Bill Peascod (1920-1985) was an English coal mining
engineer who achieved fame during his lifetime as a climber and professional
artist. Born in the Lakes District, England, on 3 May 1920, he initially worked in the local coal mines before
securing a position as a teacher of mining engineering within the
technical college system. After achieving a notable reputation as one of
Britain 's top climbers, Peascod migrated to Australia in 1952. He spent the
remainder of his working life there before returning to the Lakes District in
1980. During 1985, at the age of 65, he died of a heart attack whilst climbing
with a friend in North Wales. The following is a brief outline of Peascod's life
with special reference to his art. A detailed autobiography was published
during the year of his death. Entitled Journey After Dawn, it focuses on his
achievements as a climber, but also includes a brief account of his time in
Australia and work there as an artist. What follows is a brief chronology of his life, with reference to various artworks.
Chris Wadsworth, Bill Peascod - coal miner, rock climber and artist [video], YouTube, 2020. Duration: 41.42 minutes.
Chronology
1920
3 May 1920 - William "Bill" Peascod is born at
Sharp's Yard (The Fold), Ellenborough, near the Lakes District, England.
1925
- at the age of five, Peascod wins a prize at
kindergarten for drawing.
1929
- Bill's mother dies of TB when he was nine.
1934
- leaves school and commences work in a fish and
chip shop at Workington.
1935
- starts work in the coal mine at Clifton
- attends
Cumberland Art College for a year, during which period he produces black and
white drawings, mostly of buildings.
 |
| Bill Peascod at 17. |
1937
- takes up climbing.
1938
- Peascod puts up new climbing routes in the Lakes
District with his partner Bill Beck
- starts working with his father in the
coal mine and is made a member of the Mine Rescue Squad.
1940
- first ascent of Eagle Front in Birkness Coombe
above Buttermere.
- begins studying mining engineering at the local technical
college.
- art goes into the background as working life, family and climbing
occupy him.
1943
- son Alan born.
1947
- made a ventilation engineer following the William
Pitt mine disaster; later works at the William Pitt mine.
1949-51
- names a variety of climbing routes in the Lakes
District.
1950
- leaves the coal mines to become a lecturer in
mining engineering at the local technical college, Workington.
- takes up landscape
painting again. This is mostly in the typical English watercolour style, under
the influence of Turner and Constable.
1952
- migrates to Australia with his wife Margaret from Maryport and son Alan on a £10 passage.
- becomes Head Teacher, Mining Engineering, Wollongong Technical College, Gladstone Avenue, Wollongong. The
family reside at Dapto.
1953
- South Coast Times, 16 February 1953. New Teacher of Coal
Mining at Tech College. Mr. William Peascod, M.I.M.E., who recently arrived in
this country, from England, has been appointed teacher of coal mining and is the first full time teacher at
Wollongong Technical College of coal mining at
Wollongong since before the war, the last holder of this position being
Mr. Hynd. Before coming to Australia Mr. Peascod held the position of Lecturer
in Mining and Surveying under Mr. Harold
Brown, B.Sc. (now State Organiser for Mining Education for Queensland)
at the Cumberland Technical College, where be taught all grades of students
from Mining Entrants to candidates for Home Office Certificates of Competency
as Colliery Managers and Surveyors, and candidates for the Examinations of the
Institution of Mining Engineers. Mr. Peascod received his training at the
Cumberland Technical College. In 1943 he won a Miners' Welfare Scholarship and
in 1946 was awarded the Sir John Randle Travelling Scholarship for outstanding
performance. He is a Certificated Colliery Manager, and in 1952 was elected to
Membership of the Institution of Mining Engineers, and the North of England
Institute of Mining and Mechanical
Engineers. He has had over 15 years of practical work in mines in the North of England. Entering
the mines at 14 years of age he worked at the coal face for some years and
later joined the Surveying Staff of Solway Colliery. This colliery is being
developed on the system of horizon mining and has one of the few skip winding
installation in, Britain. He was, later overman in charge of high speed
mechanised drifts and in power loading sections in coal. During this period Mr.
Peascod was trained as a member of a Colliery Rescue Team and participated in
the lengthy recovery operations which followed the explosions at Lowca No.10
Colliery in 1946 in which 15 men lost their lives and in the William Pit
explosion in which 104 men were lost. It is interesting to note that in this
latter explosion Professor Phillips of the School of Mining Engineering and Applied Geology in the N.S.W.
