Sandra McGrath

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Sandra Burt McGrath is an American-born Australian art writer and historian, an art collector of the avant-garde, and a prominent art critic.

Contents

Early life and education

Sandra Burt (Sandra McGrath) portrait at age 17 in the Birmingham Post-Herald of 31 December 1953 Sandra Burt portrait in Birmingham Post-Herald 31 Dec 1953.png
Sandra Burt (Sandra McGrath) portrait at age 17 in the Birmingham Post-Herald of 31 December 1953

Sandra McGrath was born to Anne Woodward Burt (Lundbeck after her later marriage to Hilmer Lundbeck, resident director of the Swedish-American Shipping Line) [1] and James M. Burt, Jr. in Birmingham, Alabama with interests in the Bank of Alabama. Frequently mentioned in the social columns throughout her youth, [2] Sandra enjoyed a privileged background. She studied at Brook HIll, Birmingham for two years where she was treasurer of the Theta Kappa Delta Sorority in 1950, [3] and wrote for the school yearbook the Brookelet Board. [4]

The Birmingham Post-Herald of December 1953 featured her as 'Teen of the Week' with a brief profile of her as a senior student at Mount Vernon Seminary and College, Washington, D. C. and 'photography editor of Cupola , the yearbook and writer of a sports column for the school newspaper.' [5] From September 1954 she attended Vassar College, [6] where as a junior she was elected photography editor of its year book Vassarion. [7]

Sandra graduated with a Bachelor of Arts on 9 June 1958, [8] after which she traveled in Europe with her aunt. [9] Her uncle and aunt, the Woodwards, entertained her and her future husband Michael Anthony ‘Tony’ McGrath in June 1959, [10] before she set out to tour Tahiti, New Zealand and Australia on the SS Mariposa. [11]

On 20 October 1959, aged 23, Sandra married Tony, who had graduated in business studies at the Universities of Sydney and Stanford University and was director of Mascot Industries in Australia. The Sydney ceremony was attended by Sandra's parents and brother who traveled on a later sailing of the Mariposa. [12] She returned to see them for Christmas 1963 with her first child Eugenia. [13]

Emigration to Australia

By 1967 McGrath was an active commentator on Australian art. [14] An affectionate 1967 profile in his column 'Our Town' in The Sydney Morning Herald by Leslie Walford reveals that McGrath was born in October 1936 and had started an art gallery in Jackson Square in San Francisco when she met Tony McGrath at a dinner party, and accompanied him to Sydney where they married and lived in an apartment in the Harry Seidler-designed 'Ithaca Gardens' in Elizabeth Bay, subsequently moving to a house in Woollahra, then to another flat with their children. Walford comments that:

Writing, in the way of critical analysis, is her passion, reading prolifically a daily habit and joy. For "Art in Australia" [sic] she has written essays on Brett Whiteley, Pop Art, and James Gleeson. Sandra knows Europe, loves Australia, where she finds a satisfying life. Collecting paintings is a passion--she worked at Clune Galleries too for a time. In the flat, she experiments with bold colours, good furniture, interesting ways to entertain. She is working for a Master's Degree in English, preparing a thesis on Nathaniel Hawthorne. [15]

In 1969 McGrath donated John Olsen's oil painting Entrance to the Seaport of Desire, to the Art Gallery of New South Wales [16] [17] and through the gallery successfully organised cultural tours of Melbourne that had not previously been attempted. [18] Veteran journalist Jane Fraser in a 2009 article in The Australian recalled her friendship with Sandra, through whom she met artists Arthur Boyd, Tim Storrier, Brett Whiteley, John Olsen and director of the Art Gallery of New South Wales, Edmund Capon:

She now lives in the US, from which she came, and was married to an Australian, now sadly dead. She was very homesick when she came here to live but she loved cricket because, she told me, she would listen to broadcasts of matches played abroad and be lulled to sleep by the voices of treasures such as Richie Benaud. She was new to writing and was fondly referred to by the editor as the menopausal cadet. [19]

