judith m perrey

JUDITH M PERREYMemorial Retrospective

Victorian Artists’ Society Galleries East Melbourne

TestamentsSir William Dargie stated[i] that Judith Perrey was the most naturally gifted student who passed through the National Gallery of Victoria School during his directorship. He regarded her as the equal of such iconic past students of the Gallery School as Hugh Ramsay and Constance Stokes, and recognised the vast difference between Judith’s reputation and the other stellar graduates. His advocacy of Judith should not be discounted as merely an opportunistic skirmish in his long standing campaign against contemporary art. Despite their very different career arcs, distinct synergies link the two. Both came from “outsider” working class backgrounds, both tended to ironise art criticism and “artspeak” with a bemused detachment, and the academic technique that sustained both in careers across half a century and more, emerged rapidly and fully developed after a relatively short period of tuition.

Dargie also stated that the previous director of the National Gallery School, Charles Wheeler, made the same evaluation of Judith.

Travelling Scholarship The 1947 Travelling Scholarship competition casts a dank shadow onto Judith’s life in public memory. When curators and academics only speak of the National Gallery School in the late 1940s in terms of a reductive fixation on the school’s supposedly conservative curriculum, the “defeat” of the academic candidate becomes a positive outcome. Even in the 1940s, the high stakes around the arrival of “modern art” at an official level, as represented by the division of the Gallery School into three streams under different teachers, were subjects of volatile debate. As the Argus noted about the 1946 annual National Gallery School student exhibition which included Judith’s works, ”the battle [around modern art] was fought in the Dobell Case at Sydney a year or two back and is still raging in Melbourne. The National Gallery trustees themselves are divided in their opinion”[ii] The press was sympathetic. “Miss Perrey’s large group picture, painted in the traditional style, is an outstanding work; one of the best painted by a Gallery student for many years. It was her misfortune that the majority of judges on this occasion did not favour the style of painting in which she has been trained”[iii] Members of the public wrote to her expressing their regrets that she lost.

Yet, was the point under contention not progressive style but gender? Douglas Green was the candidate most likely to “enrich his country’s art”; the Age suggests that this reason alone, not “modernism”, brokered the outcome.[iv] Given that art schools were increasingly dominated by mature ex-service students attending under the Commonwealth Retraining Scheme, in an era when cultural reputations and acclaim for Australian artists vastly expanded, male artists captured attention. The atmosphere of the school changed as the returned service people arrived in the classes.[v] Many of Judith’s female contemporaries, when interviewed later, believed that being a woman weighed against her in the competition. Alice Bale was adamant that Judith should win and the final judgement went down to a ballot. By 10 February 1948, Judith recorded in her diary that she had been told that the judges deemed her work the better submission, but a male student was more likely to be a future success. To add a curious fold over the whole story Douglas Green, a male artist and an ex-serviceman[vi] is not a high-profiled artist in public memory. For both artists their scholarship pictures at Warrnambool Art Gallery are among their few publicly accessible images.

[i] In conversation with the present author and in his opening speech at the 1990 Highway Gallery Solo Exhibition [ii] Argus 1 February 1947 [iii] Argus 20 December 1947 p43

[iv] Mercury 24 Decembe1947 p4 [v] Juliette Peers, More Than Just Gumtrees, Melbourne Society of Women Painters and Sculptors, 1993 p106 [vi] Sydney Morning Herald 19th December 1947 p3

41. Toy Makers

Oil on Canvas 1947

122cm x 153cm Painted as a student at the National Gallery Art School

Entered in the Travelling Scholarship Award of 1947 and awarded Runner Up to Douglas Green with

his work ‘Second Class’

ExhibitedStudents Annual Exhibition - Jan 1948

Athenaeum Exhibition - 1950First Solo exhibition Highway Gallery, Mt Waverley - Jul 1990

Donated to Warrnambool Art Gallery 2008

2. Half NudeOil on Duck 1945 63cm x 82cmPainted as a student at the National Gallery Art School

Exhibited Students Annual Exhibition - 1945Winner of the Grace Joel Scholarship 1945Group Exhibition at Athenaeum Art Gallery 1950

4. YouthOil on Canvas

1947 63cm x 82cm

Painted as a student at the National Gallery Art School

Exhibited

Students Annual Exhibition - Jan 1948

3. Old AgeOil on Canvas 1947 65cm x 88cm


ExhibitedStudents Annual Exhibition - Jan 1948

GALLERY DAYS

5. LeonOil on Canvas 1946 68cm x 43cm


6. Reclining NudeOil on Cotton Duck 1946 82cm x 63cm


ExhibitedStudents Annual Exhibition - Jan 19477. Redhead

Oil on Duck 1947 63cm x 82cm


8. Ian ColeOil on Duck stretched

1950 66cm x 86cm

ExhibitedVAS Annual Exhibition - 1963

VAS Exhibition 1955

9. Seated Nude 1Oil on Board 1957 45cm x 55cm

Exhibited MSWPS Annual Exhibition - 1967

13. Drawing of cast after Houdon’s Anatomical ManCharcoal on paper 1945 102cm x 68cm

NGV Art school student work

12. Drawing of cast after the Dancing FaunCharcoal on paper 1945 102cm x 68cm


11. Drawing of cast after Michelangelo’s Dying

SlaveCharcoal on paper

1945 102cm x 68cm


10. Seated Nude 2Oil on Board 1957 44cm x 56cm

ExhibitedMSWPS Annual Exhibition - 1967First Solo Exhibition Highway Gallery - Jul 1990

SELF PORTRAITS 14. Self Portrait

Oil on Canvas 1945

31cm x 41cm

16. Self PortraitOil on Board

1948 59cm x 44cm

15. Self PortraitOil on Canvas 1947 46cm x 61cm

Exhibited Athenaeum Gallery Exhibition - Feb/Mar 1950

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19. Self PortraitOil on Board 1987 51cm x 105cm

Exhibited MSWPS Annual Exhibition - Sept 1987 A.M.E. Bale Competition - Nov 1988 First Solo Exhibition, Mt Waverley - Jul 1990 Beaumaris Retrospective Exhibition - Sept 1993 Mornington Regional Gallery, Celebrating Women’s Year - Mar 1995



Exhibited Castlemaine (James Farrell Award) - Nov 1993 VAS and MSWPS Portrait Exhibition - Jul 1994

17. Self PortraitOil on Canvas on Board 1960 90cm x 60cm

21. Self Portrait - Pardon?Oil on Canvas on Stretcher 1999 65cm x 44cm

Exhibited Castlemaine (James Farrel Self Portrait Award) - Nov/Dec 1999 VAS Rembrandt Exhibition - Jun/Jul 2000

