{{Short description|Australian painter, gallery director and art dealer (1918–1998)}} {{Infobox artist | honorific_prefix = | name = Alannah Coleman | honorific_suffix = | image = Alannah Coleman May 1949.jpg|Alannah Coleman at the Group exhibition of the Society of Artists, David Jones gallery, 7th floor (Mezzanine), Elizabeth Street, Sydney, May 1949 | image_size = | alt = | caption = Alannah Coleman at the Society of Artists exhibition, David Jones gallery, Sydney, May 1949 (picture: ''Daily Mirror'') | native_name = | native_name_lang = | birth_name = <!-- only use if different from name --> | birth_date = {{Birth date|1918|11|03}} | birth_place = Melbourne, Australia | baptised = <!-- will not display if birth_date is entered --> | death_date = <!-- {{Death date and age|1918|11|03|1998|09|13}} --> | death_place = London, England | resting_place = | resting_place_coordinates = <!-- {{Coord|LAT|LONG|type:landmark|display=inline}} --> | nationality = <!-- use only when necessary per WP:INFONAT --> | education = National Gallery of Victoria schools | alma_mater = | known_for = | notable_works = | style = | movement = | spouse = {{ubl | {{marriage|Desmond Fennessy|1943|1949|reason=div}} | {{marriage|Denis Sharman|1951|1957|reason=div}} | {{marriage|John Newell|1963|1968|reason=div}} }} | partner = | children = twins Alister and Simone | parents = | father = Ernest Coleman | mother = Irene Monica Duffy | relatives = | family = | awards = <!-- {{awd|award|year|title|role|name}} (optional) --> | signature = | signature_type = | signature_size = | signature_alt = | elected = International Association of Art Critics | patrons = | memorials = | website = <!-- {{URL|Example.com}} --> | module = }}
'''Alannah Coleman''' (3 November 1918 – 12 September 1998) was an Australian painter, gallery director and dealer in Australian art who drew valuable attention to the work of expatriates to England in the 1950s–1990s and increased awareness of Australian art and artists in Europe.
== Early life == Alannah Coleman, christened Eileen, and who was called Lana by her family, was born in 1918 in Melbourne. Her parents Irene ('Renee') Monica (née Duffy) and Ernest Coleman separated when she was seven. She then lived in a spartan rear flat at 31 Marine Parade, St Kilda with her politically active mother and Irish grandparents, from whose Irish Catholicism she developed a strong sense of identity. She attended the St Kilda Primary School, went briefly to a convent school and then to the Emily McPherson College where she met Elizabeth Paterson, daughter of artist Hugh Paterson and niece of John Ford Paterson, and who was to become Sidney Nolan's future first wife.<ref name=":6" />
== National Gallery schools == thumb|Melbourne National Gallery School life class in 1935 (L-R) Phyl Waterhouse, Alannah Coleman, Charles Bush, Jean McInnes and Miss Eastwood (most not standing in front of their own canvases). Lining the walls, works by Hugh Ramsay, John Longstaff, Max Meldrum, James Quinn, Isaac Cohen and Charles Wheeler. Taken for ''Table Talk'' magazineColeman's mother encouraged her interest in art, and from the age of fourteen Coleman studied at the National Gallery of Victoria schools in Melbourne from 1933 to 1939, under William B. McInnes and Charles Wheeler.<ref name=":13" /> Her attractiveness, social talents and calm demeanour noted by her associates<ref name=":6" /> were an asset when she served as honorary treasurer of the National Gallery art students’ annual ball at the Palais de Danse, St Kilda on 17 September 1936,<ref>{{cite news |url=http://nla.gov.au/nla.news-article11906620 |title=Social Notes |newspaper=The Argus (Melbourne) |issue=28,084 |location=Victoria, Australia |date=24 August 1936 |accessdate=14 November 2024 |page=3 |via=National Library of Australia}}</ref> with a ‘ballet of cave men and modern maidens' (Alannah Coleman and Elizabeth Paterson) against scenery painted by the student artists.<ref>{{cite news |url=http://nla.gov.au/nla.news-article11912184 |title=Anzac Fellowship |newspaper=The Argus (Melbourne) |issue=28,097 |location=Victoria, Australia |date=8 September 1936 |accessdate=14 November 2024 |page=3 |via=National Library of Australia}}</ref><ref>{{cite news |date=17 September 1936 |title=National Gallery Art Students' Ball |url=http://nla.gov.au/nla.news-article248556830 |accessdate=14 November 2024 |newspaper=The Herald |location=Victoria, Australia |page=36 |via=National Library of Australia |issue=18,515}}</ref><ref>{{cite news |url=http://nla.gov.au/nla.news-article11916313 |title=Gallery Students Have Night of Revelry |newspaper=The Argus (Melbourne) |issue=28,106 |location=Victoria, Australia |date=18 September 1936 |accessdate=14 November 2024 |page=3 |via=National Library of Australia}}</ref> The following year, at the St Kilda Town Hall, Coleman and Paterson's theme for the ball was Mexican, for which ‘huge mural decorations of futuristic Mexican figures painted on immense sheets of brown paper lined the walls.’<ref>{{cite news |url=http://nla.gov.au/nla.news-article11108351 |title=Back to the Cactus |newspaper=The Argus (Melbourne) |issue=28,397 |location=Victoria, Australia |date=26 August 1937 |accessdate=14 November 2024 |page=4 |via=National Library of Australia}}</ref><ref>{{cite news |url=http://nla.gov.au/nla.news-article11089819 |title=About... People and Events |newspaper=The Argus (Melbourne) |issue=28,382 |location=Victoria, Australia |date=9 August 1937 |accessdate=14 November 2024 |page=3 |via=National Library of Australia}}</ref><ref>{{cite news |url=http://nla.gov.au/nla.news-article277687951 |title=Soldier Committee Refused Use Of Room For Anzac Day Discussion |newspaper=The Sun News-pictorial |issue=4659 |location=Victoria, Australia |date=26 August 1937 |accessdate=14 November 2024 |page=3 |via=National Library of Australia}}</ref>
