Lieutenant General Sir Edmund Francis Herring, was a senior Australian Army officer during the Second World War, Lieutenant Governor of Victoria, Chief Justice of the Supreme Court of Victoria. A Rhodes scholar, Herring was at New College, when the First World War broke out and served with the Royal Field Artillery on the Macedonian front, for which he was awarded the Military Cross and Distinguished Service Order. After the war he carved out a successful career as King's Counsel, he joined the Australian Army, rising to the rank of colonel by 1939. During the Second World War, Herring commanded the 6th Division Artillery in the Western Desert Campaign and the Battle of Greece. In 1942, as a corps commander, he commanded the land forces in the Kokoda Track campaign; the following year, he directed operations in the Salamaua-Lae campaign and Finisterre Range campaign. Herring left his corps to become the longest-serving Chief Justice and Lieutenant Governor of Victoria, serving for three decades.
In the latter capacity, he was patron of many charitable organisations. Edmund Francis Herring, known as Ned to his family, was born in Maryborough, Victoria, on 2 September 1892, the third of five children of Edmund Selwyn Herring, a solicitor, his Irish-born wife Gertrude Stella Herring Fetherstonhaugh, he was educated at Maryborough College and High School and at Melbourne Grammar, where he excelled at tennis and cricket, was both School Captain and Dux in 1910. While at Melbourne Grammar, he served in the Commonwealth Cadet Corps, reaching the rank of sergeant. In 1911, Herring entered Trinity College, the Church of England residential college at the University of Melbourne, where he played cricket and tennis. In 1912, he won a Rhodes Scholarship to the University of Oxford in England. There, he joined the Officers Training Corps in 1913. In November of that year he enlisted as a trooper in King Edward's Horse, a cavalry unit in the British Army. King Edward's Horse was mobilised in August 1914, but was not sent overseas.
In December 1914, Herring was commissioned as a second lieutenant in the Royal Field Artillery, was posted to B Battery, 99th Field Artillery Brigade of the British 22nd Division. The division moved to the Western Front in August 1915, but was there only a month before being transferred to the Macedonian front, where it served for the rest of the war. In the Battle of Doiran in April 1917, Herring served as an artillery observer, directing artillery fire in support of the 22nd Division's attack from a front line observation post on Pip Ridge. There was a furious artillery duel. Twenty minutes after Captain Thomas Winwood took Herring's place as forward observer, the observation post took a direct hit from an enemy shell, killing Winwood. Herring succeeded Winwood as battery captain, was promoted to acting captain in April 1917. For his "conspicuous gallantry and devotion to duty" under heavy shellfire, Herring received an immediate award of the Military Cross. After three years' service, Herring was granted three weeks' leave in Australia in October 1917.
He returned to Maryborough, where he met Mary Ranken Lyle, the daughter of the mathematical physicist Thomas Lyle a medical student at the University of Melbourne, on New Year's Day 1918. The two agreed to correspond regularly. Herring departed for Salonika in February, returning to duty there in March 1918, was promoted to acting major on 24 October 1918 on assuming command of B Battery, 99th Field Artillery Brigade. For his service as a battery commander, he was awarded the Distinguished Service Order, he reverted to lieutenant on ceasing to command the battery on 22 January 1919. When the war ended, Herring wished to return to Australia and see Mary before resuming his studies at the University of Oxford in October 1919. Mary wrote back pointing out the impracticality of this idea; the university had awarded him a wartime Bachelor of Arts degree in 1915. Since it had been five years since he had been awarded his BA, he was entitled to a MA as well, graduated with both degrees in July 1920. After a holiday in Britain and France with his sister Kathleen, he arrived back in Melbourne on 26 November 1920.
Herring was admitted to practice in Victoria as a barrister and solicitor on 1 March 1921 and signed the roll of counsel of the Victorian Bar on 8 June of that year, while Mary graduated with her Bachelor of Medicine and Surgery and became a resident surgeon at Royal Melbourne Hospital. The two were married on 6 April 1922, had three daughters, Mary Cecile, born in 1924, Judith Ann, born in 1926, Margaret Lyle, born in 1933. Herring worked as a barrister, lectured in law at the University of Melbourne, he became a King's Counsel on 25 February 1936. Mary worked as a physician at antenatal clinics. Herring joined the Australian Army on 1 October 1922 as a legal staff officer in the part-time militia, with the rank of captain. On 1 August 1923 he transferred to Australian Field Artillery, he was promoted to major on 1 July 1925, lieutenant colonel on 1 July 1929, temporary colonel on 1 August 1939, commanding the 3rd Division Artillery. Herring was involved in politics throughout the 1930s, he was elected to the Melbourne Club in 1927, a year.