FAMILY22. Jenny 1976

Oil on Board 1976

44cm x 60cm

23. Making PerfectOil on Board 1999 60cm x 49cm

24. Jenny SleepingOil on Board 1967 56cm x 38cm


1025. Portrait of PeterOil on Board 1978 55cm x 38cm

Exhibited - VAS

28. Ken McAllisterPastel

1983 28cm x 38cm

ExhibitedPrivate showing North

Balwyn - July 1983

26. David AnthonyPencil sketch on paper

2010 41cm x 27cm

27. Young BoyWater colour 1995 19cm x 23cm

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31. Vicki in Wedding DressOil on board 1986 61cm x 91cm

30. Peter Aged 12Oil on board 1964 (bathers added after exhibition)42cm x 84cm

ExhibitedVAS Nudes Exhibition - 1964

29. KennethOil on board May 2006 45cm x 60cm

Exhibited VAS Exhibition of Signatory & Fellow Members - Jun 2006

32. Tony 1Pencil sketch

1960s 18cm x 19cm

33. Jenny 3 years oldOil on board

1959 61cm x 91cm

34. Peter 2 years oldOil on board 1954 61cm x 91cm

36. JennyCharcoal sketch

1972 26cm x 36cm

35. Tony 2Charcoal sketch 1972 24cm x 34cm

37. MaizerOil on board 1950s 18cm x 23cm

Judith’s mother 38. BethanyWatercolour 1998 18cm x 23cm

Judith survived the controversy; to the end of her working life she believed herself to be privileged and “enabled” - in modern terms - to have gained access to the “grand tradition” of academic art, albeit in its twilight years, via the Gallery School. . Throughout her life its teachings underpinned her art technique and provided an emotional and conceptual pivot, beyond her family, that enhanced her inalienable construct of herself as an artist. Above all she regarded herself as heir to a tradition that originated with the development of mimetic, representational painting in Europe during the late 15th century.

She felt sorry for people who studied art only once a week, believing that the ability to capture convincing three dimensional form eluded artists without the immersive Gallery training she had experienced. Nothing could match spending the same amount of time on art practice that other people spent in an office or a factory, as she had done in her youth. So many craft skills became intuitive and even moderate talents firmed up under the regime of extended regular practice.[i] She believed that even Meldrum tonalism [ii]

when studied spasmodically did not offer the resources for both analysing what was seen and putting it down on canvas. In the 2000s such hands-on learning became known, and much celebrated, in academic theory and university teaching methodologies as “design research” or “embedded learning”. She saw the base provided by the Gallery School as useful rather than inhibiting and suggested that, after mastering the basics, an artist could then go stylistically wherever they chose.

As the older well-trained artists and teachers retired from teaching practice from the 1980s onwards, she believed that the technical literacy of representational art in Melbourne was rapidly diminishing. Equally she felt a responsibility to pass on her experience to others as well as she could, given rapidly changing lifestyles and art practices around her. Hence she was an advocate for, and regular attendee of, both life drawing and portrait [i.e. dressed models] sessions at the MSWPS and the Waverley Arts Society, believing that these sessions could help develop and consolidate the technique of all aspiring artists. In time she convened such classes for both groups. She was also pleased

A LIFE STORY

that students at government funded art schools demanded the return of drawing and life classes to curricula which had banned them as “square” in the swinging sixties and the funky seventies, and that by the 1980s many Melbourne artists were organising drop-in life drawing sessions beyond the suburban art groups.

Judith was born into an extended working class family of British origins. The head of the household was substantially absent for long periods and shared little of his wages with the family. Therefore her feisty, independent mother worked as a cleaner and in other menial jobs to support her children, leaving her older daughters to take care of Judith. The family lived in a milk depot in Hawthorn West which provided broad concrete slabs that Judith, from her earliest years, drew upon in coloured chalks and constantly retouched. After leaving school as an adolescent to find employment, as did most teens in 1930s and 1940s Melbourne, Judith enrolled at Bradshaw’s Business college to learn commercial art as a congenial outlet for her talent. An ability to capture what she saw in a lively economic line meant that she entered the profession without stressing or

compromising her core talents. Ironically her commercial art was sometimes more worldly and radical than her formal art. Commercial art nurtured her fascination with producing hand drawn graphic novels and comic books. This practice was retained throughout her life, although those from the mid 1940s are the most singular and historically important. This whimsical yet economic vision later translated to a large corpus of often satirical and sharply observed poetry in the last two decades of her life that was frequently published by the MSWPS.

The staff at Bradshaws recommended that she attend the National Gallery School, which was impossible for her family to afford until an insurance payout following her brother’s death in a road accident unexpectedly brought Judith’s mother a significant sum of money. Not only did the Gallery School provide her with the dao of her practice, it extended her personal and social experience. Her friendship with Barbara Newman Kerridge at the Gallery School brought her into a vastly different world to the one that she knew. Barbara belonged to the Patersons, a multigenerational family of well connected

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artistic bohemians. Judith attended Barbara’s aunt Esther Paterson’s famous evening salons where personalities from art, literary and theatrical backgrounds gathered, talked, and presented impromptu concerts and performances. The Gallery School also brought her into contact with David Boyd in 1945-1946. He features prominently in the graphic novels and was clearly a subject of fascination as a Byronic charmer and leader of the students’ social set[iii] Whilst Boyd, like all of the male students, was smitten by Barbara Newman’s film star glamour, the drawings document him dancing, talking and painting with Judith, and also being a significant presence in her friendship group. He happily sat to Judith for a detailed flattering portrait in pencil.

These graphic novellas from c 1944 to 1946 in ink and watercolour of the National Gallery Art School, the “Gallery School Series” (the surviving numbers reaching 30 volumes), show the students’ en plein air trips in regional Victoria and at various social events. Judith’s risqué and satirical narratives suggest that the students enjoyed a racy social life for the era, with open drinking and promiscuous behaviour,

sometimes under the transparent guise of “telepathic experiments” or amateur psychoanalysis. Whilst standard art professional discussion of the Gallery School in the 1940s casts the school as a depressing centre of conservative mediocrity, the students’ personal lives were radical. Amongst known personalities in her sketches are David Boyd (as noted), Helen Maudsley, Ian Armstrong, Wesley Penberthy, Anne Church, Dorothy Braund, Lucy Kerley, Paul Fitzgerald and Pauline McCarthy as well as Judith’s particular associates June Stephenson, Audrey Snell, Kathleen Barnes, Barbara Newman Kerridge, Walter Mudge, and many others more obscure. The sketches suggest a familiarity with the emergent comic book genre, with dramatic pen work, black outs and silhouettes, and textual exclamations, such as would be deployed two decades later by major US pop artists.

For eight years Judith worked steadily as a commercial artist. The records of this period of her life are of broader significance as they suggest that for some years she could achieve the active public career that characterised the interwar generation of women artists. In 1947 she was celebrated

by the Australian Journal as “young and gifted”, wearing trousers, painting in the bush, an interesting subversion of nationalist imagery. [iv] Her productions are also counterintuitive to both conservative and feminist constructs of women artists. They neither betray an inherent weakness as a telltale fingerprint of the artist’s gender, nor offer a resistance to, or a questioning of, the norms. Surviving examples run from comical sketches for armed service publications to detailed colour paintings for offset three colour printing, a newly developed and expanding technology of colour printing. At the same time she followed the then accepted trajectory of a high arts career in Australia, organising small group exhibitions to bring her work to public notice. She worked in the commercial art studio run out of Murdoch’s Herald offices, but supplying designs to other publications by Murdoch and for other clients.

