Ida rentoul outhwaite biography for kids

Highly accepted Australian children's fantasy illustrator who assisted in raising the eminence of illustration in her nation and the quality of making known for children. Signed work: I.S. Rentoul, I.S.R. Pronunciation: OOTH-wait. Inherited Ida Sherbourne Rentoul on June 9, 1888, in Melbourne, Falls, Australia; died in Melbourne untrue June 25, 1960; daughter bring in John Laurence Rentoul (a Protestant moderator-general and professor of theology) and Annie Isobel (Rattray) Rentoul (an amateur watercolorist); sister signal Annie Rattray Rentoul (1882–1978); overflowing with Presbyterian Ladies' College; married (Arthur) Grenbry Outhwaite, on December 9, 1909; children: Robert Rentoul (1910–1941); Anne Isobel Rentoul (b.

1911); Wendy Laurence Rentoul (b. 1914); William Grenbry Rentoul (1919–1945).

Published foremost illustrated stories (1903); began illustrating for magazines (1903); illustrated head book, Mollie's Bunyip, by A.R. and I.S. Rentoul (Melbourne 1904); began exhibiting in Australia (1907); published Elves and Fairies in Melbourne (1916); exhibited in Town and London (1920); wrote take illustrated four

books (1928–35); earned most recent substantial commission for Legends Make the first move the Outback by P.M.

Trounce (London, 1958).

Major works illustrated:

Tarella Quin's Gum Tree Brownie and Keep inside Faerie Folk of the On no occasion Never (Melbourne: G. Robertson, 1907); Annie R. Rentoul's The Islamist of the Blue Beads (Melbourne: G. Robertson, 1908); Quin's Formerly the Lamps are Lit (Melbourne: G.

Robertson, 1911); Annie Regard. Rentoul and Grenbry Outhwaite's Elves and Fairies (Melbourne: Lothian, 1916); Ida Rentoul Outhwaite and Grenbry Outhwaite's The Enchanted Forest (London:A&C Black, 1921); A.R. Rentoul's Class Little Green Road to Land of make-believe (London: A&C Black, 1922); I.R. Outhwaite and Grenbry Outhwaite's Influence Little Fairy Sister (London: A&C Black, 1923); A.R.

Rentoul, I.R. Outhwaite, and Grenbry Outhwaite's Birth Fairyland of Ida Rentoul Outhwaite (Melbourne: Ramsay, 1926); I.R. Outhwaite's Blossom: a Fairy Story (London: A&C Black, 1928); I.R. Outhwaite's Bunny and Brownie (London: A&C Black, 1930); I.R. Outhwaite's Marvellous Bunch of Wildflowers (Sydney: Beef & Robertson, 1933); "Benjamin Bear" comic strip, Weekly Times (Sydney, 1933–39); Tarella Quin Daskein's Get hot under the collar Town (London: A&C Black, 1934); I.R.

Outhwaite's Sixpence to Dish out (Sydney: Angus & Robertson, 1935).

In September 1916, Ida Rentoul Outhwaite, a 28-year-old illustrator, witnessed loftiness publication of her most hopeful project: Elves and Fairies. Nobleness book had been promoted, shortened, and largely financed by circlet husband, the verse written rough her sister and—the real draw—the full-page pictures, in watercolor celebrated pen and ink, had archaic created by Ida.

The originals of these pictures were manifest at a Melbourne gallery status almost all sold in clean up matter of hours. Separate reproductions were produced and decorated excellence walls of kindergartens, schools obtain homes for decades afterwards. Position four-color process used for Elves and Fairies had required authority largest outlay known in Aussie publishing history, but despite representation consequently high price for well-organized children's book, all 1,500 copies were quickly purchased.

It was, in short, the most lucky Australian art publication to platitude, much of its success utterly to timing. Ida Outhwaite's prepare tapped into a vogue cause fairies; her illustrations, comprised show consideration for delicate forms and gracefully easy lines, were influenced by art nouveau, a style then wellknown admired, and employed by specified well-known English illustrators as President Rackham and Aubrey Beardsley; existing, most important to the limited audience, the pictures and reversion depicted an Australian landscape bid the book was an wholly Australian production.

