An Australian Story: These are the hues of the land I love

An Australian Story

Holly Grech

An Australian Story These are the hues of the land I love

Holly Grech

Published in conjuction with the exhibition

An Australian Story These are the hues of the land I love

A solo exhibition by Holly Grech Umbrella Studio contemporary arts 26 September - 2 November 2014

Publisher

Contributing Authors

Holly Grech PO Box 454 Townsville Queensland, 4810 Australia hollygrech@optusnet.com.au

Edwin James Brady / James Lister Cuthbertson / George Essex Evans / Robert Heather / Thomas (Henry) Kendall / Henry Lawson / Dorothea Mackellar / William Henry (Will) Ogilvie / Edward Vivian (Vance) Palmer / Andrew Barton (Banjo) Paterson / Vicki Salisbury / Diane de St Hilaire Simmonds

Š Holly Grech and the authors 2014

Publication Design and Development

This work is copyright. Apart from any use as permitted under the Copyright Act 1968, no part may be reproduced without prior written permission of the copyright owners. Requests and inquiries concerning reproduction and rights should be addressed to the Publisher. Every attempt has been made to locate the owners of copyright of all works reproduced in this publication.

Holly Grech | Shane Fitzgerald Printing: LOTSA Print and Signage, Townsville Typeset in 11pt Minion Pro (essay text), 36pt Trajan Pro (titles), 10pt and 11pt Arno Pro (credit lines), 8pt Minion Pro (CIP text) Stock: Cover 350gsm Sovereign Gloss, Inner pages 150gsm Sovereign Gloss

Cataloguing-In-Publication

Acknowledgements

Title: Authors: ISBN: Subjects:

The artist would like to acknowledge the generous support and assistance of the following: Robert Heather, Vicki Salisbury, The Dorothea Mackellar Estate, Diane de St Hilaire Simmonds, Shane Fitzgerald, Norelle Pidgeon-Brough and Chris Brough, Olivia and Nathan McCoy, Cr Gary Eddiehausen, Ian and Pat Peel [Prolab], Ross Brookes and Kerrie Ann Roberts [Segue Art], Tegan Ollett, Bronwyn McBurnie, Curtis Brown (Aust) Pty Ltd., LOTSA Print and Signage, Arts QLD and Townsville City Council through the Regional Arts Development Fund, the team at Umbrella Studio contemporary arts.

An Australian Story: These are the hues of the land I love Robert Heather, Vicki Salisbury 978-0-9925933-0-8 (paperback) Australia, landscape, art, poetry.

Funded by the Regional Arts Development Fund (R.A.D.F) a Queensland Government and Townsville City Council partnership to support local arts and culture.

I would sincerely like to thank my husband Shane and son Lakota for their tireless support and continuous encouragement. I love you both dearly and could have not done it without you two by my side. cover: Holly GRECH Australian Story IV - At night the wond’rous glory of the everlasting stars 2014 Fujiflex print on board 74 x 110 cm Edition: 1/1

Contents Foreword 6 Vicki Salisbury Are We There Yet?

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Robert Heather The Colours of Light

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Dorothea Mackellar An Australian Story: These are the hues of the land I love

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Holly Grech References

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Foreword I sensed a meticulous persona via her exhibition proposal, the glossy white, professionally bound compendium was one of the most expert and exquisite that had been submitted to our exhibition selection committee.

Holly Grech unwittingly elevated the benchmark of professionalism for the pile of unsuspecting applications following on from hers. Obviously, her application was accepted. Grech was unanimously offered the entire gallery space in which to showcase this expressive series of captivating visions of the artist’s natural world.

“Do you find it unusual for young and modern women, such as yourself, to be reading bush poetry

by Henry Lawson?”i I enquired while sipping champagne during our interview for this catalogue on her panorama veranda.

“Not at all”i, Holly answered resolutely. Inadvertently Grech purchased a tattered volume of Henry Lawson poems at a St Vinnie’s, and from this sequence of spontaneous events she became determined to apply for an exhibition and turn her photos of the Australian landscapes into large-scale, abstract works.

Additionally, her son Lakota’s scholastic reading of a poem by Dorothea Mackellar inspired the curatorial rationale under-pinning the exhibition.