Uncannily one of her commissions was to illustrate Rose in Bloom, 1876, a novel by Louisa May Alcott, that probes women’s identity and contribution within a civic society. Rose is an American heiress, who becomes disenchanted with high society

and grows to believe that an ethical family life allows for both happiness and social responsibility. Throughout the book a patient and morally grounded (if somewhat paternalistic) suitor watches and waits for Rose to move to accept him and share his outlook and quiet life goals. In fact Alcott’s Rose in Bloom resembles a script for Judith’s own life, leading to a companionate marriage and a focus on family life, rather than a career and acclaim.

Judith’s decision in 1951 to stop professional art activities was hers alone. The reasons behind the choice are neither straightforward nor entirely conservative. Personal factors were involved; both the economic precariousness of her childhood and the occasional baroque waywardness of her mother prompted her to organise a more ordered, dependable household than that in which she grew up. During the postwar era, psychiatric and medical professionals speculated about the role that poor homelife and parenting played in the rise of fascism. This public debate added a social dimension to Judith’s strong sense of responsibility towards family and dependents. Equally the knife edge threats of Cold War diplomacy, such as the Suez

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organisations and costumes for amateur reviews, extended to paid portrait commissions threaded throughout suburban life. Family camping trips offered time for landscape work. She drew the milestones of her pregnancies and her babies’ early years. The portrait of son Peter standing on a chair indicates that her gifts never faded. This excellent piece of hard edge neo-classicism, consciously and assuredly designed, emphasises decorative outline and placement of pictorial elements. Equally it reveals an occasional compositional flamboyance that lay beneath her seemingly tranquil and mild aesthetic. A short period of attendance at the George Bell School in the mid 1950s reassured Judith that her instincts and skillsets remained intact. In 1958 she shared a group exhibition with Gallery School colleagues who had retained more of a public profile. Around this time she attended professional drawing sessions at Anne Graham’s studio, other attendees included Fred Williams, whom she knew from the Gallery School, and Ian Bow.

Concurrently much that Judith chose in her suburban life in the 1950s was sophisticated and progressive. In her

Crisis and the Cuban Missile Crisis, created global tensions which Judith believed amplified the precariousness of the world in which her two children were growing up. Thus, the importance of providing a secure and supportive domestic hub was reinforced. The emotional and moral imperatives driving her decision to relegate her art practice to second place behind her family life may appear incomprehensible to an avant garde, artist-centric, heroic vision of art making. Yet art practice is never static; with the rise of activitist art, three generations later, some feminist artists have assimilated issues about global society, such as Judith pondered, into their practices, along with environmental, postcolonial, Indigenous and diversity concerns. Undoubtedly Judith retained a lifelong confidence in her ability to construct and produce artworks and her chosen style was realist, yet there was a social and relational aspect to her practice, which fostered interdependence with like-minded colleagues and engagement with their welfare.

However she never “stopped” painting. Small scale opportunities, including Christmas cards, logos for community

home were Keith Murray Wedgwood and modernist furniture, including Featherstone-style pieces.[v] Equally, whilst avoiding radical fine art developments in the 1950s-1990s, her artwork was never static and reflected ongoing shifts in taste in Australian design and applied art, especially the characteristic colours and textures. Her work from the 1950s and early 1960s often has cool muted tones, greys and beiges. Colours, when used, are light, inflected by grey and white. Impasto and texture begin to appear and dominate within the 1960s. By the 1970s, there are stronger blues and oranges, especially in outback landscapes, and also the prevailing interest in brown tones, seen again across craft and design. By the 1980s, the prevailing interest in reviving both baroque and Victorian taste led her to developing her signature pieces, the large horizontal studies of sprawling fruit and flowers, especially the bright tamarillos and pomegranates. These bravura pieces have a faint kinship with seventeenth century work in the National Gallery of Victoria, all familiar to her since her adolescence.

From the 1970s onwards, Judith spent long hours painting either in her own studio, in

shared studios or en plein air, most days a week, as well as shouldering many family and household responsibilities. Flowers were a particularly favoured subject. Sometimes from her garden, sometimes from friends’ and neighbours’ gardens or even bought from florists; vases (which she actively collected) and settings were carefully assembled to ensure pictorial and emotional variations in each piece. She catalogued and photographed her works, noting prizes, where exhibited, to whom sold and for how much, sending her works out into the networks of charity exhibitions across Australia, where they won prizes and found many buyers.

Her professional life centred upon the Melbourne Society of Women Painters and Sculptors and the Waverley Arts Society. She had been encouraged to join the MSWPS in 1961 by Meg Benwell and Barbara Newman Kerridge. Yet from the disapproving letter of Marjorie McChesney Mathews, she just scraped in due to the advocacy of some members, most likely including Esther Paterson who had been supportive of Judith since the 1940s. Judith’s sister, Evelyn, introduced her to the Waverley Arts Society in 1981.

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Both these groups provided a congenial, non-pressured environment where she felt at ease and flourished. She deployed her professional background on behalf of the other members, both as informal tutor in studio groups and on committees. After the sudden and early death of her husband, she increasingly took over the running of the MSWPS in the early 1980s (along with other artists) from the ageing interwar generation of women artists. She was president, secretary and newsletter editor amongst many roles. The MSWPS weekly events set the pace of her calendar; its members were her colleagues and advocates. Characteristically one of the few times that Judith appeared recently in the national media was to discuss - not herself, but the MSWPS.

Judith Perrey, 75, a life member of the group, has been coming to Ms Cohn’s home to paint for 40 years. She was in awe of Ms Cohn before she died and has been having trouble sleeping since she heard the home might be sold. “We come for the companionship,” she says. “After 40 years, you grow attached to a place. Having it to ourselves on a Thursday is just wonderful.” [vi]

Her belief that artmaking was about more than the individual work, or a self-asserting personality, drove the two largest undertakings in the recent years of the MSWPS. Firstly she initiated and supervised the writing of its history ‘More Than Just Gumtrees’ over a six-year period, 1987-1993. As well as fundraising and advocacy, she carefully vetted the project to ensure that justice was done to the past members who had collectively built the society and for whom she felt she acted. Secondly she was deeply involved in the successful fight in 2002 to uphold Ola Cohn’s will and prevent her former home from being sold on the open real estate market. This case subverted the now too familiar pattern of developers removing heritage, and the accepted neoliberal practice for galleries, universities and similar organisations, in recent times, to substantially change bequests that provide rigid encumbrances that inhibit and cross-check both organizational and financial opportunism, often in the face of the reputation of the cultural sector for being left wing. [vii] She was as influential in the MSWPS story as Isabel Hunter Tweddle or Ola Cohn.