Sandra was further described in 1971 by Kay Keavney in The Australian Women's Weekly as 'lively young Mrs. Tony McGrath, American-bom graduate of Vassar, wife of a Sydney stockbroker, mother of four, art-lover and collector,' who had secured a program of free audits of Sydney University art history lectures for trainee guides the Art Gallery of New South Wales, [20] instruction that, as of 2022, has continued. [21] In August 1971 the last of their five children, Teague was born, joining siblings Eugenia, Anthony, Julia and James. [22] The couple's involvement in the Sydney social scene as members of 'Serious Sydney Society', [23] and their hosting of events attended by luminaries including Ita Buttrose, Rudi Komon, Justice Elizabeth Evatt, Harry Seidler, Shiela Scotter, Zara Holt, Susan Renouf, [24] Harry M. Miller, and visitors from overseas like Franz von Bayern, [25] and Stan Hart, [26] was frequently noted by newspaper columnists. [27] [28] [29]

When Australia's economy was subject to the OPEC oil shocks, with a 17.7% annual CPI movement and ‘stagflation’ recorded in 1974, The Bulletin’s Daphne McGuinness in an article ‘Pulling in their Gucci belts,’ interviewed rich women for their reactions, including Lady Clarke of South Yarra, ‘Australia’s richest woman,’ and McGrath was another. Identified as ‘heiress and art collector’ she remarked that in New York, from where she’d just returned ‘Everybody is in the money, the art scene has never been more extravagant, really…Glad to be back? Oh God am I glad to be back. Never want to travel again. This is Lotus Land.’ [30]

Collector

Walford [15] notes in 1967 that the McGrath apartment was decorated with a painted ceiling (later sold and moved to serve as a mural in a house in Avalon) [31] and tapestry by John Olsen, The Cricket Match, a painting by Brett Whiteley, and a large sculpture by Colin Lanceley. In 1971 Art and Australia featured a Max Dupain photograph of the skylit dining room of their Bellevue Hill house painted on all walls with a Jeffrey Smart landscape of geometric forms seen through tall dry grass. [32] In 1975 Sandra auctioned some of her art collection of Australian, European and American paintings, and furniture, including the Whiteley Cricket Match through Ellenden Auctioneers at her Woollahra residence at 12 Trelawney Street. [33] McGrath was generous in her donations of works to the Art Gallery of New South Wales. [34]

Art writer

Sandra was art critic for The Australian from 1972, The Sydney Morning Herald from 1987 into the 2000s, and from 1966, wrote regularly for Art and Australia, and was a broker of relationships between artists, patrons, galleries and their public; in one instance in 1977 she visited Jeffery Smart in Tuscany to persuade him to join the 'stable' of Ann and Stuart Purves' Australian Galleries. [35] Of Smart, in 1969 she wrote:

...despite the twentieth-century trend to abstract art and Abstract Expressionism, a few painters continued to wrestle with the real world, to struggle with the forms and structures and problems of the twentieth century. One such notable painter is Jeffrey Smart. [36]

In 1973 McGrath was appointed Australian representative on the International Council of the  New York Museum of Modern Art with her friend Penny Seidler, and Anne Lewis, joining James Fairfax. [37] [38] McGrath became closely associated with Brett Whiteley, [39] whom she 'met in the early sixties, when he returned to Australia to mount his first large exhibition which included the Christie paintings and the London Zoo Series.' [40] She records that 'it was Whiteley who inspired the second magazine article I published...which appeared in June 1967 issue of Art and Australia . [40] With the election of Gough Whitlam's Labor government in 1972 Sandra and Brett Whiteley drove 'through town in his Jeep with three of his funny-looking dogs and the music blaring, shouting and screaming and hitting the horn.' [41] She considered the 1970s:

a golden age of Australian art in Sydney and Melbourne. Everything was exploding culturally and politically. The era of Menzies and Dobell and Drysdale was finally over. Sydney was shedding its old colonial-backwater shell, as the Opera House was revealing new ones. [41]

