Monty & Stella

Australasians Who Count in London and Who Counts in Western Australia, a book by Mrs Leonard W. Matters. Pages 74 and 75.

Refers to Arnesby Brown's comment about Monty's 'Twilight' as "the most clever of any young artist's work he had seen, and the most promising". Also refers to portraits of C.W. Pearsall, Lady Moore, Mrs. Shadwell Clarke and Mrs. Herbert Bailey and Children. Refers to portraits by Stella of Mrs. Rooth, Miss Clarke, Mrs. Henry Dixon, Mr. Ronald Keep's daughter and Mrs. Eaton's son.

10 September, The West Australian

"West Australian Society of Arts Annual Exhibition" describes the 21st Exhibition at St. George's House, St Goerge's terrace opened by Sir Edward Stone. The article describes Monty's 'Twilight Chelsea' as "a diminutive poem in blue". It comments that "Mrs. Marks has the miniature section to herself" and her 21 portraits are "a feature of the exhibition". "The portraits of the two small daughters of Mr. J. A. Rolland and of the son of the president of the Society [Sir Winthrop Hackett] are delightful in their combination of daintiness and strength". "'Girl in White', 'Blue and Silver' and the charming 'Interior of a Cottage' may be specially admired". 


month?, West Australian

"Australian Artists and Their Art" interviews Monty on his schooling in Melbourne, Paris and London and his views on art. The article refers to Monty meeting in London and learning from William Orpen A.R.A., Solomon J. Solomon R.A. and Arnesby Brown R.A. and also to fellow Australians "who have done remarkably well" in London and Paris such as George Lambert, John Longstaff, Emanuel Phillips Fox, George Coates, Arthur Streeton and Will Dyson.



11 February, Evening Sun

The article by Robert J. Cole comments "though the artist came from Australia she is a good enough New Yorker, so that we can claim our share in the honor of her recent election to the Royal Society of Miniature Painters. But neither princesses nor royal societies confer on her the distinction that marks her portraits of her husband, 'Maud Allan' and 'Cherniavsky'".

5 November, The Rochester Herald

"Mainly About People. Work of English* Painter" features pictures of Stella's portrait miniature of Princess Patricia and her sketch of Mischa Levistki, the pianist. It refers to "the famous English* miniature painter who is now in Rochester" and that she is very involved with raising money at the Allied Bazaars in New York and Boston.
[*note from Anthony Pettifer, obviously should have read "Australian painter"]

10 December, The Detroit Free Press

The article states Stella is "here" to paint a portrait miniature of Mrs. Fred T. Moran and others. It also refers to 30,000 copies the Princess Patricia portrait miniature being sold "so far" at Allied bazaar events for the Canadian Red Cross.

? unknown American press cutting

"Many Nations, Many Notions, Grace the Allied Bazaar" includes the following: "just around the corner.....is the British-American, the Canadian, booth, and right in the centre of it the face of Princess Patricia of Connaught smiles out from a beautiful ivory miniature. Heaped about it are.....color prints of the lovely thing, some of them autographed by the Princess, and they are being sold by Mrs. Montagu Marks, the pretty little Australian artist who was commissioned to paint Canada's beloved "Princess Pat". All this week you may buy them and so give your mite towards helping brave Canadian soldiers."

December, Colour pages 178-179

The piece states the following: "in her miniatures Stella Lewis Marks has a feeling for colour, much more than is to be seen in the majority of such work. Throughout her work there is the strength of the oil painting without losing those qualities characteristic of the miniature"; she is "the youngest member of the Royal Society of Miniaturists*"; she is also "a member of Association of Women Painters and Sculptors"; she arrived in New York in December 1915**;  in one year she has "exhibited extensively throughout the United States", including the National Academy of Design, the New York Water Colour Club, the Pennsylvania Academy of Fine Arts, the Art Alliance of America, the Art Institute of Chicago, the Carnegie Institute of Pittsburgh, the St. Louis Art Museum, "and at Los Angeles and San Francisco"; "her recent portrait of Her Royal Highness Princess Patricia of Connaught is in the possession of their Royal Highnesses the Duke and Duchess of Connaught, and one hundred thousand reproductions by the three-colour process have been printed and sold throughout Canada in aid of the Canadian Red Cross. Princess Patricia considers this miniature to be the best existing portrait of her"; [during her year in America other] "important miniatures...include 'Lady Bartlett, 'Justice Rooth', 'James Hardie Barr', 'Miss Ann Murdock', 'Maud Allan', 'Jan Cherniavsky' and 'various members of the Studebaker family'.
[*note from Anthony Pettifer: I believe the correct name at the time was the Royal Miniature Society and at that time Stella was an associate member, hence A.R.M.S. ** actually she arrived in August 1914.]

