experimental forms are at an advantage here. From the 34 pieces exhibited, I would select at the moment Nancy Draffin's Seated Figures, Bim Hilder's Flexible Farm, Alison Duff's Balancing Boulder. F. Lewer's Birdbath and Tom Bass's Tea Drinkers.
The exhibition closes on December 31st. At Sydney Galleries (1951, November 16).Le Courrier Australien (Sydney, NSW : 1892 - 2011), p. 5. Retrieved from http://nla.gov.au/nla.news-article166977633 

Archibald Prize 1961
Finalist 1961 
Lucien Michalski
Self Portrait

NOTICE of intended distribution of estate.—Any person having any claim upon the estate of the late LUCIEN BRUNO MICHALSKI (otherwise known as Lucian Bruno Michalski), late of 98 Elimatta Road, Mona Vale, sculptor, who died on 6th January, 1986, must send particulars to the executor, Perpetual Trustee Company Limited, at 39 Hunter Street, Sydney, N.S.W. 2000, within two (2) calendar months from publication of this notice. After that time the executor may distribute the assets of the estate, having regard only to the claims of which at the time of distribution it has notice. Probate was granted in New South Wales on 29th August, 1986.—Dated this 12th day of September, 1986. O'BRIEN, CONNORS & KENNET, Solicitors, 685 Pittwater Road, Dee Why, Proctors for Perpetual Trustee Company Limited. (2310) NOTICE of intended distribution of estate.—Any person having any claim upon the estate of the late LUCIEN BRUNO (1986, September 12). Government Gazette of the State of New South Wales(Sydney, NSW : 1901 - 2001), p. 4561. Retrieved from http://nla.gov.au/nla.news-article231526062 

CANBERRA, Monday-Mr. Frank Norton, of Mona Vale, NSW, has been appointed official naval war artist in the Korean area, the Minister for the Navy, Mr. W McMahon, announced today.
He said Mr Norton would hold the rank of Lieutenant-Commander (special branch) in the R A N V R for temporary ser vice and would leave for Korea by air soon.
Mr Norton was a war artist in the 1939-45 war and the Australian War Memorial had reproduced several of his pictures of naval incidents in its series of naval books. NAVAL ARTIST (1952, May 20). The Sydney Morning Herald (NSW : 1842 - 1954), p. 2. Retrieved from http://nla.gov.au/nla.news-article18265319 

Gay farewell before trip

ARTIST Raymond Glass and his wife photographed in their studio home at Mona Vale.

ARTIST'S wife Mrs. Raymond Glass looks for her husband's approval in hanging a painting over the fireplace.

A PARTY which began at 5 pm yesterday and lasted until 5 am this morning was given at Mona Vale by artist Raymond Glass and his wife.
More than 200 guests attended the party and previewed the artist's paintings which will be exhibited in Melbourne before the Glasses leave for Mexico in March.

Some of the guests, most of whom stayed to the end of the party bought paintings. Guests included Consul and First Secretary for the Israeli Legation Mr. Ayre Lapid and Mrs. Lapid, Mr. and Mrs. John Wiltshire, Mr. and Mrs. Bernard Hammerman, Mr. and Mrs. Sali Herman, Mr. and Mrs. Frank Clune, Mr. and Mrs. Frank Hinder, Mr. and Mrs. Weaver Hawkins and Mr. and Mrs. Douglas Annand. The garden was lit with fairy lights and supper was served on tables outside. 

Film with puppets 
Mrs. Glass said, "The easiest thing to do when people are coming all night is to prepare food like smorgasbord, mock hams, pickled fish, salads and pufferies." Mr. and Mrs. Glass are returning to the Mexican village of San Miguel where they lived for a year after the war. They will take their two children, Raymond, 7, and Terry Bligh, 3. "When we were in San Miguel last, my husband painted and I wove rugs," Mrs. Glass said. "Ray wants to return there because conditions are ideal for film-making and painting. "He wants to experiment in making films with three-dimenional puppets "Now he is making a film with hardboard puppets called The Wild Colonial Boy. Met during war "We will probably go to New York first, and then work on the film in New Mexico or Arizona before we leave for Mexico." Mrs. Glass met ner American husband while he was stationed here during the war. They were married in Brisbane in 1944 and two years later went to live on Bedarra Island in the Pacific Ocean Friendly Group for a year. "From there we went to the US," Mrs. Glass said, "and then on to Mexico. "We lived in the little village of San Miguel de Allende, 250 miles north of Mexico City. "It's hot and quiet and life is so unhurried." They're off to Mexico (1952, September 7).The Sun (Sydney, NSW : 1910 - 1954), p. 45. Retrieved from http://nla.gov.au/nla.news-article231008312

Raymond Glass, The Blue fish, 1951

Art master found shot
Well-known artist and Shore art master, John Ward Lipscomb (32), whose 'sudden death' was announced this week, was killed by a rifle bullet last Sunday.
His body was found in bush country at Mona Vale, with a service rifle near it. A note was discovered on the floor of a nearby station waggon. The City Coroner will hold an inquest early next month. J Extraordinary precautions were taken to prevent details of Lipscomb's death from becoming known this week. The official police report of the discovery of his body was marked 'Not for Press.' Several of Lipscomb's friends, who attended the funeral on Wednesday, said they had understood he was the victim of a car accident. Lipscomb was a competent artist, ex-president of the Contemporary Art Society, and a lecturer to W.E.A. and Sydney University tutorial classes. A student at Sydney Church of England Grammar School (Shore), North Sydney, from 1934 to 1939, he served in the A.I.F., and was arts master at Shore from 1951 Shore headmaster (Mr. L. C. Robson) said yesterday: 'Mr. Lipscomb was held in the greatest respect and affection, as a man of high character and complete integrity. 'As a teacher he had quite unusual gifts. He will be remembered by everyone here as a man with a most stimulating personality.' Art master found shot (1954, August 15).Truth (Sydney, NSW : 1894 - 1954), p. 7. Retrieved from http://nla.gov.au/nla.news-article168411393 

Any reference to Mona Vale must of course include such Sculpture Artisans as Harry Squire, whose work still features at Bayview Golf Course:

A flagrant act of desecration occurred at Mona Vale Cemetery within the past few days, a symbolic statue, the creation of Mr. H. Tristram Squire, having been stolen from the grave of the late Mr. Henry Moncur Atkinson. About four months ago Mr. Atkinson, a resident of Mona Vale, died at the age of 92, and, as he was an ardent bird-lover, his niece, Mrs. O'Reilly, of Pymble, thought it would be appropriate to perpetuate his memory by a drinking vessel for the native birds with which the Mona Vale district abounds. Mr. Squire, who during recent years has specialised in statuary representing birds, animals, and aborigines, was commissioned, and a fort-night ago he placed on the grave a handsome statue of a stork, five feet high, standing over 
a large bowl. The latter, which was inscribed with grape leaves, was filled with water for birds to drink from.