He joined an organisation founded by Robert Menzies and Wilfrid Kent Hughes. Along with many senior army and ex-army officers, he was a member of the clandestine far-right wing paramilitar
John Olsen (Australian artist)
John Henry Olsen, AO, OBE is an Australian artist and winner of the 2005 Archibald Prize. Olsen's primary subject of work is landscape. John Olsen was born in Newcastle on 21 January 1928, he moved to Bondi Beach with his family in 1935 and began a lifelong fascination with Sydney Harbour. He attended Hunters Hill. After leaving school in 1943, he went to the Datillo Rubbo Art School in 1947 and from 1950 to 1953 studied at the Julian Ashton Art School in Sydney, Auburn School from 1950 to 1956. In 1957, a Sydney art critic raised funds for John Olsen to paint, he studied printmaking in Paris followed by two years in Spain. Olsen returned to Sydney in 1960, he wanted to represent Australian culture in such a way that the world would see the diversity in the changing outback seasons. In 1968, Olsen set up and ran the Bakery Art School and in 1970, he was commissioned by the Sir William Dobell Art Foundation to paint a large mural entitled,'Salute to Five Bells', inspired by Kenneth Slessor's poem and completed in 1973.
Olsen's work has been marked by a deep engagement with the Australian landscape and he has lived for long periods in different parts of the country and travelled in it. He has served on the boards of the Art Gallery of the National Art Gallery, his artworks include the Lake Eyre series. He is a regular visitor to Lake Eyre, in 2011 had been invited to be a member of the party in which Paul Lockyer and two other ABC employees died in a helicopter crash at the lake, but declined due to ill-health, he offered a painting and a poem in memory of those killed. More recent works include Clarendon. One of Olsen's most successful murals, Salute to Five Bells, is in the Sydney Opera House. Although he has been labelled as an abstract artist, Olsen rejects this label, stating, "I have never painted an abstract painting in my life", he describes his work as "an exploration of the totality of landscape". Olsen published his diaries, under the title'Drawn From Life', in 1997. Olsen's book My Salute to Five Bells which contains the artist's thoughts, diary entries and his original drawing for the work, was published by the National Library of Australiain 2015.
Olsen is well known for including frogs in many of his works. In 2013, he began work on his largest painting since Salute to Five Bells. Eight metres by six metres wide, on eight panels, The King Sun was hung in Collins Square in the Melbourne Docklands; the work depicts a brilliant Australian sun. Olsen and his work on the mural are the subject of 2014 documentary The King Sun, directed by New Zealander Tony Williams. In Australia's New Year's Honours of 1977, Olsen was appointed an Officer of the Order of the British Empire, in 1993 he was awarded an Australian Creative Fellowship and in the Australia Day Honours of 2001 he was appointed an Officer of the Order of Australia, he was awarded the Centenary Medal on 1 January 2001. He was awarded the Wynne Prize in both 1969 and 1985. In 1989, Olsen won the Sulman with his work "Don Quixote enters the Inn"He won the 2005 Archibald Prize for his portrait Self portrait Janus Faced. Olsen has described his approach to painting as "taking the line for a holiday:" He says: "It's an interrogatory line, you know: I'm asking a question.
The line says'Move me this way,' and I say,'Yes? Really? Okay. If you want to go this way, okay.' " He waves his hand gently. "Then it says,'No, little bit that way."All right, I'll move you that way."No."All right, all right. We'll participate.' Olsen lives near New South Wales. His son Tim is a gallery owner in Sydney and his daughter Louise designs jewellery. Daughter Jane Olsen, died in 2009. John Olsen on Artabase National Gallery Victoria John Olsen
The Herald and Weekly Times
The Herald and Weekly Times Limited is a newspaper publishing company based in Melbourne, Australia. It is owned and operated by Rupert Murdoch's News Corp Australia, which purchased HWT in 1987; the HWT's newspaper interests date back to the launch of the Port Phillip Herald. The company publishes the morning daily tabloid Herald Sun, created in 1990 from a merger of the company's morning tabloid paper, The Sun News-Pictorial, with its afternoon broadsheet paper, The Herald; the Herald had The Sun News-Pictorial a 68-year history in Melbourne. HWT had bought The Sun News-Pictorial in 1925; the HWT publishes The Weekly Times, aimed at farmers and rural business. The HWT bought a controlling stake in The Advertiser of Adelaide in 1929. From 1929 until 1987, HWT owned and operated Melbourne radio station 3DB. In 1929, 3DB along with 3UZ participated in experimental television broadcasts using the Radiovision system; the Advertiser took a stake in The News two years later. The News was sold in 1949.
