Cirrus@Austlit

'Would Blaxland, Wentworth and Lawson have ever crossed the Blue Mountains without the help of the local Aboriginal people? The invaluable role of local guides in this event is rarely recognised. As silent partners, Aboriginal Australians gave Europeans their first views of iconic animals, such as the Koala and Superb Lyrebird, and helped to unravel the mystery of the egg-laying mammals: the Echidna and Platypus. Well into the twentieth century, Indigenous people were routinely engaged by collectors, illustrators and others with an interest in Australia's animals. Yet this participation, if admitted at all, was generally ƯƯbarely acknowledged. However, when documented, it was clearly significant. Penny Olsen and Lynette Russell have gathered together Aboriginal peoples' contributions to demonstrate the crucial role they played in early Australian zoology. The writings of the early European naturalists clearly describe the valuable knowledge of the Indigenous people of the habits of Australia's bizarre (to a European) fauna. Australia's First Naturalists is invaluable for those wanting to learn more about our original inhabitants' contribution to the collection, recognition and classification of Australia's unique fauna. It heightens our appreciation of the previously unrecognised complex knowledge of Indigenous societies.'  (Publication summary)

'Nineteenth-century writer and journalist Louisa Atkinson was a remarkable woman. She was the author, at the age of 23, of the first novel penned by a native-born woman to be published in Australia. She was also a keen naturalist, whose close observations and detailed knowledge of the natural world found expression in the articles she wrote for Sydney newspapers. Yet Louisa Atkinson also created many artworks of the flora and fauna around her home in the Blue Mountains, most of which went unpublished during her lifetime.

'Presented in the style of a sketchbook, and organised by season, Louisa Atkinson’s Nature Notes teams Louisa’s beautiful drawings and paintings of Australian plants, animals and birds with short extracts from her nature writings. The book includes an essay about Louisa Atkinson’s life and milieu by nature and science writer Penny Olsen.

'In Louisa Atkinson: Nature Notes Louisa’s beautiful sketches of Australian plants and wildlife are brought together with her articles from the Sydney newspapers in a reimagining of one of her sketchbooks. The result is a season-by-season account of nature in the Australian bush, observed by one who had a great respect and love for even the smallest of creatures.

'Perfect for dipping into, Louisa Atkinson’s Nature Notes is a nostalgic coffee-table book for anyone who loves art, nature or history. An ideal Mother’s Day or Christmas gift.

'The selection of Louisa’s writings was edited and chosen by natural history author, Penny Olsen, who has also contributed a short lively biography at the back of the book.' (Publication summary)

'‘the best ornithological illustrator alive’

David Attenborough

'In the work of artist William T. Cooper, platypuses swim in green underwater worlds, waves throw up blankets of spray, embers glow in the aftermath of a bushfire, a Thylacine emerges from the shadows, sniffing the air. But it is his paintings of birds which set Cooper apart—his raucous cockatoos, colourful parrots, animated turacos and flamboyantly displaying birds of paradise. Often placed in meticulously studied landscapes, these intricate bird portraits reveal Cooper’s close observation not only of his subjects’ appearance, but their habits, poses and behaviour.

'In this biography, Penny Olsen traces the path of Cooper’s life and art—from his childhood spent in the bush, to his teenage years as an apprentice taxidermist at Carey Bay Zoo and, later, to his work as a window dresser and landscape artist. She documents his fruitful partnership with wife and collaborator Wendy Cooper and his extensive travels in Australia and abroad in pursuit of his subjects. Olsen’s commentary reveals the development of an artist and the trajectory of a life, while extracts from Cooper’s extensive field notebooks give an insight into his interests and processes.

'Illustrated with photographs, paintings and sketches, and includes a portfolio of bird and landscape paintings that have never before been published. ' (Publication abstract)

'Eddy Emu has lost one of his eggs. He travels far and wide looking for it. Has Lizzie Lizard seen it? Has Susie Spider found it? Is it among Connie Crocodiles eggs? Can Pip and Poppy Penguin help him? Join Eddy on his search and meet his friends. See all their different eggs and then lift the flap to meet the babies that have just hatched.' (Publication summary)

Robert David Fitzgerald (1830–1892) arrived in Australia in 1856 as a young man of 25. An Irish immigrant, he was soon employed by the Lands Department, where he rose to become a successful colonial surveyor.

'Cayley & Son charts the lives and works of Australian bird artists Neville Henry Cayley (1854–1903) and his son Neville William (1886–1950). Peripatetic, often impecunious, and with a reputation for hard drinking, Neville Henry was a nevertheless a highly talented artist, whose dreams of publishing a ‘big bird book’ — a comprehensive publication on Australian birds — never came to fruition. His son Neville William was also a keen artist. ‘Buoyant’ in personality, sometimes outspoken and argumentative, he was a pioneer of the surf lifesaving movement before turning his attention to the painting of birds. Taking a more scientific approach than his father, he was to complete the classic field guide known to bird enthusiasts throughout Australia: What Bird Is That?.

From the depictions of gamebirds in Neville Henry’s work, to his son’s focus on conservation and education, the history of the two men is also a social history of Australia, and their work can be read as a barometer of changing attitudes to wildlife and its conservation.

Cayley & Son features a biographical essay on each of the two men, followed by a portfolio of their paintings. With over 100 colour plates of works from the collections of the National Library of Australia, it is a book for art- and bird-lovers alike.' (Publisher's blurb)

'Around 1870, Ferdinand von Mueller, the greatest Australian botanist of the nineteenth century, began to advertise in several newspapers across Australia for 'lady' plant collectors. This was at a time when women typically had little recourse to science, or contact with men outside their circle of friends, making Mueller's network of ladies quite extraordinary. Collecting Ladies profiles 14 of Mueller's coterie of women collectors. Included are Fanny Charsley, Louisa Atkinson, Annie Walker and Ellis Rowan for whom Mueller made time to assist in pursuit of their own passions. He identified the plants they painted and provided letters of introduction to publishers and scientists. Together, these ladies produced some of the most beautiful books and botanical art to come out of Australia in the nineteenth century, covering all the Australian colonies. ' (Publisher's blurb)

'Rocky and Ruby Robin have decided to build a nest. Before they start, they visit all their friends to see what sort of nest would be best. Each bird sells the virtues of their own particular nest design, but the robins don't feel that any of them is quite right for them.

'A re-telling of an original story written in the 1940s, this tale has old-fashioned charm and is presented in a lively, colourful way.' (From the publisher's website.)