(i] Judith Perrey in conversation

[ii] Judith was never a Meldrumite and could point out the strong difference between academic and Meldrum style work, even though curators and academics speak of the two styles as synonymous.

[iii] Judith’s graphic novels suggest a very different story to the official Boyd family narrative that David was aloof from an uncongenial Gallery School cf Brenda Niall “Life class: biographer of the Boyds, Brenda Niall considers the role of the Victorian Gallery School in their Careers” Meanjin June 2003 Vol; 62 no 2.

[iv] The Australian Journal, April 1, 1947 p 384. The same picture of Judith in trousers painting outdoors was printed in the Age 5 September 1946 p 2

[v] The furniture has long passed out of her possession but is documented visually, The Keith Murray survives in her estate.

[vi] Melbourne Painters Prepare to Fight - The Age, May 13th 2002 https://www.theage.com.au/national/Melbourne-Painters-Prepare -to-Fight-20020513-gdu79d.html

[vii] For discussion of this see “Love Never Dies?” https://sheila.org.au/love-never-dies-the-private-collectors-passion-and-its-impact-on-the-public-gallery

Beyond the Travelling Scholarship watershed, Judith’s commitment to art, once she moved back into a full time practice, only ended with the decline in her physical health in the 2010s. The record of her life is more productive and intriguing than a cursory glance suggests. Both distinguished and obscure contemporaries acknowledged her singular talent and engagement with artmaking, even if some such as Meg Benwell, June Stephenson and Anne Graham regretted the shifts in her career. Only one colleague, who had made a fortune with teddy bear art and collectables in the 1980s, (her limited edition plates turn up frequently in opp. shops for a fraction of their original selling price) slammed Judith outright on paper for being unintelligent and irresponsibly throwing away her remarkable gifts. An outburst that Judith found extremely hilarious rather than wounding. William Dargie suggested that Judith’s choice of painting without seeking money or kudos reflected a zen-like discipline and refinement.

Equally her career raises central questions, that are still debated and unresolved, about gender, class, celebrity and reputation in Australian art, particularly in relation to the poorly documented story of the relative invisibility of professional women artists across 1945-1975 in standard Australian art historical overviews.

* * * * *

Dr Juliette Peers, Art and design historian, art writer, researcher, freelance curator and academic, with a focus on women’s art.

https://www.theage.com.au/national/melbourne-painters-prepare-to-fight-20020513-gdu79d.html

https://www.theage.com.au/national/melbourne-painters-prepare-to-fight-20020513-gdu79d.html

https://sheila.org.au/love-never-dies-the-private-collectors-passion-and-its-impact-on-the-public-gallery/

https://sheila.org.au/love-never-dies-the-private-collectors-passion-and-its-impact-on-the-public-gallery/

42. Holiday CampOil on board 1982 55cm x 44cm

40. Pate Dam, AutumnOil on board May 1998 51cm x 60cm

Exhibited Wangaratta Art Show - Oct 1998 H/way Gallery “Repertoire in Oils” - Nov/Dec 1998 Yea Rotary Art Show - Jan 1999 On Consignment Spectrum Gallery - Jan 1999 Eltham College Art Show - Oct 2000 20 Melbourne Painters Society Exhibition - July/Aug 2004 Corowa Art Show - Jan 2005

39. Springtime - Wilsons PromontoryOil on board Oct 1988 45cm x 60cm

Exhibited St Albans Rotary (Keilor) - Jun 1990 RSPCA - Oct 1990 Korumburra Rotary - Mar 1991 AMP Exhibition - Jul 1991 Sorrento Rotary - Jan 1992

41. Flinders Ranges - Native PinesOil on board Nov 1982 37cm x 52cm

Exhibited St Silas Art Show - Nov 1982 Private Show N Balwyn - July 1983 St Georges Malvern Art Show - Sep 1983 Skipton Art Show - Sep 1983 St Christopher’s Art Show - May 1989

Artwork for Sale LANDSCAPES

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44. Valley After RainOil on board May 1998 (Reworked to ‘The Downward Path’ - Apr 2000) 61cm x 46cm

Exhibited Mt Waverley Holy Family Art Show - Aug 2000 Leongatha Art Show - Sep 2000 Mansfield Art Show - Nov 2000 Woodend Art Show - Mar 2001 Bendigo Art Show - Apr 2001 VAS Winter Exhibition (Highly Commended) - Jun 2010 MSWPS 101st Annual Exhibition - Sep 2010

46. Figures on the Beach - Picnic BayOil on board Apr 1984 61cm x 46cm

Exhibited VAS Spring Exhibition - Sep 1984 Waverley Arts Society Annual Exhibition - Oct 1984 St Leo’s Art Show - Nov 1984 Camberwell Rotary Art Show - Apr 1985 Bacchus Marsh Art Show - June 1985 (Highly Commended) Private viewing - Aug 1985 OLA St Bedes Art Show - Oct 1985 Sherbrooke Art Show - May 1990 First Solo exhibition - Highway Gallery - Jul 1990

43. Storm Approaching Alice SpringsOil on board 1992 38cm x 30cm

Exhibited Jordanville Community Ctr Art Show - Nov 1992 Woolloomooloo Gallery - June 1993 MSWPS Autumn Exhibition - May 2004

45. Where Susan LiesOil on board

Jan 1984 38cm x 26cm

Exhibited Camberwell Rotary Art Show

- Apr 1984 (not hung)Private viewing - Aug 1985

47. Wombat HoleOil on board Jan 1993 41cm x 46cm

Exhibited Camberwell Rotary Art Show - May 1993 Quirky Works (VAS Cato Gallery) - Apr 1994 Guthrie St Art Show - Aug 1994

50. Mountain GreeneryOil on board Mar 1999 30cm x 36cm

Exhibited VAS Rembrandt Exhibition - Jun 1999 Mt Waverley Holy Family Art Show - Aug 1999 Shepparton Kiwanis Art Show - Feb 2000 Bright Art Show - Apr 2000 Rosebud Art Show - Apr 2001

49. Northern NSW landscapeOil on board Jul 1995 61cm x 24cm

Exhibited Town & Country Gallery (on cons) - June 1996 Waverley Rotary Art Show - Oct 1997 Town & Country Gallery (on cons) - May 2000 Wangaratta Art Show - Oct 2004

48. Treloars Rose FarmOil on board Jan 1992 61cm x 30cm

Exhibited MSWPS AMP Exhibition - May 1992 St John Vianney Art Show - Jul 1992 Wimmera/Horsham East Art Show - Aug 1992 Hamilton Nth Art Show - Oct 1992

2451. Darling RiverOil on board May 1993 61cm x 46cm

ExhibitedAMP Art Show - Jun 1993 Royal Agricultural Society Show - Special Prize Aus subject - Sep 1993 St Killians School Art Show Bendigo - Oct 1993Yea Art Show - (Highly commended) - Jan 1994Box Hill Art Show - Mar 1994Camberwell Art Show - Apr 1994Melbourne HS Art Show - Jun 1994Wangaratta Art Show - Sep 1994Ballarat Apex Art Show - Mar 1995Toorak College Art Show - Sep 1995Bendigo Art Show - 1996VAS Autumn Exhibition - Apr 1997Highway Gallery - Nov 1998Deniliquin Art Show - Apr 2000Greenaway Art Show - Jun 2001Spectrum Gallery - Jul 2001Holy Family Art Show Mt Waverley - Aug 2005

