Antonia Blaxland (1929-1989), photographer, was the great-great granddaughter of Gregory Blaxland, leader of the successful Blue Mountains expedition in 1813.
1 portrait in the collection
Gift of Danina Dupain Anderson 2017. Donated through the Australian Government's Cultural Gifts Program.
Dame Helen Blaxland DBE (1907–1989), conservationist and fundraiser, studied at the Julian Ashton School of Art in Sydney.
1 portrait in the collection
Gift of Danina Dupain Anderson 2021. Donated through the Australian Government's Cultural Gifts Program.
Collection: National Portrait Gallery
Commissioned with the assistance of funds provided by Janet Whiting AM, Philip Lukies and Antonia Syme 2016
Sister Mary Brady OP (1922-2014), born in Tamworth, is a self-taught painter, though she did receive critiques from Joshua Smith and Norman Carter.
1 portrait in the collection
Collection: National Portrait Gallery
Gift of the Liibus family 2015
National Photographic Portrait Prize 2019, the iconoclastic Japanese figures Yukio Mishima and Tamotsu Yato, Angélica Dass’ Humanæ project and more.
Maurice Appleby Felton (1803-1842) arrived in Sydney with his wife and four children in late 1839 as surgeon to the immigrant ship the Royal Admiral.
3 portraits in the collection
Collection: National Portrait Gallery
Commissioned with the assistance of funds provided by Janet Whiting AM, Philip Lukies and Antonia Syme 2016
William Wentworth (1790-1872) was a landowner, barrister and statesman.
2 portraits in the collection
Sarah Engledow lauds the very civil service of Dame Helen Blaxland.
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
Richard Read junior arrived in Sydney from his native London in November 1819.
2 portraits in the collection
Joanna Gilmour revels in accidental artist Charles Rodius’ nineteenth century renderings of Indigenous peoples.
Grace Carroll on the gendered world of the Wentworths.
Joanna Gilmour describes how colonial portraitists found the perfect market among social status seeking Sydneysiders.