? unknown press cutting (possibly the Sun/Evening Sun?) assumed date 1916

Studio and Gallery. Franco American Modernists. Miniatures at the Academy. (by Robert J. Cole) includes the following commentary: "the Academy's miniature cases are unusually well worth looking at. More and more these painters with pointed brush get life and largeness into their work. Sometimes they break away from old traditions and sometimes they infuse them with a fresh delight, as Stella Lewis Marks has done in her irresistibly joyful self-portrait". 

? unknown Rochester press cutting, assumed date 1916

"Mrs Montagu Marks" features a profile photograph of Stella by the Morrall-Hoole studio. It refers to her miniatures winning her "an enviable reputation in the artistic world" and that in Rochester she has painted "Mrs. Emmett Finucane, the Misses Mahon, the last granddaughters of Mr. Thomas Finucane". She has an exhibition at the Memorial Art Gallery.  

? unknown press cutting, assumed date 1916

Extracts from a interview where Stella describes in her own words how she became convinced to become a portrait miniaturist and her feelings about this field of art. She refers to her being persuaded to try and paint a miniature. Then "all my friends told me my technique was just the thing for miniatures, and urged me to keep it up. However, I had the prevalent idea that this was rather unimportant work and the great painters looked down on it. Still I was wise enough to go to The Wallace Collection and study the miniatures there and also in other galleries. Then I read everything I could find on the subject and discovered the wonderful possibilities this particular field offered. And, while I love to paint the large portraits in oils as much as ever, I am enjoying the miniatures more and more all the time. I realise that the field is unlimited, that each one adds something different to the building up of a great art. One of the most encouraging things I have noticed since I have been in New York is the way people crowded that room where a famous collection of miniatures was exhibited for some time. What I am hoping will happen soon is that the art critics will cease to add casually to their criticisms of exhibitions the remark 'a few miniatures were also shown,' and give these a place that they deserve in the field of art. I am wondering if the reason for the present attitude here is that people in general do not realise their importance, or because the standard of today is not yet high enough".



3 March, The Christian Science Monitor, Boston

"The Return of the Miniature" features a picture of Stella's portrait miniature of Princess Patricia of Connaught. The article was written by Stella Marks on the differences and similarities between large portraits and portrait miniatures and on her technical and aesthetic approach. "A good miniature should have all the strength and art of a good oil portrait, only on a smaller scale..."

8 May, The Detroit Free Press

Social comment: visiting Sir Thomas and Lady White and being entertained in Ottawa by the Duke and Duchess of Devonshire. Now painting portrait miniatures in Detroit.

Monty & Stella

month?, The Evening Sun (Friday...)

"With an Aviator in the Family a Women Gets So Nervous She's Just about Ready to Fly!" features picture of the following portrait miniatures: 'Marjorie, Daughter of John Weeks of N.Y.'; 'Major Arthur M. Waitt'; 'Princess Patricia of Connaught'; 'Cadet Samuel M. Lewis R.E.' and a photograph of Stella. The article states, "Mrs. Marks is, in spite of her youth, one of the best known miniature painters now in this country and since her husband enlisted last July she has made the rather astonishing record of painting a miniature a week for every single week...". It is evident she has thrown herself into her work and "painting better than I ever did before in my life, too." The article reveals she "paints to please her husband" even though he cannot see her work. She lays bare her feelings and then recounts a most romantic letter Monty wrote to her about a dream he had: he had flow his plan to a remote cottage and found her there. The war was over and they would fly away together....." But, the war was not yet over and he was not home.




23 March, The Pittsburgh Sun

"Noted Painter of Miniatures Talks of "Princess Pat"" features a picture of the portrait miniature of Princess Patricia of Connaught and a photograph of Stella. The article refers to 20,000 copies of the miniature being sold for the benefit of the Canadian Red Cross and that Princess Patricia sent a copy of the miniature to the next-of-kin of each fallen member of her own Regiment. It also refers to the fact that Princess Patricia is herself an artist and that Stella is the "youngest Associate Member of the Royal Miniature Society in England and the second Australian to be selected to its membership". Other portrait miniatures referenced in the article that are "on exhibition at Grogan's": '1830', "a delicate portrait of a girl in early Victorian costume"; 'Barbara'; 'Unfinished Study'; 'Mrs. Belmont Tiffany', "credited with having formed the American Red Cross."

31 March, The New York Times Magazine

"Miniatures at Academy" references Stella's portrait miniature, 'Cadet S.M. Lewis' and her "water color technique."



