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Desperately seeking Woolner medallions
The caricaturist and engraver James Gillray's biting satires about Sir Joseph Banks.
Just after 10.00 o'clock on 3 December 1879, four prisoners were brought from their cells at Darlinghurst Gaol and placed in the dock of a courtroom heaving with agitated spectators
Tennyson's Enoch Arden was inspired by a story that Thomas Woolner passed on to him – but whose story and of whom?
Just now we pause to mark the centenary of ANZAC, the day when, together with British, other imperial and allied forces, the Australian and New Zealand Army Corps landed at Gallipoli at the start of the ill-starred Dardanelles campaign.
In recent years I have become fascinated by the so-called Sydney Cove Medallion (1789), a work of art that bridges the 10,000-mile gap between the newly established penal settlement at Port Jackson and the beating heart of Enlightenment England.
It has been suggested that Sir Thomas Brisbane’s interest in the New South Wales governorship was as attributable to his passion for astronomy as to the desirability of the position as a prestigious career move.
The National Portrait Gallery mourns the loss of one our most generous benefactors, Robert Oatley AO.
The life of William Bligh offers up a handful of the most remarkable episodes in the history of Britain’s eighteenth and early nineteenth-century maritime empire.
James McCabe provides proof that hanging wasn’t necessarily a fate reserved for the perpetrators of murder and other deeds of darkest hue.
Beyond the centenary of the ANZAC landings at Gallipoli, a number of other notable anniversaries converge this year. Waterloo deserves a little focussed consideration, for in the decades following 1815 numerous Waterloo and Peninsular War veterans came to Australia.
Emily Casey takes in Shirley Purdie’s remarkable self-portrait, Ngalim-Ngalimbooroo Ngagenybe.
It may seem an odd thing to do at one’s leisure on a beautiful tropical island, but I spent much of my midwinter break a few weeks ago re-reading Bleak House.
One of the chief aims of George Stubbs, 1724–1806, the late Judy Egerton’s great 1984–85 exhibition at the Tate Gallery was to provide an eloquent rebuttal to Josiah Wedgwood’s famous remark of 1780: “Noboby suspects Mr Stubs [sic] of painting anything but horses & lions, or dogs & tigers.”
A remarkable undated drawing by Edward Lear (1812–88) blends natural history and whimsy.
To celebrate his family bicentenary, Malcolm Robertson looks at the portraiture legacy left by his ancestors.