Monotypes: interiors

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The Spotted Teapot 2011 Monotype 56 x 75cm

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elisabeth Cummings2012 Monotypes: interiors

King Street Galleryon William

10am – 6pm Tuesday – Saturday

177 William St Darlinghurst NSW 2010 Australia

T: 61 2 9360 9727 art@kingstreetgallery.com

www.kingstreetgallery.com.au

Directors: Robert Linnegar and Randi Linnegar

Member of the Australian Commercial Galleries Assocation

Registered Valuer with the Australian Government Taxations Incentives for the Arts Scheme

Published by King Street Studios P/L 2012The Samovar 2011 Monotype 56 x 75cm

Afternoon on Verandah 2011 Monotype 56 x 75cm The Reading Room 2011 Monotype 56 x 75cm

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Still Life with Olives 2011 Monotype 50 x 50cm Grey Day Bright Table 2011 Monotype and collage 50 x 50cm Preparing the Fish 2011 Monotype 50 x 50cm The Blue Pear 2011 Monotype 50 x 50cm

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The artist community at Wedderburn is where Elisabeth Cummings quietly works away. Her beautiful but modest studio, part lounge room, part dining room and part kitchen, is nestled in the bush on the fringe of Sydney. Through every door and window, you look out into her beloved Australian bushland—old established eucalypts, new growth after recent rain, the shifting light and shade. For Cummings, after almost six decades as a working artist, this special place provides an anchor—artistic breathing space and a cushion from the outside world.

When talking about her work, and art in general, Cummings is hesitant to speak in absolutes, careful not to make pronouncements. She prefers to describe art in terms of its possibilities and the wonderment of the journey. In 2010, as suburbia threatens to encroach on this artist sanctuary, Cumming’s recalls her time growing up in Brisbane, memories of Currumbin, Oskar Kokoschka and Sydney’s fledgling art scene of the 1950s.

Can we talk about the early days, growing up in Queensland?

Yes … the war years were part of my childhood. We were evacuated and went into the country for a while. I think Brisbane was rather threatened, so my parents were worried. I was five or six when the war started but otherwise it was just a normal childhood—just my brother and I. Later, in 1944, my sister was born. That was wonderful to have a younger sister. We lived at Alderley with a lot of bush around and we were very free.

Were the other members of your family artistic at all?

My brother and I drew all the time … my mother had been a primary school teacher and I remember she got us to draw and we had these little pastel books and she would put a broom up and we would draw the broom and she would put something else up and we would draw that. That’s just how they taught in primary school in those days. And my father (an architect) came home and said: ‘Just let the kids draw what they want.’ He was quite an appreciator of painting. He’d been in Europe, he knew quite a lot.

So did you grow up with paintings in the house?

My parents collected painting, sculpture and lots of books. And they had friends who were painters, sculptors. Father was a trustee of the Queensland Art Gallery for some years when Robert Campbell was there. As children we went there on Friday afternoons to Vida Lahey’s art classes. I think John (Peart) did too, at a later time.

Who would you say were some of the artists of that time that were influential to you?

Ahh … I knew of Margaret Olley. Donald Friend and David Strachan from the Johnson Gallery. I loved Donald Friend’s drawings… so I think I did that sort of thing for a while. I always painted, then my last year of school my parents went to Europe for a whole year. My sister and I stayed with friends. That was a terrific year. I really enjoyed it.

elisabeth Cummings INTERVIEW WITH LEO ROBBA FOR ARTIST PROFILE MAGAzINE 2010

Red Tableau 2011 Monotype 50 x 50cm

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I painted every Saturday with Margaret Cilento. She was a big influence. She’d travelled and lived abroad with her family. She had bright red hair and I remember, she had different shoes on. I was very impressed. She was the one who encouraged me to go to Sydney to the National Art School. Well you know, in Brisbane there wasn’t much going on.

At the time, was it unusual for a young woman to pursue an art career?

Oh yes—I think actually my parents were sympathetic. Well I caught them at a good moment. They had just come back from Europe and I had just finished senior (school) and was going to be an architect. I said I really want to go to art school instead. My mother was cross with herself for letting me go, but it was good for me.