20 August, Evening Post

month?, a Japanese Newspaper

?, New York, Thursday (unknown press cutting)

"Only One Plumb Blossom Lady Could She Paint" by Fanny Ferbstein features a picture of a self-portrait miniature by Stella and refers to her experience in Japan. Stella explains the culture and reticence of all but one local Japanese lady to be painted. The portrait was painted in secret and Stella said she would only reveal the sitters name and take a photograph of it after the lady and her husband visits America next year and if they gave permission.


April, page 427 (New York publication unknown)

Features a picture of the portrait miniature 'Estelle Winwood', "which reveals the subtle comedienne who contributed so much this season to "The Circle" and to "Madame Pierre".



24 November, The Pittsburgh Gazette Times



11 January, The Sun

"Famous Miniaturist Mrs. M. Marks Here. Australian's Success" features a photograph of Stella and states "a Melbourne girl that has made a name for herself as a painter of miniatures" arrived yesterday in Australia after an absence of eleven years. The article mentions she has painted the Vanderbilts, the Belmonts and eight members of the Studebaker family as well as "a beautiful study of the popular Princess Patricia". "She has a gift for portraiture, and a flair for colour which lifts her work into the first rank". It also points out that "she is one of the three women members of the Royal Miniature Society, of whom Bess Norris Tait, the first women member, is also an Australian" and "the third, Mrs. Gayer Phipps (Rose Dakin) is an Englishwomen who has made her home in Melbourne".

11 January, The Herald

"Paints Miniatures. Mrs. Marks Arrives from America" is a similar article to The Sun (above)

17 January, The Sun

"Portraits in Little" features pictures of portrait miniatures: 'A self-portrait'; 'Princess Patricia of Connaught'; 'Artist daughter, Patricia with her doll'; 'Marjorie Williamson' and 'Maud Allan'. Also a photograph of Stella with her painting box and her daughter, Patricia. The article refers to Stella saying, "I owe all my artistic education to Bernard Hall and McCubbin and I make no claim to any other school. I know of no other art school to equal that of the Melbourne National Gallery - certainly not to better it". It also refers to Stella achieving "greatest fame as a painter of miniatures" but also her use of oils and pencil, "the medium or the sitter does not worry her greatly - the portrait is the thing". The article quotes Mrs. Cornelius Vanderbilt's remark, "your miniatures are more like Cosway's then any other I have ever seen" and Princess Patricia's remark about Stella's portrait of her, "quite the best thing ever done of me."

23 January, The Australasian

"An Australian Artist. Work in New York" refers to Stella's parents Mr. and Mrs. J.J. Lewis and her study at the Melbourne National Gallery with Bernard Hall and Fred McCubbin. "After the National Gallery course of five years one really requires no more definitive training. It is simply a matter of working for oneself, and seeing everything on the other side of the world." It describes how she traveled to Paris and London with fellow student, Monty, that he shared a flat in Paris with Penleigh Boyd, that she married Monty and how "I was dreadfully homesick all the time and longed for a familiar face or a glimpse of Melbourne". It continues the story of how she and Monty returned to Australia soon after their marriage and held "very successful" exhibitions in Perth and Melbourne. This is followed by Stella recounting the series of fortunate events, starting with the voyage from Britain to Australia in 1913, that led to her being commissioned in 1916 by the Duke of Connaught to paint his daughter, Princess Patricia. The introductions where made by Dame Neille Melba and Lord Richard Nevill. The article also mentions that Sella's studio is now "in the Gladstone Hotel, New York" but "our real home is on Long Island". Stella describes the beauty of Long Island, particularly the trees during the "fall".

23 January, The Herald

Features a picture of Stella by Dickinson-Monteath and commentary

28 January, The Bulletin

The article refers to Stella's praise of Longstaff's picture of Rose Scott: "I know of no other portrait painter except Sargent who has the power to make the personality of his sitter surge out of the canvas."

13 February, The Herald 'Woman's World'

"Tea at the Gallery" refers to Stella as guest of honor at a party given by Bernard Hall. Among guest and old friends were Mr. and Mrs. John Napier Waller, Mrs. W. Montgomery, Mrs. John Tyson, Miss Dora Wilson, Mr. George Bell, Mr. P Newbury, Mr. Louis McCubbin.

16 February, The Herald

"Art Miniatures. Attractive Portraits by Mrs. Marks" (by J.S. MacDonald) references the 22 miniatures on exhibition at the New Gallery, Melbourne, including "some of people well known to Australia and the rest are of individuals [who] are....household names in the United States". Stella attributes her success to her "National Gallery School training and she is emphatic in saying that abroad she has not met its equal, nor encountered an instructor so thorough and enlightened as Mr. Bernard Hall". Her portrait of Princess Patricia is referred to, as is a letter from the Duke of Connaught informing her that the miniature has been added to the family heir-looms. Other portraits referred to from the exhibition include: 'Maud Allan'; 'Mr. Justice McKenna'; 'Lady Maxwell'; 'Mr. Knox Studebaker'; 'Mrs. Madge Carr Cook'; 'A Portrait'; and 'Study'.  

