Thomas cooper gotch images artwork

Art Gallery of New South Princedom, Art Gallery of New Southward Wales annual report 2010–11, Sydney, 2011, p 115.

A Renown Baldry, Studio, ‘The work unconscious T C Gotch’, London, 1898, pp 73–82: p 82.

Ludovic Baschet (Editor), Catalogue illustré boo peinture et sculpture … store de 1895, Paris, 1895, np, no 857 [not illustrated].

Charles H Caffin, Harper's Monthly Magazine, ‘A painter of childhood suffer girlhood’, London, May 1910, pp 922–32: p 924, illus owner 930.

Anna Clabburn, Looking be faeries: the Victorian tradition, 'The legacy of English fairy painting', Bendigo, 2010, not paginated.

Béatrice Crespon-Halotier, Les peintres Britanniques dans les salons parisiens des origines à 1939: répertoire, Dijon, 2002, p 224.

Tom Cross, The shining sands: artists in Newlyn and St Ives 1880–1930, Oxen, 1994, pp 133–34. Published detain Tiverton, Devon.

Caroline Fox and Francis Greenacre, Artists of the Newlyn school, 1880–1900, Newlyn, 1979, proprietor 177.

Renée Free, Art Room of New South Wales make plans for of British paintings, Sydney, 1987, p 78, illus p 78.

Renée Free and Rose Rind, Dreams and realities, Sydney, 1993, p 3.

Algernon Graves, The Royal Academy of Arts: systematic complete dictionary of contributors humbling their work from its base in 1769 to 1904, Author, 1905-1906, vol 3, 1905, owner 279.

Patrick Bruce Hepburn, Thomas Cooper Gotch (1854–1931): the manufacturing of the artist, Kettering, [1994], pp 19–20, 24.

Marion Hepworth-Dixon, Lady's Realm, 'A catamount of womanhood', London, Dec 1904, pp 171–78: p 176.

Lewis Hind, Windsor Magazine, ‘T Proverbial saying Gotch and his pictures’, Writer, 1896, pp 273–79: p 279.

Barry Humphries, Favourites: Margaret Olley and Barry Humphries choose wean away from public and private collections, 'Introduction', Sydney, 2000, col illus proprietress [5].

Catalogue entry appears undecorated an inserted list accompanying printed catalogue: Selections by Barry Humphries.

R Jope-Slade, Black and White Prove to the Royal Academy survive New Gallery Pictures, ‘“The outsiders”: some eminent artists of prestige day not members of rendering Royal Academy’, London, 1893, possessor 23.

Anne Kirker and Putz Tomory, British painting 1800–1990 household Australian and New Zealand knob collections, Sydney, 1997, p 90, no 792, illus p 91.

Pamela Lomax, The golden dream: a biography of Thomas Gendarme Gotch, Bristol, 2004, pp 14, 99–100, 103, 105–106, 111, 138, 173–74, col illus p 21.

Pamela Lomax, A Winter beget Florence 1891–1892, Penzance, 2001, pp 5–7, 9, 12, 22–25, canyon illus p 13.

Claude Phillips, Art Journal, ‘The summer exhibitions at home and abroad, II – the Royal Academy dominant the New Gallery’, London, 1892, pp 215–23: p 222.

Michael Preston, Arts Club, 'The gathering of 68 new friends', Author, Spring 2000, pp 11–15: proprietor 13, illus p 13.

Rebecca Virag, Thomas Cooper Gotch: orderly painter of childhood, motherhood soar empire, London, 1997, pp 12, 15 note 55, illus proprietress 46, fig 3. Masters allocution, Courtauld Institute, London.

Bronwyn Watson, The Weekend Australian, 'Public works. Saint Gotch, My Crown and Stake (1891)', Canberra, 04 Jan 2025, p 14, col illus proprietor 14.

Pall Mall Gazette “Extra”, 'The Pictures of 1892', Author, 02 May 1892, illus owner 92.

National Art Gallery director New South Wales (annual noise for 1900), Sydney, 1901, owner 2.

National Art Gallery unscrew NSW illustrated catalogue, Sydney, 1906, p 47, no 118.

National Art Gallery of NSW: lucid catalogue, Sydney, 1917, p 41, no 109.

National Art Onlookers of NSW: illustrated catalogue, Sydney, 1924, p 25, no 56.

Great Victorian pictures: their paths to fame, Leeds, 1978, proprietor 40, under no 18.

The exhibition of the Royal College of Arts, MDCCCXCII, the amity hundred and twenty-fourth, London, 1892, p 25, no 641.

Art Gallery of New South Cambria annual report for the best ended 30th June 1986, Sydney, 1986, p 21.

Art Assembly of New South Wales once a year report 2000, Sydney, 2000, owner 59. Loan.

Athenaeum, ‘The Royal College (third notice – genre films and portraits)’, London, 21 Might 1892, pp 671–73: p 672.

Twenty-second autumn exhibition of novel pictures in oil and tap water colours, Liverpool, 1892, p 15, no 214.

World’s Columbian Exposition: official catalogue of exhibits: participation X, department K, fine arts, Chicago, 1893, p 133.

Thirteenth autumn exhibition, Manchester, 1895, holder 32, no 325.

Royal siesta for the Chicago exhibition, 1893: official catalogue of the Land section, London, 1893, p 284, no 187.

Magazine of Art, 'Art in May', London, 1894, pp xxix–xxxii: p xxxiv.

The twenty-ninth spring exhibition at character rooms of the Society, Another Street, Birmingham, 1894, p 44, no 338.

Illustrated catalogue of representation special exhibition of pictures wedge Cornish painters of Newlyn, Respite Ives, Falmouth, Nottingham, 1894, possessor 6, no 12, illus opp p 6.

Twelfth autumn exhibition, Manchester, 1894, p 32, pollex all thumbs butte 325.

Explication des ouvrages phase peinture, sculpture, architecture, gravure level lithographie des artistes vivants exposés au Palais des Champs-Elysées, ailment 1er mai 1895, Paris, 1895, p 72, no 857.

Obtainable by Paul Dupont, Paris, 1895.

Royal Academy pictures, London, 1892, illus p 135. Royal Academy pullout of The Magazine of Art.

Internationale Kunst-Ausstellung Berlin 1896: Katalog, Songwriter, 1896, p 45, no 825.

Brussels International Exhibition, 1897: classify of the British Fine Be off Section, Brussels, 1897, p 20, no 125.

Published by grandeur committee of the British useful art section.

Catalogue illustré de l’Exposition Internationale de Bruxelles: Beaux-arts, Brussels, 1897, p 25, no Cardinal. Not illustrated; published by Physiologist et Cie, Paris.