Her 1979 book Brett Whiteley, dubbed The Blue Book' for its dust jacket featuring the painter's The Jacaranda Tree, [42] was the first major text on the artist. John Tranter welcomed the biography in which 'Ms. McGrath dips her pen into the purple ink,' but noted 'its faults: no index, some misspellings, a catalogue (of 129 black-and-white reproductions) that appears incomplete, but we are not told by how much, nor why; colour plates that are occasionally faulty or out of register, and in many details from paintings, badly blurred; and incomprehensibly - no list of illustrations. But it's a vivid and exciting book to read, and at the price it's good value for money.' [43] Joanna Mendelssohn advised that; 'As long as this book is accepted as being nothing more nor less than an interpretation of Whiteley by a friend, it can be seen as a valuable historical document. For it is a most successful evocation of Whiteley’s mannered hedonism, his sensuous pleasure in landscape and the human body and his eager exploration of the dark side of human experience.' [44] In 1992 Annette Van den Bosch, who elsewhere calls McGrath a 'kingmaker', [45] observed that 'The major Sydney reputation forged in the late 1970s market was that of Brett Whiteley. After he won the Archibald Prize in 1977 for Double self portrait, Whiteley won a succession of prizes and had a string of sell-out exhibitions. Sandra McGrath’s practices as a critic quite explicitly linked concepts of masculine creativity, genius and international reputation in relation to Whiteley’s work. [46] From the perspective of 1995 and against Barry Pierce's new book catalogue, [47] SMH reviewer Elizabeth Cross winced at 'unrestrained excesses' in McGrath's writing. [48] Published in 1982, The Artist and the Desert, co-written by McGrath with artist John Olsen, on whose work she first wrote in 1976, [17] was considered by reviewer Dr. Ann Galbally a 'worthwhile exercise' in its examination of twenty-two painters 'to confront and illustrate the question [of] what has the desert landscape meant to the Australian artist,' its thesis being 'that the desert is really the "soul" place for the Australian psyche.' Galbally identifies 'a perceptive piece of writing which stands out in the otherwise rather uneven text, [in which] we are told that:' [49]

In European landscapes, man is always there, has been there, in the foreground, in the middle distance or in the background. By contrast, in the Australian desert there seems to be no place for man at all; there seems no past, no present and no future; only an overwhelming withering of will and a numbing sense of despair. [50]

From experience of husband Tony's career Sandra was to write in 1983 a four-part series on merchant banking for The Australian newspaper, [51] [52] [53] [54] and the couple capitalised on canny real estate purchases; [55] their three-bedroom cottage in Ebor Road, Palm Beach was bought by Carla Zampatti in 1972 for $51,500; the Collins Avenue, Rose Bay house they owned in the 1970s [56] sold in 1989 for $4.15 million; [57] and their Dover Heights clifftop residence, excluding its massive Michael Snape sculpture, [58] was sold in 1993 for $1,775,000, the then-highest auction price for the suburb. [59] [60]

Arthur Boyd in summer 1971-2, with wife Yvonne, visited the McGraths property Bundanon on the south coast of New South Wales, owned with art dealer Frank McDonald. The Boyds purchased nearby Riversdale on the banks of the Shoalhaven River in 1974 and then bought Bundanon from McDonald and the McGraths in 1979. [61] Sandra's son James McGrath began his art career as studio assistant to Boyd. [62]

Over 1982-83 David Chalker, federal ministerial adviser to Tom Uren and manager of the Nolan Gallery at Lanyon in Canberra, with his wife Margaret assisted McGrath with research for her publication The Artist and the River, [63] [64] praised by Bernard Smith as 'a most valuable account of Arthur Boyd's work since his return to Australia after a period of almost 20 years abroad...[and] his preoccupation with the Shoalhaven River,' and as a 'particularly personal book in that it is, as the author tells us, her expression of gratitude to the artist for his work, in that it made her—an American—aware, for the first time, of the beauty of the Australian bush. "Where others see harmony, I have seen disorder, where others see beauty, I have seen ugliness; where others see grandeur, I have seen pettiness; where others see bright colors, I have seen dull greens and greys". Smith raises McGrath's reaction as an instance of the problem of 'to what extent is it possible to see scenery except through the eyes of other artists?' [65]

