Readers who might want to reassure themselves about the details of Gill’s story, so far as they are established, can make use of the following as I did: Ron Appleyard, Barbara Fargher and Ron Radford, S.T. Gill, the South Australian Years, 1839–1852 (Art Gallery of South Australia, Adelaide, 1986); Ian Auhl and Denis Marfleet, Australia’s Earliest Mining Era: South Australia 1841–1851: paintings by S.T. Gill (Rigby, Adelaide, 1975); R.M. Bowden, Samuel Thomas Gill, Artist (Hedges and Bell, Maryborough, Vic., 1971); Michael Cannon, (ed.), The Victorian Gold Fields 1852–3: An original album by S.T. Gill (Currey, O’Neil, South Yarra, 1982); Geoffrey Dutton, The Paintings of S.T. Gill (Rigby, Adelaide, 1962); Geoffrey Dutton, S.T. Gill’s Australia (Macmillan, South Melbourne, 1981); S.T. Gill, Doctor Doyle’s Sketches in Australia: A collection of prints from the original watercolour drawings in the Mitchell Library with notes by Sasha Grishin (Mitchell Library Press, Sydney, 1993); Shar Jones and Michel Reymond, Monsieur Noufflard’s House / Watercolours by S.T. Gill, 1857 (Historic Trust Houses of NSW, Sydney, 1983); Bob Raftopoulos (ed.), S.T. Gill’s Rural Australia 1818–1880 (Oz Publishing Co., Brisbane, 1987; Mallard Press, Moorebank NSW, 1989).
A.M.