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Painting
oil on canvas
134.5 x 182.8cm stretcher; 158.0 x 206.5 x 12.0cm frame
Purchased 1933
833
Art Gallery of NSW, Ground Level, Australian Art 19th Century Galleries, Court 9A
Further information
Australian Collection Focus
Tom Roberts, 'Bailed up', 1895/1927
by Barry Pearce
Tom Roberts was fascinated by pastoral life and found his greatest fulfillment in a series of bush-life paintings begun in 1888-90 with Shearing the rams and continued after his shift in 1891 from Melbourne to Sydney. Whilst staying at Duncan Anderson's Newstead sheep station, near Inverell in the New England tableland of northern New South Wales, Roberts conceived the idea of a bushranging picture. In it he would present an imaginary incident from the disorderly past, within an artistically modern portrayal of the Australian landscape in its highest key. Such was the beginning of 'Bailed up'.
At Newstead at the end of 1893 Roberts was already planning his second sheep-shearing painting, 'The Golden Fleece', which he would complete during the following year. Walking along the road between Newstead and Paradise, a neighbouring station owned by Russell Hughes, he found a setting for his bushranging picture. It was an isolated spot among grass trees and a forest of tall gums, a level bend on a long steep ascent, the last bad hill for travellers following the Macintyre River on their way to Inverell. This back road was not in fact a coaching route, but here was a good setting for Roberts's 'sham stick-up': a coach would have been well and truly trapped by the great log placed across the narrow climbing road; mounted bushrangers could have waited well camouflaged in the steep forest above, and a spare horse left lurking in the shadows. It was highland country, not far from where the region's last bushranger, 'Captain Thunderbolt', had died a quarter of a century earlier.
At this ideal spot for a robbery under arms, the artist, helped by the Anderson family, built a platform of timber, bark and wire in a stringy-bark tree growing below the road, so that he could set up his canvas on this 'Perch' at the level of the road. A Cobb & Co. coach then in operation between Inverell and Glen Innes was painted in town at Inverell, together with its driver Bob Bates. 'Silent Bob Bates' had a story of being robbed by Thunderbolt some three decades earlier, and it was his laconic, hard-wrung description of the quiet nature of the incident which determined the mood of Roberts's composition. Other characters were modelled by other townspeople in Inverell, and by station hands at Newstead, where the painting was completed. Roberts made tiny drawings and an oil sketch of how he wanted the scene to look before he started his big canvas, in which he set out to create the most complex painting of his career to date; complex because it was not only about the seizing of a moment in the landscape but was also intended to convey a recollection of the historical past. This particular place had engendered the artist's idea of a sudden, apparitional haunting by bushrangers.
Of the group of bush masterpieces that Roberts embarked upon between 1888 and 1898, 'Bailed up' turned out to be the most contentious. For in spite of the nationalistic fervour which might have guaranteed an enthusiastic reception for the painting when it was exhibited in Sydney and Melbourne in the 1890s, it neither succeeded in eliciting unanimous praise, nor found a willing buyer. Roberts dropped the price from £275 to 70 guineas in 1900. After all the enthusiasm and trouble he took to paint 'Bailed up', Roberts could not dispatch it into the world.
Because Roberts reworked the painting in 1927 it is now difficult to assess the validity of its reception in 1895. Nagging criticisms made by the press concerned the way the legs of the men, or the skin of the horses had been depicted, for example. Perhaps unsatisfactory pictorial resolution was sensed, turning potential collectors away. Eventually in 1928, after Roberts had substantially repainted the background landscape, 'Bailed up', price 500 guineas, was sold from an exhibition of his work at the Macquarie Galleries in Sydney. It was bought by J.W. Maund, a solicitor, amateur painter and trustee of the Art Gallery of New South Wales. Maund promptly lent it to the Gallery, which purchased it five years later.
Critical opinion about 'Bailed up' has fluctuated. Lionel Lindsay wrote warmly of it in the Macquarie Galleries exhibition catalogue, praising its rich rendering of light and comparing its subject to the prose of Henry Lawson. But more recently, in his biography of Roberts, Humphrey McQueen ventured the opinion that 'Bailed up' was ineffectual as a bushranging story and that, because of its flat, almost skyless landscape and lateral disposition of figures across the composition, it was an insipid echo of the then-fashionable, decorative, Symbolist mural style of Puvis de Chavannes. This ambiguity about 'Bailed up' as an icon of Australian art is puzzling. Why is admiration of it so tempered with caution? Is it because, notwithstanding the monumental failure of his vast Opening of the First Parliament of the Commonwealth of Australia, his 'Bailed up' represents the most protracted struggle in Roberts's career to realise his vision on a large scale?