Apparently the statuary was only in position a week when the stork disappeared. The bowl was carried a few yards, turned upside down, and smeared with mud, the thieves apparently intending to disguise its beauty pending an opportunity to return for it. One evening at dusk a man was seen from a distance in the cemetery staggering under a heavy load, with which he drove off in a car. This was evidently the stork, which, being constructed of concrete and reinforced with iron; weighed about a hundredweight. The police, who are investigating the robbery, are puzzled as to the motive of the thieves, since the stork is signed with the sculptor's name.

Mr. Squire's work is familiar to tourists who pass along the road to Bay View and Church Point. His group of elephants is conspicuous at the Bay View golf links, and a family group of aborigines encamped about a natural pond in his grounds causes many a motoring party to stop. STATUARY STOLEN. (1935, April 10). The Sydney Morning Herald (NSW : 1842 - 1954), p. 13. Retrieved from http://nla.gov.au/nla.news-article17157874

Children standing by elephant fountain at Bayview Golf Course. Courtesy Phil Lipscombe and Mona Vale Library Local History Unit

Mr. H. Tristram Squire, of Mona Vale, died this week, aged 69 years. Mr. Squire was a native of Victoria, and as a youth studied art with Sir John Longstaff and Sir Arthur Streeton. He developed especially as a portrait painter and sculptor, and in recent years devoted much time to modelling of life-sized figures and groups of animals in the garden of his home at Mona Vale are several groups of aborigines one of which depicts black-fellows spearing fish in a natural pool. Mr Squire was a lover of animals. His garden is the home of opossums, wallabies kookaburras and aviary birds many of which would perch fearlessly upon him. He is survived by Mrs Squire, who is also an artist. OBITUARY. MR. H. TRISTRAM SQUIRE. (1938, May 28). The Sydney Morning Herald (NSW : 1842 - 1954), p. 16. Retrieved from http://nla.gov.au/nla.news-article17469079

As can be read below, Newport, alike every other place in Pittwater, attracted its share of permanent resident Artists - many of them the best in Australia during their era who all, despite successful sales, still needed to live somewhere that supported their craft, both as a peaceful place filled with views and an atmosphere conducent to creating and as a place that was affordable.

A place accessible from earliest dates, due to steamers dropping off 'excursionists', Newport has inspired poets, writers, photographers, painters, workers in sculpture and ceramics - in fact every kind of Artistic Creation there is.


Rest, and be thankful. On the verge
Of the tall cliff, rugged and grey,
At whose granite base the breakers surge,
And shiver their frothy spray,   
Outstretched, I gaze on the eddying wreath
That gathers and flits away,
With the surf beneath, and between my teeth
The stem of the "ancient clay."

" Here you are," said our guide, " here's where the bushrangers used to come and hide in the old days."

The bushrangers showed good taste, truly, in their selection of a retreat, though it is hardly likely that artistic considerations influenced them in their choice. The knowing old hands - the men who had run the old gamut of villainy and were now being hounded down again by the law - only chose the resort because of the commanding view of the country all about. Lying perdu here they could keep their eye on the whole coast from Port Jackson to Broken Bay ; the track to Newport ran almost under their nose, and, given a proper watch, a surprise was impossible. So the bush- rangers' hill became famous in the convict days, and from all parts of the country the men who had taken to the bush drew toward the lonely eyrie. Then, when the place began to get unwholesomely crowded, the troopers would make a rush; but long ere they could reach the hill its occupants would be gone, and nothing but a smouldering camp fire left to mark the spot. Some old hand, doubtless, standing where the trigonometrical cairn now makes a black mark against the sky, had seen the heliograph-like flash of the troopers' swords hours before; had watched the little band as it forded the Narrabeen Lagoon, and long before it could even reach the track which leads up to the foot of the hill, had given the alarm signal which had once more scattered his mates all over the bush.

The process must have been repeated many times, and so, years after, when a scanty fringe of settlement began to creep up and around Pittwater, and to dot its indented shores with little flower-covered homesteads, the place kept its name. And then in later days a man, armed with a theodolite and a compass, and various other mathematical instruments, struggled up the top of the mass of rock. He also found the commanding position of the hill of value, though he acted from motives far different from those which guided the old bushrangers. Ho simply wanted a prominent point to form the apex of one of his primary triangles, a point which could be looked up to and its angle measured for miles around. So, to make sure of the point, and to prevent any blundering surveyor measuring the angle subtended by the wrong piece of rock, he planted a stout pole, having a pyramidical cairn of stones by way of foundation. Then he put a couple of discs, like railway following signals, on top of the pole, and went away quite contented with his work.

No one goes to the place much now ; a few city visitors sometimes find their way up the hill, and after saying "how pretty, " remark that it must be time for lunch, and so find their way down again. Even the little black-and-tan hotel dog has got tired of the hill. He wagged his tail joyfully when he saw that we were going for a walk, and even condescended, in his patronising way, to accompany us along tho dusty road. But when we commenced tho ascent of the hill he protested. "Can't see what you stupid people want to climb   the hill for on a hot day like this. There's nothing at the top except some ugly rocks, not even a 'possum or a wallaby to chase. Besides I've been there before." So he wagged his little tail and set out on his own account. When we came back to the hotel a few hours later he was quietly resting in the shade of the doorway. "I told you so," he   said as he gave us greeting. " Hope you'll take my advice next time."