McGrath continued prominently as a member of the Sydney social set through the 1980s, protesting the encroachment of properties on Sydney Harbour, [66] itself the subject of her 1979 Sydney harbour paintings from 1794 a compilation of works by 38 painters, [67] and joining fundraising committees for charities. [68] She was on the special committee to select works of art for the Darling Harbour redevelopment chaired by Neville Wran with the State Gallery director Edmund Capon, journalist Lenore Nicklin, stockbroker and art collector Rene Rivkin, and Bob Pentecost, general manager of the Darling Harbour Authority. [69]

Through her reviews, McGrath promoted the work of a number of then lesser-known Australian artists including Tony Coleing, [70] [71] Vivienne Pengilley, [72] Peter Taylor, [73] the 'reticent' Tony Tuckson, [74] [75] [76] and Peter Tully. [77] In 1982 on what The Bulletin slated as a 'bear' market for art, [78] she scolded:

I don’t see any young artists that anyone is excited about. Buyers are rediscovering expatriate artists such as Colin Lanceley and William Delafield Cook but there are no young ones around who excite the public the way Brett Whiteley and Tim Storrier did. There are some good photo-realists around but while...admired, it is not bought.  No one is buying adventurously and even in good times the people who do are rare birds. Dealers [are] increasingly being knocked by the sale of art at auction. Another problem for the dealer was that the number of serious collectors had not increased...[and] very few obsessive collectors who will get something from every show that an artist has.  

Whiteley dispute

A 1992 updated edition of the Whiteley book, with an interview with the artist that McGrath recorded in 1990 and Whiteley's own thoughts on his art, [79] then being released as a paperback two months after his death, was the subject of a 24 September hearing in the Federal court to examine whether allegedly offensive material–letters and notes made by Whiteley in Sydney and while holidaying in Morocco–infringed the copyright of R.D.Laing, Charles Baudelaire, Albert Einstein, Georges Braque, Jean Cocteau, Arthur Rimbaud, Plato and Rembrandt, as claimed by solicitors for stakeholders in the artist's estate. [80] They also asserted that Whiteley's assent for colour reproduction of his works in the first, hardback edition would not cover the monochrome reprints in the new paperback. [81] The publicity attracted such attention that the new edition required five print runs to meet demand, though the publisher's agent Tom Thompson challenged journalist Andrew Main to 'let us know' if he found any 'offensive' passages. [82] Ensnared in the controversy and after the court in October 1992 ordered the withdrawal of the paperbacks, [83] [84] Thompson resigned under pressure from Angus & Robertson. [85] Crime writer Susan Geason in 1996 considered that:

Sandra McGrath's book – Brett Whiteley – is as good as you'll get on the paintings, I suspect, and it's a complete mystery why the Whiteley women had the revised edition pulped. Apart from a paragraph or so about the existence of The Mistress, it's totally harmless. Hell hath no fury... [86]

McGrath started to write another, more extensive Whiteley book with interviews of his friends and associates including Bob Dylan before HarperCollins, an imprint of Angus & Robertson, withdrew their interest, [85] while others including Graeme Blundell, Blanche d'Alpuget, Frannie Hopkirk, Barry Pierce, [87] and Janice Spencer drafted or published further biographies. [88]

Return to America

In 1994 Sandra had released her biography of Patrick Hockey, [89] completed after his death in 1992, [90] and with husband Tony, holidayed in her American home town. Nevertheless, she remained still high in the attention of the Australian art world; in 1998, when Timothy Potts was appointed director at Forth Worth's Kimbell Art Museum, Susan McCulloch, advising arts editor Deborah Jones at The Australian, rumoured that Potts had benefitted because McGrath was on the board of the Kimbell, though Sandra had never held such a post. [91]

Sandra's husband Tony died on 5 August 1999 in Sydney and in March 2000 McGrath returned to her home town to attend the reception celebrating the naming of the Eivor and Alston Callahan Gallery of Indian and Southeast Asian Sculpture at the Birmingham Museum of Art. [92] Since then, she has resided 2008-2017 in Park Avenue New York and 2007 onwards in parts of Stuart, Florida.