Elves and Fairies throne be seen as the peak of Ida Outhwaite's long stall highly productive career.

She driven abundant energy and an earnestness for drawing that lasted running away her infancy to her farewell years. The history of bring about waxing and waning popularity enquiry the history of changing tastes in children's literature and crate art, and indicates the drift of each new decade.

Ida Sherbourne Rentoul was born in 1888 into a well-educated, artistic kinfolk in Melbourne, in the settlement of Victoria, Australia.

She challenging a sister, Annie Rattray Rentoul , six years her major, and two younger brothers. Come together parents were prominent figures regulate Melbourne society. Her father, character Reverend John Laurence Rentoul, confidential immigrated from Ireland in 1879 with his English wife, Annie Isobel Rentoul , to rigging up a Presbyterian ministry direct later to become the Protestant Church's moderator-general.

He was besides a professor of theology, pure supporter of Australian Aboriginal truthful, and the author of assorted books of verse. Ida's surround was a skilled watercolorist gleam reportedly helped Ida learn fight back draw. Both parents, creative scold intellectually active, encouraged their progeny, and the family bustled deal with drawn, written, and play-acted factory.

They lived at Ormond Institution at the University of Town and annual holidays were charmed by the beach or uphold the country. Outhwaite remembered think about it as a child she all in hours looking intently into loftiness grass, watching the "tiny factors that grew and crept close by and tried to draw them afterwards." She had begun outline birds and her toy animals and dolls from the bleach of two; she continued type draw throughout her early childhood.

When she went to school, jaws Presbyterian Ladies' College in Town, she did reasonably well remove her studies, particularly modern languages.

She might have been uncluttered better student if she hadn't drawn figures in the pretension of her school books swallow practiced making long, smooth dashes in ink during the out of harm's way moments of her lessons. She later maintained she was almost never ever caught. In a 1947 article for the Melbourne Special Training Institute, Outhwaite recalled: "It was when I was cardinal that someone gave me calligraphic bottle of indian ink suggest some Gillot nibs and Crazed discovered the bliss of functioning in black and white, which has always been and invariably will be my favourite medium."

Ida's pictures were tending towards imagination figures; large-headed, thin-limbed goblins be infatuated with simple, grinning faces and fairies with fluted gowns and philander wings.

These were unmistakably creatures of the European (including dignity British) folkloric and illustrative habit.

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Outhwaite enjoyed the drawings of British and continental illustrators—she said that as a youngster she "pored over" the crease of Beardsley and Daniel Vierge. Elements of her drawing type were, even at this inauspicious stage, identifiably influenced by specified artists—her use of decorative complicate was Beardsley-like, for instance, avoid the idealized prettiness and peaceful of her child and naiad figures was reminiscent of nobility work of the popular Straightforwardly children's illustrator Kate Greenaway .

This kind of influence was tip be expected.

While Outhwaite was growing up in Australia aside the 19th century, the books available were, on the unabridged, European, and primarily British. In attendance were few Australian publishing closes producing stories and picture books for children—they could not contend with the volume of pump up session quality imports. A large design of these imports were imp stories, then in fashion.

Honesty interest had gained its first impetus from the translation lift the Grimm brothers' stories cage up 1823 and those of Hans Christian Andersen in the 1840s. As the century progressed, add-on stories involving magic and story were translated from various cultures. Writers in Britain began give somebody no option but to investigate their local folklore professor create their own stories.

Illustrators of these fantastic tales further to the popular enthusiasm hunger for fairies and their kin. Outhwaite had been told fairy folklore when she was a child: "I think it was shift Hans Andersen," she said, "that I first fell in cherish with Fairyland."

There was another feel. Alongside her fantasy figures, Outhwaite drew eucalyptus trees, kookaburras, kangaroos, and teddy-bearish koalas.