Answers to these questions may be hinted at by comparing 'Bailed up' with its family of bush-life paintings. Others of the family might have had a more instant appeal. The motif of 'A break away!', for example, has the impact of an action shot filmed by a swooping helicopter. A rider tries desperately to stop a mob of sheep stampeding down to a water-hole. Suspended in heat and dust, the powerful dynamic of this composition can be read from far away. Small wonder that when 'Bailed up' was first exhibited in 1895 the press preferred Frank Mahony's bustling Australian paintings of Americanised 'cowboys' and 'outlaws', such as the cattlepiece 'Rounding up a straggler', 1889, and the mounted pursuit of bushrangers 'As in the Days of Old', 1892, both of which Roberts would have seen hanging in the collection of the Art Gallery of New South Wales. Against such action-packed pictures, the static solemnity of 'Bailed up' seems to have worked against its general appeal; perceived perhaps as rather laid-back but artificial tableau. Yet, by considering the deceptive ease of its mood, and with a patient examination of its detail, we may appreciate 'Bailed up' as one of his greatest achievements.
The composition has been cunningly constructed with diagonals and verticals leading the eye up to, around and beyond the dramatis personae. The landscape rises to the very top of the picture - no sky as such, and no space for escape - and the gaze soon descends once more to the lower half, forced to contain itself within the flat parameters of the picture. Scanning the surface further brings forth the real richness of the work since, as much as 'Bailed up' may be about armed robbery, or landscape, or historical mythology, it is equally about the transforming process of painting.
Roberts's enormous struggles with 'Bailed up' enabled him to arrive at a majestic synthesis. Light became paint, and paint became light and we cannot tell the difference between the two, whether it is in the radiance of the shirts and hats of the figures, or the straw-coloured grass and silvery tree-trunks of the midsummer landscape. Day after day Roberts walked three kilometres uphill on the road from Paradise, where he stayed because it was closer than Newstead, climbed up a ladder to the 'Perch', and stared at the hot stillness he was setting down on his canvas which had been wired to a railing. This sense he transferred to the coach scene itself, investing the figures with an almost mystical calm. Indeed he created the feeling that time had stopped in the small, transient affairs of humankind, as an all-pervading, all-redeeming, saturating light became the most important subject of the work. The idea that we are observing a kind of fairytale incident, strangely remote from yet hypnotised by it, was carried even more tellingly into Roberts's companion bushranging picture 'In a corner on the Macintrye', painted about the same time. But nowhere in the entire history of Australian painting has such a quality been better rendered than in 'Bailed up', where the mystery of light, human incident, and experience of the Australian bush are combined with spellbinding orchestration.
The remaining question which tantalises is a technical one, and concerns the extent to which Roberts repainted 'Bailed up' in 1927. The surface of the painting - scraped, reworked, impasted, glazed, restated - is like a fossilised ocean bed, and traversing its bumps, dents and crevices with the naked eye does not easily expose what is old or new; only the impression of an impenetrable embodiment of the painting's own history. Roberts inscribed two dates on the painting - 1895 and 1927 - and said he reworked it extensively in 1927 in his current manner. This was at a period when he had become much more a meditative artist than a descriptive one, and thus of profound interest to certain later painters of Australian landscape. And that, in the end, is the telling factor which may distinguish 'Bailed up' from the period of its conception. For although he was no Poussin, nor even a Puvis, he had an astute intuition for the grid. In other words, at his best, he could orchestrate with genius all the aspects of a painting, be they naturalistic or abstract, into the modern values of a flat surface. In this way 'Bailed up' straddles two worlds. It began as an idea for an historical narrative of the nineteenth century, but finished, through Roberts's difficulties, as a scaffolding by which he could be in grand scale a painter for the twentieth.
Note: this text has been condensed and edited by the author from his original essay on 'Bailed up' in 'Tom Roberts, retrospective catalogue', Art Gallery of South Australia, Adelaide, 1996.
Bibliography
Periodical; Look; Jill Sykes (Australia); Jul 2009, 13, 'Seeing art takes more than looking: Audio description tours now at the Gallery' by Laura Pia, pg. 12-13.
Newspaper; The Sydney Morning Herald; Paul McGeough (Australia); 14 Mar 2009, unknown, 'Shedding new light on a historical work of art' by Steve Meacham.
Periodical; Look; Jill Sykes (Australia); Oct 2008, 12-13 (colour illus.), 'Learning to look at art: Introducing and inspiring art lovers of the future' by Pat Kreuiter, pg. 12-13., NOTE: A group of children are located infront of the painting.
Reference book; Art of Australia. Vol. 1: Exploration to Federation; John McDonald (Australia, b.1961); 2008, 306-307 (colour illus.), 308, 582, 583, ‘A race of heroes?’, pg. 271-314.
Exhibition catalogue; True crime: murder and misdemeanour in Australian art; Lisa Sullivan (Australia); 2008, 6 (illus.), 9, 'True Crime: murder and misdemeanour in Australian art' by Lisa Sullivan, pg. 5-35., plate IV
Scholarly/Periodical; Art Monthly Australia (no.200); Deborah Clark (Australia); Jun 2007, 25, 'Impressions of Australia' by Michael Rosenthal, pg. 21-27., Review of 'Australian Impressionism' exhibition held at the National Gallery of Victoria [Ian Potter Centre]
Newspaper; Age; Michael Gawenda (Australia, active post 1997); 30 Mar 2007, 7, 7 (colour illus.), 'NGV basking in the glow of golden glory' by Robin Usher, pg. 7.
