This illustrated, annotated catalogue was prepared to accompany a retrospective exhibition curated by the author, who is the assistant curator of Australian art at the National Gallery of Victoria. Presents 83 of Streeton's works and provides biographical details, a discussion of Streeton's style and method, as well as giving information about each painting. The exhibition was one of a series honouring notable historical figures in Australian art. Includes a chronology and references. Also available in paperback.

The Boyd family is Australia's most remarkable artistic dynasty. This work traces the emergence of an extraordinary artistic tradition. It places the Boyds in their historical and personal contexts, tells the interwoven stories of their brilliant careers, and analyses the shaping influences on their lives.

This publication focuses on the Gallery's collection of 46 Streeton works ranging from Sandrige (painted on cigar-box wood in 1884) through to his late canvas In a London garden c1934. Tracing Streeton's career, the book tells how he painted his youthful works of the 1880s and 90s alongside artist friends Charles Condor and Tom Roberts--camping in a farmhouse overlooking the Yarra River at Heidelberg, near Melbourne, and then (with Roberts) on the shores of Sydney harbour. He painted in London from 1897, before returning to spend the last two decades of his life working in Melbourne, where his late work evoked a peaceful pastoral Australia.

In the world of law enforcement art and antiquity crime has in the past usually assumed a place of low interest and priority. That situation has now slowly begun to change on both the local and international level as criminals, encouraged in part by the record sums now being paid for art treasures, are now seeking to exploit the art market more systematically by means of theft, fraud and looting. In this collection academics and practitioners from Australasia, Europe and North America combine to examine the challenges presented to the criminal justice system by these developments. Best practice methods of detecting, investigating, prosecuting and preventing such crimes are explored. This book will be of interest and use to academics and practitioners alike in the areas of law, crime and justice.

Charles Conder was one of the youngest, most original and most talented members of the Heidelberg School of impressionist painters, and one of the few to achieve a lasting reputation outside Australia. His work hangs in many major collections, including the Tate Britain, the Victoria and Albert Museum and the National Portrait Gallery in London and the Metropolitan Museum in New York. Conder painted the Hawkesbury region and Sydney's beaches, including Coogee with Tom Roberts-who invited him to Melbourne. There he joined the artists' camps at Box Hill and Heidelberg, painted urban and bayside scenes and was a major instigator of the famous '9 x 5' Exhibition in 1889. As in Sydney, his carefree charm and delicate, witty paintings endeared him to literary and artistic circles. Paris beckoned early, and he soon fell in with the fin de si cle generation led by Oscar Wilde, Henri de Toulouse-Lautrec and Aubrey Beardsley. He embraced Bohemia, was forever in debt, worked erratically but unceasingly and lived as if there were no tomorrow. Although Conder was rescued from poverty by marriage to a wealthy Canadian widow, his bohemian past eventually called in its account. Tragically, he descended into syphilitic madness and died in his fortieth year. Conder's was a beguiling, charmed, desperate life. He was handsome and rakish and sociable-sensitive to people and place, and extraordinarily talented. Yet his work has been long neglected. If he was waiting for the right biographer, Conder's patience has been vindicated. Ann Galbally investigates her subject with scholarly rigour, but writes with lightness of touch and with passion, sharing her fascination with the people and places Conder knew. This is a splendid biography of a gifted artist whose personal style and unconventional life will appeal to another fin de siecle generation of readers.

"Telling as much a social, educational, and cultural story as institutional history, this detailed account chronicles the ideological patterns, internal and countrywide conflicts, and student experiences at the University of Melbourne from 1850 to 1939. The daily life of staff, professors, and students are recounted during times of turmoil and peace in Australia, including the depression of the 1890s and World War I. The account offers a window into the pedagogical conflicts and research achievements of one of Australia's oldest continuing educational institutions."

"Using the work of great Australian painters and poets as an entry point, this cultural study counters the popular myth that early colonial settlers were environmentally irresponsible and offers both aesthetic and historical evidence that suggests nature always figured prominently in the Australian national consciousness. Preserving endangered species, protecting forests, maintaining public land rights, and staving off climate change were at issue in the first environmental law of Australia enacted in 1788. Parlimentary debates, personal observations, and artistic renderings explore the texture and dimensions of early Australian environmentalism."

An exhibition publication featuring curatorial essays and works from the Metropolitan Museum of Art, New York