University of Technology was also actively engaged at the same time in research
operations in order to determine the cause of the explosion. On resumption. of
production at William Pit, Mr. Peascod was appointed Undermanager, and 12
months later took up a position at a larger and more highly mechanised
colliery. Mr Peascod is married and has a son, nine years of age. Amongst his interests Mr.
Peascod has a great love of mountains and mountain climbing - in this respect
he was held in considerable esteem and was well known in all climbing centres
in Britain as a rock climber of ability
and experience. He is also keenly interested in landscape painting, in which
respect he hopes to have considerable possibility for development in the
Wollongong and South Coast areas. Mr. Peascod took up his appointment at
Wollongong Technical College on Monday and is anxious to contact all mining men
and students old and new in the Southern Coalfield.
- South Coast Times, 23 November 1953. Mr. William Peascod
Senior. Mining men and mining students throughout the South Coast will
sympathise with Mr. William Peascod, Chief Teacher of Coal Mining at the
Wollongong Technical College, in the recent sad death of his father who was
fatally injured in a coal mine in England on Saturday, November 14. Mr.
Peascod senior met his untimely death in the Solway Colliery, Cumberland, England.
1954
- starts a rock climbing group in Wollongong, using
cliffs at Bulli and Mount Keira.These prove unsuitable due to the friable nature of the sedimentary rocks forming the Illawarra Escarpment. Volcanic and igneous rocks are preferable due to their hardness.
- commences annually travels to the Warrumbungles in
northern New South Wales to climb and write for a mining journal. This continues
through to 1961.
1955
- William Peascod and Austin Keane, The Effect of
Leakage on Mine Ventilation, Colliery Engineering, vol. 32, 1955, pp. 207-211.
1956
- The Canberra
Times, 11 January 1956. An ambulance taking two injured people to hospital after an
accident was involved in an accident in Canberra yesterday. The ambulance was
taking an 11-year-old boy, Trevor Evans and William Peascod to hospital, after
a collision at the intersection of Sturt Avenue and Boolimba Streets. Peascod was later treated at
the Canberra Community Hospital for a fractured nose and Evans for facial
injuries sustained in the earlier collision. The drivers of the cars, Herbert Vearse, of Lefroy Street, Griffith, and Herbert
Collins, of Davis and Bailey, solicitors, were uninjured. The ambulance, driven
by Milton Anderson, of McPherson Street, O'Connor, and a car driven by Thomas
Jones were involved in a collision 15 minutes after the first accident. Jones
told police he stopped at the intersection of Lennox Crossing and Commonwealth
Avenue in obedience to a signal by the policeman on point duty. The ambulance
struck the rear wheel of the car, causing minor damage, he told police.
- The Canberra
Times, 25 April 1956. William Peascod, 35,
schoolteacher, of Yalunga Road, Dapto, was fined £4 for negligent driving.
Police said he was the driver of a car which crashed into a lorry at the
intersection of Wentworth Avenue and Canberra Avenue on January 10.
1957
- Antique Land, 1957, mixed media on canvas, 95 x 126 cm,
Federation University Collection. URL:
https://victoriancollections.net.au/items/534748159821f420f8c036f0.
- attends National Art School, Sydney.
1958
- attends National Art School, Sydney.
1959
- February : Peascod feels a "fierce urge" to
paint, in lieu of the removal of his outlet through climbing. He begins
painting in a style in which the scars of the mine environment are a major
influence. In an interview he talks of the scar of man upon the landscape and
the resultant destruction of that environment; of his love of nature, texture,
rough things and tactile sensation, alongside a need to touch and get
physically involved with the painting through scratching, roughing, and
burning. The scars of the mine disasters
he loved through are evident.
- final year at the National Art School, Sydney.
1960
- Sydney Morning Herald, 14 November 1960. Review of the book
Australian Coalmining, which includes an article on mechanisation by William Peascod, head
teacher at the Department of Technical Education.
- takes up painting in earnest whilst maintaining his
teaching position.
- has his first show, at the WEA (Workers Education Association) rooms in Wollongong.
- The Gorge, Bungonia, 1960. Wynne Prize finalist, Art
Gallery of New South Wales.
1961
- Industrial Landscape II, 1961, synthetic polymer paint
and mixed media on board, 123.0 x 184.8 cm (image) 125.8 x 186.2cm (sheet).
Wollongong Art Gallery. Purchased by Wollongong City Council, Greater
Wollongong Art Competition, 1961.