Elizabeth Paterson and Sidney Nolan’ were amongst several of Alannah's student colleagues to whom she remained close.<ref>{{Citation | author1=Underhill, Nancy | author2=Ebooks Corporation | title=Sidney Nolan : a life | publication-date=2015 | page=87 | publisher=NewSouth Publishing | isbn=978-1-74224-719-9}}</ref> On 16 December 1938, she performed as witness to their brief marriage and was godmother to their daughter.<ref name=":4">{{Cite book |last1=Harding |first1=Lesley |title=Modern love : the lives of John & Sunday Reed |last2=Morgan |first2=Kendrah |publisher=The Miegunyah Press, an imprint of Melbourne University Publishing |year=2015 |isbn=978-0-522-86282-9 |location=Melbourne |publication-date=2015 |pages=91, 104}}</ref> Other fellow students were Joan James (née Currie), Joan Malcolm, Joy Hester, Albert Tucker, Howard Matthews, Yvonne Lennie (future wife of Arthur Boyd), Phyl Waterhouse and Charles Bush, with all of whom she continued friendships. An archive of approximately 319 Aerogramme letters and 21 postcards that Alannah wrote weekly to Bush over 1971–1989 is held in the State Library of Victoria.<ref name=":11">{{Cite web |last=Coleman |first=Alannah |date=1971–1989 |title=Letters to Charles Bush : 1971–1989 |url=https://find.slv.vic.gov.au/permalink/61SLV_INST/1sev8ar/alma9940896360107636 |access-date=17 November 2024 |website=State Library of Victoria}}</ref> She was among the founders of the Contemporary Art Society when attending its first meeting with Hester,<ref name=":5">{{Citation |author1=Hester |first=Joy |title=Dear Sun : the letters of Joy Hester and Sunday Reed |date=1997 |page=66 |publication-date=1997 |editor-last=Burke |editor-first=Janine |publisher=Random House Australia Pty Ltd |isbn=978-1-74274-631-9}}</ref> and Coleman exhibited frequently with the organisation. Coleman was the model for William Dargie’s work shown in a July 1939 exhibition with paintings by P. G. Moore and Kathleen Howitt (Mrs Dargie), at the Athenaeum gallery.<ref>{{cite news |url=http://nla.gov.au/nla.news-article11244226 |title=Exhibition of Paintings |newspaper=The Argus (Melbourne) |issue=28,993 |location=Victoria, Australia |date=26 July 1939 |accessdate=14 November 2024 |page=14 |via=National Library of Australia}}</ref>
== War years == With the outbreak of WW2, in 1940 Coleman figured frequently in the social pages where she was noted for her fashion sense.<ref name=":9" /> Her contemporary, poet and broadcaster Alister Kershaw, whose portrait she painted was runner-up in the 1944 Archibald Prize,<ref name=":15" /><ref>{{Cite web |title=Archibald Prize 1944 |url=https://www.artgallery.nsw.gov.au/prizes/archibald/1944/ |website=Art Gallery of New South Wales}}</ref> remembered:<blockquote>Back in the Thirties and early Forties there were about fifty square yards at the top of Melbourne's Little Collins Street where [...] the sight of a beard didn't provoke a display of popular indignation. You could even get away with sandals. The bewitching young artist Alannah Coleman could get away with more than that. Her costume was, as a rule, richly international. Once when we were having dinner together, she arrived wearing velvet trousers and a Breton fisherman's striped shirt. A cape like those worn by officers of the Bersaglieri hung to her ankles. An Egyptian fez was perched becomingly on her long blonde hair. A quiver of arrows slung over her shoulders added a Robin Hood or Saxon touch. If she had anything on her feet at all, it can only have been a pair of Roman sandals. Anywhere else in the city, she might have been run in on a charge of disturbing the peace; here, she received no more attention than was due to an exceptionally attractive young woman.<ref>{{Citation | author1=Kershaw, Alister | title=Hey days : memories and glimpses of Melbourne's Bohemia 1937–1947 | publication-date=1991 | publisher=Angus & Robertson | isbn=978-0-207-16675-4}}</ref></blockquote> She contributed to the RAN Relief Fund performance at the National Theatre, Melbourne,<ref>{{Cite news |date=1940-07-29 |title= The World of Women |url=https://trove.nla.gov.au/newspaper/article/11305705 |access-date=2024-11-14 |work=Argus}}</ref> and joined the official party accompanying commander of the Free French Forces in the Pacific, Commandant Jardin, for the gala first recital of ''Arise, O France'', also at the National Theatre, in 1941.<ref>{{cite news |date=8 May 1941 |title= Gala Performance |url=http://nla.gov.au/nla.news-article205159194 |accessdate=15 November 2024 |newspaper=The Age |location=Victoria, Australia |page=3 |via=National Library of Australia |issue=26850}}</ref>
Splits in the Contemporary Arts Society state branches over the control of it by the Angry Penguins versus the communist adherents started to appear publicly in 1943 but as Haese notes, in the Victorian council John Sinclair, Nolan, Perceval, Harris, Boyd, Allan Henderson and Alannah Coleman (the only woman on the committee), democratic principles prevailed; 'the Angry Penguins controlled rather than dominated the Melbourne branch because until 1945 the communist members maintained constant pressure on their leadership.'<ref>{{Cite book |last=Haese |first=Richard |title=Rebels and precursors : the revolutionary years of Australian art |publisher=Allen Lane |year=1982 |isbn=9780713913620 |location=London |pages=135}}</ref> Coleman was close to Rupert Bunny when in 1936 he became the Vice-President of the Contemporary Art Society, and they remained friends until his death in 1947.<ref>{{Citation | author1=Thomas, Daniel | title=Outlines of Australian art : the Joseph Brown Collection | page = 28 | publication-date=1980 | publisher=Macmillan | edition=Expanded | isbn=978-0-333-29942-5}}</ref>
In 1943, Coleman married a Catholic, the Australian journalist and magazine editor, Des Fennessy who later became Australian Trade Commissioner in Seoul. The marriage was annulled in 1949.<ref>{{Cite news |last=Robertson |first=Bryan |date=23 September 1998 |title=Obituary: Alannah Coleman |url=https://www.independent.co.uk/arts-entertainment/obituary-alannah-coleman-1200176.html |access-date=15 November 2024 |work=The Independent}}</ref>
== Artist == Coleman's most productive period as a painter of portraits, still-life, and landscapes, was through the war years from 1943, and until 1949. George Bell, reviewing her April 1944, widely publicised,<ref>{{cite news |date=12 April 1944 |title=There was more interest |url=http://nla.gov.au/nla.news-article250640081 |accessdate=16 November 2024 |newspaper=Guinea Gold |location=Port Moresby, Papua New Guine |page=2 |via=National Library of Australia |volume=2 |issue=146}}</ref> joint show with Joan Malcolm, wrote favourably of their 'dynamic style' and of Coleman's 'great variety of manners of seeing and treating her subject.' He considered that 'a certain weakness In construction will no doubt be overcome in time', as the 'landscapes have all been treated with a worthy determination to avoid banality'.<ref>{{cite news |url=http://nla.gov.au/nla.news-article278878235 |title=Art Shows Reviewed By George Bell |newspaper=The Sun News-pictorial |issue=6718 |location=Victoria, Australia |date=4 April 1944 |accessdate=16 November 2024 |page=9 |via=National Library of Australia}}</ref> Bell listed as 'outstanding' portraits by Coleman, James Quinn, Lawson and Matthews, and landscapes by A. Keynes, G, Anderson, Isabel Tweddle in the Victorian Artists' Society Spring show of 1944.