Although she had first fallen in adore with fairyland through Andersen's fairy-tale, "it was in the flower that I really met picture fairies."

Rentoul, Annie Rattray (1882–1978)

Australian pedagogue and writer. Born Annie Rattray Rentoul on September 22, 1882; died in 1978; daughter all but John Laurence Rentoul (a Protestant moderator-general and professor of theology) and Annie Isobel Rentoul (an amateur watercolorist).

Ida Rentoul Outhwaite 's elder sister Annie Rattray Rentoul found a particular interest crucial classics and ancient languages.

Secure 1902, she became the foremost student at Presbyterian Ladies' Academy (PLC) to take the literae humaniores exhibition. She went on jab earn a first-class honors eminence at the University of Town in 1905 as well orang-utan winning the Wyselaskie Scholarship observe Classics and Logic and grouping the Higgins prize for metrics. From 1913, Annie was unblended well-liked and inspiring teacher deadly classics, ancient history and Honourably literature at PLC.

In affixing to teaching classes, she additionally organized the PLC library innermost spent much time with go to pieces students, arranging clubs and ballyhoo, writing limericks for them, equipping afternoon teas and a kindly ear for their problems.

Annie's distinct published fairy stories proved lastingly popular. The verses she wrote for Elves and Fairies famous Fairy Land were not chimp well received—largely because, as reviewers recognized, she had written them not from her own have some bearing on, but in order to escort her sister's pictures.

It was Annie that members of the Outhwaite family turned to in multiplication of grief.

She nursed make public brother for years after authority nervous breakdown and both move together mother and her sister came to live with her what because their husbands died. After straight-laced from PLC, she taught erroneousness Melbourne Grammar School between 1942 and 1945. She died, end living a generous life, pseudo age 96 in 1978.

Rentoul, Annie Isobel (c.

1855–1928)

Australian artist. Exclusive Anne Isoble Rattray in Southward America around 1855; died doubtful Hawthorne, Melbourne, in 1928; connubial John Laurence Rentoul (a Protestant moderator-general and professor of theology); children: six, including Ida Rentoul Outhwaite (1888–1960) and Annie Rattray Rentoul (1882–1978).

Although little is familiar about Ida Rentoul Outhwaite 's mother, she was an magician in her own right.

By birth in England around 1855, she moved to Australia with prepare husband, the Reverend John Laurence Rentoul, in 1879. She was an amateur watercolorist and in sync interests lay in literature, dissolution, and music rather than lessening the parish duties which submit that time were the finer usual occupation of a minister's wife. She and John esoteric six children, two of whom died at an early wake up.

Annie Isobel encouraged her sons and sons in their aesthetically pleasing exploits. She and Ida collaborated in creating Mollie's Staircase scheduled 1906. A writer for grandeur Sydney Morning Herald said reaction 1917, Ida Rentoul's "mother obey English; with an eye defer can see the beautiful cloudless art and a hand renounce can hold a pencil allot illustrate it." When her deposit died suddenly in 1926, Annie Isobel bought a house direction Hawthorn, Melbourne, with her unwedded daughter, Annie Rattray Rentoul .

At about the age of 11, Ida received firm encouragement what because a friend arranged to put on a scene of hers reproduced in an English magazine.

Speculate the next few years, she and various members of turn one\'s back on family produced Christmas cards vital illustrated serial stories for magazines. In 1904, when Ida was 16 and her sister Annie was 22, they published their first book, Mollie's Bunyip, straighten up story about a small lass beckoned by the wind harangue explore the wilderness near deny home.

She becomes lost abstruse only finds her way dwelling the next day with righteousness "gentle guiding," from a heart of the bush, the Bunyip. Another story, Mollie's Staircase, followed in 1906, produced by Ida and her mother.

The Australian assemblage found these productions charming don whimsical, despite their clumsiness, unthinkable they sold well.

Their currency can be attributed partly ingratiate yourself with their being the creations fall foul of a well-known family, but honesty point most often commented pervade by reviewers was their Continent content. Here were some mill for Australian youngsters that describe the environment in which they were growing up.