- Sydney Morning Herald, 30 August 1961. Outstanding entries
for art prize: ... A consistency of standards marks the preoccupation of
newcomer William Peascod with landscape subjects in his one-man show at the
Terry Clune Galleries. Absorbed by an elemental fusion of earth, sky, tree and
rock forms, Peascod has restricted his palette to unifying basic dull reds and
blacks with the occasional addition of a subdued blue or yellow-green. Within
the restrictions of this scumbled colour he achieves, through the weight of an
underlying impasto of thick pain, a sense of undercurrents and echoes. He
tried, with the weight of paint texture and blued-on shapes of bark and timber,
to impart an immediate sensation of the landform and trees to the viewer. This
is often effective but errs dangerously when barks from branches are glued to
denote branches. This facility is just not good enough, but elsewhere Mr
Peascod shows himself to be a spirited and interesting painter of considerable
promise. Titles such as "Antique Land", "Approach of Fire",
"Inland Erosion", "Cliff-face with Dead Trees" and
"Rain Forest at Mt. Barney" give a clear indication of the artist's
theme. The exhibition will open at 5.30 p.m. today.
- Sydney Morning Herald, 14 November 1961. 67 Artist in
Christmas Exhibition - notice of Blaxland Gallery exhibition which
includes works by Peascod.
1962
- Seaport Industrial, 1961-2, synthetic polymer paint and
mixed media on composition board 91.8 x 123.0 cm (image) 96.0 x 126.0cm
(sheet). Wollongong City Gallery. Purchased by Wollongong City Council, Greater
Wollongong Art Competition, 1962.
1963
- The Escarpment, February 1963, mixed media on board, 137 x 91 cm.
 |
| The Escarpment, February 1963 |
- 15 to 25 May - solo exhibition at the Blaxland Gallery,
Sydney. Opened by Australian authoress Elizabeth Kater. Around this time he was producing his 'burnt paintings' series, where he would attack a painted canvas / board with a blowtorch and observe the melting of the paint.
- Sydney Morning Herald:
Blaxland Galleries - William Peascod in his second one-man exhibition in Sydney
shows a quite remarkable development. In his show at Farmer's Blaxland
Galleries he reveals qualities not even hinted at before. There are resources
of mind and heat that show in completely new orders and new perceptive qualities.
In "Coomaditchy", "In the Garden", and "Opal
Diggings" one is suffused in a fine poetry. A poetry of nuance and
inflection of forms that dissolves into strange mists or sharpens into
disciplined eyes that suggest subtle changing planes, touches on real beauty in
these paintings. It is the beauty of the world evoked - of a man's strength and
tenderness fused into an expression of echoes and half-realisations. The
mystery is established. Peascod uses changing surfaces of added hessian shapes
- of blow-torch-burnt paint to create abstractions of a new importance in local
contemporary painting. The exhibition will be opened by Elizabeth Kata at 1.15
p.m. today. W.T.
- Sydney Morning Herald, 29 June 1963. Notice of Peascod solo
exhibition at the Barry Stern Galleries, Sydney.
- 3 July 1963, The Age, Melbourne. William Peascod of Dapto
wins the Maud Visson prize to the value of £300 for his work Opal Diggings. It
is purchased by the Art Gallery of South Australia.
- Sydney Morning Herald, 4 July 1963. Abstracts in the One
Vein. Review of the Survey 2 exhibition
at the Blaxland Gallery. Includes the
comment: Gains are made by
William Peascod in "Burnt Landscape III", which touches poetically,
and with excellent quality, on the Australian bush.
- Opal Diggings, 1963, 6 x 4 feet. The process of
creating this work is outlined in the Hazel de Berg interview of 1965.
- Escarpment, 1963,
synthetic polymer paint and mixed media on canvas on board. University
of Wollongong Art Collection.
- [Untitled], 1963, synthetic polymer paint and mixed
media, 122.0 x 91.0 cm. Wollongong Art Gallery.
- [Untitled landscape], 1963, mixed media on board,
signed and dated l.r.c 'Peascod 9/63', 45 x 63 cm. Shapiro Auctions, 8 December
2013.
1964
- Sydney Morning Herald, 14 March 1964. Notice of William
Peascod exhibition at the Barry Stern Galleries.
- Peascod invited to exhibit in the Helena Rubinstein
Travelling Art Scholarship exhibition at the Art Gallery of New South Wales on 7 September.
- Sydney Morning Herald, 20 September 1964. The holy of
holies prize .... William Peascod is improving rapidly, though his abstracts
are too close to visual realities that happen to look like abstract. They have
no sense of mystery. Unlike Lynn, Peascod definitely gives the impression of
describing a detail from a natural object but he has not yet developed enough
technical resources to make the transcript fully acceptable on an aesthetic
level.
