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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.

Lady [Hannah] Lloyd Jones, 1970

Judy Cassab

oil on masonite (frame: 116.8 cm x 98.3 cm, support: 100.0 cm x 82.0 cm)
Image not available (NC)

Lady Hannah Benyon Lloyd Jones OBE (d. 1982) was the third wife of Sir Charles Lloyd Jones, the chairman of David Jones from 1920 until his death in 1958. The youngest of thirteen children, she and Lloyd Jones married in Chicago in July 1929, a week after Lloyd Jones’s divorce from his second wife was finalised. Returning to Sydney in the early 1930s, they moved to Rosemont, a colonial-era mansion in Woollahra. Rosemont subsequently became famous as the venue for the many receptions and other functions hosted by Hannah, where guests might reasonably expect to meet people such as Sir Robert and Dame Pattie Menzies, RG Casey, and on occasion even Noel Coward or the Duke of Edinburgh, all of whom were friends of the family. Active in aid of charities including the Royal Blind Society, Legacy and Barnardo’s and a fundraiser for organisations such as the National Trust, the Sydney Symphony Orchestra, the Art Gallery Society of NSW and St. John’s Ambulance, she was a leading member of Sydney society and known for her tastes in matters of fashion, interior decoration, fine art and gardening. She was awarded an OBE for her charity work in 1955. She lived at Rosemont until 1981, when the house was sold, along with the important art collection that had been built by her husband. A profile of Hannah, published in the Australian Women’s Weekly in January 1979, described her as an ‘extremely efficient, rich, powerful and strikingly handsome woman … who believes in contributing’. ‘I have never had any desire to get away from it all’, she was quoted as saying. ‘On the contrary, I always want to be where the action is’. She died in Sydney in September 1982, survived by her son, Charles Lloyd Jones junior.

Collection: National Portrait Gallery, Canberra
Gift of Charles E. and Kim Lloyd Jones 2019
Donated through the Australian Government's Cultural Gifts Program

Accession number: 2019.54

Currently not on display

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Artist and subject

Judy Cassab (age 50 in 1970)

Lady [Hannah] Lloyd Jones OBE (age 69 in 1970)

Donated by

Charles E. Lloyd Jones (2 portraits)

Kim Lloyd Jones (2 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.

Self-portrait, 1962 by Judy Cassab
Self-portrait, 1962 by Judy Cassab
Self-portrait, 1962 by Judy Cassab
Self-portrait, 1962 by Judy Cassab

Flesh, figure and rock

Magazine article by Aimee Board, 2018

Aimee Board traces Judy Cassab’s path to the Australian outback, arriving at the junction of inspiration and abstraction.

Sir Frank Packer KBE, 1956 Judy Cassab
Sir Frank Packer KBE, 1956 Judy Cassab
Sir Frank Packer KBE, 1956 Judy Cassab
Sir Frank Packer KBE, 1956 Judy Cassab

Vintage Cassab

Magazine article by Dr Sarah Engledow, 2006

The oil portrait of Sir Frank Packer KBE by Judy Cassab was gifted to the National Portrait Gallery in 2006.

Sir Frank Packer KBE, 1956 Judy Cassab
Sir Frank Packer KBE, 1956 Judy Cassab
Sir Frank Packer KBE, 1956 Judy Cassab
Sir Frank Packer KBE, 1956 Judy Cassab

Judy Cassab

The artist's diary

Previous exhibition, 2013

The artist's diary profiles six decades of Cassab's work, from the early portrait commissions of the 1950s to later paintings that have helped confirm her eminent place in the canon of Australian portraiture.

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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.