Loading... Please wait...
  • Giclee: Title Page of  G.F. Angas "South Australia Illustrated".  British artist designed this image based on Angas' paintings, but adapting elements to stereotypical British Antipodean ideals
  • Composed using George French Angas Adelaide Plains Aboriginal Tribal Studies- the general appearance of the family is correct, but the nose bone, feather Maori covering and the woman's fur-pelt was not recorded by Angas.
  • The white-tipped bushy tail is evidence of the title page being composed by a British artist, as Angas would not have conveyed this as the Dingo, or native dog. The lady is covered discreetly  with European clothing.
  • Here we have the two native emblems of Australia, the emu and the kangaroo. the British artist has made a common mistake of painting the muscular marsupial tail akin to a dog's tail.

Giclee Angas Hawkins South Australia Illustrated Title Page


Product Description

Giclee, George French Angas, South Australia Illustrated Title Page, Benjamin Hawkins, Australian fauna & flora, Aborigines

Archival limited edition giclee print ( /300) after the original hand colored lithograph by J.W. Giles after artist George French Angas for his ambitious publication "South Australia Illustrated".

Originally published in London between 1846 - 47, the prints were sold to 200 subscribers, eager to see what this brave British prototype freely-settled colony had to offer after a decade of settlement. How many of those 200 original hand coloured lithographs still exist has prompted issuing this high quality light-safe inkjet process printed on cotton conservation paper.

 Size of Image = 37cm x 54cm (21 1/4 x 14 1/2 inch)

 Issued with Archival Limited Edition certificate.

 George French Angas was the son of London Financier George Fife Angas. He declined the opportunity to join the family firm being determined to follow his artistic nature. Instead he ventured to this new colony his Baptist father had invested in, South Australia Company. He set about recording its wonders through commissions & offering his artist abilities to explorers, notable the Governor George Grey's venture to the South East to Mount Gambier. It is in his insets illustrating this map we see evidence of the the subsequent paintings of the Blue Lake and Devil's Punch Bowl sent back to the London publisher to be lithographed.

Having gone against his father's wishes, his financial training lead him to engaged a lithograph publisher, Thomas McLean, to lithograph the paintings he would eventually send back to London. It fell to Benjamin Waterhouse Hawkins (1807-1889) to design the frontis piece aka Title Page from the newly discovered wonders Angas was revealing. The artistic Angas Junior had been trained by Hawkins in anticipation of his desired adventure to South Australia, New Zealand and finally South Africa.

Here we see Angas' sympathetic treatment of the indigenous inhabitants mixed with the stereotypical interpretation of an artist "back home" who yearned to convey a romantic, exotic edge. Angas was keen to represent what he painted accurately. As a consequence many of his aboriginal portraits were in traditional coverings, if any at all. The London lithographers/artists modified his honest renderings to suit the Victorian tastes of the era, hence clothing them with European clothes. Another stereotypical misrepresentation was the bone piercing in the nose. This was not traditional among the Adelaide Plains tribes.

British artists often confused Australian Aborigines with Maoris and other Pacific Islanders, proof that they were not painting from "insitu" observation but a general idea of the Antipodean inhabitants.

More proof that Angas had not designed the title page of his South Australia Illustrated, is the foreground kangaroo tails are reminiscent of the initial George Stubbs attempt in 1772. The the "native dog" in the hollow, with its bushy fox-like tail, is a construct of what Hawkins was familiar with anatomically, that of a fox.


Product Videos

Saved for the Nation: George Stubbs' Kangaroo and Dingo (02:20)
Waldemar Januszczak celebrates the successful 'Save our Stubbs' campaign. After many months of fundraising, these masterpieces by George Stubbs will remain in Britain, free for all to see in the National Maritime Museum in London. For more information visit their website: http://www.rmg.co.uk/national-maritime-museum/save-our-stubbs/
  • Saved for the ...
    Waldemar Januszczak celebrates the successful 'Save our Stubb...

Product Reviews

Write Review

  1. Love the pet Dingo Fox 5 Star Review

    Posted by on 25th May 2012

    Fantastic that an early colonial artist got out of his head that "Noble Savage" idea and actually painted what he saw. These are the most sympathetically rendered Indigenous Australians I have seen (albeit some of the additions-bone in the nose, clothes, foxes for dingoes-by the lithographers back in London!

  2. Rare as Hen's Teeth 5 Star Review

    Posted by on 13th Oct 2011

    For anyone interested in South Australian heritage this is where it all starts being recorded.



Recent Updates

Connect with us