17 February, The Sun

"Work of Stella Marks" (by H.K.) states that "this gifted Australian artist has developed her art to a standard that has established her in the forefront of the world's miniature painters". It refers to her earlier works being "so delicately fine and highly finished....clear cut and fluent" and goes on "(her) more recent work is noticeably broader and freer in treatment, and sparkling with vitality that is only to be had from the spontaneous brush of the master painter."  Earlier works referred to being exhibited at the New Gallery (Melbourne) include: 'Jan Cherniavisky'; 'Maud Allen'; 'Lady Maxwell'; 'Knox Studebaker'; 'Mrs. Madge Carr Cook'. While more recent works at the exhibition include "No 16, a charming titian-haired portrait study" and "several portraits of the artist's own little daughter, Patricia."

17 February, The Argus

"Mrs. Marks' Exhibition" refers to her exhibition at the New Gallery, Melbourne. The article comments on Stella's work having no "hint of niggling or uncertainty" and singles out her portrait of 'Allister (sic) Crowley', "the seated figure....arranged in the official robes of some mysterious cult or sect has a sinister as well as artistic interest". It also references "a young girl with a Madonna Face and early Victorian manner" and "further excellent examples": 'Mr. Justice McKenna'; 'Unfinished Study' of a girl; and Mrs. Madge Carr Cooke.

17 February, The Age

"Art Notes. Miniatures by Stella Lewis Marks" refers to her exhibition at the New Gallery, Melbourne. The article states Stella was a member of the Royal Miniature Society since 1916 and also a member of the American Society of Miniature Painters and talks of the homage she pays to the National Gallery School. It describes the "broad brushwork and convincing colour" of her work and references the following portrait miniatures at the exhibition: 'Maud Allen'; 'Jan Cherniavsky'; 'Miss Marjorie Williamson', "one of the best works exhibited"; 'Mr. Knox Studebaker'; 'Mrs. T. Akoboshi'; 'Mrs. Madge Carr Cooke'; 'Miss Bettie Parker; 'Mrs. Sidney Reilly', describes as "a young Russian bride"; 'Lady Maxwell'; 'Miss Edith Day'; 'Allister (sic) Crowley'; 'Mr. Justice McKenna'; 'A self-portrait'; 'Patricia'; 'Joan'.  

18 February, "Table Talk"

"An Illustrious Australian, Stella Lewis Marks - Famous Miniaturist" features pictures of portrait miniatures: a self portrait painted in 1921; 'Mr. J.H.Barr'; 'Maud Allan' and a photograph of Stella by Vindyck. The article says "her whole career has been romance, her marriage and her rise to fame....".  It quotes how Monty and Stella ended up in New York in 1914 and how she was alone in New York after Monty and her brother went to war. Also how "like all true artists she loves her work and feels it part of herself". "I always say when I am rich enough I would like to buy all my miniatures back". It describes her first major exhibition at the American Society of Miniature Painters where she, an unknown, won critical acclaim and was amazed that a collector bought 'The Girl in White'. It also refers to "the strength and virility of Mrs. Mark's work, shown in the portraits of men". The last half of the article is a detailed description how Stella goes about her work, her use of bold simple strokes and the importance of drawing well.

23 February, The Herald

24 February, The Herald ?

Refers to Felton Bequest's purchase for the National Gallery of the "celebrated dancer" Maud Allen- "a very good portrait" - and other works "now on exhibition" at the New Gallery.

25 February, The Bulletin

The article refers to the New Gallery exhibition and mentions the following works "painted with the surest hand and frankest eye": 'Maud Allen'; 'Jan Cherniavsky'; 'Mrs. T. Akoboshi'; 'Cherniavsky', which "would enlarge into a full-sized picture without loss of spirit, a test the average miniature would fail to survive".

4 March, The Bulletin

Features a photograph of Stella by Dickinson-Monteath studio and remarks that "her work found much favor when shown lately at the New Gallery and several commissions resulted".