So early on, which Australian artists really interested you?

The influences started at art school—Douglas Dundas was in charge of the painting department. Wallace Thornton, Godfrey Miller and Ralph Balson—they were very influential. Jimmy Cook was a wonderful teacher. That’s when the doors started opening and I looked at different things: Grace Cossington Smith, Margaret Preston, later it was Fred Williams, Drysdale and Nolan. They were all just young then. Olsen and Jimmy Rose, they were all beginning when I was at art school.

Can you tell me about your travel to Europe after art school and studying with Oskar Kokoschka.

Yes a lot is often made of that, my time at Kokoschka’s School of Vision—I left for Europe in late 1958. I was only there for a month in 1960—a fascinating time. Young people came from everywhere, America, all over Europe. In Salzburg there’s a large castle on that big bluff overlooking the city, where he had the school. Those rooms were wonderful and he must have had a hundred students. We had models continually and everyone was using either gouache or watercolour.

So it must have been amazing, arriving there from the National Art School in Sydney?It was, it was. A lot of the young ones, especially the Americans and Europeans were very expressionistic, very much [I guess] influenced by the Kokoschka way. That was a big shock for me. Back home, we were into a more formalist way, you know, Cezanne, and that was what I responded to when I was young.

Did it affect the way you thought about scale?

Yes, I guess so, the whole thing, we had drawn and painted from the model forever. We had Dorothy Thornhill who was an excellent teacher of figure drawing and Godfrey use to come in to a lot of those classes and just draw away and occasionally he’d have a little moment, he was such an eccentric. He’d come into his painting class with his little Bakelite suitcase.

It was a sacred moment for us ... we’d all gather round and he’d open the suitcase and bring out these little drawings and we’d worship at the shrine.

Summer Kitchen 2011 Monotype 50 x 50cm Blue Jug 2011 Monotype 50 x 50cm

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Quite minimalist, real economy of line …

Yes, but marvellous structure, brief, but very strong. That’s the sort of drawing I had admired … but the Kokoschka thing—I hadn’t made the jump into that more fresh stuff. So it was all a learning experience. There was also a sculpture section and I think [Emilio] Greco was teaching—interesting to see those studios. It was a good time.

Kokoschka went round to each student every day, he was amazing … he was an old man and if he liked your drawing he’d put ‘OK’ on it and gave you a lolly. Being in a place and every day we did that one task … the figure. I wouldn’t mind doing that again. A month of just drawing or painting, or using clay, wouldn’t it be fantastic?

So let’s talk about Italy, you lived there for a while?

Yes, in 1958 friends were renting a villa outside Florence. A number of us had different apartments in the villa and we met a lot of the G.I Bill American’s, young men who’d come from the Korean War to study. I was painting and looking and talking.

Wine, food and art?

We didn’t have much money but certainly had wine and food and a little Lambretta. I loved being there. Then I went to Paris for about eight months, then on to London for a few months and back to Italy where I met up with Jamie (Barker) in the same villa.

He had been 2 or 3 years ahead of me in painting at art school. Eventually we married.

Jamie was teaching English, part-time. I still had my NSW travelling scholarship, the Dyason’s Bequest [which my uncle found out about and organized for me] so I had four years without having to worry about money. It was a huge gift.

I think for a young artist it is important to cut yourself that time.

Yes it is—to look around, to talk to people and to paint … I kept painting.

Tell me a little about the gallery scene around Sydney during those student days.

It’s huge now, compared to what it was—Macquarie, the Blaxland Gallery, David Jones, that was about it. The Macquarie was a very good gallery and a lot of good events happened there. I remember seeing a Balson show, when I was a student—all non-figurative work. It was so good that period. At art school we did abstract painting with Balson, but that was not central to my painting practice at the time. Abstraction was a stronger influence with the next generation.

So have you had a period where you’ve been a fully abstract painter?

Not really. I’ve always been influenced by what I’ve seen around me. I was semi abstract, always looking out at the world. What was happening in America hadn’t touched us in Australia. I was influenced by the French—Cezanne, Picasso, Matisse, Bonnard and Vuillard.