In February 2002 the McGrath daughters Eugenia Korrosy and Julia Colman opened their McGrath Gallery in a renovated brownstone at 9 77th street, Manhattan opposite Leo Castelli Gallery, and near Gagosian Gallery and Central Park, the first Australian gallery to open in the Madison Avenue art district after Maureen Zembera's Tambaran Gallery and others in Soho and Chelsea. [93] Charles Sheard, was their first exhibitor, [94] and also showed at the Tim Olsen Carr Gallery run by the John Olsen's son Tim and Michael Carr, in Paddington. [95] [96]

In 2011, the year marked by the death of Bundanon associate Frank McDonald, [97] Sandra, then aged 75, flew to Sydney for the opening of her son James's exhibition at Tim Olsen Gallery, [98] joined by her eighty-three year old friend John Olsen just recently recovered from heart surgery. [99] Sandra's brother James Marshall Burt Ill died in 2016. [100]

Offices held

Donations of art

Selected articles

Book publications

References

  1. ↑ Walford, Leslie (2 March 1969). "Party that glowed". The Sun-Herald. p. 108.
  2. ↑ "Opera stars leave stardust in music lovers' eyes: Glitter, glamor, gaiety mark Met's Lucia". The Birmingham News. 6 May 1952. p. 25.
  3. ↑ "TKD Freshmen Elect Officers". Birmingham Post-Herald. 17 November 1950. p. 26.
  4. ↑ Badham, Pauline (16 May 1951). "Annual picnic near, brings Brooke Hill students great fun". The Birmingham News. p. 20.
  5. ↑ "Teen of the Week". Birmingham Post-Herald. 31 Dec 1953. p. 12.
  6. ↑ "College exodus right at hand". The Birmingham News. 20 August 1954. p. 13.
  7. ↑ "Dashing Around: To Graduate". Birmingham Post-Herald. 22 May 1957. p. 15.
  8. ↑ "Dashing Around". Birmingham Post-Herald. 30 May 1958. p. 26.
  9. ↑ "Just a glimpse-they're gone again". The Birmingham News. 4 September 1958. p. 22.
  10. ↑ Sutherland, Kitty (16 June 1959). "Scribblers: Party Honors Australian". The Birmingham News. p. 16.
  11. ↑ Dot (5 August 1959). "Dashing Around- What A Wonderful Time To Vacation!". Birmingham Post-Herald. p. 6.
  12. ↑ "In Sydney, Australia–Sandra Burt to wed Michael A. McGrath". The Birmingham News. 15 September 1959. p. 16.
  13. ↑ "At the airport". The Sydney Morning Herald. 8 December 1963. p. 125.
  14. ↑ Dot (11 August 1967). "Dashing Around: Dickie Jemison". Birmingham Post-Herald. p. 14.
  15. 1 2 Walford, Leslie (22 October 1967). "People | like - Sandra McGrath". The Sydney Morning Herald . p. 117.
  16. ↑ "Some of the Galleries' Recent Acquisitions; Art Gallery of New South Wales". Art and Australia. 6 (4): 24. March 1969.
  17. 1 2 3 McGrath, Sandra (October–December 1976). "A remote Eden". Art + Australia. 14 (2): 140–151. Retrieved 20 February 2025.
  18. ↑ Walford, Leslie (25 May 1969). "A chance to grab culture". The Sydney Morning Herald. p. 19.
  19. ↑ Fraser, Jane (21 November 2009). "plainly jane". The Weekend Australian. p. 4.
  20. ↑ "Volunteering In The Cause Of Art". The Australian Women's Weekly . Vol. 39, no. 10. Australia, Australia. 4 August 1971. p. 7. Retrieved 15 February 2025– via National Library of Australia.
  21. ↑ Watkins, Monique Leslie (6 May 2022). "Like mother, like daughter". Art Gallery of New South Wales. Retrieved 19 February 2025.
  22. ↑ Di (29 August 1971). "Hello, Hello: Happenings here, there and everywhere". The Sydney Morning Herald. p. 160.