? unknown Melbourne press cutting

"One of Our Gallery Students Who Has Made a Career in the Old World" recounts Stella's "second visit to Australia since leaving here in 1911 as Stella Lewis, a Gallery student, to try her luck on the other side." It refers to her New York "studio in Bryant Park Studios" and "home at Setanket, Long Island". Stella says of the National Gallery School, "there is no school in the world to beat it and a student could not have a better foundation". She is also says, "I am full of admiration for Australia and have absolutely made up my mind if I were ever to leave New York I will come back to Melbourne*". The article touches on Stella and Monty's grief at the death of their first daughter after only a few hours of life and their joy at the birth, exactly one year later, on Armistice day 1920 of their second daughter, Patricia. The article then turns to how Stella came to specialise in miniature painting: "Mrs. Marks said it came about in a rather unusual way, as her ambition had always been to do big works and she dreamed of the days when she would paint large portraits". The article explains that Monty and Penleigh Boyd persuaded her to take on a miniature commission that a lady had asked Boyd to do. But he thought it "was not in his line". "As a result she took on the commission and satisfied the lady". It goes on to quote Stella, "I then realised that a miniature could be as important as a portrait, and could hold all the knowledge required in a life sized picture. I then decided to make a study of this branch of art". The article outlines Stella's progress; her initial success in New York at an exhibition of the National Academy of Design, which eventually led her being the only Australian member of the American Society of Miniature Painters, of which she is on the Executive Committee; and how she was discovered by Mr. Alyn Williams (via a miniature worn Mrs. Studebaker when he visited America) and thus became one of only two Australians to be a member of the Royal Society of Miniature Painters.
* [note from Anthony Pettifer: this did not happen as fate took her on another path, but she was always very proud of her heritage and in old age she longed to return.]



Month?, The Larchmont Times

"Among Professional Folks Here is - Stella Lewis Marks" features a photograph of Stella. The interview states "Larchmont is proud to have one of the most accomplished and best known miniature painters living here". It refers to her study at "The Melbourne National Gallery" and that "she lived formally in New York City, but came here four years ago and settled at Chatsworth Gardens Apartments". "A long time ago at the very beginning of her career" she painted a miniature of Princess Patricia of Connaught "and earnestly prayed that the picture would please the royal family. The father of the princess liked it so well that he notified Mrs. Marks that it was made an heirloom of the royal family, a great honor for it's creator." It goes on to refer to reproductions "for $2 a piece" being sold for the Red Cross in Canada and the USA. "And so when a baby girl was born to the Marks, she was named Patrica". Miniatures Stella says "are nothing more than a smaller edition of regular oil portraits" . "The artist must have a knowledge of portraiture, and then, concentrate the picture to fit a tiny frame". The article comments that her works "delicately colored paintings, which small as they were, seemed life-like enough to speak any minute. There was one of an old, old woman with grey hair and a lined face, and another of a serious-faced man, one of the Studebaker family. Mrs. Marks claimed that was her best. Then there were several of small Patty (sic) from a very tiny baby to her present age, 9." The article goes on to list some of her other works: 'D.C Jackling'; the 'children of Malcom Whiteman'; the actresses 'Ann Murdock' and 'Edith Day'; "Mrs. Layman Rhodes'; and "several children and families in Larchmont among them, 'Christopher Woodcock' and 'Betty McCormick' and the family of 'W.W. Salmon." Commenting of 'Maud Allen", bought by the National Gallery of Melbourne, and Stella's awe that it was exhibited next to "old masters" the article says "Mrs. Marks does not give herself enough credit". The charcoal of 'Micha Levistky' when he was 17 years old and the miniature of 'Judge Ruth' are also referenced. Sella comments that Judge Ruth "was the most nervous sitter I had ever had".       



20 January, New York Sun

Refers to the thirty-third annual exhibition of the American Society of Miniature Painters at Grand Central Art Galleries, displaying 150 miniatures. Alma Hirsig Bliss was awarded the Leventia White Boardman Memorial prize. The list of member artists includes: Lucy M. Stanton and Julie Kahle (in the memorial groups); Maria Judson Strean, President of the Society; William J. Baer; Mabel R. Welch; Elsie Dodge Pattee, Vice-President; Stella Lewis Marks; Grace H. Murray, secretary; Clara Louise Bell; Lydia E. Longacre; Margaret Foote Hawley; Helen Cruikshank Davis; Annie Hurlburt Jackson; Adrianna Tuttle; Laura Coombs Hills and John Bentz".



24 ? The Observer

"Art and Artists. The Society of Miniaturists. A Difficult Art." (by Jan Gordon) observes that in Holbein's time there was no "fence...set up between the small and the big in Art" and is critical that there appears to be one today with no justification. Painting "small" does not means "trivial", but rather "very difficult" and, as a result, rare. Referring to the 41st annual exhibition of Royal Society of Miniature Painters, Sculptures and Gravers, Stella is cited among the members who have "surmounted many of the difficulties with success."