The absence of the dog, however, did not prevent us toiling steadily up through the tangled masses of fern and flannel flower, till we reached the cairn at the top. It is a pleasant place to sit and think whilst the dull boom of the breakers makes muffled music right under your feet, and the kingfishers flash brightly to and fro in the branches all round. There is a grandeur about the shore line as seen from this bird's-eye point of view. From Barranjoey to the Heads the coast stretches, not straight, but in a series of noble curves fringed with a shining line of yellow sand, and a glistening white circle of breakers. Here and there the reefs jut (with long finger-like points) provokingly out into the blue waters, and the sea lashes at them impotently, sending up clouds of white mist over and around those immovable rocks. It is an old story, as old as the world. For ages the sea, lazily sending in its breakers one after the other, has been striving against those rocks, and for ages the rocks, secure in their position, have declined to move out of the way. The sea is in a quiet mood today. The long blue Pacific rollers are gentle, almost languid in their movements, and they break on the rocks with a deprecating could'nt-help-it kind of an air. They are no longer angry with the rocks, a truce has been patched up, a truce which may last for a day or two at the most, until Mr. Russell sends along another storm, and all is again commotion. The water inside the narrow sand line which forms the lagoon has undoubtedly the best time of it. Nothing makes much difference in this sheltered quarter. Whether it be storm or calm outside, the lagoon remains smooth and peaceful. At intervals, indeed, the sea forces a passage through the sandy barrier, but beyond agitating the water inside a little, no great harm is done. It is curious, indeed, the habit which this Narrabeen Lagoon has of opening and closing its own entrance, sometimes shutting itself off entirely from the sea, as if it aspired to become an inland lake, and at other times admit- ting the great waters freely until it becomes little else but an arm of the sea. Further on still, one can just see the great white college at Manly clearly outlined against the black background of the North Head, and beyond this again the houses of Vaucluse shine out on the southern side of Sydney Harbour. All is clear and bright and distinct as it ought to be on such a day, when the southerly gale of the last week has consented to leave off blowing for a while, and all nature is taking a well-earned rest.

But to leave the ocean and turn round. There is water on this side as well. Not the rough blue heave of the ocean, but the quiet calm of an inland lake. It is Pittwater, that highly-favoured arm of the sea, sheltered in such a way as to be a lake in all but the name. The narrow peninsula slopes sharply down to the water's edge, and the little blue lake extends before us for miles, until at last it seems to turn the corner and disappear, going far away north to meet the ocean again in the stormy Broken Bay. There are tiny ships on this lake -small coasting schooners, which come round here at intervals and load firewood for Sydney. You can see piles of this wood stacked along the bank, waiting until it can be taken off in a primitive fashion to the vessels which are anchored a short way from the shore. The houses are few and far between, and for the most part have a comfortable old settled look, hidden away as they are beneath the masses of almost tropical vegetation. And behind, the orchards slope chequer-board fashion up the green hillsides. At the far end of the bay, where one sees two or three cottages grouped rather closely together, an attempt is being made at settlement on a new plan. The owner, by subdividing his property and selling it in allotments, is trying to gather round him a little artistic colony. Here he hopes the men who wield the brush and the pen will make for themselves homes and create a new art centre. The idea is a happy one, and nature, as if in accord with it, has done her best to make the place of settlement beautiful. She has provided picturesque gullies, full of ferns and palms, and has even laid on a waterfall a couple of hundred feet high. All that is wanted now are a few red-roofed chalets, peeping out from among the foliage, and these, I suppose, will come in time. One artist, indeed, has already built himself an ingeniously designed dwelling - something between a Norwegian hut and a Swiss chalet. Others will doubtless follow, when the public learns the value of local art and extends it a full measure of patronage. For this sort of elegant rusticity, though very pretty and pleasant to look upon, requires a good deal of money, the very thing which artists, as a rule, are lacking in. So the settlement - for the present at any rate - progresses but slowly, and artists, when they want a spell in the country, have to be content with the old- fashioned log hut, leaving tiled roofs and gable ends to the capitalist who can afford to indulge in such luxuries.

There are plenty of other things to be seen from the top of the hill, and though the view at present lacks animation, one can easily pardon this fault for the sake of the peace and quietude all around. Some day, perhaps - one can only look forward with dread to the time - Pittwater, now such a happy smiling inlet, will be the centre of a rushing, bustling, commercial activity. The banks will be covered with wharfs, and the smoke of factories will pollute the pure air of the bush. At present one little steamer weekly suffices to take away all the produce grown in the neighbourhood, and to bring up all the supplies needed by the few fruit-growers who have settled around the shore. But as time goes on this must alter. There is abundance of rich land available, there are miles of deep- water frontage, and there is a harbour practically unlimited in size, and unrivalled for safety. So that, as far as one can see, there is nothing to prevent Pittwater from going ahead, and the hill which the bushrangers loved to frequent may one day overlook a busy city. ON BUSHRANGERS' HILL. (1891, November 28). The Sydney Morning Herald (NSW : 1842 - 1954), p. 5. Retrieved from http://nla.gov.au/nla.news-article13868244

Bushranger’s Hill, Pittwater c1923. by John Barclay Godson (British/Australian, 1882-1957).
Etching, editioned 14/50, titled, signed and annotated “ARCA Lond.” in pencil in lower margin, 24.4 x 18.9cm. 
courtesy of, currently for sale at, JOSEF LEBOVIC GALLERY

Water maze, Newport , ca. 1900-1910, Images No.: a116496 and a116495, ca. 1900-1910 by Star Photo Co. (possibly by William Livermore) - Unmounted views of New South Wales, [chiefly 1900-1910] courtesy State Library of NSW

This little story by Manly resident Agnes Littlejohn required some artistic sketching by Mick Paul. A quaint short story, a romance, this perhaps indicates the beauty of place attracting those who would interpret such beauty - as well as some of the time reflections of societal mores. We're not sure the item that follows this, regarding Mr. Paul, stems from the Newport sketch- although he does seem to have some accuracies to his profile of the south Newport headland, and, being a resident of Dee Why at one time, possibly did his black and white sketch 'plien air' style on the spot. 

The article is yet another prime example of the newspaper 'Truth's selling papers by publishing other's misfortunes, especially when they can have a go at another publication as part of the 'bargain' :

IT was a sunny day, and, the Manly coach had just arrived at Newport, where the passengers alighted. One of them was a girl with light and portable luggage and a paraphernalia of sketching articles. She was soon standing on the front, verandah of a homely-looking old boarding-house which faced beautiful Pittwater, the garden extending to its very banks. Miss Maggie Scott met her expected lodger, and took her to the room prepared for her reception. . After a light lunch the new arrival invited some children to accompany her to the sea. Their path lay across a large enclosure of rough scrub at the back of the house, where they had to avoid the inquisitive advances of an interested bull, and climb a fence or two. Arriving in sight of a fine view of richly-coloured cliff, with a wide beach on which the sea waves foamed and tossed, Maggie found a suitable position near a charming clump of trees growing on the high sloping bank, and soon she was busily sketching. 