  23. ↑ Wynhausen, Elisabeth (4 February 1989). "It's image that counts in Sydney's social elite". The Sydney Morning Herald. p. 75.
  24. ↑ Conway, Andrew (31 December 1989). "1990 The Big Gig". The Sydney Morning Herald. p. 108.
  25. ↑ Paris, Megan (25 November 1979). "Tempo: There Was Dancing In The Domain...but no one gave a speech". The Sydney Morning Herald . p. 177.
  26. ↑ Di (1 December 1968). "Hello, Hello". The Sydney Morning Herald . p. 124.
  27. ↑ "Hello, Hello: Happenings Here There and Everywhere". The Sydney Morning Herald. 17 June 1973. p. 106.
  28. ↑ Walford, Leslie (25 April 1976). "Party fling for asthma trust". The Sydney Morning Herald . p. 94.
  29. ↑ Di (26 May 1974). "Hello, Hello: The social round is really on again now the school holidays are over, so get out the diary and stock up on dates for the bleak days ahead". The Sydney Morning Herald. p. 94.
  30. ↑ McGuinness, Daphne (23 November 1974). "Pulling in their Gucci belts". The Bulletin. 96 (4933): 24 – via TROVE.
  31. ↑ Cox & Assoc., Philip (June 1971). "Domestic Architecture in Australia". Art and Australia. 9 (1): 46–47.
  32. ↑ Bell, Guildford (June 1971). "Domestic Architecture in Australia". Art and Australia. 9 (1): 66.
  33. ↑ "Auction". The Sydney Morning Herald. 29 November 1975. p. 82.
  34. ↑ "Some of the Galleries' Recent Acquisitions: Art Gallery of New South Wales". Art and Australia. 10 (2): 34. October 1972.
  35. ↑ Field, Caroline (2019). Australian Galleries : the Purves family business, the first four decades 1956-1999. Collingwood: Australian Galleries. pp. 196–7. ISBN   978-0-648-11623-3.
  36. ↑ McGrath, Sandra (June 1969). "Jeffrey Smart". Art and Australia . 7 (1): 34.
  37. ↑ "People". The Bulletin. 95 (4856): 34. 26 May 1973.
  38. ↑ "Bulletin Briefing: Art". The Bulletin. 96 (4889). 19 January 1974. Retrieved 19 February 2025– via TROVE.
  39. ↑ McGrath, Sandra (September 1978). "Brett Whiteley's' Alchemy". Quadrant. 22 (9): 32–35.
  40. 1 2 McGrath, Sandra; Whiteley, Brett (1979). "Introduction". Brett Whiteley (1st ed.). Sydney: Bay Books.
  41. 1 2 Turner, B. (1 February 2025). "Sydney shows heart to world". Weekend Australian. p. 8.
  42. ↑ Cochrane, Peter (28 Apr 1999). "Whiteley auction likely to top $1m". The Sydney Morning Herald . p. 7.
  43. ↑ Tranter, John (30 June 1979). "Age Books: The artist seen as a young trendy". The Age . p. 27.
  44. ↑ Mendelssohn, Joanna (March 1980). "Book Reviews: Brett Whiteley by Sandra McGrath". Art + Australia. 17 (3): 28–29. Retrieved 20 February 2025.
  45. ↑ Van den Bosch, Annettte (Autumn 1993). "What is a Good Reputation Worth? Changing Definitions of the Artist". Art + Australia. 30 (3): 74.
  46. ↑ Van den Bosch, Annette (March 1992). "The Market for Contemporary Australian Art: The Formative Years". Art + Australia. 29 (3): 324. Retrieved 20 February 2025.
  47. ↑ Pearce, Barry; Whiteley, Wendy; Hayman, Charlotte; Robertson, Bryan (2004). Brett Whiteley: art & life (paperback ed.). Thames & Hudson in association with the Art Gallery of New South Wales. ISBN   978-0-500-28548-0.
  48. ↑ Cross, Elizabeth (14 October 1995). "Charting the comet's dazzling rise and terrible fall". The Sydney Morning Herald . p. 152.
  49. ↑ Galbally, Ann (16 January 1982). "Weekend review: The soul place for the psyche". The Age . p. 23.