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This is not easy to understand For you that come from a distant land...

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The romanticised prose of Dorothea Mackellar’s 19th century poem The Colours of Light resonates with Grech on a deep soul level. The more bush poetry Grech absorbed, the more she connected with the landscape, reminiscing about her childhood, being engrossed with her family, and their life in the bush.

Grech is an inquisitive researcher, photographing and studying flora from around the world since her commencement as a professional artist.

Her passion for the Australian bush, flora, and fauna has shaped her life, work, and travels. Curiosity to uncover scientific-based information about the terrain her lens inhabits fuels her experiences to photograph national parks, the wilderness and botanical gardens around the world.

Grech’s artwork combines macro-lens photography, vivid colours, and artistic sensitivity. The result of her images is the successful amalgamation of lyrical visual memoirs integrated with cutting edge technology.

An Australian Story: These are the hues of the land I love has contemporised the ambience and character of the Australian landscape into large-scale prints with stunning clarity and colour.

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Image Detail

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With this exhibition, her aim is to study, narrate and share her organic experiences of the beautiful land she calls home.

The visual drama and artistry of her photographs are born of a keen eye for the subtleties of the Australian landscape. Using the camera to romantically convey her own feelings of comfort and awe from familiar places she explored as a child.

Where autumn’s flaming and summer’s green Here is a beauty you have not seen.ii The exhibition does not arise from any particular desire to see the world through a particular lens, she has no underpinning environmental or political agenda, leaving it up to the viewer to get what they will out of the work. Holly explains, “How each view the i landscape is a very personal thing’.

Holly is comfortable with new technology and embraces the digital age. Collaborating on projects with her artist husband, they overcome many of the technical challenges that confounded photographers in the past.

She uses the camera to illustrate her rich experience of the bush, within the limits of a two-dimensional medium.

Grech generally does not alter anything significant from her images, preferring to work with what is captured rather than introduce digital elements that she feels do not align with the foundations of photography.

Cream of the plover; grey of the dove These are the hues of the land I love.ii A great photograph is not merely documenting the scene at hand; rather it is about fusing the essential vision of the artist with the landscape. The blending of passion and investigation illuminates Grech’s work with a sense of epic majesty and romantic grace.

With this solo exhibition – Holly’s first in Townsville – Grech brings her depth of passion, knowledge and skill to the foreground.

Vicki Salisbury Director Umbrella Studio contemporary arts

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Interview with Holly Grech the artist, and Vicki Salisbury Director, Umbrella Studio contemporary arts on Friday 20 June 2014 Excerpts from The Colours Of Light by Dorothea Mackellar (Born 1885 Sydney, New South Wales, Australia; Died 1968 Sydney, New South Wales, Australia)

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Are We There Yet? These days it isn’t fashionable to be patriotic.

It has become synonymous with flag-wrapped hypocrisy and unsavoury political opportunists and populists who take advantage of the wider goodwill which people feel towards their countries.

These attitudes encourage cynicism towards the expression of the positive emotions which people feel towards the place where they grow up and live. How can we divorce ourselves from the hollow political rhetoric which has contaminated these emotions?

There is an important role for artists to translate and express themselves using imagery and words which bring these positive feelings to life and also give them meaning once again.

It is these emotions which photomedia artist Holly Grech is tackling in the exhibition An Australian Story: These are the hues of the land I love, which has been inspired by the landscape and environment around her in Central and North Queensland.

The Australia we know today is a country that was founded by migrants and outcasts, people who found themselves establishing a colonial outpost on the other side of the planet, in a harsh land far away from their familiar cities and towns of Georgian England. It was a fierce and alien environment in which they didn’t know the landscape, the climate or customs and culture of the indigenous people.

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This alienation and associated fear saw them attempt to transform the land and eradicate the original inhabitants so that they could create a strange new hybrid European society in the antipodes.

Lacking the strong cultural connection to land which is the foundation of Aboriginal and Torres Strait Islander life, European settlers and their descendants have struggled with identity and sense of place ever since, creating cities and towns that tried to capture a pale memory of the Europe they had left behind. Australian cities and places such as Ipswich, Newcastle and Perth have little in common with the northern hemisphere cities of the same name.