The children watched her for a time delightedly, but, tiring of it, raced down to play together on the sands. On returning home that evening Maggie met a man, who was just pausing at the garden gate. He raised his felt hat courteously, and stood aside for her to enter first. He appeared at the tea-table that evening, but left the room soon afterwards, and did not show himself again that night. When the girl approached the clump of trees next morning she saw with dismay that the newcomer had annexed her chosen nook, where he was already painting busily in oils. She uttered a suppressed exclamation of surprise, and he looked hastily around. He glanced at her sketching things, and sprang to his feet. 

'Ah! You're an artist, too, I see. I'm afraid I've appropriated your sketching-ground. Well, you've first claim, I'm sure.' His- voice was a pleasant, friendly one; his face was young and frank. 'Nature, of course, is free to all,' she answered shyly, colouring. 'Well, why should we not join forces?' he asked, smiling, as the girl stood hesitating. 'Then I needn't be evicted from your territory?' And, taking Maggie's silence for consent, he unstrapped and placed her easel for her near his own. 

'By-the-way, I don't know your name. May I ask the favour of it, as we're fellow-workers, and are likely to meet often? Mine is Stewart Thompson. I've come here for a clear three weeks.' 'My name is Margaret Cleeve,' said Maggie, frankly, displaying perfect teeth and a charming little dimple as she smiled, 'and I've come here for a fortnight.' Then he criticised her picture with good-natured interest and candid tolerance. They were soon on the best terms with one another, talking pleasantly, with occasional long lapses into silence when absorbed in some engrossing bit of their own work. 'There's nothing like the Australian winter,' Stewart said enthusiastically in reply to a remark about English scenery, 'for misty effects and the haze. Our scenery, then, is equal to that of the English summer, to my mind. It is the haze that does it: On the brighter days we'vi still in winter here the summer colouring and sunshine plentifully; and we can paint comfortably out of doors all the year round.' They returned to the house chatting merrily together like old friends. Luncheon parties arrived at the house sometimes, when they were out; and stray visitors occasionally stayed here for the night, but did not interfere with them. On sunny days Maggie painted on the river-side, whilst Stewart absented himself mysteriously on private sketching expeditions. On grey, days they often went together to the sea. On wet days they remained in the cosy sitting-room, where they had many, a pleasant chat. Stewart was busy with some drawings in black and white, and once he sketched Maggie's portrait as she sat reflecting, half-forgetful of his presence and her own surroundings. ,'Jean 'Jean see the difference between my work and yours,' she said one day, after gazing earnestly at Stewart's picture and then back at her own. 'I 'hang fire' in all I undertake, though I love my work. I can't convey my .own impression.' j,;, 'You're attempting to take the citadel of art by storm, -I,. see.' He smiled good-naturedly. 'There's always a .'but' for everyone; there always will be one,' he added 'soberly. * ? .'?May I ask for your opinion of my work?' . 'Your work has originality, a charm and grace, about it of its own— but it is not strong work: You don’t mind my candour?' he added slowly, after a slight pause, glancing keenly at the girl's attentive, downcast face. ‘I know my limitations,' she said frankly, 'and sincerity is the one thing in life that binds true friends together.' 
'Then we are friends?' he asked. . with . a quick look. 'Thank you for saying that,' he added softly, with an appreciative glance at her bright, speaking eyes. This time he was quite certain that her delicately heightened colour was not merely due to the fresh breeze that swept by them across the sands. . 'You see, I have to depend upon my own exertions,!' Maggie said. 'I am at last an exhibiting member of the Sydney Art Society, and I take pupils in .my little studio.' 'Well, I, too. have had to struggle. It has been like this with me: ' 'To grasp the skirts of happy chance, and breast the blows of circumstance, And grapple with my evil star.' 'I simply got an opportunity, and took it; and, thank God, I am successful now!' The next day there seemed to Maggie to be a difference in him. He was very silent with her now, she thought. Silence sometimes seemed to Maggie to mean remoteness — separation from him. But sometimes she felt it stood for a secure and strong road leading to a better friendship — a better knowledge of him. One day they had. been working hard and. silently for a long time, when a change came in the weather. A little rain began to fall, and they looked round at the blurred landscape. .'We've had fine days enough,' said Stewart, as it began to drizzle steadily. 'Now there'll be a decided -change. We must hurry home, or you'll get wet.' , They moved beneath the trees for shelter whilst they packed. The rain was pattering fast now, on the leaves. . 
'You'll be leaving here the day after to-morrow,' Stewart -said. 'I have another week to stay. Afterwards may, I look, you up at your own home?' 
'Yes; certainly!' she answered eagerly, a glad note in her voice. 'My mother will be very pleased to see you.' 'And you?' he asked in a low voice. 
There was no answer for a moment but the music of the rain as it pattered on the leaves. 'I will be glad, too,' she . answered, colouring, after one swift, shy glance up at his earnest face. 'Thank you; I'll rely on that,' he said softly, as he took, her hand in his, and held it very gently for a moment. 

A gusty wind had risen, and was blowing across the sands.  'The wind is rising now. We'd better hurry home; the weather can't improve, and it may get worse, I see the children have already gone.' A soft wave of her hair was blown gently against his cheek. At the touch he turned suddenly to her. He looked at her wind-tossed hair and sparkling eyes. ''You are wet through,' he said. He felt her coat with a caressing , gesture. His voice was a caress'. She gave a musical little laugh of pure happiness. 'I am warmly clad.' At his gesture of possession she had looked shyly up at him, with a soft, new happiness on her bright face. 

