In recent years I have become fascinated by the so-called Sydney Cove Medallion (1789), a work of art that bridges the 10,000-mile gap between the newly established penal settlement at Port Jackson and the beating heart of Enlightenment England.
Beyond the centenary of the ANZAC landings at Gallipoli, a number of other notable anniversaries converge this year. Waterloo deserves a little focussed consideration, for in the decades following 1815 numerous Waterloo and Peninsular War veterans came to Australia.
I have been reading systematically through the ads in the earliest issues of the Sydney Gazette and New South Wales Advertiser, such a rich vein of information about certain aspects of daily life in Regency Sydney.
"Coo-ey, Coo-ey, Coo-ey, Coo-ey—Love has caught the strain, Coo-ey, Coo-ey, Coo-ey, Coo-ey—it whispers back again." The “Australian lady” who composed these fruity lyrics was none other than Desda— Jane Davies, sometime Messiter (née Price) of Leddicott, Lavender Bay.
European painters always enjoyed a good deal of latitude in the representation of angels, those asexual, bodiless, celestial regiments of God, so long as they were young and beautiful.
This is my last Trumbology before, in a little more than a week from now, I pass to my successor Karen Quinlan the precious baton of the Directorship of the National Portrait Gallery.