Exhibition catalogue; Australian Impressionism; Terence Lane; 2007, 281, 283, 286-287, 345, 294 (colour illus.), 'National Naturalism' by David Hansen, pg. 281-287., cat.no. 15.8
General/Book; Bailed up: the story behind the painting; Patrick H McCarthy (Australia, b.1933); 2006, front cover (colour illus.), 13 (colour illus.), 114 (colour illus.), 164 (colour illus., detail), 167 (colour illus., detail), 169 (colour illus., detail), 171 (colour illus., detail), 172 (colour illus., detail), 173 (colour illus., detail), 174 (colour illus., detail), 175 (colour illus., detail)
General/Book; Tom Roberts Festival 2006: Heritage tour; Ann Hodgens (Australia); 2006, 3, 13-14, 23, 42, 45, 46, 48, 50, 51 (illus.), 'Bailed up', pg. 50.
Manuscript; The people in the paintings: a research report for the Art Gallery of New South Wales; Ann Hodgens (Australia); 2006, 3, 37-55, 38 (colour illus.)
Scholarly/Book; Radical revisionism: an anthology of writings on Australian art; Rex Butler; 2005, 170-172, 'Tom Roberts: "Where the sun never set"', pg. 163-174.
General/Periodical; Outback; Mark Muller (Australia); Jun 2004-Jul 2004, 72 (colour illus.), 75, 'Legends of the outback: Australian painters inspired by the bush' by John Dunn, pg. 72-78.
Educational/Book; Kings of the road: Currency lads & flash coves; Geoff Hocking (Australia); 2004, 7 (colour illus.), 'The boldest gang of all', pg. 6-9.
Periodical; Look: 1953-2003 celebrating 50 years; Jill Sykes (Australia); May 2003, 44, 'Presenting our own artists: how the AGS put balance into the Australian collection' by Barry Pearce, pg. 42-44.
Exhibition catalogue; Charles Conder 1868-1909; Ann Galbally (Australia), Barry Pearce (Australia), Barry Humphries (Australia, b.1934); 2003, 24, 'Between worlds: Conder in Australia' by Barry Pearce, pg. 12-31.
Educational/Brochure; Outlawed: investigating legend and reality; Lyn Beasley, Tim Gurry, Robert Lewis; 2003, 5 (illus.)
Educational/Book; Art of the land; Joan Chambers (Australia); 2002, 12 (colour illus.), 13-14, Children's activities book.
Scholarly/Book; Transformations in Australian art: The nineteenth century - landscape, colony and nation [Volume One]; Terry Smith; 2002, 84, 97, 99, 'The divided meaning of 'Shearing the Rams': artists and nationalism, 1888-1895', pg. 66-106.
Newspaper; The Sydney Morning Herald; Paul McGeough (Australia); 09 Jan 2001, 3 (colour illus.), 'Tom's people' by Andrew Stevenson, pg. 3., NOTE: page 3 of Summer Metropolitan section
Scholarly/Book; Australian art; Andrew Sayers; 2001, 88
Exhibition catalogue; Tom Roberts Art Exhibition. Tom Roberts Festival 2001; Inverell Art Gallery (Australia); 2001, 6-7, 11-12, 13, cat.no. 16; NOTE: this is a framed colour photograph of the painting 'Bailed up' which did not tour to Inverell
Exhibition catalogue; Heidelberg to Heide: creating an Australian landscape 1850-1950; Ted Gott (Australia), Kelly Gellatly (Australia); 2001, 55, 'Re-doing Australian landscape: Sidney Nolan, John & Sunday Reed and Arthur Streeton' by Kelly Gellatly and Ted Gott, pg. 46-57.
Brochure; 'Bailed up' re-enactment. Tom Roberts Festival 2001; The National Trust of Australia (New South Wales) (Australia); 2001, 4 (illus.), 5-6, 7-12, 'Bailed up', pg. 5-6, 'Bailed up; the people in the painting', pg. 7-12.
General/Book; Classic Australian verse; Maggie Pinkney (Australia); 2001, front cover (colour illus.)
Scholarly/Book; Ecological pioneers: a social history of Australian ecological thought and action; Stuart Hill (Australia, b.1943), Martin Mulligan (Australia); 2001, 47-48, 'Seeing the land in a new light: people and landscapes in Australian art', pg. 34-71.
Scholarly/Book; Vital connections: A history of NSW roads from 1788; Rosemary Broomham (Australia); 2001, 69 (illus.)
Newspaper; The Canberra times; Jack Waterford (Australia, active 2000); 12 Sep 2000, 11 (colour illus.), 'ICONS a limited "showcase"' by Sasha Grishin, pg. 11., Review of 'Australian Icons' exhibition.