The gusty wind died down across the sands. Stewart looked now at the girl's transformed, fresh, delicately coloured face with a new expression in his own. 'I'll speak to-night,' he murmured softly to himself as they turned homeward, unconscious that she heard. She laughed again out of pure happiness. When they reached the house she found that the ' day's mail had brought a letter for her from her mother. As she read it over hastily she turned pale. 'What has happened to you? No ill-news, I hope?' remarked Stewart.' She hesitated. 'I will tell you by-and-bye, if you'll please wait.' He said no more, and she went quietly to her room to think. The creeper waved gently at her window-pane as she stood, and her eyes travelled thoughtfully over the wet garden outlook.
That evening she told him.' 'An uncle whom I never knew has left' us all his money. We shall not be poor any more. Aren't you pleased?' for Stewart had turned from her in silence. She looked after him perplexed arid hurt. : He moved over to the fireplace, arid stood by the mantel-shelf, his elbow resting on it, holding one hand over his eyes. She fancied she heard something like a sigh, so faint that she could not be sure she heard it. As he removed his hand at last the girl looked wistfully at him. 'Are you not glad that we're no longer poor? I thought you would be pleased.' Tears rose suddenly unbidden to her eyes. She forced them back. A sudden wintry look went over her fresh face, and she looked pitifully at him, for his face was strangely hard and stern. There was a sudden crashing sound without, and Maggie hastily put down her book, and went to the window. 

'There! Look at that!' A small, tree had been blown down. The verandah blossoms from the creepers came all a-flutter to the ground, and the wet wind went sighing through the gum tree tops beyond the garden to the sobbing accompaniment of rain. Stewart had not moved, and Maggie returned to her seat with an unhappy and impatient gesture. 'You seem so different,' she said. 'Can we not be friends?' . 'How can we be?' he demanded passionately in return, as he suddenly raised his head. 'How is it possible? If I had only done it yesterday before the letter came it might have seemed alright to me to-day.' . 'Done what?' she asked him, flushing. 'Asked you to be my wife! But it is different now.' -She looked at him wonderingly: 'Why should it be different?' she asked indignantly.
'When I believed you to be poor, and struggling at your art, you seemed within my reach. Yesterday,' he said, not heeding or not noticing her indignant gesture, as Maggie flushed and started, 'you and I were equal— I a poor, although not unsuccessful, artist-you an earnest and hard-working student with your way to make. Today I remain the poor artist still, and you — -' , . 'I,' she answered him, indignant tears starting to her eyes, yet with that proud uplifting of her charming head, 'have had a fortune left me. I suppose that's what you mean? ' Oh, you're too proud! But is it fair to me?' 'Don't be unjust to me!' 
She looked hesitatingly at the young man as she marked the firm line of his lips. After one quick, comprehensive look at him she pleaded softly: 'Oh, you're too proud to own it, but I know that's what you mean. You let the money weigh against my happiness. I was far happier when I was poor. What good, can this money do for me if I may not pass it on to you? It was chiefly that which made me glad to have it. We've been very happy working here together. I can't see what difference it makes. And I'd rather lose the money than, lose you.' 
Suddenly, with an impulsive movement he came quickly to her, dropping on one knee beside her.; 'Do you mean it, dear? You care more for me, my love, than comfort and affluence?. You would prefer even poverty with me to wealth without me?' As his lips touched her fresh check in full surrender her arm stole gently round his neck. ...
 'Why should we not join forces?' she asked softly. 

'He criticised her picture with good-natured interest.' 
AN ARTISTIC IDYLL. (1912, June 19).Sydney Mail (NSW : 1912 - 1938), p. 19. Retrieved from http://nla.gov.au/nla.news-article160341806 

Paul's Penchant.
A well known Sydney "black and white" artist, named Mick Paul, had his matrimonial conduct under review at the Sydney Divorce Court recently, when his young wife, Emily Annette Paul, formerly Patrick, sought a divorce because of his adultery with an unknown woman. Mr.' Fraser appeared for -petitioner, and the black and white 'un was non est. Petitioner, who was married by Rev. A. Rivett at the Whitfield Congregational Church, Pitt-street, on 6th. Septemper, 1908, said that her Mick was a freelance artist, and used to work for "Fairplay," the "Bulletin," and other journals. He was a son of Lieut. Colonel Paul, who died recently, and at the time of his marriage his mother was travelling on the Continent. Hubby told her that he was born in Paris, and would some day return there to live, but meanwhile they put up with life at Deewhy, Maroubra, and other romantic spots, until October, 1915, when something caused her to leave him. In December of last year, while along with her mother in George-street she saw hubby in the company of a woman, and this woman very much resembled the delineations of a dame appearing in some "Bulletin" sketches. His Honor said this .particular evidence was useless. Mrs. Paul, continuing her brief recital, said she one night later followed hubby to a house in Elizabeth-street, and saw him enter it with the same woman about 7.30. Outside she maintained a vigil for two hours, but no Mick or flaxen-haired Flossie emerged whilst she waited. It was evidently no while-you-wait shop. The succeeding Friday, with her another and a private detective, she again spotted hubby arm-in-arm with the same tart, and entering the same house about 11.30. 
Ernest Vane, private detective, told how, toeing put on the scent, he met Mrs. Paul and her mother in Elizabeth-street, and afterwards tracked the respondent, Paul) to 4he "Worker" office. Prom there he followed him to T H Tate's Chambers, where shortly Paul came forth with a woman and went to W the French cafe for an hour, and then T to a house in Elizabeth-street, near the railway. He waited till 11.30, but neither Paul nor his donah came out. At 7 a.m.. next day he -watched again, and about 9 o'clock saw Paul's chivvy at a window on the first floor. He shortly left for a shave, said returned to the house, where a woman could be seen dressing at the same window. Later Paul and this fairy came out together, and after visiting a cafe for breakfast they entered an hotel. Sad to say, the woman later came out sprawling in the street, and Paul magnanimously took her away in a taxi, which returned in half an hour. The spotter said that while he waited outside the house in Elizabeth-street into which Paul and the woman had disappeared, he saw no fewer than four couples enter, and noticed one woman picking up men in the street and lugging them into the house, which in his opinion was not of sanctimonious reputation. Later still, on passing the house, he beheld the very dame who was Paul's companion, standing in the doorway, as though she lived there. Petitioner's mother added her evidence. The suit was stood over for a certificate, and this being forthcoming later - the usual decree nisi was granted, with costs against the black and white 'un. Paul’s Penchant. (1917, April 21). Truth (Perth, WA : 1903 - 1931), p. 8. Retrieved fromhttp://nla.gov.au/nla.news-article210481767

The coach was replaced by buses, and, for those who could afford them - motor vehicles:


It is a very pleasant run from Sydney to Newport, and will be much more enjoyable when the Spit, bridge is a reality and the wearisome wait for the punt is a thing of the past. Motoring (1924, January 2). Sydney Mail (NSW : 1912 - 1938), p. 37. Retrieved from http://nla.gov.au/nla.news-article166151463

Will Ashton, Near Newport, 1930
Sir John William "Will" Ashton OBE, ROI (20 September 1881 – 1 September 1963) was an English-Australian artist and Director of the National Art Gallery of New South Wales from 1937 to 1945. Born on 20 September 1881 in Clifton, York, England, the son of James Ashton, an artist. The Ashtons migrated to Adelaide, South Australia and was educated at Prince Alfred College from 1889-1897. Upon graduating Ashton entered the life of an artist. In 1900 he left for England to work and spent several years from 1902-1903 at the Académie Julian in Paris.