53. Sunlit ValleyOil on board

Apr 1999 61cm x 46cm

Exhibited Plein Air Exhibition - VAS - Jul 1999

Artist of the Year Waverley Arts Society Exhibition - Aug 1999

Ballarat Apex Art Show - Mar 2000Spectrum Gallery - Aug 2000

Rosebud Art Show - Mar 2000Bright Art Show - Apr 2003

52. Track in the Deans Marsh areaOil on board

Jan 1983 48cm x 39cm

Exhibited Lorne Lions Club Art Show - Apr 1983

Private Showing - Jul 1983

54. Distant View Oil on board Apr 1999 (Altered Sep 2000) 61cm x 46cm

Exhibited MSWPS Malvern Exhibition - Nov 2000 Warragul Art Show - Oct 2001 Wangaratta Art Show - Oct 2003

58. On the lake shore Oil on board

Jun 1982 51cm x 41cm

Exhibited

English Speaking Union Art Show - Aug 1982

57. Little Yarra, Launching PlaceOil on boardMar 199640cm x 30cm

Exhibited Melb High School Art Show - Jun 1996Warragul Art Show - Oct 1996Highway Gallery - Nov 2001MSWPS “Art Treasures” - Nov 2003

56. Dry Riverbed, NTOil on boardSep 199661cm x 46cm

Exhibited Mornington Art Show - Jan 1998Drysdale Art Show - Apr 1999Zonta Frankston Art Show - May 1999

55. Squall in the Little DesertOil on board Sep 1993 61cm x 33cm

Exhibited Kinglake Gallery - Mar 1993 Guthrie St Gallery - Aug 1993 MSWPS Exhibition - Jul 1994

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62. A touch of light Oil on board

1999 35cm x 40cm

Exhibited 20 Melbourne Painters Society Annual

Exhibition - Oct 2001

61. From Kate’s house across the Yarra Oil on board 30cm x 40cm

60. Track in the Otway Forest

Oil on board 52cm x 35cm

59. Track in the Little DesertOil on boardSep 198651cm x 41cm

Exhibited Geelong Art Society - Mar 1987Royal Agricultural Society Show (commended) - Sep 1987Wimmera Horsham Rotary Art Show - Aug 1988First Solo Exhibition - Highway Gallery - Jul 199020 Melbourne Painters Society Annual Exhibition - Aug 2003

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66. PoplarsOil on boardApr 199841cm x 48cm

Exhibited Mt Waverley Holy Family Art Show - Aug 1998Highway Gal “Repertoire in Oils” - Nov/Dec 1998Numurkah Art Show - Mar 1999

65. Backwater Oil on board46cm x 61cm

64. April morning Oil on board


Exhibited 20 Melbourne Painters Society Annual Exhibition

- June 1997WAS Artist of the Year Exhibition - Aug 1997

On consignment T&C Gallery - Sept 1997Bacchus Marsh Art Show - June 2000

MSWPS Annual Exhibition - Aug 2000Wangaratta Art Show - Oct 2000

Yea Art Show - Jan 2001Deniliquin Art Show - Apr 2001

Box Hill Art Show - Aug 2001Ballarat Art Show - Mar 2002

Mornington Art Show - Jan 2003Numurkah Art Show - Mar 2003Bright Art Show - Apr/May 2004

VAS Exhibition of Signatory & Fellow Members - Aug 2004

63. River Redgums in the Flinders RangesOil on boardOct 199650cm x 40cm

Exhibited 20 Melbourne Painters Society Annual Exhibition - Jul 1996Hamilton Nth Art Show - Oct 1996Woodend Art Show - Mar 1997Strathmore/Gladstone Park Art Show - May 1997Chirnside Park Art Show - Aug 1997Warragul Art Show - Oct 1997Yea Art Show - Feb 1998Numurkah Art Show - Mar 1998Highway Gallery Exhibition - Nov 1998

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69. Pool in the RocksOil on board Sep 1997 (Altered Apr 2005) 53cm x 37cm

Exhibited VAS (Artist of the Year Exhibition) - Nov 1997Woodend Lions Art Show - Mar 1998Rosebud Art Show - Apr 1998Waverley AS Exhibition - Oct 1998Highway Gallery (Repertoire in Oils) - Nov 1998Shepparton Art Show - Feb 1999Yakkerboo Art Show - Mar 1999Korumburra Art Show - Mar 200020 Melbourne Painters Society Annual Exhibition - Jul 2005Wangaratta Art Show - 2005

68. Spring GardenOil on boardSep 200450cm x 61cm

Exhibited VAS (Artist of the Year Exhibition) - Nov 2004

67. “Chatting” Melville St Hawthorn

Egg tempura & oil on canvas 1950

35cm x 28cm

70. Camerons Bight, Blairgowrie Oil on board

Oct 1990 51cm x 41cm

Exhibited Sorrento Rotary Art Show - Jan 1991

Glenallen Special School Art Show - Oct 1991VAS Small Paintings Exhibition Cato Gallery - Feb 1994

Dromana Primary Art Show - Oct 1999

73. Mornington Pier Parking Oil on boardFeb 199155cm x 20cm

ExhibitedWaverley Arts Society Annual Exhibition - Oct 1991Mornington Rotary Art Show - Jan 1991Hillcrest Gallery - Jul 1994

71. City from SouthbankOil on board35cm x 25cm

74. Morning, Western McDonnell RangesOil on board Sep 1996 61cm x 51cm

Exhibited 20 Melbourne Painters Society Annual Exhibition - Oct 1998

72. Garden CornerOil on board Oct 1991 61cm x 51cm

Exhibited VAS - Award Exhibition - Nov 1991Larch Art Show - Jul 1992Jordanville Community Centre Art Show - Nov 1992Town & Country Gallery - Oct 1993Hamilton North Art Show - Oct 1994

30

77. Eucalypt Oil on board

Feb 199653cm x 35cm

76. Como House Oil on boardFeb 197561cm x 40cm

ExhibitedVAS Lord Mayor’s Award Exhibition - Mar 1975MSWPS Autumn Exhibition - May 1975St Bedes N Balwyn Art Show - Aug 1975Marris’ Butchery - Mar 1976Balwyn High School Art Show - Aug 1976Private Viewing N Balwyn - Jul 1983St Georges Malvern Art Show - Sep 1984AMP (Karin Luz) Exhibition - Jun/Jul 1994

75. Bridgewater Lakes, PortlandOil on boardJan 199250cm x 40cm

ExhibitedKew Rotary Art Show - Mar 1992Wimmera/Horsham East Art Show - Aug 1992Larch Art Show - Jul 1993VAS Exhibition of Signatory & Fellow Members - May 1995