Newspaper; The Canberra times; Jack Waterford (Australia, active 2000); 12 Sep 2000, 1 (colour illus.), 11 (colour illus.), 'Icons a limited "showcase"' by Sasha Grishin, pg. 11., Review of the 'Australian Icons' exhibition which featured 'Bailed up' and other works by Tom Roberts.
Scholarly/Periodical; State of the arts; Margaret Meagher (Australia); Aug 2000-Dec 2000, 12, 'AGNSW polishes the silver', pg. 12., Review of 'Australian Icons' exhibition.
Periodical; Australian artist; Editor Unknown; Aug 2000, 4 (colour illus.), 'Australian Icons at the Art Gallery of New South Wales', pg, 4-5.
Newspaper; Daily telegraph; Editor Unknown; 22 Jul 2000, 124, 'Master strokes' by Elizabeth Fortesque, pg. 124., Review of 'Australian Icons' exhibition.
Periodical; Look; Judith White (Australia); Apr 2000, 24, 'The ambassadors of art: Australian icons' by Barry Pearce, pg. 24.
Periodical; Look; Judith White (Australia); Feb 2000, 19 (colour illus.), 20, 'An artist's homage' by Judith White, pg. 18-20.
Educational kit; Read-to-go Art Picture pack; Belinda Oxley (Australia); 2000, card no. 1 (colour illus.)
Book; SOSE 3 - Studies of Society & Environment; Editor Unknown; 2000, 49 (colour illus.), 'Gold rush bushrangers', pg. 48-49., Source 2.8.3
General/Book; Queensland desperadoes: wild tales of bushranging days; Cyril Grabs (Australia); 2000, front cover (colour illus.)
Book; Australian art: in the Art Gallery of New South Wales; Barry Pearce (Australia); 2000, 38, 61, 62 (colour illus., detail), 63 (colour illus.), 302, 'Golden age' by Vivienne Webb, pg. 37-38.
Scholarly/Book; The colonial earth; Tim Bonyhady (b.1957); 2000, 331
Scholarly/Periodical; Art and Australia (Vol. 37, No. 2); Laura Murray Cree (Australia); Dec 1999-Feb 2000, 233, 'Linda Sproul, Tom Roberts and the White Woman Project' by Leigh Astbury, pg. 232-235.
General/Book; Art Gallery of New South Wales handbook; Bruce James (Australia), Edmund Capon (England; Australia, b.1940); 1999, 119 (colour illus.), 'Australian Collection: Painting and Sculpture' by Bruce James, pg. 102-181.
Educational/Book; Tom Roberts; Heather Gwilliam; 1999, 20, 21 (illus.), 22, 'The Golden Age', pg. 13-22.
Educational/Book; Art is ... making, creating and appreciating 2; Sandra Jane; 1999, 218, 219 (colour illus.)
Program; Exhibitions events - Art Gallery of New South Wales; Jonathan Cooper (Australia); Aug 1998-Oct 1998, 10 (colour illus.)
Periodical; Look; Wendy Symonds (Australia); Jul 1998, 22 (illus.), 'Australian Collection Focus' by Barry Pearce, pg. 22.
Calender; Calendar - Art Gallery of New South Wales; Editor Unknown; Jul 1998-Dec 1998, colour illus.
Program; The Art Gallery of New South Wales Bulletin; Jonathan Cooper (Australia); May 1998-Jul 1998, 9 (colour illus.), 'Exhibition Highlights', pg. 9.
Educational/Book; SOSE History Geography Commerce - Studies of Society and Environment; Helen Duffy; 1998, 59 (colour illus.)
Exhibition catalogue; Australian Collection Focus: Tom Roberts Bailed Up 1895/1927; Barry Pearce (Australia); 1998, colour illus.
Book; Masters of the Heidelberg School; Okko Boer; 1998, 22 (colour illus.), plate no. 20
Periodical; Weekend Advocate; Editor Unknown; 17 May 1997, 'Captured back bone of our great country' by Belinda Arnold.
General/Periodical; Look; Wendy Symonds (Australia); Apr 1997, 14-15 (colour illus.), 'Tom Roberts', pg. 14.
Periodical; Look; Wendy Symonds (Australia); Feb 1997, 9 (colour illus.)
Educational/Book; Australia's best painters: Tom Roberts, Hugh Ramsay and Thea Proctor; Richard Linden; 1997, 8, 28, 38
CD-ROM; Calhist 121; Various (Japan); 1997, CD ROM
Book; SOSE 3 - Studies of Society & Environment; Editor Unknown; 1997, 113 (colour illus.), 'Gold Rush Bushrangers', pg. 112-113.
Periodical; The Bulletin with Newsweek; Editor Unknown; 10 Sep 1996, 88, 'Marietta', pg. 88., Sale of oil sketch for 'Bailed up' at Joel's auction house in Melbourne.
Auction catalogue; Australian and European paintings; Leonard Joel (Australia, estab. 1919); 21 Aug 1996-22 Aug 1996, 48, lot no. 139; 'Bailed up (Sketch)', signed 'Tom Roberts', dated Dec 1893, oil on panel, 16.5 x 26.5 cm, estimate: $160,000/180,000.