It has often been the artists and writers who have tried to make sense of the Australian landscape, especially as the country became increasingly urbanised in the late 19th and early 20th century.

Sometimes this has been an unambiguous attempt to create or capture a definitive Australian ‘character’ such as the work of the poets Henry Lawson, Banjo Paterson and the Australian Impressionist painters.

At other times it has been an attempt to define a collective sense of national or cultural identity in the face of international artistic and cultural movements, as seen through the work of the Angry Penguin poets and modernist painters such as Sidney Nolan, Albert Tucker and Arthur Boyd.

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However more recently cultural identity has become another product which is developed and marketed through government arts bodies, the tourism industry and mass media.

So how can individual artists express their own response to the landscape around them at a time when Australian sunsets are more likely to be part of a slick new tourism advertising campaign for international visitors and the widespread community are more likely to see celebrities such as Lara Bingle and Paul Hogan as spokespeople for Australian identity rather than our artists and writers?

The rationale for the series and titling the works came about as I looked at the images and felt the deep ochre, red and burnt orange tones were similar to that of the Australian landscape.

It evoked my feelings of love, passion and patriotism towards Australia…1 Holly Grech has drawn inspiration from the words of poets and writers who have attempted to capture the essence of what the Australian landscape meant to them.

Her painterly photographic technique takes found objects and turns them into depictions of the land, the sky and the environment.

However there is an element of abstraction at work here as well; we aren’t actually looking at a photograph of a painting of the landscape, these are sheets of metal, stone, timber, bark or other objects which the artist is using to stimulate our own recollections or imagination of these events or scene.

The viewer is never certain exactly what the image is of, but that doesn’t really matter as the association has already been made through the work’s title, the associated poem and it presentation as a landscape form.

This draws parallels with the work of Brisbane photographer Carl Warner who finds echoes of paintings by abstract artists of the international modernist movement such as Rothko in the urban landscape of concrete and bitumen.

However to me a work such as Australian Story III - At night the wond’rous glory of the everlasting stars evokes impressions of the fire paintings of Tim Storrier or even the wall of fire depicted by Eugene von Guerard in his Bush fire between Mount Elephant and Timboon (1857).

This purely Australian imagery reflects the artist’s concerns with the bush and ‘great outdoors’, finding this imagery in more natural materials.

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The emotional connection is also developed through the association with poetry reminding us that the combination of word and image has been one of the strongest medium for communication since time immemorial.

Today it is still the basis of most publishing, advertising and news media, but the division between the two has remained artificially divided in the art world. While some Australian contemporary artists such as Imants Tillers, Angela Cavalieri, Vernon Ah Kee and Robert McPherson have gone even further turning texts and statements into images which stimulate questions about identity or evoke a strong sense of place and Australian identity, they are often the exception rather than the rule in a field now dominated by strong visual imagery.

However in the field of artists’ books this is common practice for artists and poets to work together to create works which respond to each other’s practice with collaborative duos such as poet Chris Wallace Crabbe working regularly with artist Bruno Leti to create series of books and folios together.

In the creative interchange between the two art forms it can become unclear which came first - the word or the image - however the final artworks clearly articulate a joint vision.

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In this exhibition there is also a clear dialogue between the photographic image and the poetry, a relationship which the artist appears to be keen to see the viewer explore further. While the exhibition includes works by poets who have captured the popular imagination for generations it is also an introduction to the works of a number of Australian poets whose work is now little known.

It also reminds the viewer that there is a rich and ongoing poetic tradition in Australia which continues through to the present day.

I love a sunburnt country, A land of sweeping plains, Of ragged mountain ranges, Of droughts and flooding rains.

I love her far horizons, I love her jewel-sea, Her beauty and her terror The wide brown land for me!2 Most Australians have had a school time encounter with the words of Dorothea Mackellar’s poem My Country and the artist referred to her own experience helping her son memorise this poem as an inspiration for commencing these works.

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This work’s emotive language and evocative depiction of the Australian landscape struck a clear connection with Holly Grech’s own experience growing up in Central Queensland, and her artistic practice which has revolved around photographing “national parks, nature, gardens and botanical gardens in Australia and around the world.”3 However Grech’s murky green tinged images in Australian Story V – The filmy veil of greenness don’t necessarily reference the harsh burnt desert country which we usually associate with this poem, instead bringing to life the diversity of the land which Mackellar celebrates in her poem.