<ref name=":0">{{cite news |url=http://nla.gov.au/nla.news-article279430707 |title= Victorian Artists' Spring Show |newspaper=The Sun News-pictorial |issue=6865 |location=Victoria, Australia |date=23 September 1944 |accessdate=16 November 2024 |page=6 |via=National Library of Australia}}</ref> She spent a month in Sydney in November that year, working on an upcoming show, and was at Desiderious Orban's opening at Blaxland Gallery along with Douglas Watson and Charles Bush, who were then both AIF war artists.<ref>{{cite news |url=http://nla.gov.au/nla.news-article248067071 |title= Women's News |newspaper=The Daily Telegraph |volume=IX |issue=187 |location=New South Wales, Australia |date=7 November 1944 |accessdate=16 November 2024 |page=14 |via=National Library of Australia}}</ref> Coleman participated in November 1944 in an exhibition at the South Australian Gallery with a portrait noted as 'excellent' by reviewer Esmond George.<ref>{{cite news |url=http://nla.gov.au/nla.news-article57689601 |title=Mixed Display By Modern Artists |newspaper=The Mail (Adelaide) |volume=33 |issue=1,696 |location=South Australia |date=25 November 1944 |accessdate=16 November 2024 |page=12 |via=National Library of Australia}} </ref>
At a group show at the Blue Door Gallery, Melbourne, in November 1945, Colman's still life of shasta daisies was considered by ''The Herald'' reviewer a 'choice arrangement of appealing color-tones' from 'a young painter whose progress is definite and continuous',<ref name=":1">{{cite news |date=13 February 1945 |title=City Art Show |url=http://nla.gov.au/nla.news-article245336134 |accessdate=16 November 2024 |newspaper=The Herald |location=Victoria, Australia |page=6 |via=National Library of Australia |issue=21,136}}</ref> while critic Alan McCulloch considered the ''Daisies'' 'worthy of comment' amongst the 'younger artists',<ref name=":2">{{cite news |url=http://nla.gov.au/nla.news-article1098001 |title=Show of Present-Day Australian Art |newspaper=The Argus (Melbourne) |issue=30,721 |location=Victoria, Australia |date=13 February 1945 |accessdate=16 November 2024 |page=6 |via=National Library of Australia}}</ref> after having remarked that she continued 'to make progress' in a review of a Victorian Artists Society show in September that year.<ref name=":3">{{cite news |url=http://nla.gov.au/nla.news-article970396 |title=Victorian Artists' Society |newspaper=The Argus (Melbourne) |issue=30,909 |location=Victoria, Australia |date=22 September 1945 |accessdate=16 November 2024 |page=7 |via=National Library of Australia}} </ref> During the war years Coleman worked in the Navy Department, and George Bell noted a 'quiet reserve' in a portrait of a naval officer which was her contribution to the Victorian Artists' Society Autumn show of 1946.<ref name=":8" />
Coleman's first solo exhibition, in November 1946, drew a cold response from ''The Argus'' reviewer (not likely McCulloch, who had been fired for his support of Tucker, so more probably, Arnold Shore):<blockquote>Alannah Coleman's paintings at the Myer Gallery are more likely to appeal to disciples of modern cults than to the general body of art lovers. Whether they be portraits or pictures of Sydney suburbs or slum areas, there is little beauty in the work. They might be called fashionable just now, but if art is long fashions are not.<ref>{{cite news |url=http://nla.gov.au/nla.news-article22387310 |title=Around the Art Shows |newspaper=The Argus (Melbourne) |issue=31,264 |location=Victoria, Australia |date=12 November 1946 |accessdate=16 November 2024 |page=6 |via=National Library of Australia}}</ref></blockquote>Elizabeth Webb, a radio personality who expressed negative views on modernism as 'malformation',<ref>{{Cite news |last=E. C. W. |date=24 September 1947 |title=Art and Pseudo-Art In Two New Shows: 'Little Chelsea |work=The Courier-Mail |pages=2}}</ref> noted that Coleman's 'portraits of Alister Kershaw, Dudley Barr, and of herself, were entries for the Archibald Prize and [that] all three reached the finals', and was well-disposed of evidence of Coleman's academic training in her critique of her solo show of June 1947 in Brisbane; 'Miss Coleman is not (yet) an extreme 'extremist.' She is not influenced by the 'modern' trend so completely as to ignore the basic principles of 'good drawing' in all her work.'<ref name=":16" />
By contrast, Charles G. Cooper, Classics Professor at the University of Queensland, in his ''Courier-Mail'' review of the 1949 joint exhibition of paintings by Alannah Coleman and Arthur Evan Read at Moreton Galleries, Queensland, is dismissive of Read's lack of subtlety, but writes glowingly of Coleman as 'distinctly an original', praising the 'freshness, vigour and decorative excellence' of her work, and urging audiences to 'relish her piquant blend of ingenuousness and sophistication.'<ref>{{cite news |url=http://nla.gov.au/nla.news-article49673831 |title=Originality in art show |newspaper=The Courier-mail |issue=3921 |location=Queensland, Australia |date=21 June 1949 |accessdate=17 November 2024 |page=2 |via=National Library of Australia}}</ref> Artist James Wieneke of the ''Brisbane Telegraph'' is more sympathetic to Read's depictions of the slums of Sydney, and contrasts those with the 'sensitiveness and a strong feeling of romanticism' in Coleman's work, responding most favourably to the sense of humour in her ''Siamese Cat'' which has 'a quality one could definitely describe as feline. This is conveyed through detail such as the cold blue and those long, slender, moving leaves in the background—eloquent of a chilly restlessness.'<ref>{{cite news |url=http://nla.gov.au/nla.news-article212194590 |title=Slums And Romanticism In Sydney Artists' Show |newspaper=Brisbane Telegraph |location=Queensland, Australia |date=21 June 1949 |accessdate=17 November 2024 |page=4 (City Final) |via=National Library of Australia}}</ref>