Newspaper; The Sydney Morning Herald; Editor Unknown; 13 Apr 1996, 11, 'Shear genius: festival goes for gold' by Geraldine O'Brien, pg. 11.
Supplement/Newspaper; Good Weekend; Anne Summers; 24 Feb 1996, cover (colour illus., detail), 32 (colour illus.), 33-34, 37, 39, 'Tom Roberts Bailed Up' by Janet Hawley, pg. 32-39.
Educational/Book; Southern Voices; Robert Engerwerda; 1996, 174
General/Book; Australian Encyclopaedia; Tony MacDougall; 1996, 617, From an article titled 'Bushranging'.
Exhibition catalogue; Tom Roberts; Ron Radford (Australia, b.1949), Humphrey McQueen, Mary Eagle (Australia, b.1944), Virginia Spate (Australia), Daniel Thomas, Jane Hylton (b.1950), Barry Pearce (Australia), Leigh Astbury (b.1950), Helen Topliss (Australia), Roger Butler (Australia, b.1948), Jane Hylton (b.1950); 1996, 10, 20, 36, 82, 90, 92, 116, 117 (colour illus.), 118, 119 (colour illus. detail). 120, 121 (colour illus. detail), 122, 148, 162, 178, 207 (illus. and catalogue entry), 208, 'Bailed up, 1895/1927' by Barry Pearce, pg. 116-122.
General/Periodical; Australian Hereford Quarterly; Tony Lamberth; 1996, 7
Educational/Book; Australian Encyclopaedia Vol. 2; Tony MacDougall; 1996, 13 (colour illus.), 'Australian Collection Focus Series', pg. 13.
Educational kit; Tom Roberts: Education guide; John Neylon, Jane Hylton (b.1950), Tracey Lock-Weir; 1996, colour illus.
General/Book; The Art of the Horse; John Fairley; 1995, 118 (colour illus.)
General/Book; The Art Gallery of New South Wales collections; Ewen McDonald (Australia); 1994, 617 (colour illus.)
Exhibition catalogue; Two hundred years of Australian painting. Nature, people and art in the southern continent; Barry Pearce (Australia), Patricia McDonald, Haruo Arikawa (Japan), Chikashi Kitazaki (Japan); 1992, 93 (colour illus.), cat.no. 48
Australian collector's annual; 1991-1992, 4, 'Bric-a-brac', pg. 4, Article about oil sketch for 'Bailed up' exhibited at Savill Galleries, Paddington in 1991.
Book; Sunlight and shadow: Australian impressionist painters 1880-1900; Leigh Astbury (b.1950); 1989, 197
Book; Classic Australian Paintings; William Splatt, Dugald McLellan; 1986, cover (colour illus.), 32 (colour illus.)
Scholarly/Book; Tom Roberts 1856-1931: a catalogue raisonné. Volume 1 - Text; Helen Topliss (Australia); 1985, 136-138
Educational/Book; City bushmen: the Heidelberg school and the rural mythology; Leigh Astbury (b.1950); 1985, 128-29 (colour illus.), plate no. 21
Exhibition catalogue; Golden summers: Heidelberg and beyond; Jane Clark (Australia), Bridget Whitelaw; 1985, 144-145, 145 (colour illus.), 'Naturalism and nationalism' by Jane Clark, pg. 128-129.
Scholarly/Book; Tom Roberts 1856-1931: a catalogue raisonné. Volume 2 - Plates; Helen Topliss (Australia); 1985, colour illus., plate no. 105
Scholarly/Book; Seeing the first Australians; Ian Donaldson (b.1935), Tasmin Donaldson (b.1939); 1985, 110, 123, 124 (illus.), 125-126, 'Tom Roberts' Aboriginal portraits' by Helen Topliss, pg. 110-136., plate no. 8.14
Periodical; Art and Australia (Vol. 22, No. 1); Elwyn Lynn (Australia, b.1917, d.1997); Spring 1984, 56, 'Victorian favourites: a conversation - Elwyn Lynn and Lloyd Rees', pg. 49-56.
Book; Portrait of a Gallery; Edmund Capon (England; Australia, b.1940), Jan Meek (Australia); 1984, 34 (colour illus.), 'Australian Art in the Old Courts', pg. 24-37.
Scholarly/Book; Australian art and architecture: essays presented to Bernard Smith; Terry Smith, Anthony Bradley (b.1936); 1980, 89, 91, 'Beating about the bush: the landscapes of the Heidelberg School' by Ian Burn, pg. 83-98.
Newspaper; The Australian; Leslie Hollings (Australia, active 1975-1980; 1980-1982); 17 Dec 1979, page unknown, 'In search of Tom Robert' by Marsali Mackinnon
Scholarly/Book; Place, taste and tradition: A study of Australian art since 1788; Bernard Smith (Australia, b.1916); 1979, 125, 126 (illus.), 'Impressionism in Australia', pg.112-145, plate no. 43
Newspaper; Daily Mirror; Editor Unknown; 20 Jul 1978, 24, 'Artist gave life to spirit of Australian bush', pg. 24.
