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| Lucia Moholy Self Portrait 1930 gelatin silver print National Gallery of Australia, Canberra |
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| Lucia Moholy Head from above, Berlin 1930 gelatin silver print National Gallery of Australia, Canberra |
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| Lucia Moholy Frau Binder 1925 gelatin silver print National Gallery of Australia, Canberra |
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| Lucia Moholy Florence Henri 1927 gelatin silver print National Gallery of Australia, Canberra |
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| Clement Meadmore Corded Chair ca. 1952 steel, cord and rubber National Gallery of Australia, Canberra |
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| Clement Meadmore Table 1957 steel, wood, linoleum and brass-plated copper National Gallery of Victoria, Melbourne |
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| Clement Meadmore Three Views of Half-Circle Module with Square Cross-Section tilted at 22.5 Degrees 1992 etching National Gallery of Australia, Canberra |
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| Clement Meadmore Meadmore Sculpture 1968 lithograph (exhibition poster) National Gallery of Australia, Canberra |
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| Louis Marcoussis Le Volant d'Artimon by Paul Dermée 1922 color woodblock print (book cover) National Gallery of Australia, Canberra |
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| Louis Marcoussis La Table 1930 color etching National Gallery of Australia, Canberra |
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| Louis Marcoussis Le Comptoir ca. 1920 etching, aquatint and drypoint National Gallery of Australia, Canberra |
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| Louis Marcoussis Verre et Fruits 1921 pigment on glass Barnes Foundation, Philadelphia |
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| David Moore Chelsea Flower Show 1955 gelatin silver print National Gallery of Australia, Canberra |
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| David Moore Gilbert Murray O.M., Oxford ca. 1956 gelatin silver print National Gallery of Australia, Canberra |
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| David Moore Len Howard, Naturalist, U.K. 1957 gelatin silver print National Gallery of Australia, Canberra |
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| David Moore Self Portrait 1942 gelatin silver print National Gallery of Australia, Canberra |
from A Voyage
II. The Ship
All streets are brightly lit; our city is kept clean;
Her Third-Class deal from greasy packs, her First bid high;
Her beggars banished to the bows have never seen
Her Third-Class deal from greasy packs, her First bid high;
Her beggars banished to the bows have never seen
What can be done in state-rooms: no one asks why.
Lovers are writing letters, athletes playing ball,
One doubts the virtue, one the beauty of his wife,
A boy's ambitious: perhaps the Captain hates us all;
Someone perhaps is leading a civilised life.
Slowly our Western culture in full pomp progresses
Over the barren plains of a sea; somewhere ahead
Over the barren plains of a sea; somewhere ahead
A septic East, odd fowl and flowers, odder dresses:
Somewhere a strange and shrewd To-morrow goes to bed,
Planning a test for men from Europe; no one guesses
Who will be most ashamed, who richer, and who dead.
– W.H. Auden (1938)