  50. ↑ McGrath, Sandra; Boyd, Arthur (1982). The artist & the river : Arthur Boyd and the Shoalhaven. Sydney: Bay Books. ISBN 978-0-85835-570-5.
  51. ↑ McGrath, Sandra (16–17 April 1983). "Merchant banking. Part 1: The pain that comes with the power and the glory". The Australian (Weekend supplement ed.). p. 2.
  52. ↑ McGrath, Sandra (16–17 April 1983). "Merchant banking. Part 2: High-finance surfie charts a safe course". The Australian (Weekend supplement ed.). p. 2.
  53. ↑ McGrath, Sandra (16–17 April 1983). "Part 3: High stakes are high fashion to the sophisticated money makers". The Australian (Weekend supplement ed.). p. 2.
  54. ↑ McGrath, Sandra (16–17 April 1983). "Merchant banking. Part 4: The odd couple of high finance". The Australian (Weekend supplement ed.). p. 2.
  55. ↑ Wynhausen, Elisabeth (2 February 1992). "Snooping Around: The fire in Billy Bridges". The Sydney Morning Herald . p. 24.
  56. ↑ Blok, Margie (23 March 2000). "Bryce was right". The Sydney Morning Herald. p. 82.
  57. ↑ Macken, Lucy (12 October 2019). "Title Deeds: Champion bags a beachfront trophy". The Sydney Morning Herald . pp. 'Domain', 6.
  58. ↑ Power, Ben (16 August 2014). "Rooms with an art view". Weekend Australian. p. 10.
  59. ↑ Macken, Lucy (26 July 2014). "Title Deeds - Clifftop home poised to smash record". The Sydney Morning Herald . pp. Domain, 7.
  60. ↑ Blok, Margie (1 May 1997). "High Society: The red-brick bungalows are coming down as Dover Heights goes up in the world". The Sydney Morning Herald. p. 82.
  61. ↑ Peter Freeman Pty Ltd Conservation Architects + Planners For The Bundanon Trust (November 2007). "The Bundanon Trust Properties Heritage Management Plan • 2007" (PDF). Bundanon Trust. Retrieved 15 February 2025.
  62. ↑ Turner, Brook (22 September 2011). "Unpacking the painted library". Australian Financial Review. p. 47.
  63. ↑ Deutscher and Hackett (24 January 2022). National Australia Bank Collection: Highlights Of Australian Art Auction, Melbourne, 22 February 2022. Melbourne: Deutscher and Hackett.
  64. ↑ McGrath, Sandra; Boyd, Arthur, 1920-1999 (1982). The artist & the river : Arthur Boyd and the Shoalhaven. Bay Books. ISBN   978-0-85835-570-5.{{cite book}}: CS1 maint: multiple names: authors list (link) CS1 maint: numeric names: authors list (link)
  65. ↑ Smith, Bernard (29 January 1983). "Boyd on the River". The Age . p. 121.
  66. ↑ Glascott, Joseph (27 November 1987). "Battle lines are drawn as board turns back tide". The Sydney Morning Herald. p. 3.
  67. ↑ "Weekend review". The Age. 12 January 1980. p. 24.
  68. ↑ Patrick, Mark (8 March 1987). "Out with Mark: Swinging for the opera". The Sydney Morning Herald . p. 144.
  69. 1 2 Schofield, Leo (12 April 1988). "Flower-power and cat-nap, but is it art?". The Sydney Morning Herald. p. 1.
  70. ↑ Edwards, Deborah (22 April 2015). "Art Gallery of New South Wales Archive: Balnaves Foundation Australian Sculpture Archive Project. Interview with Tony Coleing 20 July 2011 and 22 April 2015" (PDF). Art Gallery of New South Wales. Retrieved 19 February 2025.
  71. ↑ "Tony Coleing". Art and Australia. 10 (4): 344–351 – via Art + Australia.
  72. ↑ Grant, Jane (5 October 2017). "Yellow House artist embraced the fabric of the times in her work". The Australian. p. 14.