Scholarly/Book; Tom Roberts; Virginia Spate (Australia); 1978, 70, 73, 82 (colour illus.), 92, 94-96, 99, 120, 126, 133, 148, plate no. 26
General/Periodical; Parade; Editor Unknown; Apr 1973, 25, 26 (illus.), 27, 'Tom Roberts: father of Australian landscape painting', pg. 25-27.
General/Book; 100 masterpieces of Australian painting; William Splatt, Barbara Burton; 1973, 76-77 (colour illus.), plate no. 35
Periodical; The Australian women's weekly; Editor Unknown; 26 Apr 1972, 43, 79, 'All this began at Two Bob a Night at Collingwood' by Nan Musgrove, pg. 43, 79.
Book; Art Gallery of New South Wales picturebook; Editor Unknown; 1972, 79 (colour illus.)
Exhibition catalogue; Australian landscape 1802-1975; Frances McCarthy (Australia), Ian North (Australia, b.1945), Daniel Thomas; 1972, 'Impressionist' by Elizabeth Young, pg. 11-17.
General/Periodical; Art Gallery of New South Wales Quarterly (Vol. 10, No. 4); Editor Unknown; Jul 1969, 472, 473 (illus.), 483, 'Tom Roberts' by Daniel Thomas, pg. 466-487.
Scholarly/Book; Masterpieces of Australian painting; James Gleeson (Australia, b.1915, d.2008), John Henshaw (New Zealand; Australia, b.1929, d.2006); 1969, 63 (colour illus.), plate no. 16
Book; A Pictorial History of Bushranger; Tom Prior; 1968
Book; Tom Roberts; Arnold Shore (Australia, b.1897, d.1963); 1964, 17 (illus.), 29
Newspaper; The Times; Editor Unknown; 28 Mar 1962, 15 (illus.), Our Adelaide Correspondent, 'Australian art - Colonial to Contemporary', pg. 15.
Exhibition catalogue; Australian Painting: Colonial, Impressionist, Contemporary; Clive Turnbull, Jean Campbell (Australia), Daniel Thomas; 1962, cat.no. 49
Book; Paintings of Tom Roberts; Robert Richmond Campbell (Australia, b.1902, d.1972); 1962, 5, 8, 10, 28, 29 (colour illus.), NOTE: from page 13 not paginated
Exhibition catalogue; The Adelaide Festival of Arts 1962: Special exhibitions at the National Gallery of South Australia; Author Unknown; 1962, 'Australian Paintings: Colonial, Impressionist, Contemporary', not paginated, cat. no. 49
General/Book; Painting; Brian Finemore (Australia, b.1925, d.1975); 1961, 3, 12 (illus.), 'Introduction' by Brian Finemore, pg. 4-5.
Exhibition catalogue; The arts festival of the Olympic Games, Melbourne: a guide to the exhibitions with introductory commentaries on the arts in Australia; Olympic Civic Committee of Melbourne City Council (Australia, active 1956); 1956, 20, 102 (illus.), 145, cat.no. 113
General/Book; A gallery of Australian art; Herbert Badham (Australia, b.1899, d.1961); 1954, xiv, (illus.), 'Introduction' by Herbert Badham, pg. v-vii., plate no. 9
Exhibition catalogue; A retrospective exhibition of Australian painting; Hal Missingham (Australia, b.1906, d.1994); 1953, cat.no. 62
Exhibition catalogue; Jubilee exhibition of Australian art; Laurie Thomas (Australia, b.1915, d.1974); 1951, 12 (colour illus.), 40, cat.no. 111
Exhibition catalogue; Art of the United Nations; Frederick A. Sweet (United States of America, b.1903); 1944, 10 (illus.), 'Australia: Tom Roberts, Bailed up', pg. 10., A photocopy of this entry is held in the Australian Department curatorial files.
Exhibition catalogue; Art of Australia 1788-1941; Sydney Ure Smith (Australia, b.1887, d.1949); 1941, 33, (illus.), cat.no. 36
General/Book; Now came still evening on; Julian Ashton (England; Australia, b.1851, d.1942); 1941, 99, Ashton calls this work "Sticking up the Mail Coach"
Exhibition catalogue; 150 years of Australian art; Lionel Lindsay (Australia, b.1874, d.1961); 1938, cat.no. 98
Book; Tom Roberts: father of Australian landscape painting; Robert Croll (Australia, b.1867, d.1947); 1935, 38, 164-65
Book; The story of Australian art from the earliest known art of the continent to the art of today (Vol. 1); William Moore (Australia, b.1868, d.1937); 1934, (illus.), 'National life' by William Moore, pg. 122-152.
Newspaper; The Sydney Morning Herald; Editor Unknown; 30 Apr 1917
Audio cover; The ABC/National Library of Australia Heritage Collection Robbery Under Arms read by John Stanton; Rolf Boldrewood (Australia), cover (illus.)