Custard Apple 2011 Monotype 50 x 50cm

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I still get that sense, the yellow that you use.

Bonnard and Vuillard were a huge influence at that time. They were the painters I looked at and funnily enough they are still the ones I respond too a lot. When I travelled, I did love a lot of things that happened with the American painters, de Kooning, Gorky, Milton Avery … there are so many. It all goes into the pot, as well as the Aussie ones.

You’ve taught for a long time. What has teaching given to your painting practice?

Well opened it up … just being with students, watching what they do … it’s really a dialogue in a sense, more than teaching, I really come from my own perceptions of things, what I think about the world around me and so I’m talking about that and the students are feeling their way towards what they want to do. It’s a personal encounter.

And yet you want to enter into each individual’s world, understand something of what they want to do. Yes, over the years it’s been enriching and hugely rewarding. A lot of my friends are ex-students. Teaching has been very enriching. When you’re painting away by yourself, it’s a lonely business. When you’re teaching, you’re out in the world with younger and older students, the variety, and the different experiences, helping them with what they are seeking … yearning for.

Can we talk a little bit about your methods of working? Compositionally there is often a lot going on in your paintings. Do you enjoy the problem solving side of things and do you start with a plan?

No, I generally have seen something that triggers off the painting, a memory or often something I see around me. I do a lot of quick, little sketchy drawings, not big drawings, just lots of little jotting down ideas. I have a whole bunch of those around and then I start a painting and get into a big mess very quickly. I put a lot of stuff down and the painting then starts to talk to me. Sometimes it’s very confused, chaotic and I have to pull something out of it that’s going to hold. That really does interest me.

So painting bits out and bringing other bits in? For me, your work often has a sense of collage.

The layering.

Even when you’re not using collage, say fragments of memories?

Yes—well I often block out whole areas. There might be a residual image coming through and I just keep working— that’s the way I work. So it’s a process of finding. I don’t know when a painting is really finished but I just say at this point I’m going to stop working on it.

Ginger Jars 2011 Monotype 50 x 50cm Grey Room 2011 Monotype 50 x 50cm Table Top 2011 Monotype 50 x 50cm

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Often I get a sense, there are a series of veils and I often travel across your paintings rather than through them in the more conventional sense. You tend to flatten the picture plane.I want to flatten it but I also want to go in and out. I want to have both, punching holes in it. I want to have some sense of space too. Not just two-point perspective. Anyway it’s always frustrating and I don’t find it easy. Sometimes it is, just sometimes it flows but it often takes time to get to a place that holds.

On our trip to the Flinders Ranges in 2007, I noticed that you seemed to do almost ‘warm ups’—with a series of quick sketches and then you slowed down as you began to work on larger sheets of paper. Is that your normal way of working in the field?

Yes, it’s like playing scales, just getting a feel. I love that feeling of looking, learning and being in the landscape and some of it’s very representational. Being in the landscape—its all about looking and having time to look. It’s often very ‘look and put’ too.

It’s the way of learning. I love that!

Looking at some of your paintings, I’m reminded of visits to Currumbin Bird Sanctuary (in Queensland) as a child. There is a lightness and beautiful sense of colour in your work. Is it that Queensland childhood coming through?

Currumbin of course has always been in my life. We went there from the time I was born. My Aunt and Uncle had a banana farmer’s cottage on bit of land. I would go out and paint watercolours in the landscape during those teenage years.

So with your landscapes do you want to capture a sense of place or is it connecting with memories of landscape?

I hope to capture a sense of the place I’ve been in; I do hope to do that. But of course when I get going the painting has it’s own life and it starts demanding certain things itself. There is that dialogue between the painting and memory itself. Sometimes the painting takes over and goes in it’s own direction.

Lets talk about Wedderburn. How you came to be here, it’s importance to your paintings and being surrounded by the bush, it really is a beautiful place, quite special on the fringe of Sydney.

Out of Campbelltown. And then once you get down the gorge and then up.

Past the tomato farmers.