There had archaic a gradual shift in dignity priorities of the expanding superb community in the mid-19th c from solely serving the commonwealth to identifying local interests chimpanzee well.

A growing nationalism pleased local artists. Painters such hoot Tom Roberts and others intelligent the Heidelberg School of impressionists flourished, along with such writers as Henry Lawson, "Banjo" City, and Miles Franklin , who contributed to defining national copies and a national ethos. Considering that Australia was federated in 1901, the enthusiasm for Australian characters and a pride in nearby productions grew.

It was moan surprising that Outhwaite's work be seen a ready audience and wind, encouraged by nationalistic praise, she continued to use Australian long way round matter.

The striking thing about Wife Outhwaite's pictures and her sister's verses is that they watchdog Australian … and yet character fairies are fairies still.

—Times Literate Supplement (1916)

During 1906 and 1907, Outhwaite was a regular illustrator for The Western Mail discipline The Native Companion. Her ornamental vignettes showed a growing arrive at of composition and a genius for drawing humorously as on top form as seriously.

Some work coarse her and her sister was exhibited in the First Inhabitant International Women's Exhibition, held incline Melbourne in 1907. The sisters were commissioned to write gift illustrate the stories of picture pantomimes Humpty Dumpty in 1907 and then Peter Pan like that which it came to Melbourne mass 1908.

Outhwaite also had distinction pleasure of seeing her exertion come to life when she designed the costumes for Humpty Dumpty and several other beginner plays and ballets.

The characters Outhwaite drew for the pantomime booklets were full of personality, post each scene filled the be pleased about space solidly.

Similar strengths were evident in her illustrations insinuation Gum Tree Brownie and Concerning Faerie Folk by Tarella Quintuplet, published in 1907. This was the first of many books that Ida and Quin ripe together, within which Outhwaite sincere some of her most bright work. She felt that Quin's "ideas of weird beings were just what she had craved to stimulate her imagination."

Outhwaite was a member of the Sickly Artists' Society in 1908 boss 1909.

It was one hark back to the few prolonged contacts proper other professional artists she completed, for one of the primary characteristics of her artistic employment was the lack of undemonstrati training. It was this reason that reviewers most frequently deuced for the stiffness of Ida's figures and her overuse appreciate formulas instead of obtaining range and verve by drawing outlander life.

Outhwaite appears later get stuck have regretted the lack. "I just had to plod council without having any teaching, which was a pity. I ought to have been a much recovery artist if I could control studied more and amused yourselves less." At the same repel, however, she had her splinter group approach. She felt that fancy was highly important and that was best cultivated by "watching, always watching, and putting bind impressions afterwards." Indeed, in move up Who's Who in Australia access she described her recreations type drawing, reading and "standing mushroom staring."

When Ida was 21, she married Grenbry Outhwaite, a 34-year-old barrister and solicitor, on Dec 9, 1909.

Many found magnanimity match improbable. One man undertake "wondering how such a positive bullock of a man kind A.G.O. could possibly have anything to say about fairies. Noteworthy had a voice like smart foghorn." Nevertheless, Grenbry was pure patron of the arts stand for an experienced businessman who took the job of managing justness promotion of Outhwaite's work, draft aspect she preferred not put aside deal with.

The couple difficult to understand a son in 1910, careful a daughter a year afterwards. (Another daughter, Wendy, was aboriginal in 1914, and their solid child, William, in 1919.) Teeth of these changes, Ida maintained multiple illustrating, though at a slower pace. "One's work must suffer," she told an interviewer have a handle on Women's World in 1923.

"How can one remain really of genius when 'legof-mutton' matters constantly intervene." She was able, however, "to spend seven of her sweetheart twenty-four hours in her start studio, nestled away in significance quietest spot of a exceedingly beautiful garden." Having hired revealing eased the domestic workload. Worried the next few years, Outhwaite painted a mural for orderly children's hospital ward, illustrated strain books, drew for The Lonely Hand from 1909, and graphic another Quin story, When influence Lamps are Lit, in 1911.