Of course Andrew Barton (Banjo) Paterson was involved in a conscious push to create a literary and poetic tradition through the pages of The Bulletin magazine, a springboard towards a nationalistic vision of a new country.

His poem Clancy of the Overflow is part of a movement to glorify the settlers, the shearers and horsemen of the outback as the epitome of Australian masculinity. The irony was that despite writing some of Australia’s best known bush poetry including The Man from Snowy River and Waltzing Matilda, Paterson actually lived mostly in the city working as a lawyer, journalist and writer. This poem brings together these two worlds in the lines where the narrator contrasts Clancy’s freedom with his own situation:

I am sitting in my dingy little office, where a stingy Ray of sunlight struggles feebly down between the houses tall, And the foetid air and gritty of the dusty, dirty city Through the open window floating, spreads its foulness over all4 However Paterson’s work is still amongst the best-selling books of poetry in Australia and his vivid imagery has found a solid place in the nation’s self-image. In the associated image Australian Story III - At night the wond’rous glory of the everlasting stars the artist has successfully evoked the broad vistas of night time in the bush as seen by the legendary Clancy.

Paterson’s contemporary Henry Lawson was also actively engaged in trying to create a national identity through poetry and literature. Their writing also coincided with the work of the artists who became known as the Australian Impressionists, trying to capture the spirit of the land in paint in the same way that the writers were trying to capture it in words.

In bringing to our attention the words of artists who aren’t household names the viewer is being taken on a journey outside their relaxed and comfortable surroundings to experience new visions of the Australian landscape.

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In her work A Dreamtime Wish Mudgee poet Diane de St Hilaire Simmonds is expressing the connection with place and the land’s original inhabitants that she feels.

Her poem acknowledges her presence as an interloper with the words ‘my grandparents were not born here’ but claims a spiritual connection with the ancient Dreamtime ‘when the earth was formed as one’.

In his poem The Australian Sunrise the Scottish born poet and schoolteacher James Lister Cuthbertson attempts to capture in words the essence of the natural light which so frustrated early artists and painters within his lifetime.

The Bundaberg born writer, critic and poet Edward Vivian (Vance) Palmer became a major figure in Melbourne’s literary scene with his wife Nettie from the 1930s until his death in 1959, and his poem The Dandenongs creates a portrait of a rural idyll while warning against the tide of suburban and industrial sprawl which today has claimed much of that area.

I work on the images, playing, stitching them together and then cropping them apart again.

Although the original photographs have received little alterations, I prefer to work with what is captured rather than introducing digital elements, as I feel this does not align with the foundations of photography.5

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In the images associated with these poems the artist has successfully created the strong impression of the natural environment that she aims to celebrate.

Capturing the familiar textures and colours of the bush with her camera while maintaining a level of uncertainty or abstraction around what the actual subject matter of the photographs are. They look and ‘feel’ familiar but we are still uncertain what it is we are looking at, whether it has been transformed in reality or by technology or at all.

This exhibition sets out to celebrate the Australian bush and landscape through words and images, while on another level it challenges us to identify what these things actually are, whether we can clearly identify them and what they mean to us the viewer. We always need to ask what elements are real and which are constructs?

But in the end it is up to us to decide for ourselves whether that really matters.

Robert Heather

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Holly Grech, Artist statement 1 August 2014 My Country by Dorothea Mackellar (Born 1885 Sydney, New South Wales, Australia; Died 1968 Sydney, New South Wales, Australia) Holly Grech, Artist statement 1 August 2014 Clancy of the Overflow by Andrew Barton (Banjo) Paterson (Born 1864 Narrambla, New South Wales, Australia; Died 1941 Sydney, New South Wales, Australia) Holly Grech, Artist statement 1 August 2014

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The Colours of Light This is not easy to understand For you that come from a distant land Where all the colours are low in pitch Deep purples, emeralds deep and rich, Where autumn’s flaming and summer’s green Here is a beauty you have not seen.