Yes—and the veggie farmers, the orchardists, they were the first ones up here, and are diminishing now. It used to be an orchard growing area, one of the oldest around Sydney.

The Wedderburn land was an amazing gift from the Romalis family—Barbara and Nick. Barbara was a painter and went to art school with James. I was looking for a place outside the city, in the bush and came out here with James to visit. Barbara and Nick got in touch with us later and said ‘we want to give ten acres for artists to put up studios’. So that was the beginning and then the others came bit by bit.

Red Plum 2011 Monotype 50 x 50cm

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It was about 1970. I put up my tent where the kitchen is now and came up at weekends. Eventually I built and then the others built. It grew like topsy really. Later we bought another fifteen acres. We created our company in the 80’s and that’s how it all happened. It’s been a wonderful thing for me, for all of us, to have this place and to have it protected.

John Peart and I and our environmental group, got together to protect Wedderburn from further development. That happened some years ago.

Tell me a little about your trips to work with children in India.

In a little village near Varanasi, a sponsorship program was started by Buddhist nun friends of mine working with a very special man, Dr Jain. He is keen to bring as much education to as many of the poor kids as possible. Wonderful man. He has no money himself. He gets sponsorship, with assistance from my friends and Charlotte, my sister in America. Three hundred kids are being sponsored to go to school. It’s a minimal amount of money to Australians. Charlotte and I go and paint with them…

Well, we held a show of paintings by the children at King Street Gallery on William, in October 2008

There is another big bunch of paintings. These kids have never painted; they just have that beautiful sense of colour. This time they did self-portraits, some good paintings.

You’ll have to organize another show.

Yes. It’s good to make a little bit of money for them. It all helps. It’s a bottomless pit of need.

So what’s next for Elisabeth Cummings?

(Loud laughter) More of the same! Well last year was a very fragmented year so I’m looking forward to getting back into the rhythm of work.

Born 1934 in Brisbane, Elisabeth Cummings is one of Australia’s most respected artists with work held in all major Australian public collections. She lives and works in Wedderburn, NSW. Cummings is represented by King Street Gallery on William, Sydney.

www.kingstreetgallery.com.au

This interview was originally published in ARTIST PROFILE, Issue 11, 2010. Courtesy of ARTIST PROFILE

Still Life with Grater 2011 Monotype 50 x 50cm

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The Yellow Vase 2011 Monotype 50 x 50cm

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Grey Curtain 2011 Monotype 50 x 50cm

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Blue Curtain 2011 Monotype 56 x 76cm Flag 2011 Monotype 56 x 76cm

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The Window Through 2011 Monotype and collage 50 x 50cm

The Chinese Letter 2011 Monotype 50 x 50cm Indian Red 2011 Monotype 56 x 76cm

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Orange Glass 2011 Monotype 56 x 76cm Rainbow 2011 Monotype 56 x 76cm

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Red Studio 2011 Monotype 56 x 76cm Red Door 2011 Monotype 56 x 76cm

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Still Life 2011 Monotype 56 x 76cm

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Through the Window 2011 Monotype 56 x 76cm Toy Bear 2011 Monotype 56 x 76cm

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elisabeth CummingsBorn1934 Brisbane Queensland1970-pres Lives and works in Wedderburn, NSW1975-87 Part-time teaching, City Art Institute, Sydney1958-68 Lived and studied in Italy & France1960 School of Vision, Salzburg, with Oskar Kokoschka1953-57 National Art School [E.S.T.C], Sydney