10 November, Buenos Aires Herald

"The Art of the Miniature Painter. Australian Exponent Arrives" features a miniature of 'Pat aged 13' and a photograph of Stella. It notes that "a famous miniature painter is visiting Buenos Aires" and that "she is the wife of the General Manager of United Artists Co. London". Australian by birth she lived for 19 years in the United States before moving to London two years ago "because her husband was transferred there". The article notes she painted nearly 200 miniatures in America, including "some of the best known American families". It references 'Mrs August Belmont', the social leader; 'the Studebakers' of motor fame; 'the Crocker family' of San Francisco; 'Mr. Daniel C. Jackling', known as the "copper kings"; 'the Finucanes' of Rochester N.Y..  It also describes that Stella's portrait of Princess Patricia "was so well liked that it has been made an heirloom ofthe Royal Family". It notes how reproductions of the miniature raised money for the Red Cross and how the Princess sent personally signed copies to the next of kin of those in her regiment who fell in the Great War. It also notes that the miniature was exhibited at the Royal Academy in 1931. The article continues that Stella "has painted her daughter in miniature each of the last sixteen years since the child was only six months old. She wants to preserve those fleeting changes of expression that each year brings". Stella believes "a portrait must make people who know the subject feel as if they could almost tell what the lips are going to say". "She can get a better grasp of true expression when [the subjects] talk intermittently. She then watches the expression relax to its natural position bringing out the more subtle lines of the face. That is one reason why critics comment that she catches the most natural poses". The article describes how Stella's passion for painting started "as early as she could remember" and as a young student at the Melbourne National Gallery School....."she used to come home and continue painting until neighbours would call her parents to find out if anyone were ill because the upstairs lights were on most of the night". It states that two years ago Stella was invited to become President of the American Miniature Painters' Society, "which was a very significant honour considering the fact that Mrs. Marks is still a British subject. She had to decline because she was leaving for England".   The article ends by referring to sketches she has done recently of the film actors Leslie Banks and Mrs. Douglas Fairbanks Sr. and that "she has just completed a miniature of Mrs. A.W. Kelly the wife of the Vice-President of United Artists", with whom she is visiting Buenos Aires".



Monty & Stella

1 December, The Advertiser, Adelaide

"The article reports that Stella had "luncheon with the Director of the National Gallery in Adelaide, Mr Louis McCubbin, who was a fellow student with her at the Melbourne National Gallery School under Mr. McCubbin's father". It also described how just before leaving for Australia Mr. and Mrs. Marks organised the charity film premier of 'Action for Slander' in a village near their home in the Chilterns. Hundreds of people came from London, including the stars, Clive Brook, Margaretta Scott and Ann Todd, as well as the producer, Victor Saville. "The whole village lined the street for hours".

4 December, The Herald

"Returning to Homeland" features a photograph of Monty, announced his and Stella's visit.

4 December, The Age

Announces Monty and Stella's visit to Australia arriving on the Strathaird.

11 December, Truth

"Society Sups and Sips At South" features a photograph of Monty and refers to him as "a versatile cuss" (since we was an artist and pilot before the film business). It describes a lunch where Monty and Stella were guests of honour, other guests mentioned were: Claude Webb, Waterman, Louis McCubbin and his wife, Miss Pearle, McNally and Mrs. Basil Armitage.  

17 December, The Sydney Morning Herald

"Smart Audience at 'Balalaika Premiere Last Night" features a photograph of Stella at the Theatre Royal.

20 December, Women

Features a picture of Stella's miniature of Marjorie Williamson. The caption states that "the portrait was painted in Mrs. Mark's studio in New York in 1916, before Marjorie's marriage". The article says that Stella "owes her success with miniatures, which have been constantly exhibited at the Royal Academy, to her thorough training in the technique of drawing with Bernard Hall and McCubbin in Melbourne". It mentions that "Bess Norris Tait and Will Dyson are often visitors at Mr. and Mrs. Marks' home, 'Hengrove', which is 35 miles from London". The article also mentions that "Stella was with her husband when he chose the site at Denham for the [London Films Productions] studios" and refers to their daughter, Patricia, "at present staying with her school friend, Princess Stirby*, in Romania while they are in Australia".
[*note from Anthony Pettifer: should be spelt Princess Stirbey"]

22 December, The Bulletin

"A Woman's Letter" refers to Oswald Cheeke giving a party for Monty and Stella at the request of Lord Richard Neville.

24 December, The Herald

Refers to Monty, General Manager of London Films staying in Melbourne at Menzies Hotel with Stella to visit relatives.