Ashton had some of his works accepted by the Royal Academy of Arts, London, and the Salon de la Société des Artistes Français and returned to Adelaide in 1905. The sale of his work, "Boulevard Montparnasse, Paris", to the National Gallery of South Australia enabled him to marry May Millman, on 31 January 1906 at Christ Church, North Adelaide. After holding exhibitions in Sydney, Melbourne, Perth and Adelaide, in 1908 he won the Wynne Prize for landscape.

In 1912-14 he painted in Britain, Europe and Egypt. He was back in Australia for a year, but returned to London with his family in 1915 to 1917. Others of his subsequent frequent overseas trips were in the company of Lionel Lindsay or Charles Bryant. The impressionist oil paintings he made on these trips always sold well on his return to Australia. He advised the National Gallery of South Australia and private collectors, and supported his family by examining for the Royal Drawing Society of which he was a member. He won the Godfrey Rivers Bequest prize in 1933 and 1938. Ashton also won the Wynne Prize for a second and third time in 1930 and in 1939.

In 1937 he became Director of the National Art Gallery of New South Wales, and almost immediately had to organize the sesquicentennial exhibition of Australian art. During his tenure he improved the gallery lighting, but other plans were postponed because of World War II. From 1944-1947 he was also Director of David Jones Art Gallery. A member of the Commonwealth Art Advisory Board from 1918, Ashton was chairman in 1953-1962. He was a member of the Royal Institute of Oil Painters, a Vice-President of the Australian Painter-Etchers' Society, and a member of the Society of Artists in Sydney, being awarded its medal in 1944.

He was appointed an Officer of the Order of the British Empire on 1 January 1941 and was made a Knight Bachelor on 11 June 1960 for his service as Chairman of the Commonwealth Art Advisory Board.

Ashton at his home at Mosman on 1 September 1963 after a battle with cancer. He was survived by three sons and by his second wife Winfreda Isabel Hoggard, whom he had married on 6 February 1961. On 9 May 1989, Lady Ashton was murdered in the Sydney North Shore suburb of Mosman by serial murderer, John Wayne Glover.
Portrait in text of Will Ashton. Dated 1921. Courtesy State Library of South Australia.

National Art Gallery of New South Wales.
31st January, 1944.
Director and Secretary. Salary, £850 per annum (subject to deductions under the Superannuation Act). The appointee will be required to carry out usual secretarial and administrative duties. Applicants must have had art training and possess general knowledge of works of modern artists (British Commonwealth, American and Continental) and preferably have travelled abroad. PUBLIC SERVICE BOARD NOTICES. (1944, January 21).Government Gazette of the State of New South Wales (Sydney, NSW : 1901 - 2001), p. 99. Retrieved from http://nla.gov.au/nla.news-article225093175

The Adelaide Art Gallery has acquired two lino-cuts by Miss Ethleen Palmer, of Sydney, The two chosen were "Farrell's Shed at Newport,"and "Finches and Gumblossom." Miss Palmer is fond of animal subjects, so that the Zoo is the home of many of her models, and her love of birds is also expressed in her work.
ACTUALLY, she took up lino-cut work as an experiment. She first came to Sydney from South Africa as a schoolgirl, and attended Sydney Girls' High School. Winning an art scholarship at the East Sydney Technical College meant three years of intensive study, in addition to evening work at the Ultimo Technical School. Next came a commercial art post, as well as the evening studies, and after two years Miss Palmer suffered a breakdown in health. It took four years for her to regain her strength, but this time was not wasted, for, as she explained: "It gave me time to think and digest all that I had been taught so thoroughly. Then, one day, I read a book on 'Lino-Cuts,' and thought that I should like to experiment in that medium." After that she abandoned commercial art and turned all her attention to lino-cut fine art.

LINO-CUT work has been christened "the grand-child of the wood-engraver," for it was evolved from wood-engraving as used by the Chinese and later adopted and improved by the Japanese. Linoleum was substituted for wood, and proved a highly successful medium. At first linocut work was carried out in black and white only, and to an Austrian, Professor Cziek, of Vienna, goes the distinction of introducing colour, in the European manner, to linocut work. Another Viennese, Bressler Rothe, has achieved fame for her mastery of the medium.
Miss Palmer has worked out her method according to the "trial and error" theory. She believes that although it may not be so economical, her practice of completing one print straight through gives individuality and freshness to her work.
Lino-cut work is a branch of art in which, perhaps more than in any other, complete accuracy is required. When the subject is chosen, it is first sketched in charcoal or pencil, and then a very clear tracing is made. Close study reveals how many blocks will be needed, since a separate block is required for each different colour. Six, and often eight, blocks will be used. Each part to be coloured black is numbered one, and everything black is worked out on one block, and so on, each block having its own numeral. The artistry is in the balance and rhythm between colour and form the whole making a harmonious pattern.
Being her own handy-man, Miss Palmer saws a plank of wood into blocks, and then linoleum is cut to match and "fixed" to the blocks with glue.