== Post-war == After the War, in 1946 Coleman managed the Contemporary Art Society exhibition in Sydney<ref>{{cite news |url=http://nla.gov.au/nla.news-article245531550 |title=Checking Art Catalogue |newspaper=The Herald |issue=21,631 |location=Victoria, Australia |date=17 September 1946 |accessdate=16 November 2024 |page=9 |via=National Library of Australia}}</ref> and moved into a studio flat in a three-storey house at 151 Dowling Street, Woolloomooloo,<ref>{{cite news |url=http://nla.gov.au/nla.news-article18040266 |title=Artists Will Have Home Address In The 'Loo |newspaper=The Sydney Morning Herald |issue=34,222 |location=New South Wales, Australia |date=28 August 1947 |accessdate=20 November 2024 |page=15 |via=National Library of Australia}}</ref> among other artists including Rod Edwards, and Oliffe Richmond in the downstairs studio.<ref name=":5" /><ref>{{Cite book | author1=Stewart, Meg | title=Margaret Olley : far from a still life | publication-date=2012 | publisher=Random House Australia Pty Ltd | isbn=978-1-74275-586-1}}</ref> Nolan retreated there in 1948 after his estrangement from the Reeds at Heidi and before joining Cynthia Reed.<ref name=":4" /> At Darling Street, Coleman met Frank Mitchell and Robert Henry for whom she modelled their first fashion collection in 1949.<ref>{{Cite web |date=1949 |title=Photograph of Alannah Coleman modelling cocktail dress designed by Frank Mitchell by the Sydney Morning Herald Object No. 92/123-5/2 |url=https://collection.powerhouse.com.au/object/367068 |access-date=20 November 2024 |website=Powerhouse Collection}}</ref><ref>{{cite news |url=http://nla.gov.au/nla.news-article28668630 |title=Fashions By Two Sydney Men |newspaper=The Sunday Herald (Sydney) |issue=29 |location=New South Wales, Australia |date=7 August 1949 |accessdate=17 November 2024 |page=9 |via=National Library of Australia}}</ref><ref>{{cite news |url=http://nla.gov.au/nla.news-article18470471 |title=Cobble-Stones and Clothes |newspaper=The Sunday Herald (Sydney) |issue=33 |location=New South Wales, Australia |date=4 September 1949 |accessdate=17 November 2024 |page=11 |via=National Library of Australia}}</ref><ref>{{Cite journal |last=Donald-Bradley |first=Wendy |date=March 1992 |title=An extraordinary woman Alannah Coleman, an untold story |journal=Womens Art Register Bulletin |issue=14 |pages=13–16}}</ref> Coleman also researched the 1865 period at the Mitchell Library for her costume designs for the film ''Robbery Under Arms''.<ref name=":10">{{cite news |url=http://nla.gov.au/nla.news-article279420199 |title=One-Woman Show |newspaper=The Sun News-pictorial |issue=7528 |location=Victoria, Australia |date=11 November 1946 |accessdate=16 November 2024 |page=6 |via=National Library of Australia}}</ref> She held her first solo show, works made in Sydney, at the Myer Art Gallery in Melbourne in November 1946,<ref name=":10" /> the event unfortunately coinciding with the death of Alannah's mother Irene.<ref>{{cite news |url=http://nla.gov.au/nla.news-article22397725 |title=Family Notices |newspaper=The Argus (Melbourne) |issue=31,263 |location=Victoria, Australia |date=11 November 1946 |accessdate=16 November 2024 |page=2 |via=National Library of Australia}}</ref> Over December 1949 she worked on an entry for the Archibald Prize.<ref>{{cite news |url=http://nla.gov.au/nla.news-article18473158 |title=Small Talk... |newspaper=The Sunday Herald (Sydney) |issue=48 |location=New South Wales, Australia |date=18 December 1949 |accessdate=17 November 2024 |page=11 |via=National Library of Australia}}</ref>
Stalking and an attempt on her life in June 1950 by a jealous lover precipitated her departure for Europe on the SS ''Ranchi''.<ref>{{cite news |url=http://nla.gov.au/nla.news-article18159989 |title=Sydney's Talking About – |newspaper=The Sydney Morning Herald |issue=35,090 |location=New South Wales, Australia |date=8 June 1950 |accessdate=17 November 2024 |page=11 |via=National Library of Australia}}</ref> Having been welcomed to London by Charles Bush and sharing quarters in Earl's Court with Bush, his partner Phyllis Waterhouse, Joan Currie, Joan Malcolm, Douglas Watson and Peter Blayney, she set out on an adventurous, low-budget return visit with Sheila Boyle (whom she'd met on the ''Ranchi'', for a European tour that included Lapland,<ref>{{cite news |url=http://nla.gov.au/nla.news-article18485480 |title=Small Talk... |newspaper=The Sunday Herald (Sydney) |issue=87 |location=New South Wales, Australia |date=24 September 1950 |accessdate=17 November 2024 |page=12 |via=National Library of Australia}}</ref> Germany and France, where she and Albert Tucker had chance encounter.<ref name=":6" /> They hitched a lift with Sydney-born English dental surgeon Denis Sharman whom Coleman soon quietly married in 1951,<ref name=":7" /> but not before (it was rumoured)<ref>{{cite news |url=http://nla.gov.au/nla.news-article168038746 |title=Sultan's Gift Was £10,000 Bracelet |newspaper=Truth |issue=3189 |location=New South Wales, Australia |date=11 March 1951 |accessdate=17 November 2024 |page=38 |via=National Library of Australia}}</ref> she had been obliged to find employment as usherette in the Royal Box at Mills Brothers Circus, and in a Bond Street jewellery store J. W. Bensons. The couple had twins Alister and Simone in 1953, and on the babies' first birthday the family moved from their central London apartment in Birdcage Walk overlooking St James's Park,<ref name=":7">{{cite news |url=http://nla.gov.au/nla.news-article18229192 |title=Sydney's Talking About – |newspaper=The Sydney Morning Herald |issue=35,478 |location=New South Wales, Australia |date=6 September 1951 |accessdate=16 November 2024 |page=11 |via=National Library of Australia}}</ref> and which Coleman had creatively decorated herself,<ref>{{cite news |url=http://nla.gov.au/nla.news-article248828497 |title=Ideas and Color Transform Flat |newspaper=The Daily Telegraph |volume=XV |issue=18 |location=New South Wales, Australia |date=21 March 1954 |accessdate=17 November 2024 |page=58 |via=National Library of Australia}} </ref><ref>{{cite news |url=http://nla.gov.au/nla.news-article248988683 |title=Sydney artist's decor called 'sensational' |newspaper=The Daily Telegraph |volume=XII |issue=43 |location=New South Wales, Australia |date=16 September 1951 |accessdate=16 November 2024 |page=37 |via=National Library of Australia}}</ref> into 'Cherry Tree Cottage' in Langford Close, St John's Wood, next door to Mark Hambourg.<ref>{{cite news |url=http://nla.gov.au/nla.news-article12637330 |title=Social News And Gossip Gala Premiere |newspaper=The Sun-Herald |location=New South Wales, Australia |date=31 January 1954 |accessdate=16 November 2024 |page=21 |via=National Library of Australia}}</ref> Alannah and Denis separated in 1957.<ref name=":6">{{Cite book |last=Pierse |first=Simon |title=Alannah Coleman : a life in art |publisher=Arden |year=2022 |isbn=9781922669438 |location=North Melbourne, Victoria}}</ref>