79. Terns on the BeachOil on boardJan 198449cm x 39cm

Exhibited Camberwell Rotary Art Show - Apr 1984Croydon Art Show - May 1984Private Viewing N Balwyn - Aug 1985Yooralla Art Show - May 1988Northcote Lions Art Show - Aug 1992Highway Gallery Exhibition - Jun 1993Portland Art Show - Oct 1999

78. BrowalliaOil on boardOct 200261cm x 91cm

ExhibitedVAS Artist of the Year Exhibition - Nov 2002Camberwell Rotary Art Show - May 2003

81. Templebar Ck, Honeymoon Gap, NT

Oil on board May 1992

61cm x 48cm

ExhibitedWoodend Lions Art Show - Feb 1993

Rosebud Art Show - Apr 1993 AMP (Karin Luz) - Jun 1993

Wangaratta Art Show - Aug 1993 Mt Waverley Art Show - Jul 2012

80. Dight AveOil on boardCirca 196440cm x 46cm

32

85. Mornington Watercolour

25cm x 35cm

84. On the Big Hill TrackWatercolourApr 198246cm x 35cm

ExhibitedBurke Hall Art Show - Jul 1982Private Viewing N Balwyn - Jul 1983Waverley Arts Society Annual Exhibition - Oct 1983

83. Lake Eildon near Peppin Point Watercolour

Nov 1988 50cm x 33cm

Exhibited On Consignment to Siemens Aust - Mar 1989On Consignment Brighton Gallery - Apr 1990

Mt Waverley Holy Family Art Show - Jul/Aug 1990On Consignment Kyneton Art Gallery - Sep 1990

Mansfield Rotary Art Show - Apr 1992

82. Over the FenceOil on canvasJan 200491cm x 91cm

Exhibited VAS Undine Award (Highly Commended) - Apr 200420 Melbourne Painters Society Annual Exhibition - Jul/Aug 2004St Kevins Art Show - May 2005Box Hill Art Show - Aug 2005

33

86. McDonnell RangesWatercolourSep 199259cm x 44cm

87. Jessie Gap NT Oil on canvas on board

Sep 1992 Repainted Feb 1998

59cm x 44cm

Exhibited Undine Award - Apr 1998

89. Alice Desert Oil on board

Sep 1992 59cm x 44cm

88. Cockatoos in a Dead TreeOil on board1960s46cm x 61cm

34

94. SpringOil on boardSep 200061cm x 91cm

Exhibited20 Melbourne Painters Society Exhibition - Oct 2000Bright Art Show (Highly Commended) - Apr/May 2001Box Hill Art Show (Highly Commended) - Aug 2001Wangaratta Art Show (Highly Commended) - Oct 2001Woodend Art Show - Mar 2002Spectrum Gallery - Apr 2002St Kevins Art Show - May/Jun 2003Camberwell Rotary Art Show - Apr 2004

93. Flowers & FruitOil on board60cm x 75cm

91. Posy & ParrotOil on board

198344cm x 60cm

ExhibitedVAS Autumn Exhibition (not hung) - Mar 1984

Inez Hutchison Prize Exhibition Beaumaris - May 1984 Private viewing N Balwyn - Aug 1985

Quirky Works (VAS Cato Gallery) - Apr 199492. Lilies in a Kettle

Oil on board1983

68cm x 58cm

90. Gumleaves & GerberasOil on boardJun 199261cm x 91cm

ExhibitedVAS Artist of the Year Award Exhibition - Nov 1992Bright Art Show - Apr 1993VTU Art Show - Sep 1993Box Hill Art Show - Sep 1994Camberwell Rotary Art Show - Apr/May 1994Mt Waverley Holy Family Art Show - Jul 1994

STILL LIFE

98. The Lily PatchOil on boardSep 200461cm x 91cm

ExhibitedVAS Artist of the Year Exhibition - Nov 200420 Melbourne Painters Society Annual Exhibition - Jul/Aug 2005

97. TributeOil on boardJul 200461cm x 91cm

Exhibited MSWPS Annual Exhibition - Jul/Aug 2004Corowa Art Show - (Highly Commended) - Jan 2005Camberwell Rotary Art Show - Apr 2005Mt Waverley Holy Family Art Show - Aug 2005

96. Tiers of GerberasOil on board

Sep 200261cm x 71cm

Exhibited VAS Artist of the Year Award Exhibition - Nov 2002

Camberwell Rotary Art Show - May 2003Mt Waverley Holy Family Art Show - Aug 2004

95. Camellias and Magnolias Oil on board

Aug 1999 61cm x 71cm

ExhibitedVAS Exhibition Deputy Lord Mayor’s Award - Sep 1999

Camberwell Rotary Art Show - Apr 2000Bacchus Marsh Art Show - Jun 2000

Waverley Arts Society Annual Exhibition - Oct 2000Bendigo Art Show - Apr 2001

Mansfield Art Show - Nov 2001Bright Art Show - Apr/May 2003

101. Tulips, Iris and ChrysanthemumsOil on boardMar 200361cm x 51cm

Exhibited VAS Autumn Exhibition - Jun 2003Spectrum Anniversary Exhibition - Mar 2004Mt Waverley Holy Family Art Show - Aug 2005Waverley Arts Society Annual Exhibition - Oct 2007

100. Still life - Jug & FruitOil on board200361cm x 51cm

Exhibited MSWPS Annual Exhibition - July/Aug 2003Mornington Art Show - Jan 2004Mt Waverley Holy Family Art Show - Aug 2005

102. Succulent and Fruit


99. Chrysanthemum CascadeOil on boardJun 199770cm x 90cm

Exhibited MSWPS Annual Exhibition - Aug 1997VAS Artist of the Year Exhibition - Nov 1997Camberwell Rotary Art Show - Apr 1998Wangaratta Art Show - Oct 1998Highway Gallery Second Solo Exhibition “Repertoire in Oils” - Nov 1998Woodend Art Show - Mar 1999Corowa Art Show - Jan 2000Bright Art Show - Apr 2000St Kevins Art Show (Highly Commended) - Jun 2001Bendigo Art Show - Apr 200320 Melbourne Painters Society Annual Exhibition - Jul 2005

37

106. Peace Roses Oil on canvas on board

2011 51cm x 61cm

ExhibitedMSWPS 100th Annual Exhibition - Oct 2009

105. GeraniumsOil on canvas on boardNov 200851cm x 61cm

Exhibited MSWPS 100th Annual Exhibition - Oct 2009

104. Rose StudyOil on board31cm x 41cm

103. Still LifeOil on boardEarly 1970s50cm x 38cm

38

110. Tumble of Tamarillos Oil on board200848cm x 61cm

ExhibitedMSWPS Annual Exhibition - Oct 2013

109. More Roses Oil on board

2010 50cm x 60cm

108. Flowerpiece with BerriesOil on board201045cm x 60cm

ExhibitedMSWPS Annual Exhibition - Oct 2013 (Highly Commended - Annie D Oliver Award)