The HWT bought The West Australian in 1969, but sold it to Robert Holmes à Court in 1987 as part of the News Limited takeover. HSV-7 3DB
A portrait is a painting, sculpture, or other artistic representation of a person, in which the face and its expression is predominant. The intent is to display the likeness and the mood of the person. For this reason, in photography a portrait is not a snapshot, but a composed image of a person in a still position. A portrait shows a person looking directly at the painter or photographer, in order to most engage the subject with the viewer. Most early representations that are intended to show an individual are of rulers, tend to follow idealizing artistic conventions, rather than the individual features of the subject's body, though when there is no other evidence as to the ruler's appearance the degree of idealization can be hard to assess. Nonetheless, many subjects, such as Akhenaten and some other Egyptian pharaohs, can be recognised by their distinctive features; the 28 surviving rather small statues of Gudea, ruler of Lagash in Sumeria between c. 2144–2124 BC, show a consistent appearance with some individuality.
Some of the earliest surviving painted portraits of people who were not rulers are the Greco-Roman funeral portraits that survived in the dry climate of Egypt's Fayum district. These are the only paintings from the classical world that have survived, apart from frescos, though many sculptures and portraits on coins have fared better. Although the appearance of the figures differs they are idealized, all show young people, making it uncertain whether they were painted from life; the art of the portrait flourished in Ancient Greek and Roman sculpture, where sitters demanded individualized and realistic portraits unflattering ones. During the 4th century, the portrait began to retreat in favor of an idealized symbol of what that person looked like. In the Europe of the Early Middle Ages representations of individuals are generalized. True portraits of the outward appearance of individuals re-emerged in the late Middle Ages, in tomb monuments, donor portraits, miniatures in illuminated manuscripts and panel paintings.
Moche culture of Peru was one of the few ancient civilizations. These works represent anatomical features in great detail; the individuals portrayed would have been recognizable without the need for other symbols or a written reference to their names. The individuals portrayed were members of the ruling elite, priests and distinguished artisans, they were represented during several stages of their lives. The faces of gods were depicted. To date, no portraits of women have been found. There is particular emphasis on the representation of the details of headdresses, body adornment and face painting. One of the best-known portraits in the Western world is Leonardo da Vinci's painting titled Mona Lisa, a painting of Lisa del Giocondo. What has been claimed as the world's oldest known portrait was found in 2006 in the Vilhonneur grotto near Angoulême and is thought to be 27,000 years old; when the artist creates a portrait of him- or herself, it is called a self-portrait. Identifiable examples become numerous in the late Middle Ages.
But if the definition is extended, the first was by the Egyptian Pharaoh Akhenaten's sculptor Bak, who carved a representation of himself and his wife Taheri c. 1365 BC. However, it seems that self-portraits go back to the cave paintings, the earliest representational art, literature records several classical examples that are now lost; the official portrait is a photographic production of record and dissemination of important personalities, notably kings and governors. It is decorated with official colors and symbols such as flag, presidential stripes and coat of arms of countries, states or municipalities. There is connotation as an image of events and meetings. Portrait photography is a popular commercial industry all over the world. Many people enjoy having professionally made family portraits to hang in their homes, or special portraits to commemorate certain events, such as graduations or weddings. Since the dawn of photography, people have made portraits; the popularity of the daguerreotype in the middle of the 19th century was due in large part to the demand for inexpensive portraiture.