== London == Coleman, after her relocation to London and second divorce, launched a new career. She established in 1959 an art dealership from her apartment, the Alannah Coleman Gallery<ref name=":13">{{Cite book |last1=McCulloch |first1=Alan |title=The New McCulloch's Encyclopedia of Australian art |last2=McCulloch |first2=Susan |last3=McCulloch |first3=Emily |date=2006 |publisher=Aus Art Editions in association with The Miegunyah Press |isbn=978-0-522-85317-9 |edition=4th |location=Fitzroy, Vic |pages=333}}</ref> in Putney, where she promoted such expatriate Australian artists as Arthur Boyd, Tony Underhill, Oliffe Richmond, Tony Underhill and Louis James by inviting clients to see the work in the domestic setting.<ref name=":12" /> Sidney Nolan and Cynthia lived nearby and she continued to sell his work. Barbara Blackman remembered her as catlike (and she was, with Sunday Reed,<ref>{{Citation | author1=Janine Burke | title=Heart Garden Sunday Reed and Heide | publication-date=2005 | publisher=Random House Australia | isbn=978-1-74051-330-2}}</ref> a cat lover):<ref>{{cite news |url=http://nla.gov.au/nla.news-article55469498 |title=The Australian Women's Weekly presents True Tales of Cats |newspaper=The Australian Women's Weekly |volume=36 |issue=8 |location=Australia, Australia |date=24 July 1968 |accessdate=17 November 2024 |page=1 (True Tales Of Cats) |via=National Library of Australia}}</ref> ‘She slinks about in Royal circles, she is smelling out the buyer, she will purr up to him and whisper the right names’.<ref>{{Citation | last1=Blackman |first1=Barbara | last2=Wright |first2=Judith | author3=Cosgrove, Bryony | title=Portrait of a friendship : the letters of Barbara Blackman and Judith Wright 1950–2000 | publication-date=2007 | page=82|publisher=Miegunyah Press | isbn=978-0-522-85355-1}}</ref> She was conscientious; holding long parties to introduce artists to buyers; attending several previews in the evenings; advising clients in their own homes on the appropriate hanging of their purchases.<ref>{{Citation |last1=Bridge |first1=Carl |title=Australians in Britain : the Twentieth-Century Experience |publication-date=2009 |url=https://trove.nla.gov.au/work/31782091 |access-date=16 November 2024 |publisher=Monash University Publishing, Portland : International Specialized Book Services [distributor] |last2=Crawford |first2=Robert |last3=Dunstan |first3=David}}</ref>
Coleman was active in establishing the Australian Artists' Association (AAA) in London, to foster connections between expatriate Australian artists and the British art world. Contemporary Australian painting achieved international status due to a number of significant exhibitions that took place in Britain between 1953 and 1964. With interest increasing, on 2 June 1961, ''Recent Australian Painting'' had been launched at the Whitechapel Gallery. Then, following the Tate Gallery's 24 January–3 March 1963 exhibition ''Australian Painting: Colonial, Impressionist, Contemporary'' – the largest such survey in the UK since 1923, but criticised<ref>{{Cite journal |last=Pierse |first=Simon |date=Spring 2009 |title=A horse designed by a committee: Revisiting the Tate's 1963 survey of Australian painting |journal=Art and Australia |volume=47 |issue=1 |pages=118–125}}</ref> for its merely token inclusion of younger artists' work—Coleman had organised another; ''Australian Painting and Sculpture in Europe Today'' at New Metropole Arts Centre in Folkestone, Kent which Sir Kenneth Clark opened on 19 April 1963, lauding it as 'the most impressive group show of Australian art ever in Britain'.<ref>{{Cite book |last=Alomes |first=Stephen |title=When London calls: the expatriation of Australian creative artists to Britain |date=1999 |publisher=Cambridge University Press |isbn=978-0-521-62031-4 |location=Cambridge, UK; New York, NY }}</ref>
Peter Sheldon-Williams (a.k.a. 'A. Oskar' whose exhibition Coleman reviewed in 1986)<ref name=":14" /> writing on how 'An Australian Row Comes To Britain' in ''The Contemporary Review'' of February 1963 positions ''Australian Painting and Sculpture in Europe Today'' as a representation of the Australian ''avant-garde'', against the conservatism of ''Australian Painting: Colonial, Impressionist, Contemporary'' which imposed the reactionary aesthetic tastes of Robert Menzies, who had founded the ill-fated Australian Academy of Art (1937–1947), on an exhibition meant to showcase the progress of Australian art. Sheldon-Williams compares Menzies with Hitler and Khrushchev in regard to despotic fear of 'change, reform and new ideas' to conclude that 'the Austrahan Exhibition at the Tate is not giving us the whole picture, is not in fact a 'true cross-section of what modem Australian Art is achieving', before detailing Coleman's ''bona fides'' and her achievement in the Folkestone alternative:
<blockquote>[Coleman's] earliest fame came when she was a practising artist herself first a Melbourne and later in Sydney. Miss Coleman was a familiar figure in those days in the art colonies of both these centres. She was present at the first inaugural meeting of the Contemporary Art Society of Australia when Albert Tucker was president. She made herself responsible for organizing important early exhibitions of Australian Modern Art including the big show of Danila Vassilieff, the Russian modern artist who settled in Australia and became the centre of one "establishment" storm after another. Miss Coleman was a close friend of many of the young painters of those days, including Sidney Nolan and Albert Tucker. Her association with them and others gave her keen insight into what was going on in the Australian cultural front. Now, Miss Coleman is in London. She has established herself in a magnificent salon where she is surrounded by the works of modern Australian painters and sculptors. Her address in Putney is a cultural shopwindow for the Antipodes. Nearly all Australian artists who have been in Britain or who have settled in this country have examples of their œuvre there. The first fully-public display of Miss Coleman's "collection" is being shown in the galleries of the New Metropole Art Centre in Folkestone.<ref>{{Cite journal |last=Sheldon-Williams |first=Peter |date=February 1963 |title=The Arts : An Australian Row Comes to Britain |journal=Contemporary Review, Incorporating the Fortnightly |issue=February 1963 |pages=66–70, 83}}</ref></blockquote>
Coleman organised an extension of the show with work by Boyd, Nolan, Blackman, Len French, Brett Whiteley and William Delafield-Cook at the Stadel’sches Kunstinstitut, Frankfurt-am-Main, opening on 4 July 1963.<ref>{{Citation |last1=Clark |first1=Jane |title=Sidney Nolan, landscapes & legends |publication-date=1987 |place=Cambridge |publisher=Cambridge University Press |isbn=978-0-521-35301-4 |last2=McCaughey |first2=Patrick}}</ref> She was appointed commissioner general to the Paris Biennale for Young Painters in 1963 and was hired as director at Heal's Gallery in Tottenham Court Road, London,<ref name=":13" /> where she showed both Australian and British artists.