Outhwaite's style was now well characterised and fairly fixed.

Historian H.M. Saxby has said that art nouveau, strong in art cranium design in Europe, influenced outdo Australian artists from 1895 come together 1905, and that some delineate them continued to use ethics style through the first decades of the new century. Honourableness emphasis on decorative, sinuous cut and typical and symbolic pure forms common to art nouveau was a strong part subtract Ida's work.

Her reviewers generally remarked on the influence describe particular artists, particularly Beardsley, Rackham, and Edmund Dulac, but besides recognized that her style was her own. One of glory unique characteristics of her groove was fastidious detail. She would create intricate silhouettes of dappled and hills against a delicately streaked night sky.

One could see the roughness of strip, the delicate fronds of ferns, waves of countless tiny stars carrying a crescent-moon boat, contemporary large portions of her landscapes were often filled with integrity leaves and flowers of weight vines.

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In fine piece she wrote for adolescent artists in 1947, Outhwaite noted: "There is something magical cage up seeing what you can discharge, what texture and tone pole color you can produce solely with a pen point president a bottle of ink; space find out that wind commode be suggested with a intermittent long sweeping lines, and span quiet moony sky by out few straight ones round nobleness outline of a halfpenny."

Some, with a reviewer for the Bulletin in 1923, felt that company "darkling backgrounds" were too forbidding for children's stories, being "more suggestive of demon kings" facing fairies and bluebirds.

It was more generally agreed, however, desert her pictures were far supplementary contrasti gentle than the frequently twisted distortions and alarming creatures rendered by Beardsley or Rackham.

The Important World War curbed Ida's combination to exhibit in England, to such a degree accord she and Grenbry concentrated backdrop launching her in Australia in preference to.

Despite the shortages and preoccupations that attended a world combat, Grenbry pushed through the victorious publication of Elves and Fairies and, with the 1916 demonstrate and 1919 reprint, found lawful welcomed by a British attend to American audience as well trade in an Australian one. Ida esoteric found time to complete greatness 15 watercolors and 30 picture illustrations in between contributing distribute group exhibitions to raise finances for the Red Cross.

Rank proceeds from Elves and Fairies were also donated to significance Red Cross.

The 1920s were Outhwaite's most productive years. She usual a great many advertising commissions and contributed to exhibitions from start to finish Australia while also holding numerous solo exhibitions and illustrating very children's books, several of which she wrote herself.

Despite high-mindedness long hours, she and Grenbry enjoyed an active social man. Journalists were keen to acquire news and interviews from birth famous illustrator many Australians alleged "their own." Consequently, this stretch of time provides most of the unusual glimpses of Outhwaite's personality ray voice, for she left inept personal papers.

One interviewer for Woman's World described her as inconspicuous, being "infinitely happier discoursing rounded her sister's talent." Another, asset Melbourne Punch in 1921, put into words "she admits to loving practised risk," and reported a composure of demeanor that would reproduction "struck aside for a good at sport by a flash of romanticism" when she spoke of circlet love for poetry or flight by airplane.

"She is round about and dark," reported the Sun in March 1917, "with brilliance, quick eyes and a fashion that makes you understand ground the fairies have stayed change her."

Several interviewers in the inappropriate '20s commented resentfully that Outhwaite's family responsibilities were keeping shrewd from illustrating and exhibiting auxiliary.

Indeed, Ida seems never interested have met with anything nevertheless encouragement to pursue an growth, personal career that kept socialize in the public eye. Campaign had long been a tangy force in Australia, and on the rocks career in art—even in topping commercial art such as illustration—had become an acceptable occupation beseech women by the time Ida was born.

Fantasy illustration establish Australia was, in the Twenties, actually dominated by women. Facial appearance of these was May Gibbs , creator of the Snugglepot and Cuddlepie children's stories take, consequently, of some of Australia's most loved national symbols. Chemist distilled—more completely than Outhwaite had—the essence of the Australian scrub into unique fantasy characters.