Studios sprang up in cities around the world, some cranking out more than 500 plates a day. The style of these early works reflected the technical challenges associated with 30-second exposure times and the painterly aesthetic of the time. Subjects were seated against plain backgrounds and lit with the soft light of an overhead window and whatever else could be reflected with mirrors; as photographic techniques developed, an intrepid group of photographers took their talents out of the studio and onto battlefields, across oceans and into remote wilderness. William Shew's Daguerreotype Saloon, Roger Fenton's Photographic Van and Mathew Brady's What-is-it? Wagon set the standards for making other photographs in the field. In politics, portraits of the leader are used as a symbol of the state. In most countries it is common protocol for a portrait of the head of state to appear in important government buildings. Excessive use of a leader's portrait, such as that done of Joseph Stalin, Adolf Hitler, or Mao Zedong, can be indicative of a personality cult.
In literature the term portrait refers to analysis of a person or thing. A written portrait gives deep insight, offers an analysis that goes far beyond the superficial. For example, American author Patricia Cornwell wrote a best-selling book entitled Portrait of a Killer about
Sam Leach (artist)
Sam Leach is an Australian contemporary artist. He was born in South Australia. Leach worked for many years in the Australian Tax Office after completion of a degree in Economics, he completed a Diploma of Art, Bachelor of Fine Art degree and a Master of Fine Art degree at RMIT in Melbourne, Victoria. Leach resides in Melbourne. Leach's work has been exhibited in several museum shows including "Optimism" at the Queensland Art Gallery and "Neo Goth" at the University of Queensland Art Museum in 2008, in 2009 "the Shilo Project" at the Ian Potter Museum of Art and "Horror Come Darkness" at the Macquarie University Art Gallery and "Still" at Hawkesbury Regional Gallery in 2010, his work is held in public collections of regional galleries of Geelong, Gold Coast, Coffs Harbour and Gippsland and the collections of La Trobe University and the University of Queensland. His portrait of musical comedian Tim Minchin won the Archibald Prize, one of Australia's most noteworthy art prizes, in 2010. In the same year, he won the Wynne Prize for his landscape Proposal for landscaped cosmos.
In doing so he became only the third artist after William Dobell and Brett Whiteley to win the Archibald portrait prize and the Wynne landscape prize in the same year. The award has generated some controversy due to the similarities, acknowledged by Leach, between his work and one by seventeenth-century Dutch artist Adam Pynacker. 2010 Archibald Prize, Art Gallery of New South Wales, winner 2010 Wynne Prize, Art Gallery of New South Wales, winner 2010 RMIT Alumnus of the Year Award, RMIT University, Melbourne 2009 Eutick Memorial Still Life Award, Coffs Harbour Regional Gallery, Coffs Harbour, finalist 2009 Royal Bank of Scotland Emerging Artist Award, finalist 2009 University of Queensland Self Portrait Prize, finalist 2009 Arthur Guy Memorial Prize, Bendigo Art Gallery, finalist 2009 Waterhouse Natural History Prize, South Australian Museum, finalist 2009 Archibald Prize, Art Gallery of New South Wales, finalist 2008 Stan and Maureen Duke Gold Coast Art Prize, Gold Coast City Gallery, Gold Coast, finalist 2008 Waterhouse Natural History Art Prize, South Australian Museum, commendation 2008 Fleurieu Biennale, Art of Food and Wine and Water Prize, McLaren Vale, winner 2008 ABN Amro Emerging Artist Award, finalist 2008 Archibald Prize, Art Gallery of New South Wales, finalist 2007 Siemens Fine Art Award, RMIT University, winner 2007 Eutick Memorial Still Life Award, Coffs Harbour Regional Gallery, Coffs Harbour, finalist 2007 Stan and Maureen Duke, Gold Coast Art Prize, Gold Coast City Gallery, Gold Coast, finalist 2007 Metro5 Art Award, Metro Gallery, finalist 2007 Archibald Prize, Art Gallery of New South Wales, finalist 2006 Fletcher Jones Contemporary Art Prize, Geelong Gallery, Art Geelong, winner 2006 Metro5 Art Award, Metro Gallery, winner 2005 Siemens Fine Art Award, RMIT University, finalist 2004 Siemens Fine Art Award, RMIT University, finalist Leach's work features in several collections including Artbank Art Gallery of South Australia, Adelaide Coffs Harbour Regional Gallery, Coffs Harbour Christ Church Grammar School, Perth Geelong Art Gallery, Geelong Gippsland Art Gallery, Victoria Gold Coast City Gallery, Gold Coast La Trobe University Museum of Art, Melbourne Monash University Museum of Art, Melbourne Newcastle Art Gallery, Newcastle Peggy Scott and David Teplitzky Collection, New Zealand RMIT University, Melbourne University of Queensland Art Museum, Brisbane Western Plains Cultural Centre, Dubbo Leach's work has been the subject of numerous solo exhibitions.