107. Camellias and JaponicaOil on boardAug 200021cm x 51cm

Exhibited - MSWPS Malvern Exhibition - Nov 2000Spectrum Gallery - Nov 2001Yakkerboo Art Show - Mar 2003Mt Waverley Holy Family Art Show - Aug 2004VAS Spring Exhibition - Aug/Sep 2007

114. Roses Grapes and PotsOil on canvas on boardDec 199550cm x 60cm

Exhibited Yea Art Show - Jan 1996Korumburra Art Show - Mar 199620 Melbourne Painters Society Annual Exhibition - Jul 1996Hamilton North Art Show (Highly Commended) - Oct 1996 Alexandra Art Show - Mar 1997Strathmore/Gladstone Park Art Show - May 1997Chirnside Park Art Show - Aug 1997

113. Dried FlowersOil on canvas on board200950cm x 60cm

112. GrevilleasOil on board

Oct 200845cm x 60cm

Exhibited MSWPS 100th Exhibition - Oct 2009

111. Pink and White CamelliasOil on board

50cm x 60cm

Wangaratta Art Show - Oct 1997Rosebud Art Show - Apr 1998Highway Gallery Second Solo Exhibition ”Repertoire in Oils” - Nov/Dec 1998Masons GrandMasters Art Show - May 1999Toorak Art Show - Sept 1999Eltham College Art Show - Oct 1999Box Hill Art Show - May 2000VAS to Sydney Exhibition - Nov 2000Greenaway/Gould Exhibition - Jun/Jul 2001Waverley Arts Society Award Winners Exhibition - Jul/Aug 2010

40

117. Chrysanthemums and FruitOil on canvas on boardJun 199748 x 61cm

ExhibitedWaverley Arts Society Annual Exhibition (Best Oil Prize) - Oct 1999Ballarat Apex Art Show - Mar 2000Yea Art Show - Feb 2002Yakkerboo Art Show - Mar 2003

118. Chrysanthemums in a Brown Jug

Oil on canvas on board1981

30cm x 37cm

Exhibited MSWPS Annual Exhibition - 1981

Private viewing Elsternwick - Jul 1982 St Christophers Syndal Art Show - Jun 1988

116. MagnoliasOil on canvas on boardAug 200148 x 61cm

ExhibitedVAS Winter Exhibition - June 2002Waverley Arts Society Annual Exhibition - Oct 2007 Mt Waverley Holy Family Art Show - Aug 2010

115. Camellias and BrassOil on board

200251cm x 41cm

Exhibited20 Melbourne Painters Society

Annual Exhibition - 2002Wangaratta Art Show - Oct 2003

122. Still LifeOil on canvas on board

46cm x 61cm

120. Roses of SummerOil on canvas on boardDec 200561cm x 51cm

ExhibitedMt Waverley Holy Family Art Show - Aug 2006VAS Autumn Exhibition - Apr 2008

121. ProvenderOil on canvas Sep/Oct 200646cm x 51cm

ExhibitedVAS Artist of the Year Exhibition - Dec 2006

119. Presentation PosyOil on canvas on boardJul 199661cm x 51cm

ExhibitedMSWPS Annual Exhibition - Sept/Oct 1996Dromana Art Show - Dec 1996/Jan 1997 Box Hill Art Show - May 1997Warragul Art Show - Oct 1997Cobram Art Show - May 1998Town & Country Gallery - Aug 1998Bacchus Marsh Art Show - Jun 2000Spectrum Gallery - Aug 2000Drysdale Art Show - Mar 2002

42

126. Fuschias & PlumsOil on board 61cm x 51cm

125. Fruits Nuts and RosesOil on board 61cm x 51cm

124. The OtterOil on canvas on board

Aug 200361cm x 51cm

ExhibitedCamberwell Rotary Art Show - Apr 2004

Mt Waverley Holy Family Art Show - Aug 2004 Corowa Art Show - Jan 2005

St Kevins Art Show - May 2005

123. WaratahOil on masonite Nov 200265cm x 48cm

Exhibited20 Melbourne Painters Society Annual Exhibition - Aug/Sep 2003Mildura Art Show - Oct 2003Corowa Art Show - Jan 2004Bright Art Show - Apr/May 2004

127. Early GeraniumsOil on board 1960s41cm x 56cm

43

131. Rose with a Wooden CatOil on board 61cm x 52cm

130. Mixed CamelliasOil on canvas board

Oct 1986 Altered - (cool grey background)

May 198946cm x 61cm

Exhibited Sorrento Rotary Art Show - Jan 1987

A.M.E. Bale Entry (not hung) - Nov 1986Camberwell Rotary Art Show - Apr 1987

VAS Spring Exhibition - Sep 1987Spectrum Gallery - May 1989

Keilor Rotary (St Albans) - Jun 1989Mordialloc Art Show - Sep 1989

Northcote Lions Art Show - Aug 1991

129. Proteas 1Oil on board 61cm x 51cm

128. Framed RosesOil on canvas on board Mar 200548cm x 61cm

Exhibited VAS Autumn Exhibition - Apr 2005

132. CamelliasOil on board 61cm x 52cm

133. Proteas & FriendsOil on board 61cm x 52cm

44

135. Still Life with PeppersOil on board 61cm x 51cm

134. Proteas 2Oil on board 51cm x 61cm

138. Delicate RosesOil on canvas on board Nov 1999Altered: Oct 200061cm x 51cm

Exhibited Mornington Art Show - Jan 2001Woodend Art Show - Mar 2001Spectrum Gallery - Apr 2001

137. TulipsOil on board 61cm x 51cm

136. Daffodils & Camellias


45139. Speks YellowOil on canvas 200031cm x 41cm

Exhibited VAS Bargain Sale - Feb 2001MSWPS Winter Luncheon - Jun 2001Gifts Galore Highway Gallery - Dec 2001

143. Still Life with Fruit & Flowers Oil on board 61cm x 51cm

142. Magnolias & MargueritesOil on board 51cm x 61cm

140. LiliesOil on board 61cm x 51cm

141. GerberasOil on board

48cm x 61cm

46

147. Jasmine Oil on board 41cm x 51cm

145. Peace Oil on canvas on board Jan 199461cm x 46cm

ExhibitedBendigo - Apr 1994Town and Country Gallery - Jun 1994

146. RanunculusOil on canvas on board Aug 199961cm x 46cm

ExhibitedMansfield Hospital - Oct/Nov 1999Spectrum Gallery - Nov 1999Wangaratta Art Show - Oct 2000Warragul Art Show - Oct 2001