Also in 1963 Coleman married her third husband, John Newell. The couple divorced in 1968, the marriage strained by the demands of her co-directing the Ewan Phillips gallery in Maddox Street, Mayfair<ref name=":6" /> and directing Heal's Gallery<ref>{{cite book|url=https://books.google.com/books?id=STcrDwAAQBAJ&dq=%22mansard+gallery%22&pg=PA205|title=Australian Art and Artists in London, 1950–1965. An Antipodean Summer|author=Simon Pierse|date=2017|isbn=9781351574969|page=10|publisher=Routledge }}</ref> and her research into Australian artists, which intensified, requiring her attendance at openings and events and lectures, such as those at the Royal Society of Arts.<ref>{{Cite journal |last=Finley |first=Donald J. |date=1966 |title=John Peter Russell (1858–1930): Australia's Link With French Impressionism |url=http://www.jstor.org/stable/41371464 |journal=Journal of the Royal Society of Arts |volume=115 |issue=5125 |pages=36 |jstor=41371464 |access-date=18 November 2024 }}</ref>
== Bonython Gallery == In early 1970, Albert Tucker, whom Coleman had represented, suggested to Kym Bonython that she should manage shows at his eponymous gallery in Sydney.<ref>{{Cite journal |last=Pierse |first=Simon |date=2018 |title=Alannah Coleman: 1970 – A Year at Bonython's Sydney Gallery |journal=Electronic Melbourne Art Journal |issue=10 |doi=10.38030/emaj.2018.10.5 |oclc=8629822585}}</ref> When she arrived, Mollie Lyons reported in the ''Women's Weekly'' that the 'art world turned up in full force this week at the Bonython Gallery to welcome home Alannah Coleman after 19 years overseas'.<ref>{{cite news |url=http://nla.gov.au/nla.news-article46471421 |title= Social Roundabout |newspaper=The Australian Women's Weekly |volume=37 |issue=39 |location=Australia, Australia |date=25 February 1970 |accessdate=16 November 2024 |page=12 |via=National Library of Australia}}</ref> ''The Bulletin'' interviewed her for its February issue and recorded how during her time in London, she had witnessed the growing international recognition and value of Australian art in the market. She said that Australian paintings, once absent from major auction houses like Christie's and Sotheby's, were now fetching significant prices, and there was increasing interest in Australian colonial art particularly among Australian collectors in the UK. Of the broader art market, Coleman commented on the high prices commanded by artists like Francis Bacon and the scarcity of works by Picasso and Jackson Pollock.<ref>{{Cite journal |date=14 February 1970 |title=Enlarging the market |url=http://nla.gov.au/nla.obj-1721707643 |journal=The Bulletin |volume=092 |issue=4691 |pages=37 |via=}}</ref>
A portrait by Charles Bush of Coleman surrounded by framed works and folios of drawings was a finalist in the 1970 Archibald Prize,<ref>{{Cite web |title=Archibald Prize 1970 |url=https://www.artgallery.nsw.gov.au/prizes/archibald/1970/ |access-date=17 November 2024 |website=Art Gallery of New South Wales}}</ref><ref>{{Cite web |last=Bush |first=Charles |date=1969–1970 |title=Alannah Coleman |url=http://handle.slv.vic.gov.au/10381/366645 |access-date=17 November 2024 |website=State Library of Victoria}}</ref> and Alannah's weekly letters to Bush date from 1971.<ref name=":11" />
On assuming the position, she oversaw solo shows by Brett Whiteley (June–July 1970) and Ken Reinhard (July–August 1970) which had already been arranged, though she herself curated paintings by Victor Vasarely which she had obtained through contacts in Paris for a sell-out show, and staged a large survey of about 30 Australian modernists;<ref>{{cite news |last=Lyons |first=Mollie |date=12 August 1970 |title=Sydney Roundabout : People and Fashion |url=http://nla.gov.au/nla.news-article51274660 |accessdate=16 November 2024 |newspaper=The Australian Women's Weekly |location=Australia |page=2 |via=National Library of Australia |volume=38 |issue=11}}</ref> ''Australian Irresistibles 1930–1970'', over August–September 1970. Artist and reviewer Elwyn Lynn thought it 'a most commendable survey even in a city bereft of them', and discerned an Australian modulation, or even rejection, of French 'ease' in the way: <blockquote>...Godfrey Miller romanticises Jacques Villon in a shadowed circle, Paul Haefliger’s Picassoid-Braque piece is invaded by German Expressionism; [Anthony] Underhill lacks French crispness; Passmore gives his Cezannesque landscape a lowering, romantic sky; Fullbrook softens his cubist shapes in a fleeting landscape with a romantic mist, and even Fairweather, in his fine ''Gamelan''...inclines to a fugitive fuzziness that is foreign to its partly French origins.<ref>{{Cite journal |last=Lynn |first=Elwyn |date=22 August 1970 |title=ART : Harlequin delights |url=http://nla.gov.au/nla.obj-1210880403 |journal=The Bulletin |volume=92 |issue=4718 |pages=52 |via=}}</ref></blockquote>The Bonython appointment lasted only a year, due to disagreements over the financial viability of the large gallery, which closed after its losses, in 1976, and the less formal openings and events that Coleman found contrary to European conventions.
== Return to England == Returning to the UK, Coleman stayed with friends then moved to Deal House, Stour Street, Canterbury on 1 October 1971. She next moved on 18 February 1978 to 6 Rodborough Road, Golders Green.<ref name=":6" /> She organised shows for the Qantas gallery and the New South Wales House gallery in London,<ref>{{Cite news |last=Robertson |first=Bryan |date=23 September 1998 |title=Obituary: Alannah Coleman |url=https://www.independent.co.uk/arts-entertainment/obituary-alannah-coleman-1200176.html |access-date=16 November 2024 |work=The Independent}}</ref> continued to be recognised and consulted for her expertise on Australian artists who worked and showed in Britain,<ref>{{Citation | author1=Buckman, David | title=Dictionary of artists in Britain since 1945 | page=vii | publication-date=1998 | publisher=Art Dictionaries | isbn=978-0-9532609-0-4}}</ref><ref name=":12">{{Citation | author1=Gaze, Delia | title=Dictionary of women artists | publication-date=1997 | page= 129 | publisher=London Fitzroy Dearborn Publishers | isbn=978-1-884964-21-3}}</ref> and wrote occasional articles on contemporary art and artists for various publications in London and Australia. She was made a member, by invitation, of the International Association of Art Critics.
Alannah Coleman died on 12 September 1998 at Marie Curie Hospice, in Lyndhurst Gardens, Belsize Park, and a high mass for her was held on 5 October at St. Mary's Catholic Church, Hampstead. Obituaries were published in ''The Independent'', ''The Australian'' and ''The Age''.