Selected Solo Exhibitions2012 Luminous Landscapes [Survey Exhibition-curated by Jane Watters] SH Ervin Gallery, Sydney Monotypes: Interiors King Street Gallery on William, Sydney2011 Elisabeth Cummings King Street Gallery on William 2010 Paper Trail: 30 Years King Street Gallery on William2008 New Paintings King Street Gallery on William2007 monotypes king street gallery on burton, sydney2006 new paintings king street gallery on burton 2005 Chapman Gallery, Canberra, ACT2004 painting king street gallery on burton2003 painting king street gallery at Span Galleries, Melbourne paintings Pandanus Art, Currumbin Beach, Qld2002 new paintings king street gallery on burton elisabeth cummings & clara hali Orange Regional Gallery, NSW2001 Paintings and Prints Chapman Gallery Collaborative Pots (Barbara Romalis & Elisabeth Cummings) Chapman Gallery2000 recent work king street gallery on burton Works on Paper Sturt Gallery, Mittagong, NSW1998 recent work king street gallery on burton1997 Survey Show (1965-1995) Gold Coast City Art Gallery, Qld Chapman Gallery, Canberra1996 Survey Show (1965-1995) Campbelltown City Bicentennial Art Gallery, NSW recent paintings king street gallery on burton Sturt Gallery, Mittagong

Urn 2011 Monotype 56 x 76cm

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Selected Group Exhibitions2010 Stations of the Cross St Ives Uniting Church Easter Exhibition, Sydney Prints from Cicada Press [curated by Michael Kempson] Bowen Galleries, Wellington, Nz2009 Flora: Still Life Moving Fast Hazelhurst Regional Gallery & Arts Centre, NSW Tattersall’s Landscape Price Waterfront Place, Brisbane Salon De Refuses S.H. Ervin Gallery Personal Journeys [40 years of Australian Women’s Abstract Art] Shoalhaven City Arts Centre, NSW2008 Silk + Sand–Chinese and Australian Prints Ivan Dougherty Gallery, COFA, Uni of NSW On the Heysen Trail: Nine artists, eight days in the landscape S.H. Ervin Gallery2007-08 Harbourlife Manly Art Gallery & Museum, Sydney2007 Double Visions COFA, Uni of NSW, Sydney; touring to Orange Regional Gallery, NSW Cross Currents [curated by John Stringer] Museum of Contemporary Art, Sydney Salon Des Refuses S.H. Ervin Gallery2006 The Chroma Collection Macquarie University Art Collection, Sydney2005 open bite [selected prints from Cicada Press] COFA Exhibition/Performance Spaces, Uni of NSW Salon des Refuses S.H. Ervin Gallery Gallery Fireworks Artspace Mackay, Qld (and regional galleries in Qld); Wagga Wagga Regional Art Gallery, NSW (and regional galleries in NSW) Rivers SOS Campbelltown City Bicentennial Art Gallery2004 Fire Dreaming University Art Gallery, University of Sydney, Sydney Kedumba Drawing Award Kedumba Gallery, Blue Mountains Grammar, Wentworth Falls 2004: The Year in Art S.H. Ervin Gallery Sulman Prize Art Gallery of New South Wales, Sydney Salon des Refuses S.H. Ervin Gallery2003 4 Wedderburn painters: common ground Campbelltown City Bicentennial Art Gallery2002 2002: The Year in Art S.H. Ervin Gallery Salon des Refuses S.H. Ervin Gallery Sulman Prize Art Gallery of New South Wales A Silver Lining & A New Beginning Ivan Dougherty Gallery, COFA, Uni of NSW2000 Common Ground Ivan Dougherty Gallery, COFA, Uni of NSW The Archibald Prize Art Gallery of New South Wales & touring throughout Australia Wynne Prize Art Gallery of New South Wales

1999 Wynne Prize Art Gallery of New South Wales1998 Wynne Prize Art Gallery of New South Wales Symbiosis Utopia Art Sydney; New England Regional Art Museum, Armidale, NSW Six from Wedderburn Casula Power House Museum, NSW1997 Wynne Prize Art Gallery of New South Wales The Archibald Prize Art Gallery of New South Wales1994 The Lost Valley of the Springs Blaxland Gallery, Sydney Wynne Prize Art Gallery of New South Wales1993 A Stone’s Throw Project Campbelltown City Bicentennial Art Gallery Wynne Prize Art Gallery of New South Wales 1992 South Stradbroke Project Gold Coast City Art Gallery1976-1990 Modern Art Gallery, Casula