All is pitched in a higher key, Lilac, topaz, and ivory, Palest jade-green and pale clear blue Like aquamarines that the sun shines through, Golds and silvers, we have at will Silver and gold on each plain and hill, Silver-green of the myall leaves, Tawny gold of the garnered sheaves, Silver rivers that silent slide, Golden sands by the water-side, Golden wattle, and golden broom, Silver stars of the rosewood bloom; Amber sunshine, and smoke-blue shade: Opal colours that glow and fade; On the gold of the upland grass Blue cloud-shadows that swiftly pass; Wood-smoke blown in an azure mist; Hills of tenuous amethyst. . .

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Oft the colours are pitched so high The deepest note is the cobalt sky; We have to wait till the sunset comes For shades that feel like the beat of drums Or like organ notes in their rise and fall Purple and orange and cardinal, Or the peacock-green that turns soft and slow To peacock-blue as the great stars show . . .

Sugar-gum boles flushed to peach-blow pink; Blue-gums, tall at the clearing’s brink; Ivory pillars, their smooth fine slope Dappled with delicate heliotrope; Grey of the twisted mulga-roots; Golden-bronze of the budding shoots; Tints of the lichens that cling and spread, Nile-green, primrose, and palest red . . .

Sheen of the bronze-wing; blue of the crane; Fawn and pearl of the lyrebird’s train; Cream of the plover; grey of the dove These are the hues of the land I love.

Dorothea Mackellar

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“Black spirits dance across the plains a strange Corroboree and dusty willy-willies sigh a Dreamtime wish for me.

My soul feels so united with this land and with its soil and my heart just swells with music; makes my anguish disembroil.

The peace of velvet night skies; Southern Cross; The Milky Way: symbolic stars of harmony and union, within lay.

And I hear a Dreamtime whisper as a song sighs through heat haze to the throb of dusty dancing as Corroborees mime plays to pass on the ancient legends of a mystic unity of land; creation; spirit, for unique souls who are free to be different; individual, yet united and as one – not just with neighbouring brothers but with water, earth and sun…”

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Australian Story I Dreamtime 2013 Fujiflex print on board 60 x 150 cm Edition: 1/1

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Australian Story II Blackness of the soft Australian night… 2013 Fujiflex print on board 40 x 130 cm Edition: 1/1

“The Morning Star paled slowly, the Cross hung low to the sea, And down the shadowy reaches the tide came swirling free, The lustrous purple blackness of the soft Australian night, Waned in the grey awakening that heralded the light; Still in the dying darkness, still in the forest dim The pearly dew of the dawning clung to each giant limb, Till the sun came up from ocean, red with the cold sea mist…”

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“And smote on the limestone ridges, and the shining tree-tops kissed; Then the fiery Scorpion vanished, the magpie’s note was heard, And the wind in the she-oak wavered, and the honeysuckles stirred, The airy golden vapour rose from the river breast, The kingfisher came darting out of his crannied nest, And the bulrushes and reed-beds put off their sallow grey And burnt with cloudy crimson at dawning of the day.”

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Australian Story III Burnt with cloudy crimson at the dawning of the day… 2013 Fujiflex print on board 60 x 149 cm Edition: 1/1

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Australian Story IV At night the wond’rous glory of the everlasting stars 2014 Fujiflex print on board 74 x 110 cm Edition: 1/1

“In my wild erratic fancy visions come to me of Clancy Gone a-droving ‘down the Cooper’ where the Western drovers go; As the stock are slowly stringing, Clancy rides behind them singing, For the drover’s life has pleasures that the townsfolk never know.

And the bush hath friends to meet him, and their kindly voices greet him In the murmur of the breezes and the river on its bars, And he sees the vision splendid of the sunlit plains extended, And at night the wond’rous glory of the everlasting stars.”

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Australian Story V The filmy veil of greenness Fujiflex print on board 74 x 110 cm Edition: 1/1

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2014

“Core of my heart, my country!

Land of the Rainbow Gold, For flood and fire and famine, She pays us back threefold Over the thirsty paddocks, Watch, after many days, The filmy veil of greenness That thickens as we gaze...”

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“Blue hills that tower against the sky!

What dayspring Life to you belongs?

Here where the bush lark weaves its songs, Among the grass I lie And dream that youth can never die.

Snug apple-orchards, stripped and bear, Green forelands filled with feeding sheep, Tall pines that doze in morning sleep, And you behind them there Rising in wonder through the air!

