Portrait of Elizabeth Jolley, 1977
Artist Meg Padgham,
Portrait of Elizabeth Jolley 1984
Artist Peter Kendall
Portrait of Elizabeth Jolley 1986
Artist Peter Kendall
Portrait of Elizabeth Jolley 2003
Artist Mary Moore
The Pear Tree Dance 1999
Artist Lesley Fitzpatrick
Photographer Hans Versluis
Artworks-Visual and Literary
Padgham, Meg. Portrait of Elizabeth Jolley. Framed, oil on board. 94 [height]
x 71 [width] cm. Private collection.
Kendall, Peter. Portrait of Elizabeth Jolley. Oil on canvas. 122 [height]
x 80 [width] cm. Property of artist. See http://kendallart.com.au.
Kendall recalls painting this portrait at Jolley's house
"alla prima" (direct painting, wet into wet, until finished),
taking about three hours. The painting won the WA Australia Day Portrait
Prize in 1984.
Kendall, Peter. Portrait of Elizabeth Jolley. Oil on canvas. 148 [height]
x 92 [width] cm. Property of artist.
Kendall's intention was to show Jolley's intelligence/observational
skills, "how she was interested not interesting." The portrait
won the 1986 WA Australia Day Portrait Prize.
Rodriguez, Judith. "Elizabeth and Red Socks in Perth." Meanjin
46.3 (1987): 356-57.
Poem honouring Elizabeth Jolley.
Lightfoot, Pippa. "Elizabeth's Trunk." Reproduction of "Three
Miles to One Inch," by Elizabeth Jolley [Orchard Thieves 3-31, slightly
altered]. Limited ed. of three books, concertina format on cream Arches
BFK Rives with covers on Washi paper; etching and woodcut with screen
print. 9 x 11 cm in wooden box 17 x 18.5 cm. 16 pages. Artwork held by
Art Gallery of WA.
Scannell, Reece, Di Yerbury and Thomas Shapcott. Interviews with the Camera.
Sydney: Macquarie University, 1989. 46, 84.
Humphries, Barry. "Maroan (for Elizabeth Jolley)." Neglected
Poems and Other Creatures. Pymble, NSW: Angus and Robertson, 1991. 103-04.
Rpt. as "Maroan" (without dedication) by Humphries, Barry. The
Flight of the Emu: Contemporary Light Verse. Ed. Geoffrey Lehmann. North
Ryde, NSW: Angus and Robertson, 1990. 16-17.
Humphries's poem dates from 1955, and later was dedicated
to Jolley. In his Introduction to Neglected Poems he says: "Dressed
in a dowdy twin-set, plastic pearls and yellow conical hat and with
a voice of fluting gentility, Mrs Everage, in her earliest stage incarnation,
was much given to recitation. 'Maroan' . . . was amongst her earliest
theatrical successes . . ." (p. 4).
Joel, Ben. Portrait of Elizabeth Jolley. Framed, oil on canvas. 160 [height]
x 130 [width] cm. Private Collection.
Fitzpatrick, Lesley. "The Pear Tree Dance." Quilt, appliquéd
and stitched. 180 [height] x 130 [width] cm. Created for the Material
Women 1999: Quilts that Tell Stories Project, sponsored by the Western
Australian Government Centenary of Women's Suffrage Committee, the Occupational
Therapy Research Centre of Western Australia, and the School of Occupational
Therapy at Curtin University of Technology. Held in the Elizabeth Jolley
Research Collection, John Curtin Prime Ministerial Library, Curtin University,
Perth, Western Australia.
In "The Pear Tree Dance," her entry in the elegant
catalogue for this exhibition, Celebrating 100 Years of Women's Suffrage (ed. Katie Hill and Margaret Ross, Perth: Curtin University of Technology,
1999, 48-49), Fitzpatrick describes how she was inspired by a passage
in The Newspaper of Claremont Street to create a quilt that symbolises
the land and dance.
Moore, Mary. Portrait of Elizabeth Jolley. With didactic panel texts chosen
by Brian Dibble. Framed, oil on board. 152 [height] x 131.3 [width] cm.
National Portrait Gallery, Canberra. Commissioned with funds from the
Basil Bresler Bequest 2003. See http://www.portrait.gov.au/site/collection_info.php?searchtype=basic&searchstring=Jolley&irn=598&acno=2003.104&onshow=no.
Shapcott, Thomas. "Aubade: For Elizabeth Jolley."
Weekend Australian 21-22 June 2003: Review 9.
Shapcott, Thomas. "Cape
Lilacs." The City of Empty Rooms. Cambridge: Salt Publishing,
2006. 10. Also published in Blue Dog: Australian Poetry 5:10 (2006): 8.
Dedicated to Elizabeth Jolley.
"Great Branches Fall". Music, photography and narration by Benjamin Anderson.
The grandson of Hannah Levey, one of Jolley's dearest friends, pays tribute to her by setting her poem to music and landscape photos.