Selected Awards/ Residencies2005/09-10 Artist in residence, COFA printmaking department, UNSW2000 Fleurier Prize for Landscape, S.A.1996 Mosman Art Prize, NSW1995 Camden Art Prize, NSW1992 Tattersall’s Club Art Prize, Qld1991 Fishers Ghost Prize, Campbelltown City Bicentennial Art Gallery1989 Gold Coast Purchase Prize, Qld1988 REIQ Bicentennial Art Award, Qld1987 Open Section, Camden Art Prize Faber Castell Drawing Prize1984 Mervyn Horton Memorial Prize, Berrima, NSW Camden Purchase Prize, NSW Friends of the Campbelltown Art Gallery Purchase1983 Lane Cove Purchase Prize, NSW1982 Lane Cove Purchase Prize1981 Macquarie Towns Purchase Prize, NSWElisabeth signing Arkaroola Landscape Etching

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1979 Peter Stuyvesant Prize, Shoalhaven Fishers Ghost Prize, Campbelltown City Hall Gosford Purchase Prize, NSW1978 Gold Coast Purchase Prize1977 Landscape and Still Life Prizes, RAS, Sydney Lismore Prize, NSW Fishers Ghost Prize, Campbelltown City Hall1976 Drummoyne Prize, NSW1974 Grafton Prize, NSW1972 Human Image Prize, RAS, Sydney Cheltenham Prize, NSW Portia Geach Portrait Prize, Sydney1971 Gold Coast Purchase Prize, QLD1960 Dyason Bequest1958 NSW Travelling Art Scholarship1957 Le Gay Brereton Prize for Drawing

Collections Art Gallery of New South Wales Lismore Regional Art Gallery Artbank, Australia Long Gallery & Art Collection, Uni of Wollongong, NSW Bathurst Regional Art Gallery, NSW Macquarie Bank, Australia Campbelltown City Bicentennial Art Gallery, NSW Manly Art Gallery and Museum, NSW College of Fine Arts, Uni of NSW, Sydney Maroondah Regional Gallery, Vic Charles Sturt University, Wagga Wagga, NSW Museum of Brisbane, Qld Gold Coast City Art Gallery, Qld National Gallery of Australia, ACT Griffith University, QCE, Brisbane Outback Arts Inc, Qld Grafton Regional Art Gallery, NSW Queensland Art Gallery, Qld Hawkesbury Regional Art Gallery,NSW Shoalhaven City Arts Centre, NSW James Cook University, Townsville, Qld The Redcliffe City Art Gallery, Qld Kelvin Grove Teachers College, Brisbane University of Queensland Art Museum, Brisbane Kedumba Drawing Collection, NSW

Bibliography2010 Robba, Leo: Elisabeth Cummings Artist Profile Magazine, Issue 11, pp 60-68 Schwartzkoff, Louise: Freedom Gets a Seat at the Table Sydney Morning Herald Spectrum, May 15-16, p372009 McDonald, John: When losers are winners Sydney Morning Herald, Mar 14-15, p17 Australia Day 2009 Beach Life Sydney Morning Herald, Jan 26, p2 Personal Journeys: 40 years of Australian Women’s Abstract Art Shoalhaven City Art Centre Catalogue, p13 50 Most Collectable Art Collector Magazine, Issue 47 Christopher, Lissa: The Drawn Line Sydney Morning Herald Spectrum, Nov 28-29, p142008 Smee, Sebastian: Forget Me Not The Weekend Australian, April 5-6, pp18-19 McDonald, John: Return of the Natural Order Sydney Morning Herald, Dec 6-7, p19-20 McDonald, John: Echoes of Greatness Sydney Morning Herald, Nov 22-23 2007 Crisp, Lyndal: The art that artists collect The Australian Financial Review, Dec 15 McDonald, John: Studio Australia (extracted from Studio: Australian Painters on the nature of Creativity) Orient-Express Magazine, Volume 15 Number 4, p40-48 Waterlow, Nick: Elisabeth Cummings Cross Currents Catalogue essay, MCA, pp34-35 Smee, Seabstian: Beauty and Brains The Weekend Australian Review, Oct 13-14, p18 McDonald, John: A palette of local colour Sydney Morning Herald, Nov 3-4, p16-17 Rowe, Amy: Double Visions Exhibition Catalogue, Orange Regional Gallery Nov – Dec, COFA space UNSW Oct McDonald, John: Anything goes in the silly season Sydney Morning Herald, March 24-25, p16 Smee, Sebastian: The best of the rest actually the best The Australian, March 8, p14 Lloyd, Ian (photographer) and McDonald, John: Studio: Australian Painters on the Nature of Creativity published by Tower Books Australia2006 Delaruelle, Jacques: Art Exhibition (Sydney) The Independent Monthly, Dec2005 McDonald, John: The guiding lights Sydney Morning Herald Spectrum, Dec 23-25, p18-19 McDonald, John: Drawn to the flames Sydney Morning Herald Spectrum, Dec10-11, p29 McDonald, John: Out of art’s boiler room Sydney Morning Herald Spectrum, Oct 8-9, p28 Garside, Sioux: Fire Dreaming University Art Gallery Catalogue, Uni of Sydney, Sept-Dec Johnston, Jay: Hot off the Press - Australia’s Best Raise the Stakes COFA, Winter Issue, p12-13 Grishin, Dr Sasha: Lyrical and resonant Canberra Times, Nov 28 McDonald, John: Hanging offences Sydney Morning Herald Spectrum, May 7-8