144. Margaret’s RosesOil on board 38cm x 48cm

150. RosesOil on board 197552cm x 46cm

ExhibitedCamberwell Rotary Special Award 1975

149. Zinnias Oil on canvas duck

1947 41cm x 46cm

148. Singapore OrchidsOil on canvas Jul 200248cm x 61cm

PORTRAITS 48

155. Peg at the Inkle LoomOil on boardFeb 198546cm x 61cm

ExhibitedMSWPS Annual Exhibition - Oct 1991

154. The Pastry Cook Oil on canvas on board

Nov 1991 46cm x 61cm

ExhibitedRoyal Agricultural Society Show

(Highly Commended) - Sep 1992

153. Chris Pastel


ExhibitedWaverley Arts Society Exhibition - Oct 1983

Royal Agricultural Society Show (Commended) - Sep 1985

152. ErrolOil on canvas board Mar 198746cm x 61cm

ExhibitedVAS - Autumn Exhibition - 1987Wangaratta Art Show - Aug 1993

151. June at Morning TeaPastel Oct 198351cm x 71cm

ExhibitedWaverley Arts Society Annual Exhibition - Oct 1984(1st prize over $100)Camberwell Rotary Art Show - Apr 1985Private Viewing - Aug 1985Royal Agricultural Society Show - Sep 1988Wangaratta Art Show - Oct 2001 (Highly Commended)

49

159. FredOil on boardMar 198346cm x 61cm

ExhibitedWaverley Arts Society Exhibition - Mar 1983Private Viewing N Balwyn - Jul 1983Sunbury Rotary Art Show - Oct 1983

158. JackOil on board

199243cm x 67cm

ExhibitedVAS Exhibition -1993

VAS Quirky Works Exhibition - Apr 1994

157. The WoodsmanWatercolourAug 200227cm x 37cm

Exhibited VAS Exhibition - Dec 2002St Kevins Art Show - May/Jun 2003Bayswater Art Show - Mar 2003Waverley Arts Society Exhibition (Highly Commended) - Oct 2003Mornington Art Show - 2004Numurkah Art Show - Mar 2004Box Hill Art Show - Aug 2004Marysville - Oct/Nov 2004

156. Tim in Costume Pastel

Mar 1988 41cm x 56cm

ExhibitedRoyal Agricultural

Society Show - Sep 1989First Solo Exhibition - Highway Gallery Mt Waverley - Jul 1990

160. JeanneOil on boardMay/Jun 199538cm x 46cm

ExhibitedViolet Teague Prize Exhibition - Jul 1995

50

164. NudeCharcoal38cm x 48cm

163. Zelman Orchestra in RehearsalPen & inkJul 198942cmx 33cm.

ExhibitedKyabram Rotary Art Show - Sep 1990Highway Gallery “ Drawn from Life” - Nov 1990Sherbrooke Art Show (Highly Commended) - Oct 1991Royal Agricultural Society Show - Sep 1992VAS Quirky Works exhibition - Apr 1994Cobram Art Show - May 1995

162. BobPastelApril 198632cm x 46cm

Sold to Arch Rogers - Jun 1986Returned

161. The Baseballer Watercolour

Feb 1993 38cm x 26cm

ExhibitedWaverley Arts Society

Annual Exhibition - Oct 1993

Art Studies:1940-1942 Commercial Art Course Bradshaw’s Business College - Tutor Mr V Brown 1943-1947 Drawing & Painting Schools, National Gallery of Victoria - Tutors Messrs W Rowell, C Wheeler and W Dargie 1956 George Bell Art School

Awards:1943 Antique - Hand or Foot from Cast (Second prize) 1944 Decorative work (First Prize) 1944 Painting - Still Life (First Prize) 1945 The Grace Joel Scholarship 1946 The Bernard Hall Prize (First Prize) 1946 The Hugh Ramsay Prize 1947 Runner-up Travelling Scholarship 1975 Camberwell Rotary Special Award 1978 Camberwell Rotary Special Award 1982 Camberwell Rotary Special Award 1986 A.M.E.Bale Special Subsidy 1990 The Mabel Pryde Memorial Prize 1991 A.M.E.Bale Special Oil Award 1995 The Mabel Pryde Memorial Prize 1997 Artist of the Year, Waverley Arts Society 2001 The Mabel Pryde Memorial Prize 1970 - 2010 Many First Prizes and Highly Commended Awards at various Art Shows in Victoria and interstate

Significant Group Exhibitions:1948 Archibald Prize - Finalist 1950 Athenaeum Gallery - with Donald Glue, Ian Alison, Lance H Stirling 1958 Victorian Artists’ Society - with Margaret(Meg) Benwell, Florence Dearling, Inez Hutchison, Nellie Metzke, June Stephenson 1973 Melbourne Art Show Exhibition Buildings 1975 International Women’s Year Exhibition ANZ Bank Collins St Melbourne 1982 Private Viewing, Elsternwick - with Joan Henry, Anne Fowle, Gwen Mentor 1985 Beaumaris Art Group exhibition 1988 “A Mixed Bunch” curated exhibition fundraiser for More Than Just Gumtrees

1990 Women’s Gallery, Brunswick 1993 Woolloomooloo Gallery - with various women painters 1993 Beaumaris Art Group 40th Anniversary Exhibition 1994 Le Meridien at Rialto Exhibition 1995 Women on the Walls, part of the National Women’s Art Event, Mornington Peninsula Regional Gallery 1997 Melbourne International Flower and Garden Show, Exhibition Buildings

Solo Exhibitions:1983 Private Viewing, North Balwyn 1985 Private Viewing, North Balwyn 1990 Highway Gallery, Mount Waverley 1994 “Quirky Works” Cato Gallery, Victorian Artists’ Society 1998 Highway Gallery, Mount Waverley

Exhibition lists are transcribed verbatim from Judith’s records.

Memberships:Fellow of the Victorian Artists’ Society

Life Member of the Melbourne Society of Women Painters and Sculptors

Life Member of the Waverley Arts Society

Past Member of the Twenty Melbourne Painters’ Society

Past Member of Australian Guild of Realist Artists

Mediums:Oils; watercolours, pen and ink, pastel, pencil

Collections:University of Melbourne; Toorak College, Boroondara Municipal Collection, Balwyn High School, Caulfield Grammar, The Commonwealth Art Bank, Rosella Foods, corporate and private collections in the USA, Canada, UK, Germany, New Zealand and Australia

Judith Madeline Perrey- Setford

9 780646 815749>

ISBN 978-0-646-81574-9

AcknowledgementsThe family of Judith Perrey-Setford sincerely thank all those who have made this exhibition and catalogue possible, including:

Dr Juliette Peers - Essay/Research Caroline Moes - MArtCur - Research Jennifer Robins - MArtCur - Research Mark Farnell - Photography Brian Shorrock - Kew Framing Sarah & Jillian Holst - Conservation/framing Printseen - Catalogue printing Louise Brough - Catalogue design Warrnambool Art Gallery - Loan of Toy Makers Victorian Artists Society Galleries

This catalogue is a limited edition of 500 published on the occasion of the Judith M Perrey Memorial Retrospective Exhibition at the Victorian Artists Society Galleries, 2021.

Website: www.judithperreysetford.wordpress.com Facebook: facebook.com/Judith.M.Perrey.Artist

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