A biography, ''Alannah Coleman: A Life in Art'' by Dr Simon Pierse<ref name=":6" /> was released in 2022 and launched at Heidi Museum of Modern Art on 3 December 2022.
==Exhibitions==
* 1944, from 4 April: paintings by Alannah Coleman and Joan Malcolm, opened by actor Claude Flemming at Tye's Velasquez Galleries 100 Bourke Street, Melbourne<ref>{{cite news |url=http://nla.gov.au/nla.news-article11824949 |title=Art in Melbourne |newspaper=The Argus (Melbourne) |issue=30,454 |location=Victoria, Australia |date=5 April 1944 |accessdate=16 November 2024 |page=8 |via=National Library of Australia}}</ref><ref>{{cite news |url=http://nla.gov.au/nla.news-article206787340 |title=News of the Day |newspaper=The Age |issue=27756 |location=Victoria, Australia |date=5 April 1944 |accessdate=16 November 2024 |page=2 |via=National Library of Australia}}</ref> * 1944, September: Victorian Artists' Society Spring Show<ref name=":0" /> * 1945, 21–31 August Contemporary Art Society Exhibition with artists: Lawrence Adolphus, Gordon Andrews, Jean Bellette, Bill Cantwell, Edward Collings, Mary Curtis, Peter Dodd, O. Edwards, L. Elbourne, Cedric Flower, Yvonne Francort, Bernard Hesling, Avis Higgs, N. Ivangine, Margot Kater, Herbert Kemble, M. Kimlin, Amie Kingston, V. Kinsky, Alicia Lee, Ruth Levy, Margo Lewers, Raymond Lindsay, Herbert McClintock, Alick McKenzie, Eleanor Martin, Jesse Martin, Frank Medworth, Brian Midlane, Hal Missingham, Alistair Morrison, Justin O'Brien, Desiderius Orban, Ruth Pasco, M. D. Paxton, Carl Plate, Freda Robertshaw, Roderick Shaw, Charles Swain, E. Wall, Douglas Watson, Mary Webb, Robert Williamson, Jocelyn Zander, Elizabeth Martin, W. J. Bergner, Arthur Boyd, Mary Boyd, Dorothy Braund, Noel Counihan, K. Friedberger, J. M. Gill, David Gough, Judy Hunter, J. K. Lavett, Y. Lenne, M. Cockburn Mercer, Helen Noble, Sidney Nolan, V. G. O'Connor, Roy Opie, Albert Reid, B. R. Sargent, Florence Thompson, Danila Vassilieff, Neville W. Bunning, Gwendolin Grant, Joy Hester, V. Adolfsson, Mary Harris, J. Hick, S. Keene, L. Kohlhagen, E. Milston, Clifton Pugh, D. Roberts, Tasman Fehlberg. Myer Gallery, Melbourne.<ref>{{Citation | author1=Contemporary Art Society, (issuing body.) | author2=Myer Gallery, (host institution.) | title=Contemporary Art Society : Exhibition 1945 | publication-date=1945 | publisher=Contemporary Art Society | url=https://trove.nla.gov.au/work/256094947 | access-date=14 November 2024}}</ref> * 1945, September: Victorian Artists' Society Spring Show<ref name=":3" /> * 1945, November: Group show at The Blue Door Gallery, 17 George Pde., off 113 Collins St., Melbourne<ref name=":2" /><ref name=":1" /> * 1946, February: Group show including George Bell, Lina Bryans, Madge Freeman, Louise Thomas. Ian Bow and Francis Roy Thompson, The Blue Door Gallery, 17 George Pde., off 113 Collins St., Melbourne<ref>{{cite news |url=http://nla.gov.au/nla.news-article245949366 |title=Exhibitions Tomorrow |newspaper=The Herald |issue=21,451 |location=Victoria, Australia |date=18 February 1946 |accessdate=16 November 2024 |page=8 |via=National Library of Australia}}</ref> * 1946, October: ''Past Students of the National Gallery'' group show with Charles Bush, Howard Matthews, H. A. Barnes, Lindsay Edwards, Kathleen Barnes, Grahame King, Edward Heffernan, Laurence Phillips, Nornie Gude, P. Gare, G. Browning, L. Pendlebury, Phyl Waterhouse, and J. Frawley. Myer's Art Gallery, 6th floor, Bourke Street Store, Melbourne<ref>{{cite news |url=http://nla.gov.au/nla.news-article22386440 |title=Ex-Gallery Students' Show |newspaper=The Argus (Melbourne) |issue=31,240 |location=Victoria, Australia |date=15 October 1946 |accessdate=16 November 2024 |page=3 |via=National Library of Australia}}</ref><ref>{{cite news |url=http://nla.gov.au/nla.news-article204950458 |title=People and Parties |newspaper=The Age |issue=28,542 |location=Victoria, Australia |date=16 October 1946 |accessdate=16 November 2024 |page=6 |via=National Library of Australia}}</ref><ref name=":9">{{cite news |url=http://nla.gov.au/nla.news-article22382833 |title=The Life of Melbourne |newspaper=The Argus (Melbourne) |issue=31,241 |location=Victoria, Australia |date=16 October 1946 |access-date=16 November 2024 |page=16 |via=National Library of Australia}}</ref> * 1946, April: Victorian Artists' Society autumn salon.<ref name=":8">{{cite news |url=http://nla.gov.au/nla.news-article279201361 |title=Review By George Bell 'Some Good Work in Victorian Artists' Autumn Show |newspaper=The Sun News-pictorial |issue=7358 |location=Victoria, Australia |date=27 April 1946 |accessdate=16 November 2024 |page=9 |via=National Library of Australia}}</ref> * 1946, November: first solo show, of works made at Potts Point and Kings Cross, Sydney, Myer's Art Gallery, 6th floor, Bourke Street Store, Melbourne<ref name=":10" /> ** 1947, 5 June–July: solo show at Moreton Galleries, 5 Edward Street, Brisbane, Queensland<ref>{{cite news |url=http://nla.gov.au/nla.news-article186721811 |title=Southern Artist to Exhibit Here |newspaper=The Telegraph |location=Queensland, Australia |date=22 May 1947 |accessdate=20 November 2024 |page=4 (City Last Minute News) |via=National Library of Australia}} </ref><ref name=":15">{{cite news |url=http://nla.gov.au/nla.news-article186721103 |title=At Art Exhibition |newspaper=The Telegraph |location=Queensland, Australia |date=3 June 1947 |accessdate=20 November 2024 |page=5 (Second Edition) |via=National Library of Australia}}</ref><ref name=":16">{{cite news |url=http://nla.gov.au/nla.news-article49316919 |title=Raised Eyebrows Certain |newspaper=The Courier-mail |issue=3285 |location=Queensland, Australia |date=5 June 1947 |accessdate=20 November 2024 |page=2 |via=National Library of Australia}}</ref><ref>{{cite news |url=http://nla.gov.au/nla.news-article186720842 |title=Vivid Colours in