MISS ETHLEEN PALMER at work in her studio.
This must be arranged with the greatest accuracy to fit a special frame which Miss Palmer has in-vented. As one colour is superimposed upon another, a millionth part of an inch out of "plumb" would spoil the whole effect. When the linoleum is mounted and in its frame, the tracing of the subject is transferred to It, and then all is ready for cutting it out. This is the most difficult and delicate of all the operations, as the slightest mistake would ruin the whole block.
Art is not Miss Palmer's only interest, for she is an excellent cook, loves gardening, and collects books. She is also fond of adopting sick and injured birds or animals, and her "hospital" includes a beautiful large cat, which was once a kitten with a broken back, and her dog, "Winky," is minus an ear.SYDNEY WOMAN ARTIST'S SUCCESS. (1936, July 28). The Sydney Morning Herald (NSW : 1842 - 1954), p. 4 (Women's Supplement). Retrieved from http://nla.gov.au/nla.news-article17255589 

"Farrell's Shed at Newport," 1935 - 19 x 29 cm - 20 from an edition of 20, courtesy Mutual Art, Artists, Auctions, Exhibitions and Analysis. Compare colour difference with National Gallery of Australias copy - Impression: 5/20 Dimensions: printed image 19.0 h x 29.3 w cm sheet 26.8 h x 36.6 w cm Acknowledgement: Purchased 1976

Ethleen Palmer, The Homestead, 1937- linocut 17 X 21.5 cm, 6 from an edition of 50, 

Max Dupain
One of Newport's regular residents, who has given us images of this place we wouldn't have without him, is photographer Max Dupain. In this gentleman we move from thee wonderful images of Pittwater wrought by Kerry et al to photography becoming an artform that captures the human spirit and its characteristics of a more modern Australia.

Max Dupain (1911-1992) was one of Australia’s great modernist photographers, credited with changing Australian photography from Pictorialism to Modernism. He took up photography as a teenager and studied at the East Sydney Technical College and Julian Ashton School. From 1930-34 he assisted Cecil Bostock, before establishing his own photographic studio in Sydney. Throughout the 1930's and 40's Dupain was best known for his fashion illustrations, advertising and social portraits which were regularly published in ‘The Home’ magazine (Sydney Ure Smith) until it ceased publication in 1942. 

During World War II, Dupain served in the Royal Australian Air Force and worked as a photographer in the Department of Information, Canberra. After the War, he aligned himself with the documentary movement in photography. His later work subjects capture architectural and industrial work.

Max Dupain, 'Nine Mile Store', Newport, circa 1930 

Reconstructed Eleven Mile Store (Porters Store) - courtesy Guy Jenning's The Newport Story 1788 - 1988

Why did Max have such an insight into the human form, and its communion with Nature - these few articles regarding his father may lend insight:

Polynesien, French mail steamer, 7120 tons, Captain L. Boulard, Lieut, do V., from Marseilles May 3, Port Said May 8, Suez May 0, Aden May 18, MahG (Seychelles) May 17, Albany May 28, Adelaide 1st instant, and Melbourne 3rd instant. Passengers— From Marseilles for Sydney: M. Dupain,SHIPPING. (1891, June 13). The Sydney Mail and New South Wales Advertiser (NSW : 1871 - 1912), p. 1308. Retrieved fromhttp://nla.gov.au/nla.news-article163657248 

Illustrated Booklet, now in press, descriptive of Psycho-Physical Culture by Principals Dupain-Cox InstituteAdvertising (1907, November 11). The Sydney Morning Herald (NSW : 1842 - 1954), p. 2. Retrieved from http://nla.gov.au/nla.news-article14879699 

DUPAIN—FARNSWORTH.—April 30, at St. John' s Church, Ashfield, by the Rev. A. Yarnold, George Zephirin, eldest son of George Zephirin Dupain, of Charenton, Ashfield, to Ena, only daughter of Susan and the late Henry Farnsworth, Rothsay, Ashfield. Family Notices (1910, May 28). The Sydney Morning Herald (NSW : 1842 - 1954), p. 12. Retrieved from http://nla.gov.au/nla.news-article28142722 

DUPAIN.-April 22, 1911, at Symington, Parramatta-road, Ashfield, the wife of George Z. Dupain, jun.- a son. Family Notices (1911, April 29).The Sydney Morning Herald (NSW : 1842 - 1954), p. 12. Retrieved from http://nla.gov.au/nla.news-article15228010 

Here is a circular from a 'Physical Culture Expert' which appeals to me very much. It shows what can be done with the human frame, when an expert takes it In hand. City life leads to decadence and deterioration, and men are learning that something has got to he done to stop the spread of the deadly blight which affects the city-bred physique. Here is a man who is showing how it can be done, and what can be done, and It is quite wonderful. His place is at Royal Chambers, Castlereagh street, and it's worth going to see. PHYSICAL CULTURE. (1909, October 8).The Sydney Stock and Station Journal (NSW : 1896 - 1924), p. 4. Retrieved from http://nla.gov.au/nla.news-article125758566 

Physical culture magazine.
The "Dupain Quarterly"— "a magazine for those seeking better health, greater strength" — has been Issued. The editor is George S5. Dupain, of the Dupain Institute of Physical Education, and the co-editor is Miss Muriel Cadogan. There are articles on chest development, the carriage of the head and improvement of the contour or the neck, physical culture for women, mountaineering as an ideal sport, and the art of boxing. Many excellent photographs are reproduced. Including several of art statuary. The artistic cover design is by Harry J. Weston, and there are also a number of drawings by the same artist. Messrs. Arthur Smyth and Sons, advertising experts, of Jamieson-street, city, are responsible for this highly creditable production. PHYSICAL CULTURE MAGAZINE. (1912, September 24). The Sun (Sydney, NSW : 1910 - 1954), p. 5 (FINAL EXTRA). Retrieved from http://nla.gov.au/nla.news-article228814090 

Write for particulars. SYDNEY UNIVERSITY.  Advertising (1913, July 23). The Sydney Morning Herald (NSW : 1842 - 1954), p. 22. Retrieved fromhttp://nla.gov.au/nla.news-article15437598 

Is this one of Max's first published pictures?:

Mr. George Z. Dupain, of Newport, has forwarded to the Editor a photograph of a young penguin, which was washed up on the southern end of Newport Beach. The bird was about 15 inches long. Mr. Dupain asks to be informed where the bird came from.
Mr. J. R. Kinghorn, zoologist at the Australian Museum, Sydney, stated yesterday that the bird was a fairy penguin, which bred at this time of the year on parts of the eastern coast. These penguins do not usually travel north of Port Stephens, there being only one instance on record of the fairy penguin being found north of that part of the coast. In the winter time the birds migrate to the islands of Bass Straits. The king penguin, a much larger bird than the fairy penguin, does not come out of the Antarctic regions. FAIRY PENGUIN. (1928, January 21). The Sydney Morning Herald (NSW : 1842 - 1954), p. 16. Retrieved from http://nla.gov.au/nla.news-article16435515 

Of course, many Pittwaterians know that fairy penguins frequent our beaches - there's a colony, of another sort - no pun intended, on Lion Island that has resided there for generations - currently protected and monitored by the NPWS:

Lion Island reservation
A suggestion to have Lion Island, at the mouth of the Hawkesbury River, declared a bird sanctuary was supported .by last meeting of the Gosford Fauna and Flora Protection Society.