30 November, Perth newspaper? Interview

"Miniatures Fit Flats. New Vogue revives Old Art" features a photograph of Stella and reports that she passed through Fremantle with her husband on the Strathaird "today". The article comments that she has brought with her miniatures that were shown this year at The Royal Academy and that she studied under Bernard Hall at the Melbourne National Gallery school. It comments that she "made her home in New York for more than 19 years and the majority of her miniatures have found there way into private collections". "Americans have a keen appreciation of art" she said "and realise the true value of a miniature". She went on to observed the genre were becoming increasingly popular and "considered that the modern vogue for flats and small houses was partly responsible for the revival of miniatures, because large rooms or private galleries were necessary to display oils to advantage". She also said that miniature societies had to guard against tinted photographs masquerading as miniatures. The article refers to Stella being a member of the Royal Miniature Society and of the American Miniature Society and that she was offered the presidency of the latter: "I was very honored, since I had retained my British nationality, but shortly after I received the offer we left for England". The article mentions that Stella's work has been exhibited at the Royal Academy for the past three years and refers to her portrait of Princess Patricia, as well as of her daughter, Patricia.
1 December, The West Australian
"Miniature Painter. Stella Lewis Marks at Fremantle" features a photograph of Stella and is a similar article to the one on 30th November (above).

6 December, The Herald

"Woman Painter of Miniatures. Here on visit after 12 years' Absence" opens with the statement "recognized as one of the finest miniature artists in the world today, Mrs. Montagu Marks - exhibitor at the Royal Academy and painter of Royalty". The article refers to her recent invitation to be president of the American Miniature Society and that she "attributes the basis of her success to the schooling she got at the [National] Gallery here under the direction of the late Mr. Bernard Hall". It mentions the portrait miniatures of her daughter, Pat, "whom she has painted every year since she was six months old" and of 'Princess Patricia', which was shown at the Royal Academy in 1931. Stella goes on to observe that the vogue for miniatures has increased in America "as flats and small houses made big oil paintings impractical". Stella technique is described: "first she sketches the subject on paper" and only then does the actual portrait with pure water colour, never using the pencil. The article concludes that "to save eye-strain she works only one hour a day, and often switches over to oils and charcoal for relaxation". 

7 December, The Age

"Art, Fashion, Social Work. Travellers of Holidays. And Working Days Overseas" features a photograph of Stella and describes "the overseas visitors and home-coming travellers aboard R.M.S Strathaird". It leads with Stella: "one of the most interesting and distinguished passengers was the Australian born and Australian trained artist, Stella Lewis Marks, who has achieved fame in America and England." It talks about the 30 miniatures Stella has brought with to Australia for exhibitions in Sydney and Melbourne and mentions the purchase of 'Maud Allen' by the National Gallery twelve years ago. Stella praises the "excellence of the training in drawing and painting" she received as a student at the Melbourne National Gallery School under the late Bernard Hall. "I still think it is one of the best schools in the world". It comments that she started to paint miniature in 1911 and "she has found the admirable training and perfection of technique.....a splendid foundation for her miniature work". She goes on to talks of the high regards for miniatures in America: "in New York I could not paint fast enough to meet all the orders....and there miniature work is ranked at a level with [oil] portrait painting - as it should be as the same degree of skill and technique is required".  The article goes on to refer to Stella being asked to become President of the American Miniature Society and her having to declining due to her move to England.

7 December, The Argus

"The World of Women, Paints Miniatures" features a photograph of Stella and mentions that Monty and Stella will spend Christmas in Melbourne. The article refers to Stella's 15 year membership of the 'Royal Miniature Society', her membership of the 'American Miniature Society' and the fact that she was offered and had to turn down the presidency of the latter when she left for England three years ago. It refers to Stella's miniatures being "shown at the Royal Academy in 1931, 1936 and this year". It states that in 1936 the miniature of 'Marjorie Williamson' was exhibited at the Royal Academy and that this year Stella has "painted portraits of her daughter in oils and made charcoal drawings of her as a rest from the fine work on miniatures". The article then focusses on Stella's technique, her study "at Melbourne Art Gallery under the late Bernard Hall" and her feeling that "the thorough training in oil and charcoal work she received there was the best possible grounding she could have had for miniature painting. She makes a pencil sketch of her subject in 15 minutes or so, then paints directly with water colour." "No body colour is used in painting the miniature and the work is done with sweeping strokes of the brush. Mrs. Marks does not believe in using photographs as some miniature painters do."

7 December, The Sun News-Pictorial

"Social Work* Discussed by Strathaird Arrivals" refers to Stella brining to Australia "miniatures she has exhibited in the Royal Academy in 1931, 1936 and 1937. The article mentions 'Princess Patricia' and several miniatures of her daughter, Pat. It goes on to refer to her training under Bernard Hall at the Melbourne National Gallery and that "she finds the work she did in oils and charcoal there has been of great assistance to her miniature painting". The article concludes: "Mrs Marks says that she is doing more oil paintings than miniatures now to preserve her eyesight, so that she will be able to do a few each year."
[*note for Anthony Pettifer: 'social work' refers to later paragraphs unconnected to Stella]