- 25 September to 13 October - solo exhibition at the Von
Bertouch Galleries, Newcastle.
- opens studio near Wollongong.
1965
- Megalith, circa 1965, synthetic polymer paint and mixed
media on board,122.7 x 91.8 cm (image) 126.5 x 95.7cm (sheet). Wollongong Art
Gallery.
- The Canberra
Times, 31 May 1965. Donald Brook, Sydney Painters '65. Review of an exhibition at Gallery A, Canberra. Mentions paintings by
Gleeson, Daryl Hill, Szabo, Peascod, Reddington and Smart.
- Sydney Morning Herald, 11 July 1965. William Peascod
Exhibition, Dominion Gallery, Sydney.
- Sydney Morning Herald, 14 July 1965. Peascod and Zusters share exhibition, by
Wallace Thornton. William Peascod is gaining increasing and important authority
in his evocations of moody landscapes. They contrast in interesting opposition
with the more belligerent aggression of colours and forms of the works by
Reinis Zusters, who shares the Dominion Galleries with him. Peascod, with
consistent skills and important depths of feeling, pursues variations on a
theme of gloomy, spacious scarred landscapes —a world where earth and sky
mingle in mysterious union. A sullen glow of red earth or glimmer of rich blue
echoes of sky or lake give the barest relief of colour to the spreading blacks
or greys. But through it all, by a submerged current of textures and subtle
changes of tone, Peascod achieves his dark poetry of earth and sky.
- 15 October 1965 - interviewed by Hazel de Berg for the
National Library of Australian oral history program. NLA DeB115, 24 minutes.
Includes a brief biographical outline plus discussion of his art.
- Paintings by William Peascod, White Studio
Exhibition Gallery, The Common, Beaumont, Adelaide, 9 November 1965, 4p. Includes biography,
introduction and a list of twenty one paintings.
- Scar theme XI, 1965, synthetic polymer paint on canvas
on hardboard, 137.1 x 122.0cm. Art Gallery of New South Wales.
- Landscape Theme VII, 1965, oil on fabric on composition
board, 122 x 137.2 cm, inscribed in black paint l.r. Peascod 5/65. National
Gallery of Victoria.
1966
- The Gateway, 1966. Wynne Prize finalist, Art Gallery of
New South Wales.
- William Peascod, at Barry Stern Galleries, 28 Glenmore
Rd, Paddington, Sydney, 29 June 1966, 1p. Includes list and prices of 19 works.
1967
- 19 March : invitation to William Peascod exhibition at
the Johnstone Gallery, Brisbane.
- John Conway, a lecturer in art, is appointed Head of
Department, Wollongong Teachers’ College where he forms a friendship with Bill
Peascod, Col Jordan and Peter Pinson, each exercising an important
encouragement in the development of a personal style.
1968
- Wave, 1968, oil on board, 45.6 x 61 cm, signed l.r. Offered for sale on eBay, December 2017 - 2021.
 |
| Wave, 1968 |
1969
- Red Sky, February 1969. University of Wollongong Art
Collection.
- Yellow Water Hole, 1969. Wynne Prize finalist, Art
Gallery of New South Wales.
1970
- 32nd Annual Contemporary Art Society Exhibition,
Farmers Blaxland Gallery, Sydney, 28 October to 10 November 1970. Includes work by Peascod.
1971
- studying in Japan and embraces Japanese minimalism.
1972
- studying in Japan. Returns to Australia with Etsu.
1973
- Bill marries Etsu. Emma is born.
1974
- Windy Gully
[1974], synthetic polymer paint on board. University of Wollongong Art
Collection.
- Twin Peaks [1974], Oil. University of Wollongong Art
Collection.
1975
- lecturing at the University of Wollongong on the history of art in the General Studies course for engineering students.
1978
- 28 October to 12 November - solo exhibition at the
Wagner Art Gallery.
- Dry Inland, 1978, synthetic polymer paint and mixed
media on composition board,125.2 x 94.1 cm. Wollongong Art Gallery.
- Scartheme 8, 1978, synthetic polymer paint on torn
canvas on board, 91.8 x 123.0 cm (image) 141.7 x 126.5cm (sheet). Wollongong
City Gallery.
1979
[Photograph]
Etsu and Emma, at the drum house above Honister, New Year, 1979.