2014 Melbourne Art Fair, Melbourne 2014 Theriophily and Substance, ART14 London 2013 Careening Meteorites and the Early Mind, Future Perfect, Singapore 2013 Sam Leach, Future Perfect, Singapore 2013 Dymaxion, Sullivan+Strumpf, Sydney 2012 The Civilising Process, VOLTA8, Sullivan+Strumpf, Switzerland 2011-12 Sam Leach: The Ecstasy of Infrastructure, TarraWarra Museum of Art, Healesville 2011 We Have Never Been Modern, ARTHK11, Sullivan+Strumpf, Asia One, Hong Kong Convention and Exhibition Centre, Hong Kong 2010 Present at Hand, Sullivan+Strumpf, Sydney 2010 Platonia, COMODAA, London, UK 2010 Cosmists, 24HR ART, Northern Territory Centre for Contemporary Art, Darwin 2009 The Next Billion Years, Sullivan+Strumpf, Sydney 2009 The Margin, Nellie Castan Gallery, Melbourne 2009 Native Dualism, Peter Walker Fine Art, Adelaide 2008 Holotypes, Nellie Castan Gallery, Melbourne 2008 Negentrophies, Sullivan+Strumpf, Sydney 2007 Unnatural Selection, Peter Walker Fine Art, Adelaide 2007 The Spoils, Nellie Castan Gallery, Melbourne 2006 Familie Kapitaal, Michael Carr Gallery, Sydney 2005 The Lift, Melbourne 2005 The Longed for Departure, Bus Gallery, Melbourne Leach's work has been featured in numerous group exhibitions.
2015 10th Anniversary Group Show, Sullivan+Strumpf, Sydney 2014 Conquest of Space, COFA Galleries, curated by Dr. Andrew Frost 2014 Art Basel Hong Kong, Sullivan+Strumpf, Hong Kong 2014 The Medium is the Message, La Trobe University Museum of Art, Victoria 2014 SSFA14, Sullivan+Strumpf, Sydney 2013 Melbourne Now, National Gallery of Victoria, Melbourne 2013 Australia: Contemporary Voices, The Fine Art Society Contemporary, London, UK 2013 SkyLab, La Trobe Regional Gallery,Victoria 2013 New Horizons, Gippsland Art Gallery, Sale 2013 Wonderworks, Cat Street Gallery, Hong Kong 2012 Haunts and Follies, Linden Centre for Contemporary Art, Melbourne 2012 Animal/Human, University of Queensland Art Museum, University of Queensland, Brisbane 2012 Lie of the Land: New Australian Landscapes, Embassy of Australia, Washington DC, USA 2011 Imagining the Future, RMIT Gallery, RMIT University, Melbourne 2011 Unknown Pleasu
The Efficiency Decoration, post-nominal letters TD for recipients serving in the Territorial Army of the United Kingdom or ED for those serving in the Auxiliary Military Forces, was instituted in 1930 for award to part-time officers after twenty years of service as an efficient and capable officer. The decoration superseded the Volunteer Officers' Decoration, the Colonial Auxiliary Forces Officers' Decoration and the Territorial Decoration. In the British Commonwealth, the decoration was superseded by national decorations in some member countries, in Canada by the Canadian Forces Decoration in 1951, in the Union of South Africa by the John Chard Decoration in 1952 and in Australia by the Reserve Force Decoration in 1982. In the United Kingdom, the decoration was superseded by the Volunteer Reserves Service Medal in 1999. New Zealand continues to award the Efficiency Decoration and is one of a few countries to still do so. In 1892 the Volunteer Officers' Decoration was instituted as an award for long and meritorious service by officers of the United Kingdom's Volunteer Force.
In 1894, the grant of the decoration was extended to officers of volunteer forces throughout the British Empire by instituting a separate new decoration, the Volunteer Officers' Decoration for India and the Colonies. The Volunteer Officers' Decoration for India and the Colonies was superseded in 1899 by the Colonial Auxiliary Forces Officers' Decoration. In the United Kingdom, the Volunteer Officers' Decoration was superseded by the Territorial Decoration in 1908, but it continued to be awarded in a few Crown Dependencies until 1930; the Efficiency Decoration was instituted by Royal Warrant on 23 September 1930 as a long service award for part-time officers of the Territorial Army of the United Kingdom and of the Auxiliary Military Forces of the British Dominions and Protectorates and India. It superseded the Volunteer Officers' Decoration, the Colonial Auxiliary Forces Officers' Decoration and the Territorial Decoration; the decoration bore a subsidiary title to denote whether the recipient qualified for its award while serving in the Territorial Army or in one of the other Auxiliary Military Forces of the Empire.