Book; A Treasury of Australian Folklore Illustrated Australian Classic Literature; Bill Beatty (Australia), cover (illus.)
Exhibition venue
Title: Australian Impressionism
Organizer: Ian Potter Centre: NGV Australia
Venue: Ian Potter Centre: NGV Australia
Opening: 31 Mar 2007
Closing: 08 Jul 2007
Curator: Smith, Geoffrey
Lane, Terence
Title: Australian icons: twenty artists from the collection
Organizer: Art Gallery of New South Wales
Venue: Art Gallery of New South Wales
Opening: 04 Aug 2000
Closing: 03 Dec 2000
Curator: Pearce, Barry
Title: Australian Collection Focus: Tom Roberts Bailed Up 1895/1927
Organizer: Art Gallery of New South Wales
Venue: Art Gallery of New South Wales
Opening: 25 Jul 1998
Closing: 25 Oct 1998
Curator: Pearce, Barry
Title: Tom Roberts: As you've never seen him before (1996)
Organizer: Tasmanian Museum and Art Gallery
Venue: Tasmanian Museum and Art Gallery
Opening: 29 Nov 1996
Closing: Unknown
Title: Tom Roberts (1996-1997)
Organizer: Art Gallery of South Australia
Venue: Art Gallery of Western Australia
Opening: 11 Jun 1997
Closing: 27 Jul 1997
Curator: Radford, Ron
Venue: Art Gallery of New South Wales
Opening: 19 Apr 1997
Closing: 01 Jun 1997
Curator: Radford, Ron
Venue: National Gallery of Victoria [St Kilda Road]
Opening: 12 Feb 1997
Closing: 06 Apr 1997
Curator: Radford, Ron
Venue: Tasmanian Museum and Art Gallery
Opening: 30 Nov 1996
Closing: 27 Jan 1997
Curator: Radford, Ron
Venue: Art Gallery of South Australia
Opening: 05 Oct 1996
Closing: 17 Nov 1996
Curator: Radford, Ron
Title: Two hundred years of Australian painting : Nature, people and art in the southern continent
Organizer: National Museum of Western Art, Tokyo
Art Gallery of New South Wales
Nihon Keizai Shimbun
Venue: The National Museum of Modern Art, Kyoto
Opening: 14 Jul 1992
Closing: 06 Sep 1992
Curator: Pearce, Barry
Arikawa, Haruo
Venue: National Museum of Western Art, Tokyo
Opening: 28 Apr 1992
Closing: 28 Jun 1992
Curator: Pearce, Barry
Arikawa, Haruo
Title: Australian Painting: Colonial, Impressionist, Contemporary
Organizer: Adelaide Festival of Arts
Venue: Tate Britain
Opening: 24 Jan 1963
Closing: 03 Mar 1963
Venue: Art Gallery of Western Australia
Opening: 23 Sep 1962
Closing: 24 Oct 1962
Venue: National Gallery of South Australia
Opening: 17 Mar 1962
Closing: 31 Mar 1962
Notes: cat.no. 49
Title: The Arts Festival of the Olympic Games (1956)
Organizer: National Gallery of Victoria [Swanston Street]
Venue: National Gallery of Victoria [Swanston Street]
Opening: 18 Nov 1956
Closing: 15 Dec 1956
Notes: cat.no. 113; NOTE: this work appears in the catalogue, however, further research needs to clarify whether the work actually went to the exhibition
Title: A retrospective exhibition of Australian painting
Organizer: Art Gallery of New South Wales
Venue: Art Gallery of New South Wales
Opening: 25 Sep 1953
Closing: 25 Oct 1953
Notes: cat.no. 62
Title: Jubilee exhibition of Australian art
Organizer: Plastic Arts Committee for the Commonwealth Jubilee Celebrations, 1951
Venue: Art Gallery of Western Australia
Opening: 12 Nov 1951
Closing: 10 Dec 1951
Curator: Thomas, Laurie
Notes: cat.no. 111
Venue: Art Gallery of South Australia
Opening: 24 Sep 1951
Closing: 20 Oct 1951
Curator: Thomas, Laurie
Notes: cat.no. 111
Venue: Queensland Art Gallery
Opening: 06 Aug 1951
Closing: 01 Sep 1951
Curator: Thomas, Laurie
Notes: cat.no. 111
Venue: Art Gallery of New South Wales
Opening: 25 Jun 1951
Closing: 21 Jul 1951
Curator: Thomas, Laurie
Notes: cat.no. 111
Venue: Queen Victoria Museum and Art Gallery, Launceston
Opening: 09 Apr 1951
Closing: 28 Apr 1951
Curator: Thomas, Laurie
Notes: cat.no. 111
Venue: Tasmanian Museum and Art Gallery
Opening: 12 Mar 1951
Closing: 31 Mar 1951
Curator: Thomas, Laurie