1980
- Bill Peascod 1950-1980: Retrospective, Wollongong City
Gallery. Catalogue, 20p. Curated by Tony Bond.
- Bill Peascod and his wife and daughter return to England to live. He gets a pension and they purchase Millbanks.
1981
- Unlock Pike, March 1981, mixed media on card, 27 x 24 cm.
1982
1983
- December Fells, 1983, mixed media on card, 10 x 10 cm.
- T.W. Bill Birkett, Lakeland's Greatest Pioneers: One
Hundred Years of Rock Climbing, Robert Hale, 1983, 192p. Includes references to the work of Bill Peascod.
1984
- Eagle Front - Climbing with Mackeral on your feet /
Lakeland Rock [video], Border Television, 1985. In the company of Chris
Bonington, who at 50 has recently succeeded on Everest, Bill Peascod returns to
Eagle Front at the age of 64 to attempt the route which established him at the
top of British climbing in the 1940s.
- Out of the Valley, June 1984, mixed media on paper.
source: Castlegate House auction, 2002. URL:
http://www.castlegatehouse.co.uk/paintings-for-sale/bill-peascod/out-of-the-valley/.
- The Wall, July 1984, mixed media on paper. source:
Castlegate House auction, 2002. URL:
http://www.castlegatehouse.co.uk/paintings-for-sale/bill-peascod/the-wall/.
1985
- Bill Peascod, Journey After Dawn: The Autobiography of a Climber / Artist, Cicerone Press, Milnthorpe, Cumbria, 1985, 173p.
[Photograph]
Don Whillans leading Bill Peascod climbing Great Slab
Clogwyn du r Arddu, North Wales, May 1985. Bill Peascod's last climb.
Photograph: F. Jack Jackson.
-
17 May : Bill Peascod dies from a heart attack whilst climbing
with Don Whillans in North Wales. He leaves behind his Japanese wife
Etsu, their daughter Emma, and his son from his first marriage, Alan.
 |
| At home in the steep places |
1986
- 27 May 1986, University of Wollongong Campus News, William
Peascod Retrospective continues until Sunday June 1, open 1 - 4 pm seven days a
week. In particular note that the autobiography of William Peascod may be
obtained by placing orders through Creative Arts.
1989
- Bill Birkett and Bill Peascod, Women Climbing: Two Hundred Years of Achievement, A&C Publishers, London, 1989; republished by
The Mountaineers Books, Seattle, 1990.
1993-4
- Etsu arrives in Australia, and seeks to instigate an exhibition, but also retrieve some paintings from various Australian institutions. She works with Chris Wadsworth at this time.
2002
- exhibition of works by Bill Peascod at the
Castlegate House Gallery, Cockermouth,
prior to sale.
--------------------------------
References
Bill Peascod [biography], Mountain Heritage Trust
[website], 2017. Available URL:
https://www.mountain-heritage.org/entity.php?ID=191.
Bill Peascod paintings for sale, Castlegate House Gallery, 2021. Available URL: https://www.castlegatehouse.co.uk/paintings-for-sale/bill-peascod/.
Birkett, T.W., Lakeland's Greatest Pioneers: One Hundred
Years of Rock Climbing, Robert Hale, 1983, 192p.
-----, Lakeland Pioneer - Bill Peascod, Footloose Crow
[blog], 11 February 2011. Available URL:
http://footlesscrow.blogspot.com.au/2011/02/lakeland-pioneer-bill-peascod.html.
Bond, Tony, Bill Peascod 1950-1980: Retrospective,
Wollongong City Gallery. Catalogue, 20p.
Davis, Hunter, Lakeland: A Personal Journey, Head of
Zeus, 2016. Includes a list of climbing routes named by Peascod 1949-51.
Elwyn, John, At the Fifth Attempt: An Escape Story, Pen
and Sword, 1987, 224p.
Final show of flaming art, BBC News [website], 10 July
2002. Available URL: http://news.bbc.co.uk/2/hi/uk_news/england/2121033.stm.
Meadows, Michael, Tiger's Rule The living rock: the origins of climbing in
Australia [blog], 19 September 2005. Available URL:
http://climbinghistoryoz.blogspot.com.au/2005/09/tigers-rule-bill-peascod-emigrated-to.html.
Peascod, William, Journey After Dawn: The Autobiography
of a Climber / Artist, Cicerone Press, Milnthorpe, Cumbria, 1985, 173p.
Perrin, Jim, The Villian: The life of Don Whillans,
Random House, 2010. Reference p.328.