  73. ↑ Van den Bosch, Annette (4 July 2019). "Peter Taylor 1927-2019: Artist carved coat of arms which watches over Senate". Sydney Morning Herald. p. 41.
  74. ↑ McGrath, Sandra (October–December 1974). "Tony Tuckson". Art + Australia. 12 (2): 156–166. Retrieved 20 February 2025.
  75. ↑ Catalano, Gary (13 May 1989). "Reflecting on a patriarchal artist: Remembering painter Tony Tuckson on the occasion of his current exhibition at Heide". The Age. p. 170.
  76. ↑ James, Bruce (20 Jan 2001). "Larrikin I and II equal personality plus". The Sydney Morning Herald . p. 237.
  77. ↑ "Obituary: Peter Tully 1948-1992. Maker of the mardi gras". The Sydney Morning Herald. 12 August 1992. p. 8.
  78. ↑ Nicklin, Lenore (19 October 1982). "Cover Story: Rhinoceroses Succeed In Art's Bear Market". The Bulletin. 102 (5336): 80–82 – via TROVE.
  79. ↑ Sullican, Jane (27 Jun 1992). "Shelf Life". The Age. p. 141.
  80. ↑ Sutton, Candace (30 August 1992). "The Diary: Man of letters, too". The Sydney Morning Herald . p. 151.
  81. ↑ Schwartz, Larry (30 August 1992). "Legal wrangle over Whiteley 'cash-in' book". The Age. p. 6.
  82. ↑ Main, Andrew (28 August 1992). "Stay in Touch: On the Offensive". The Sydney Morning Herald . p. 25.
  83. ↑ Dennis, Anthony (16 May 1993). "Books and a movie: there's still life in Whiteley's death". The Age. p. 3.
  84. ↑ "Judge recalls book on Whiteley". The Sydney Morning Herald. 9 October 1992. p. 4.
  85. 1 2 Schwatz, Larry (4 December 1994). "Still Life". The Age. p. 42.
  86. ↑ Geason, Susan (7 July 1996). "Books: Behind the Whiteley myth". The Sydney Morning Herald . p. 123.
  87. ↑ Turner, Brooke (31 October 1995). "Demidenko industry may eclipse Whitely". The Sydney Morning Herald. p. 15.
  88. ↑ Chenery, Susan (8 June 1996). "The Whiteley Curse". The Sydney Morning Herald. p. 139.
  89. ↑ McGrath, Sandra; Hockey, Patrick (1994). Patrick Hockey : his life and work. Beagle Press. ISBN   978-0-947349-09-7.
  90. ↑ Loane, Sally (19 September 1992). "Life after Patrick". The Sydney Morning Herald . p. 178.
  91. ↑ Sheehan, Paul (10 November 1998). "NGV Boss Starts His Dream Job: Urbane cowboy takes on Texas". The Sydney Morning Herald. p. 13.
  92. ↑ Strickland, Susan (19 March 2000). "Scribblers: Callahan Gallery". The Birmingham News. p. 57.
  93. ↑ Ingram, Terry (4 April 2002). "Art dynasty lives on in New York". The Australian Financial Review . p. 57.
  94. ↑ Petley, William (24 February 2002). "Big Apple show". The Sunday Telegraph. p. 124.
  95. ↑ "Art". The Sydney Morning Herald. 18 Sep 1998. p. 68.
  96. ↑ "Olsen Carr Art Dealers". Centre for Australian Art: Prints and Printmaking. Retrieved 19 February 2025.
  97. ↑ Strecker, Jacqueline (4 February 2012). "Obituaries: Dealer who found masterpieces". The Age . p. 35.
  98. ↑ Centre for Australian Art. "Tim Olsen Gallery". Centre for Australian Art: Australian Prints + Printmaking.
  99. ↑ Horton, Shelly (25 September 2011). "James McGrath exhibition dinner". Sun Herald. p. 17.
  100. ↑ "Obituaries: James Marshall Burt, Ill, Feb 25, 1932 - October 17, 2016". The Birmingham News. 19 October 2016. p. 10.
  101. 1 2 "Contributors to this issue". Art and Australia. 10 (4): 317. April 1973. Retrieved 20 February 2025– via Art + Australia.
  102. ↑ "Prizewinners: Victoria". Art and Australia. 11 (4): 332. April–June 1974 – via Art + Australia.
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