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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.

Antonia Blaxland

Max Dupain

gelatin silver photograph on paper (sheet: 50.5 cm x 40.0 cm, image: 44.0 cm x 35.5 cm)

Antonia Blaxland (1929-1989), photographer, was the great-great granddaughter of Gregory Blaxland, leader of the successful Blue Mountains expedition in 1813. Her parents, Helen and Gregory Blaxland, were significant collectors of the work of Sydney artists. Helen Blaxland, a published exponent of the art of floral arrangement, worked for the Red Cross and played a major part in setting up the National Trust, founding its women’s committee and later becoming its vice-president. One of Helen Blaxlands’s initiatives was the exhibition No Time to Spare!, featuring photographs of early buildings by Max Dupain. Later, she was created DBE. Growing up in Woollahra, Antonia was educated at Frensham, Mittagong, and on finishing school she appears to have had some photographic training from Max Dupain. In 1950 she went overseas to ski (‘Miss Antonia Blaxland had barely touched land in England before she dashed to Switzerland for the winter sports. She left an impression here of some lovely clothes, especially her pancake berets.’) By the middle of that year she was working in the studio of Douglas Glass, a leading London photographer. On her return to Australia she made the best of her family connections, photographing interiors by Marion Hall Best, for example, as well as ski events in Australia and New Zealand. In 1959 she married the divorcee Richard Macarthur-Stanham and they lived henceforth at Camden Park House, which he had inherited from his mother. They had two children. Antonia predeceased her mother, Helen Blaxland.

Collection: National Portrait Gallery
Gift of Danina Anderson, daughter of Max Dupain 2017
Donated through the Australian Government's Cultural Gifts Program
© Max Dupain/Copyright Agency, 2020

Accession number: 2017.13

Currently not on display

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Artist and subject

Max Dupain

Antonia Blaxland

Donated by

Danina Anderson (34 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.

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.