And all is magic clear to-day, The ringbarked trees are white as bone; Surely a man could throw a stone To peaks ten miles away, Or touch a tree-top bird at play?

Far creeks in threads of silver flow, A distant roof like crystal gleams…”

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Australian Story VI Blue hills that tower against the sky! 2014 Fujiflex print on board 76 x 110 cm Edition: 1/1

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Australian Story VII As erst she stood… 2013 Fujiflex print on board 115 x 100 cm Edition: 1/1

“Not as the songs of other lands Her song shall be Where dim her purple shore-line stands Above the sea!

As erst she stood, she stands alone; Her inspiration is her own.

From sunlit plains to mangrove strands Not as the songs of other lands Her song shall be.”

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Australian Story VIII Blue cloud shadows… 2013 Fujiflex print on board 60 X 200 cm Edition: 1/1 36

“Golden wattle, and golden broom, Silver stars of the rosewood bloom; Amber sunshine, and smoke-blue shade: Opal colours that glow and fade; On the gold of the upland grass Blue cloud-shadows that swiftly pass; Wood-smoke blown in an azure mist; Hills of tenuous amethyst. . .�

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Australian Story IX Born of the winds and the sun… 2013 Fujiflex print on board 60 x 215 cm Edition: 1/1 38

“Oh, season of changes—of shadow and shine— September the splendid!

My song hath no music to mingle with thine, And its burden is ended; But thou, being born of the winds and the sun, By mountain, by river, Mayst lighten and listen, and loiter and run, With thy voices for ever!”

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“With shoreward sapphires laden, And landward leaf and vine, The vestal South arrayed in Bejewelled raiment fine, Burns forth a fire-eyed maiden Of Roses, Love and Wine.

And, where her mountains yearning, Turn eastward towards the seas— Their coal-seams darkly urning Dead forest mysteries— Out-stands in vesture burning This Cardinal of Trees.

Flame-capped, in scarlet glory; With fiery plumes, upflung, Like some Rose Knight of story By courtly minstrels sung, A proud Conquistadore He shines his peers among…”

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Australian Story X Flame-capped, in scarlet glory 2014 Fujiflex print on board 110 x 80 cm (overall); 110 x 35 cm (each panel) Edition: 1/1

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Australian Story XI Somewhere up in Queensland 2014 Fujiflex print on board 120 x 57 cm Edition: 1/1

“He’s somewhere up in Queensland, The old folks used to say; He’s somewhere up in Queensland, The people say to-day.

But Somewhere (up in Queensland) That uncle used to know— That filled our hearts with wonder— Seems vanished long ago…”

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“It lies beyond the Western Pines Beneath the sinking sun, And not a survey mark defines The bounds of “Brumby’s Run”.

On odds and ends of mountain land, On tracks of range and rock Where no one else can make a stand, Old Brumby rears his stock.

A wild, unhandled lot they are Of every shape and breed.

They venture out ‘neath moon and star Along the flats to feed; But, when the dawn makes pink the sky And steals along the plain, The Brumby horses turn and fly Back to the hills again.

The traveller by the mountain-track May hear their hoof-beats pass, And catch a glimpse of brown and black Dim shadows on the grass…”

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Australian Story XII On tracks of range and rock 2014 Fujiflex print on board 100 x 100 cm (overall); 30 x 100 cm (each panel) Edition: 1/1

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Australian Story XIII On the breast of a lonely land 2014 Fujiflex print on board 50 x 190 cm (overall); 50 x 60 cm (each panel) Edition: 1/1 46

“My road is fenced with the bleached, white bones And strewn with the blind, white sand, Beside me a suffering, dumb world moans On the breast of a lonely land…”

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References An Australian Story: These are the hues of the land I love

Page 29

Copyright of Holly Grech Printed at Prolab, Brisbane, Australia, 2014

Copyright expired First published in The Bulletin (Sydney, December 21, 1889) & PATERSON, Andrew Barton 1864-1941, BOLDERWOOD, Rolf 1826-1915, The Man from Snowy River and Other Verses (Angus & Robertson, London: MacMillan, Sydney 1896)

Works I - XIII Created by Holly Grech Born 1980, Blackwater, Queensland, Australia Currently lives and works in Townsville, Queensland, Australia