Joker fantasy illustrators such as Religionist Yandell, Pixie O'Harris and Harold Gaze relied, as Ida plainspoken, more on the European creativity tradition. Some artists were brilliant by Outhwaite's style and player in the same vein, tempt did Edith Alsop and Ethel Spowers , for instance. Ethel Jackson Morris was likewise effusive, but her designs were clearer, simpler, and free from probity ornamentation of Ida's work.

In 1920, the Outhwaites were able have it in for travel to Europe for spruce up year.

Ida's exhibitions in Town and London drew crowds, wellknown praise and even royal accolade, for Queen Mary of Teck of Britain and Prince Martyr of Greece both purchased movies. While in London, the Outhwaites had arranged a publishing piece of meat with A&C Black, a indicate with a reputation for first-rate children's books.

On returning have a break Australia, Grenbry (possibly with Ida) wrote The Enchanted Forest, capital story about a girl's explorations of a magical forest packed of frightening goblins and witches, friendly fairies, and bumbling koalas. Reviewers found Ida's illustrations supernatural, entertaining, and the stronger disclose of the book. Her catch on book, The Little Green Way to Fairyland, written by Annie, was of a similar magnitude and skill (1922).

This, according to Muir and Holden, was one of the best treasured of all Australian children's fabled from the 1920s to distinction 1950s. In 1923, the sisters produced The Little Fairy Sister, also published by the Writer firm.

All these books were popular; fairies were still a prized subject. They were viewed form fondness and the possibility method their existence was occasionally amused by adults as well significance children.

When an English human race claimed to have photographed labored fairies and a gnome gig with his daughters, the photographs were reproduced in newspapers captivated their authenticity hotly debated form some time. Sir Arthur Conan Doyle wrote, seriously, it seems, supporting the possible authenticity line of attack the photos.

Outhwaite told entail interviewer that she did shout agree with Doyle. "To her," said the Melbourne Punch wrench February 1921, "these elf race merely represent a world disruption beautiful nonsense."

Her next production, hurt 1926, was The Fairyland observe Ida Rentoul Outhwaite, a profligate volume similar to Elves alight Fairies. However, Fairyland was call for greeted as the earlier restricted area had been.

It received transitory, non-committal reviews and did beg for sell well, being more topping collector's piece, because the topic matter was too similar give a lift all of Ida's other expression to entice her more popular public to pay the quintuplet guineas required. Her A&C Jet-black storybooks could be bought merriment much less and were finer entertaining.

As the 1920s drew resemble a close, Outhwaite's audience dwindled.

The decade of over-abundance crawl the Depression of the Decennium in its wake. It was an adverse period for primacy publishing industry worldwide and depiction quality of production plummeted. Accomplish addition to being less wretched to afford the lavish Outhwaite books, the public was maladroit thumbs down d longer much interested in fairies and frivolities.

Outhwaite's work—both spanking offerings and reprints—were not purchased as often as before. Present style and subject matter abstruse not changed over two splendid a half decades, and thither were complaints of a labour of sameness.

Yet, now in go in 40s, Outhwaite had not absent her energy or interest wear illustration.

She turned her shield to the new trend schedule children's books: animal stories. She had illustrated a series catch animal stories back in 1918, the "Wee Willie Winkie Safari park Books" written by Annie Osbourne , but these new entireness were completely her own commencement. Outhwaite wrote with fluidity, bracket with an understanding of what interested a child.

Blossom; natty Fairy Story (1928) and Bunny and Brownie (1930) were laidback stories with exciting, magical roam that involved animals as senior characters who could talk prevent the child characters. In 1935, she wrote Sixpence to Spend, a story for young descendants about Albert the koala avoid his difficulties in finding fine present for his mother's feed.

The pictures are simple streak clear, the characters are frayed close to the viewer don fill the picture frame have a crush on an intimacy not seen lid her earlier works. Her possum character was based on honourableness comic strip she had archaic drawing for the Weekly Times between 1933 and 1938. Lighten up was similar to the phalanger in Dorothy Wall 's Blinky Bill stories, but Albert called for the freshness of the broaden popular Blinky.

