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The National Portrait Gallery acknowledges the Traditional Custodians of Country throughout Australia and recognises the continuing connection to lands, waters and communities. We pay our respect to Aboriginal and Torres Strait Islander cultures and to Elders both past and present.

Aboriginal and Torres Strait Islander viewers are warned that this website contains images of deceased persons.

William Hardy Wilson at Purulia, Warrawee, 1921 (printed by Max Dupain 1981)

Harold Cazneaux and Max Dupain (printer)

gelatin silver photograph on paper (support: 50.7 cm x 43 cm, sheet: 41.5 x 35.2, image: 41.5 x 35.2)

William Hardy Wilson (1881–1955) – or Hardy Wilson, as he styled himself – was an architect, artist and advocate for heritage protection. Born and educated in Sydney, Wilson was articled to the architectural firm Kent & Budden in 1899 and studied at Sydney Technical College, qualifying in 1904. While a student, Wilson also took art lessons and exhibited with the Royal Art Society of NSW. After several years in England, he returned home aiming to develop a greater appreciation of historic Australian architecture, and began making the elegant drawings of colonial buildings by which he is now popularly known. Wilson’s architectural work was also inspired by his fascination with earlier and international styles – his two best known houses, Eryldene at Gordon, and his own home, Purulia, were both influenced by colonial bungalows and became prototypes for many houses in Sydney’s north shore suburbs. A regular contributor to Art in Australia and The Home, Wilson’s output included some 17 books and ranged across Greek and Chinese architecture, orientalism, creativity and mysticism. Between 1935 and his death twenty years later, Wilson donated many of his drawings to the National Library of Australia; its collection, in consequence, now includes around 400 examples of his work.

Collection: National Portrait Gallery
Gift of the Simpson Family in memory of Caroline Simpson OAM 2008
Donated through the Australian Government's Cultural Gifts Program

Accession number: 2008.83

Currently not on display

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Artist and subject

Harold Cazneaux (age 43 in 1921)

Max Dupain (age 10 in 1921)

William Hardy Wilson (age 40 in 1921)

Subject professions

Architecture, design and fashion

Donated by

Emily Simpson (6 portraits)

Louise Dobson (6 portraits)

Alice Simpson (6 portraits)

Edward Simpson (6 portraits)

Related information

The Companion

Permanent collection catalogue

Café and shop

On one level The Companion talks about the most famous and frontline Australians, but on another it tells us about ourselves: who we read, who we watch, who we listen to, who we cheer for, who we aspire to be, and who we'll never forget. The Companion is available to buy online and in the Portrait Gallery Store.

Sydney Ure Smith, 1948 Max Dupain
Sydney Ure Smith, 1948 Max Dupain
Sydney Ure Smith, 1948 Max Dupain
Sydney Ure Smith, 1948 Max Dupain

Dupain detective

Magazine article by Johanna McMahon, 2019

Johanna McMahon revels in history and mystery in pursuit of a suite of unknown portrait subjects.

Ethel Turner, 1928 Harold Cazneaux
Ethel Turner, 1928 Harold Cazneaux
Ethel Turner, 1928 Harold Cazneaux
Ethel Turner, 1928 Harold Cazneaux

Moving in creative circles

Magazine article by Joanna Gilmour, 2008

Harold Cazneaux's portraits of influential Sydneysiders included Margaret Preston and Ethel Turner, both important figures in the development of ideas about Australian identity and culture.

Hélène Kirsova in Petrouchka, 1936-37 Max Dupain
Hélène Kirsova in Petrouchka, 1936-37 Max Dupain
Hélène Kirsova in Petrouchka, 1936-37 Max Dupain
Hélène Kirsova in Petrouchka, 1936-37 Max Dupain

Vintage Max

Magazine article by Gael Newton, 2003

Gael Newton delves into the life and art of renowned Australian photographer, Max Dupain.

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The National Portrait Gallery acknowledges the Traditional Custodians of Country throughout Australia and recognises the continuing connection to lands, waters and communities. We pay our respect to Aboriginal and Torres Strait Islander cultures and to Elders both past and present.

Aboriginal and Torres Strait Islander viewers are warned that this website contains images of deceased persons.