Notes: cat.no. 111
Title: Tom Roberts - Retrospective Exhibition
Organizer: Art Gallery of New South Wales
Venue: Art Gallery of South Australia
Opening: Nov 1947
Closing: Jan 1948
Venue: National Gallery of Victoria [Swanston Street]
Opening: Nov 1947
Closing: Jan 1948
Venue: Art Gallery of New South Wales
Opening: Nov 1947
Closing: Jan 1948
Title: Art of the United Nations
Organizer: The Art Institute of Chicago
Venue: The Art Institute of Chicago
Opening: 16 Nov 1944
Closing: 01 Jan 1945
Notes: no catalogue numbers, listed under 'Australia'
Title: Art of Australia 1788-1941
Organizer: Art Gallery of New South Wales
Venue: North Texas State Teachers' College
Opening: 14 Jun 1945
Closing: 05 Jul 1945
Venue: University of Oklahoma
Opening: 14 May 1945
Closing: 04 Jun 1945
Venue: Oklahoma Art Center
Opening: 13 Apr 1945
Closing: 04 May 1945
Venue: Quincy Art Club
Opening: 09 Mar 1945
Closing: 30 Mar 1945
Venue: Munson-Williams-Proctor Institute
Opening: 06 Feb 1945
Closing: 27 Feb 1945
Venue: Society Liberal Arts, Joslyn Memorial
Opening: 06 Jan 1945
Closing: 27 Jan 1945
Notes: It is uncertain whether 'Bailed up' was shown at this venue as it was on display at the exhibition 'Art of the United Nations' held at the Art Institute of Chicago, 16 Nov 1944 - 1 Jan 1945.
Venue: Hamline University
Opening: 01 Dec 1944
Closing: 17 Dec 1944
Notes: It is impossible for 'Bailed up' to have been at this venue as it was shown at the exhibition 'Art of the United Nations' held at the Art Institute of Chicago, 16 Nov 1944 - 1 Jan 1945.
Venue: Rosicrucian Egyptian Oriental Museum
Opening: 19 May 1944
Closing: 16 Jun 1944
Venue: San Francisco Museum of Art
Opening: 04 Apr 1944
Closing: 07 May 1944
Venue: Heard Museum, Phoenix Fine Arts Association
Opening: 21 Feb 1944
Closing: 20 Mar 1944
Venue: Abilene Museum of Fine Arts
Opening: 10 Jan 1944
Closing: 07 Feb 1944
Venue: Museum of Fine Arts, Dallas
Opening: 28 Nov 1943
Closing: 26 Dec 1943
Venue: Philbrook Art Museum
Opening: 20 Oct 1943
Closing: 17 Nov 1943
Venue: Rockhill Nelson Gallery
Opening: 07 Sep 1943
Closing: 08 Oct 1943
Venue: Fort Wayne Art School and Museum
Opening: 12 May 1943
Closing: 31 May 1943
Venue: Herron Museum of Art, Indianapolis
Opening: 08 Apr 1943
Closing: 05 May 1943
Venue: Detroit Institiute of Arts
Opening: 01 Jan 1943
Closing: 29 Jan 1943
Venue: Cleveland Museum of Art
Opening: 09 Nov 1942
Closing: 07 Dec 1942
Venue: Rochester Memorial Art Gallery
Opening: 05 Oct 1942
Closing: 02 Nov 1942
Venue: Toledo Museum of Art
Opening: 06 Sep 1942
Closing: 27 Sep 1942
Venue: Los Angeles County Museum of Art
Opening: 10 Jul 1942
Closing: 27 Aug 1942
Venue: Wilmington Society of Fine Arts
Opening: 01 Jun 1942
Closing: 27 Jun 1942
Venue: Carnegie Institute
Opening: 03 Apr 1942
Closing: 15 May 1942
Venue: Yale University Art Gallery
Opening: 02 Mar 1942
Closing: 23 Mar 1942
Venue: Metropolitan Museum of Art
Opening: 17 Nov 1941
Closing: 31 Dec 1941
Venue: National Gallery of Art, Washington
Opening: 01 Oct 1941
Closing: 26 Oct 1941
Title: 150 years of Australian art
Organizer: Art Gallery of New South Wales
Venue: National Art Gallery of New South Wales
Opening: 27 Jan 1938
Closing: 25 Apr 1938
Notes: cat.no. 98
Title: Tom Roberts (1928)
Organizer: Macquarie Galleries
Venue: Macquarie Galleries
Opening: 28 Jun 1928
Closing: 07 Jul 1928
Curator: Burdett, Basil
Young, John
Title: Exhibition of oil paintings by Tom Roberts (1928)
Organizer: Fine Art Society PLC
Venue: Fine Art Society PLC
Opening: 02 Mar 1928
Closing: 10 Mar 1928
Title: Society of Artists First Exhibition (1895)
Organizer: Society of Artists
Venue: York Street Skating Rink
Opening: 28 Sep 1895
Closing: 20 Oct 1895
Notes: cat.no. 29; price: £275
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