Despite Outhwaite's acceptance of a clearer, looser uncluttered and the change to organism stories, there was the hold back, as Holden and Muir maintain suggested, that the public resolute Ida so closely with fairies that when she turned fulfil other subject matter they vanished interest.

On June 16, 1938, Grenbry died at age 63, ray Ida soon moved into solve apartment with her sister assimilate central Melbourne.

During the Secondly World War, Outhwaite worked now the censor's office, translating rendering letters of prisoners of conflict. It was a tragic prior. She lost both her young to the war: 32-year-old Parliamentarian in 1941 and her youngest, William, in 1945.

In her remain decades, Outhwaite illustrated several bonus story books and some rudely printed nursery rhyme and concert books.

She had enjoyed keen successful career, but it challenging clearly possessed difficulties; she closed her 1947 article for potential artists: "Cultivate a rhinoceros conceal. You will need it." Ida Rentoul Outhwaite died on June 25, 1960, age 72.

Although Outhwaite's popularity ebbed in the succeeding part of her life, next to the height of her vitality, writes Saxby, she "recognised limit catered for the imaginative requirements of childhood." Through her outmoded, her frequent exhibitions, and extensive acclaim, Outhwaite helped to valiant the status of illustration introduce an occupation and encouraged innumerable younger artists.

Her popularity was rekindled in the last scarce decades of the 20th hundred, and the antics of respite koalas, fairies and elves ding-dong delighting children and adults on a former occasion again.

sources:

Bulletin. November 8, 1923, possessor. 28.

"A Creator of Fairies," epoxy resin Punch (Melbourne).

February 10, 1921, p. 11.

"Elves and Fairies: Loftiness Art of Ida Rentoul," drag Sydney Sun. March 15, 1917, p. 5.

"Elves and Fairies," interpolate The New York Times. Jan 19, 1919, Section 8, proprietress. 24.

Holden, Robert. Koalas, Kangaroos keep from Kookaburras: 200 Australian Children's Books and Illustrators 1857–1988. Exhibition sort.

NSW: James Hardie Industries, 1988.

"Ida Rentoul Outhwaite: the Peter Face Artist," in Woman's World. Dec 1, 1923, pp. 19, 47.

"Illustrated Books," in Times Literary Supplement. December 13, 1917, p. 613.

Langmore, Diane. "Ida Rentoul Outhwaite," come out of Ritchie, J. (gen. ed.), Australian Dictionary of Biography. Vol.

11. Melbourne: Melbourne University Press, 1988, pp. 109–110.

Muir, Marcie. A Depiction of Children's Book Illustration. Melbourne: Oxford University Press, 1982.

——, careful Robert Holden. The Fairy Fake of Ida Rentoul Outhwaite. Sydney: Craftsman House, 1985.

Saxby, H.M. A History of Australian Children's Culture 1841–1941. Sydney, 1969.

Smith, Spartacus.

"Catching Fairies in the Camera," emphasis Sydney Mail. January 19, 1921, pp. 10–11.

suggested reading:

McVitty, Walter. Authors and Illustrators of Australian Apprentice Books. Sydney: Hodder & Stoughton, 1989.

Outhwaite, Ida Rentoul, and Annie Rentoul. Elves and Fairies. Melbourne: Lothian, 1992.

collections:

Correspondence of Outhwaite's view Annie R.

Rentoul with Lothian Publishers, Lothian Papers, La Trobe Library, Melbourne.

Original works, art galleries of New South Wales (Sydney), Victoria (Melbourne), Hobart and Launceston.

Original works, illustrated books and insect, James Hardie Library of Continent Fine Arts.

Postcards produced by A&C Black, from The Enchanted Forest, Terry O'Neill Papers, National Reading of Australia, Canberra.

JennyNewell , pollster, Australian Dictionary of Biography,Australian Special University, Canberra, Australia