Ryan, 50 Classic Climbs of Australia - Cornerstone Rib,
Zen and the Art of Climbing [blog], 19 May 2017. Available URL:
https://zenandtheartofclimbing.com/50-classic-climbs-australia-cornerstone-rib/.
Thompson Simon, Unjustifiable Risk? The Story of British
Climbing, Cicerone Press Limited, 2012, 400p.
William Peascod [biography], Design & Art Australia
Online [website], 2017. Available URL:
https://www.daao.org.au/bio/bill-peascod/.
------------------------------------------
Artworks
Dated
* Antique Land, 1957, mixed media on canvas, 95 x 126 cm,
Federation University Collection. URL:
https://victoriancollections.net.au/items/534748159821f420f8c036f0.
* The Gorge, Bungonia, 1960. Wynne Prize finalist, Art
Gallery of New South Wales.
* Industrial Landscape II, 1961, synthetic polymer paint
and mixed media on board, 123.0 x 184.8 cm (image) 125.8 x 186.2cm (sheet).
Wollongong Art Gallery. Purchased by Wollongong City Council, Greater
Wollongong Art Competition, 1961.
* Seaport Industrial, 1961-2, synthetic polymer paint and
mixed media on composition board 91.8 x 123.0 cm (image) 96.0 x 126.0cm
(sheet). Purchased by Wollongong City Council, Greater Wollongong Art
Competition, 1962. Wollongong City Gallery.
* Escarpment, 1963, synthetic polymer paint and mixed media on canvas on board. University
of Wollongong Art Collection.
* The Escarpment, February 1963, mixed media on board, 137 x 91 cm. Offered for sale by Castlegate House Gallery, UK, 2021, for £4,800.
* Opal Diggings, 1963, 6 x 4 feet. Wins Maud Visson Art
Prize. Art Gallery of South Australia. Described in Hazel de Berg interview.
* [Untitled], 1963, synthetic polymer paint and mixed
media, 122.0 x 91.0 cm. Wollongong Art Gallery.
- [Untitled landscape], 1963, mixed media on board,
signed and dated l.r.c 'Peascod 9/63', 45 x 63 cm. Shapiro Auctions, 8 December
2013.
* Scar theme XI, 1965, synthetic polymer paint on canvas
on hardboard, 137.1 x 122.0cm. Art Gallery of New South Wales.
* Landscape Theme VII, 1965, oil on fabric on composition
board, 122 x 137.2 cm, inscribed in black paint l.r. Peascod 5/65. National
Gallery of Victoria.
* Megalith, circa 1965, synthetic polymer paint and mixed
media on board,122.7 x 91.8 cm (image) 126.5 x 95.7cm (sheet). Wollongong Art
Gallery.
* The Gateway, 1966. Wynne Prize finalist, Art Gallery of
New South Wales.
* [Untitled], 1967, synthetic polymer paint on torn
canvas on board,187.0 x 141.0 cm. Wollongong Art Gallery.
* Wave, 1968. Oil. Offered for sale on eBay, December 2017.
* Red Sky, February 1969. University of Wollongong Art
Collection.
* Yellow Water Hole, 1969. Wynne Prize finalist, Art
Gallery of New South Wales.
* Windy Gully [1974], synthetic polymer paint on board.
University of Wollongong Art Collection.
* Twin Peaks [1974], Oil. University of Wollongong Art
Collection.
* Dry Inland, 1978, synthetic polymer paint and mixed
media on composition board,125.2 x 94.1 cm. Wollongong Art Gallery.
* Scartheme 8, 1978, synthetic polymer paint on torn
canvas on board, 91.8 x 123.0 cm (image) 141.7 x 126.5cm (sheet). Wollongong
City Gallery.
* Unlock Pike, March 1981, mixed media on card, 27 x 24 cm.
* Dark Ridge, Christmas 1982, mixed media on card, 13 x 10 cm.
* December Fells, 1983, mixed media on card, 10 x 10 cm.
* Out of the Valley, June 1984, mixed media on paper.
source: Castlegate House auction, 2002. URL:
http://www.castlegatehouse.co.uk/paintings-for-sale/bill-peascod/out-of-the-valley/.
* The Wall, July 1984, mixed media on paper. source:
Castlegate House auction, 2002. URL:
http://www.castlegatehouse.co.uk/paintings-for-sale/bill-peascod/the-wall/.
Undated
* Red Ridge 2, Oil, mixed media on canvas mounted on
board. University of Wollongong Art Collection.
Last updated: 1 July 2021
Michael Organ