Page 22

Excerpt from A Dreamtime Wish

By Diane de St Hilaire Simmonds Born 1946 Katoomba, New South Wales, Australia; Currently lives and works in Mudgee, New South Wales, Australia Copyright of Diane de St Hilaire Simmonds Published by arrangement with Diane de St Hilaire Simmonds First published www.mudgeehistory.com.au

Pages 25, 26

Excerpt from The Australian Sunrise

By James Lister Cuthbertson Born 1851 Glasgow, Lanarkshire, Scotland; Died 1910 Mount Gambier, South Australia, Australia Copyright expired CUTHBERTSON, James Lister 1851-1910, Barwon ballads and school verses (Melville & Mullen Proprietary Ltd, Melbourne,1912)

Excerpt from Clancy of the Overflow

By Andrew Barton (Banjo) Paterson Born 1864 Narrambla, New South Wales, Australia; Died 1941 Sydney, New South Wales, Australia

Page 31 Excerpt from My Country

By Dorothea Mackellar Born 1885 Sydney, New South Wales, Australia; Died 1968 Sydney, New South Wales, Australia Copyright of The Dorothea Mackellar Estate Published by arrangement with the Licensor, The Dorothea Mackellar Estate, c/- Curtis Brown (Aust) Pty Ltd

Page 32

Excerpt from The Dandenongs

By Edward Vivian (Vance) Palmer Born 1885 Bundaberg, Queensland, Australia; Died 1959 Melbourne, Victoria, Australia Copyright status undetermined First published in Birth: A Little Journal of Australian Poetry, Volume 4 (Melbourne Literary Club, Melbourne, December, 1919)

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Page 35

Page 43

Copyright expired EVANS, George Essex 1863-1909, The secret key and other verses (Angus & Robertson, Sydney 1906)

Copyright expired First published in The Bulletin (Sydney, July 29, 1909) LAWSON, Henry 1867-1922, The skyline riders and other verses (Ferguson, Sydney 1910)

Excerpt from An Australian Symphony

By George Essex Evans Born 1863 London, England; Died 1909 Toowoomba, Queensland, Australia

Pages 20-21, 37

Full published work and excerpt from The Colours Of Light

By Dorothea Mackellar Born 1885 Sydney, New South Wales, Australia; Died 1968 Sydney, New South Wales, Australia Copyright of The Dorothea Mackellar Estate Published by arrangement with the Licensor, The Dorothea Mackellar Estate, c/- Curtis Brown (Aust) Pty Ltd

Page 39

Excerpt from September in Australia

By Thomas Henry Kendall Born 1839 Ulladulla, New South Wales, Australia; Died 1882 Sydney, New South Wales, Australia Copyright expired KENDAL, Henry 1839-1882, STEVENS, Bertram 1872-1922, The poems of Henry Kendall (Angus & Robertson, Sydney 1920)

Page 40

Excerpt from The Flame Tree

By Edwin James Brady Born 1869 Carcoar, New South Wales, Australia; Died 1952 Pambula, New South Wales, Australia

Excerpt from Somewhere up in Queensland

By Henry Lawson Born 1867 Grenfell, New South Wales, Australia; Died 1922 Sydney, New South Wales, Australia

Page 44

Excerpt from Brumby’s Run

By Andrew Barton (Banjo) Paterson Born 1864 Narrambla, New South Wales, Australia; Died 1941 Sydney, New South Wales, Australia Copyright expired First published in The Bulletin (Sydney, January 13, 1894) & PATERSON, Andrew Barton 1864-1941, LINDSAY, Lionel Sir, 1874-1961, Saltbush Bill, J.P., and Other Verses (Angus & Robertson, Sydney 1917)

Page 47

Excerpt from Drought

By William Henry (Will) Ogilvie Born 1869 Kelso, Scottish Borders, Scotland; Died 1963 Ashkirk, Selkirk, Scotland Copyright status undetermined OGILVIE, William H. 1869-1963, Hearts of gold and other verses (Angus & Robertson, London 1913), Published in The Courier Mail (Brisbane, 13 April 1935)

Copyright expired BRADY, Edwin James 1869-1952, Bells and hobbles (George Robertson & Co., Melbourne 1911)

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