The subsidiary title was inscribed on the bar-brooch of the decoration, "TERRITORIAL" in respect of the Territorial Army or the name of the applicable country in respect of other Auxiliary Military Forces. The Royal Warrant of 23 September 1930 was amended by Royal Warrants dated 1 February 1940, 4 April 1946, 8 April 1949, 8 August 1949 and 6 August 1951. On 17 November 1952, these earlier warrants were annulled and, along with some new amendments, incorporated in one new Royal Warrant; the decoration could be awarded to part-time officers after twenty years of commissioned service, not continuous, as an efficient and capable officer on the active list of the Territorial Army or of any other Auxiliary Military Force of the British Empire. Half of the time served in the ranks could be reckoned as qualifying service for the decoration. Service in West Africa, natives of West Africa and periods spent on leave excluded, war service was reckoned two-fold as qualifying service for the decoration.
The award could be made to any Princes or Princesses of the Blood Royal. The equivalent award for other ranks was the Efficiency Medal. Recipients serving in the Territorial Army of the United Kingdom are entitled to use the post-nominal letters TD, while recipients serving in the Auxiliary Military Forces are entitled to use the post-nominal letters ED. A recipient who had earlier been awarded any Long Service and Good Conduct Medal or the Efficiency Medal or a clasp to either for service in the ranks, was not permitted to wear the medal or clasp together with the decoration until the full service periods prescribed for each medal or clasp and the decoration had been completed. From 1949, the required period of qualifying service was reduced to a minimum twelve years of commissioned service in the Territorial Force and the Auxiliary forces of the Commonwealth. In respect of officers whose service terminated before 3 September 1939, the qualifying period of commissioned service remained twenty years.
At the same time, a clasp was instituted which could be awarded upon the completion of each further period of six years of qualifying service. The maximum number of clasps awarded to one recipient is five. In the order of wear prescribed by the British Central Chancery of the Orders of Knighthood, the Efficiency Decoration takes precedence after the Ceylon Armed Services Long Service Medal and before the Territorial Efficiency Medal; the decoration is an oval skeletal design and was struck in silver, with parts of the obverse in silver-gilt. The original badge is the same as that of the King George V version of the Territorial Decoration, 43 millimetres high and 35.5 millimetres wide, but with the decoration's subsidiary title inscribed on the bar-brooch. The subsequent King George V, King George VI and Queen Elizabeth II versions are of a new design, 54 millimetres high and 37 millimetres wide, with a 15 millimetres diameter ring suspender, formed of silver wire, which passes through a small ring affixed to the top back of the crown.
The obverse is an oval oak leaf wreath in silver, tied with gold, with the Royal Cypher of the reigning monarch in the centre below the Royal Crown, both in gold. Four versions of the decoration have been awarded. On the decoration's original King George V version of 1930, the Royal Cypher "GvR", for "Georgivs V Rex", the crown are both encircled by the wreath; the first King George VI version has his Royal Cypher "GRI" for "Georgivs Rex Imperator". On this and the subsequent versions, the crown is located higher and covers the top part of the wreath
Joshua Smith (artist)
Joshua Smith was an Australian artist who won the Archibald Prize in 1944 with his portrait of Hon Sol Rosevear, MHR, Speaker of the Australian House of Representatives, but is better known as the subject of the previous year's controversial Archibald Prize win, by artist William Dobell. Although the portrait of him was popular, with more than 154,000 visitors, a court case relating to the portrait in 1943 damaged his career, as well as Dobell's. Garfield Barwick appeared for the plaintiff and, although the claim was dismissed, it made Barwick's reputation as a rising star of the legal fraternity. In an interview in 1991 Smith called the portrait a phantom that haunts me, it has torn at me every day of my life. I've tried to bury it inside me in the hope it would die; the portrait of him by Dobell had become more famous than his own work, which caused him considerable consternation. Biography on Australia Online The Best Australian Profiles, ed. Matthew Ricketson Trove