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2004 Beecher, Eric [editor]: Vintage Verve The Reader, Nov 12, p34 Fortescue, Elizabeth: Interpreting: Elisabeth Cummings Lino Magazine Sept Lloyd, Ian: Australian Painters in Residence R.Ian Lloyd Productions Smee, Sebastian: Intimate portrayals coloured by interior dialogue The Australian, Nov 2 Hunter, Catherine: Elisabeth Cummings: the quiet master Ninemsn website, Oct. 242003 Higson, Rosalie: The Face The Weekend Australian, Dec 20-21 p3 Backhouse, Megan: Cummings shows the benefit of experience Indoors and out Review-The Age, p7 Loxley, Anne: Rapt in the spirit of ancient tradition Sydney Morning Herald, July 11 Delaruelle, Jacques: Within a Stone’s Throw Exhibition Catalogue Essay, Feb-March2002 Pinson, Peter: Common Ground – Four Wedderburn painters Art & Australia, Issue No 2, p270-77 Lumby, Carrie: Two Kings: Australian Art Collector Issue 19, Jan-March, p 62 McDonald, John: Elisabeth Cummings: The Invisible Woman of Australian Art Australian Art Collector, Issue 22, Oct-Dec, pp 68-7 Dutkiewicz, Adam: Winning scene -The Fleurieu Biennale 2002 South Australian Times, Nov 24 Cummings, Elisabeth Catalogue: publishers - king street gallery on burton2001 Grishin, Sasha: Two artists expanding vision and expertise Panorama - Canberra Times, Oct 6 Noyes, Nigel: Harmonious Blend Australian Country Style, May 2000 Backhouse, Megan: Review - Fleurieu Prize The Age, Nov 15, p 7 Smee, Sebastian: The ground crew Sydney Morning Herald Spectrum, March 14, p14 Pinson, Peter: catalogue essay for Common Ground, Ivan Dougherty Gallery, Feb- March1998 Smee, Sebastian: Streets ahead Sydney Morning Herald, Oct 11997 McDonald, John: The schlock of the new Sydney Morning Herald, Nov 22, p16 Watson, Bronwyn: It pays to read between the lines The Bulletin, Sept 23, p73

Full CV available on kingstreetgallery.com.au

Monotypes printed at Whaling Road Studios Photography: Michael Bradfield Graphic Design: Sam Woods Published by King Street Studios P/L 2012

King Street Galleryon William

10am – 6pm Tuesday – Saturday

177 William St Darlinghurst NSW 2010 Australia

T: 61 2 9360 9727 art@kingstreetgallery.com

www.kingstreetgallery.com.au

Directors: Robert Linnegar and Randi Linnegar

Member of the Australian Commercial Galleries Assocation

Registered Valuer with the Australian Government Taxations Incentives for the Arts Scheme

Published by King Street Studios P/L 2012