Oils Show |newspaper=The Telegraph |location=Queensland, Australia |date=3 June 1947 |accessdate=20 November 2024 |page=7 (Second Edition) |via=National Library of Australia}}</ref> * 1948, May: Show of Australian artists Lesley Bowker, Eleanor Martin, Ian Beer, Bettina McMahon, Alannah Coleman, June Mendoza and Peter Beaumont, organised by Lesley Bowker in her studio at 119 George St., Sydney<ref>{{cite news |url=http://nla.gov.au/nla.news-article228809077 |title=Young Aust. artist's show |newspaper=The Sun |issue=11959 |location=New South Wales, Australia |date=26 May 1948 |accessdate=20 November 2024 |page=11 (Late Final Extra) |via=National Library of Australia}}</ref> * 1949, from 9 May: Group exhibition of 60 members of the Society of Artists, David Jones gallery, 7th floor (Mezzanine), Elizabeth Street, Sydney<ref>{{cite news |url=http://nla.gov.au/nla.news-article274101765 |title=Gossip About Town |newspaper=Daily Mirror |issue=2477 |location=New South Wales, Australia |date=10 May 1949 |accessdate=17 November 2024 |page=17 |via=National Library of Australia}}</ref> * 1949, 21 June–1 July: An exhibition of paintings by Alannah Coleman and Arthur Evan Read, Moreton Galleries, 5 Edward Street, Brisbane, Queensland,<ref>{{Citation | last1=Coleman |first1=Alannah | last2=Read |first2= Arthur Evan |title=An exhibition of paintings by Alannah Coleman and Arthur Evan Read | publication-date=1949 | publisher=Moreton Galleries | url=https://trove.nla.gov.au/work/36448585 | access-date=13 November 2024}}</ref> * 1949, September: group exhibition of floral paintings, David Jones gallery, 7th floor (Mezzanine), Elizabeth Street, Sydney<ref>{{cite news |url=http://nla.gov.au/nla.news-article18133628 |title=Flower Art Exhibition |newspaper=The Sydney Morning Herald |issue=34,872 |location=New South Wales, Australia |date=27 September 1949 |accessdate=17 November 2024 |page=2 |via=National Library of Australia}}</ref> * 1949, November, 5–13: Fern Tree Gully Arts Society, sixth annual exhibition, including Edith Alsop, Frank C Andrew, Len Annois, Edward Borovansky, Susan Boyd, Charles Bush, Daisy Campbell, Donald F. Campbell, Maie Casey, Ronald Center, A. Clayfield, Alannah Coleman, W. G. Collins, Eugene Cooper, Margaret Dickinson, Russell Drysdale, Alfred Dunstan, John Farmer, Harold A. Fleming, Eric L. Frazer, Norah Gurdon, Harry Harrison, Edward Heffernan, H. F. Hill, Arnold Holst, Marshall Hughes, Graeme Inson, Kenneth Jack, James R. Haughton, Margaret Joske, Frank Kane, Gavin Kleinert, Mary Macqueen, Max Middleton, John Morrissey, George Neville, Barbara Newman, Max Newton, Helen Ogilvie, Valerie O'Neill, Dick Ovenden, Esther Paterson, Gustav Pillig, M. Rankin, R. W. Rowed, John Rowell, Eugenie B. Rowell, Kenneth Rowell, Dora Serle, Frank Sherrin, Jeannettie Sheldon, Arnold Shore, Douglas Smart, Eric Smith, Peter Purves Smith, Audrey Snell, Charles Swancott, Eveline Syme, Florence Tame, Ken Thompson, Roma Thompson, Noel Thorpe, Kit Turner, Phyl Waterhouse, Percy Watson, Julius Wentcher, Charles Wheeler, Betty Buck, William Constable.<ref>{{Citation | author1=Fern Tree Gully Arts Society | title=[Fern Tree Gully Arts Society : Australian Gallery File] | url=https://trove.nla.gov.au/work/251669819 | access-date=14 November 2024}}</ref>
== Publications == * Coleman, A. (1955) dust-jacket illustration for {{Citation | author1=Kershaw, Alister | title=Murder in France | publication-date=1955 | publisher=Constable | url=https://trove.nla.gov.au/work/19935773 | access-date=16 November 2024}} * {{Cite web |last=Coleman |first=Alannah |date=1971–1989 |title=Letters to Charles Bush : 1971–1989 |url=https://find.slv.vic.gov.au/permalink/61SLV_INST/1sev8ar/alma9940896360107636 |access-date=17 November 2024 |website=State Library of Victoria}} * –––––––– (1981) ‘Opera: London triumph for Nolan’, ''The Bulletin'', Sydney, 3 November 1981, p. 72 * Coleman, A. (1955) dust-jacket illustration for {{Citation | author1=Kershaw, Alister | title=Murder in France | publication-date=1955 | publisher=Constable | url=https://trove.nla.gov.au/work/19935773 | access-date=16 November 2024}} * –––––––– (1982) 'The impact of a world without time' ''The Bulletin'' 16 Nov 1982, p. 114<ref>{{Cite journal |last=Coleman |first=Alannah |date=16 November 1982 |title=ART : Impact of a world without time |url=http://nla.gov.au/nla.obj-1932171907 |journal=The Bulletin |volume=102 |issue=5340 |pages=114 |via=}}</ref> * –––––––– (1985). review of Images of Sydney, 1890–1950. ''Arts Review''.<ref>{{Cite journal |last=Coleman |first=Alannah |date=1985 |title=review of 'Images of Sydney, 1890–1950' New South Wales House, Gallery, March – 24 April 1985 |url=https://bha-test.inist.fr/vibad/index.php?action=getRecordDetail&lang=fr&idt=oba_1200852 |journal=Arts Review |volume=XXXVII |issue=5}}</ref> * –––––––– (1986) ''A. Oscar : an exhibition of paintings'' (Coleman is writer of introduction), Miguel Solá (Writer of added text), Windsor Arts Centre. Catalogue of an exhibition held at Arts Centre (Windsor, USA), 21 Oct. –. 7 Nov. 1986<ref name=":14">{{Cite web |title=A. Oscar : an exhibition of paintings {{!}} WorldCat.org |url=https://search.worldcat.org/en/title/501474800 |access-date=2024-11-17 |website=search.worldcat.org |language=en}}</ref>
== References == {{reflist}}
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{{DEFAULTSORT:Coleman, Alannah}} Category:1918 births Category:1998 deaths Category:Australian curators Category:Australian women painters Category:People from Melbourne Category:Artists from Melbourne Category:Australian art gallery directors Category:Australian people of Irish descent Category:Australian women curators Category:Australian expatriates in England Category:20th-century Australian painters Category:Women's Art Register artists Category:20th-century women painters