In asking tor this support, the Royal Australian Ornithological Society said that colonies of two species of shearwater gulls had been found on the island representing one of the only two known nesting places of the breed. There were also some fairy penguins. In view of what happened at Terrigal and Avoca, Lion Island Sanctuary could have distinct value. "I  am not certain that the Terrigal incidents are due to human misbehaviour," Mr. R. Wallace commented. Lion Island reservation (1954, November 23). The Gosford Times and Wyong District Advocate (NSW : 1906 - 1954), p. 4. Retrieved from http://nla.gov.au/nla.news-article162872258

Using motion pictures and slides to illustrate his theme, Mr. George Z. Dupain, (director of the Dupain Institute of Physical Education), will give a health lecture in the sports department at Anthony Hordern and Sons, to-morrow, from 7 p.m. to 8 p.m. ILLUSTRATED HEALTH TALK (1931, October 15). The Sun (Sydney, NSW : 1910 - 1954), p. 13 (FINAL EXTRA). Retrieved from http://nla.gov.au/nla.news-article223665899 

Max Dupain with his parents at Newport, 1904's. Image No.: nla.obj-146283059-1, courtesy National Library of Australia

Exercise and Physical Fitness,
by George Dupain. Shakespeare Head Press, 20/.
THE bone - shaking, muscle-pulling jolts which often pass for physical culture, the practice of hard long-distance running for schoolboys, the advent of women into the strenuous exercise field are rated most unfavourably by George Dupain, Sydney physical educationist.
And by way of good measure, he disparages the crack-of-dawn exercise habit, and the fetish of the massive muscle bound man. "There is no further need for highly developed muscles," he says. "These belong to the primitive past."
He states a perfectly clear case in rather technical terminology for a more selective approach to physical exercise, basing his premise on a carefully worked out analysis of the human respiratory system, cardio-vascular system, and the muscular and skeletonic structure.
His aim is to have physical education classified as a science and treated as a university subject, a reasonable ambition in the light of the evidence he submits on the general haphazardly of PT in Australia.
Not that he visualises a nation of club-swingers giving mass health and beauty displays. He is firmly in favour of "free impulsive natural exercise.". THE SCIENCE OF PT (1949, January 15).The Argus (Melbourne, Vic. : 1848 - 1957), p. 9. Retrieved from http://nla.gov.au/nla.news-article22696564 

Value Of Wholemeal
Sir,- In reply to Miss Geach's defence of wholemeal ("Herald," August 23): Cereal chemistry has revealed that grains can only function as a supplementary food in any scheme of dietetics which aims at optimum nutrition for the individual.
Nutrition studies in India showed the meat-eating peoples to be stronger and better developed than the grain-eating ones.
The Danish Cereals Commission proved that during 1946 amongst Copenhagen workers there was a 30 per cent. daily loss of calcium due to the war bread then used. The evidence is endless against the seed diet.
GEORGE Z. DUPAIN. Sydney. Value Of Wholemeal (1950, August 25).The Sydney Morning Herald (NSW : 1842 - 1954), p. 2. Retrieved fromhttp://nla.gov.au/nla.news-article27570124 

Australian Posture
Sir,-Your article of Jan 18, "Australians are not an Up-standing Race," was highly commendable Mr. Maegraith (' Herald " January 21) has completely misunderstood the data it contains
It was a dissertation on posture, not physical development. The two need not be synonymous. Many a man has a well developed physique but an atrocious posture, and this is quite a common phenomenon amongst any modern population.
Our occupations to day from factory work to indoor clerical pursuits make us continually bend forward. Our bodies are always more or less flexed Unless this is corrected by adequate physical education, in time various "stoops" develop
Newport Beach. 
Australian Posture (1954, January 26).The Sydney Morning Herald (NSW : 1842 - 1954), p. 2. Retrieved from http://nla.gov.au/nla.news-article18406375 

DUPAIN (nee Illingworth)-November 22 at Crown Street Hospital to Diana and Max-a daughter.  Family Notices (1950, November 24). The Sydney Morning Herald (NSW : 1842 - 1954), p. 22. Retrieved from http://nla.gov.au/nla.news-article18188131 

The Dr. Cotton, working with Max's father, was a relative of the gentleman whose daughter Olive later married Max. Why is the Cotton family likely to have been an influence on Max's appreciation of the human body in his photography?:

Their  father, Frank Cotton, who lived in a Von Hagen built house at 45 William Street, Hornsby. Frank Cotton, journalist, who wrote under the nom-de-plume ‘Porkibidni’ was father to Leo, Frank and Max Cotton. 

Death of Frank Cotton
Labor lost one of its pioneer stalwarts by the death of Mr. Frank Cotton, which occurred in Sydney recently at the age of 85 years. He was probably the oldest Labor journalist in Australia. Born in Adelaide, he travelled much over this continent, following such occupations as droving and grazing, before entering into journalism, which was truly his metier. The greater part of his serviceable life was spent in New South Wales.

During the maritime strike of 1890, Mr. Cotton edited a newspaper which was run in the interests of the seafaring workers against the shipowners.
He was one of the first batch of Labor candidates who were elected to the N.S.W. Legislative Assembly in 1891. He sat in several of the then colonial Parliaments, but was engaged in journalism for the last three or four decades.

As a writer Mr. Cotton was sincere, convincing, and logical. He performed great work for the anti-conscription cause in the two campaigns that were waged during the 1914-18 war.

Mr. Cotton is survived by three sons and three daughters. The eldest son is Dr. Leo Cotton, Professor of Geology and Dean of the Faculty of Science at the Sydney University. Another son, Dr. Frank S. Cotton, is Professor of Physiological Research in the Medical School at the same University. Death of Frank Cotton (1943, January 1).Westralian Worker (Perth, WA : 1900 - 1951), p. 1. Retrieved fromhttp://nla.gov.au/nla.news-article148421028 

Yes, that Dr. Frank Cotton - widely considered to be the 'Father of Sport Science' in Australia. Te Marriage between these childhood freinds did not last unfortunately:

The Lady Behind