8 December, The Sun

"Has Painted Royalty" refers to the miniature of Princess Patricia and that "the Princess treasures the miniature as her favorite portrait" and that she lent it to Stella to hang in the Royal Academy in 1931. It also refers to the annual miniatures Stella paints of her daughter, Pat, and miniature of Miss Margery [sic] Williamson that "was hung in a prominent place in the Royal Academy. The article then turns to Stella and Monty's film industry social life: it mentions a recent house party they gave with guests: Mr. and Mrs Clive Brook, Ann Todd and her husband, Victor Saville and Marguerita Scott. It also reports that Leslie Banks and his wife are "constant weekend guest". Stella is quoted, "I think it a great advantage that to the films that they now draw their casts from the ranks if legitimate stage players. Vivienne Leigh is one of my greatest friends. She is charming, and much more beautiful off the screen than on. She has great blue eyes, like saucers and long sweeping lashes. Also my friends are the Australian Merle Oberon, Charles Laughton and Eric Pommer, the German Producer. Charles Laughton is very gentle and charming and has a vital personality."

9 December, The Sun

"Artist and Her Miniatures" features a photograph of Stella and black and white images of the miniatures "for which she is famed": 'The Princess Patricia of Connaught'; Stella's daughter 'Patricia' [aged 13]; 'Miss Marilyn Kawn'; and 'Mr. Justice McKenna'.

9 December, The Sydney Morning Herald

"Returned From Europe in Strathaird. Rejected First Commission. Successful Miniature Painter." features a photograph of Stella disembarking the Strathaird and her miniature of her daughter 'Pat aged 5'. The article observes that Stella, having "achieved considerable fame as a painter of miniatures, .....reflects with some amusement that she rejected her first commission to paint a miniature". It goes on to say how she changed her mind. Monty and Penleigh Boyd, "knowing just how welcome commissions were to students, scoffed at the idea she could not do miniatures". "When they left, I got out my tiniest brushes and painted the tiniest portrait I could imagine and then accepted the commission. I was unable to refuse others, and, finally I realised that for miniatures one must have just a sound a technique as portraits in oil".  The article refers to the miniatures she has painted of her daughter, Pat, every year. It then turns to the film business and refers to Montagu Marks as General Manager of London Films. It describes a recent detail of their life in England: "at their home in the Chiltern Hills, in Buckinghamshire, Mr. and Mrs. Marks entertained the stars of the cast of 'Action for Scandal' which was shown at a theatre in Chesham for local charities the weekend before they left." The article also noted that they were travelling on Strathaird with Mrs. Arthur Kelly, wife of the *President of United Artists".     
[*note from Anthony Pettifer: he was a Vice-president of United Artists]

15 December, The Bulletin

The article says that "Mrs. Marks' most notable sitter was Lady Patricia Ramsay (before her marriage officially, Princess Victoria, but better known as Princess Pat)".

? date, unknown press cutting

"Artist and Her Miniatures" features following miniatures: 'Princess Patricia of Connaught (now Lady Ramsay)'; 'Stella's Daughter Patricia in 1934'; 'Miss Marilyn Kawn'; and 'Mr. Justice McKenna of the Supreme Court of the United States'.


4 November, The Herald

"Film Manager to Visit Australia" announces the forthcoming visit to Australia of Monty and Stella.

30 November, The News (Adelaide)

"British Films in Australia. Better Treatment To Be Sought" refers to Monty's mission to enquire into the quota system and assist the British film industry". It quotes him as saying. "If the nations of the Empire could agree to protect Empire films, the industry would be greatly assisted. I believe that in certain States there is a quota against English film, which is treated just the same as foreign footage. However, Australian-made productions count as British in the quota law of England against foreign productions. I wish the Federal Government would reciprocate, and thus help production in the Empire."

30 November, (a Perth evening newspaper)

"British Films Send Us a Quota Disciple" refers to Monty "fostering" Empire films. He said "The British Government is taking steps to protect the film industry....if the countries of the Empire would do likewise the industry would materially benefit. I believe that in certain States of Australia there is a quota against English film, treating them on a foreign footing, whereas Australian-made productions count as British, in the quota law of England, against foreign productions.....I wish the Federal Government would reciprocate. It would help production in the Empire". In the article Monty also said "there is no difference between Hollywood and Denham, as far as equipment is concerned. They had a modern studio with seven stages spread over 168 acres of land". Monty went on to state that "Alexander Korda...was the chef architect of the Film Industry in Great Britain, and London Films Productions had steadily built up one of the largest organisations in the world for the production and distribution of motion pictures". The article also refers to Monty hope to arrange the world premières in Australia of "Paradise for Two", "The Return of the Scarlett Pimpernel" and "South Riding".   

1 December, The West Australian

"British Films. Claims for a better quota" features a photograph of Monty and refers to his argument concerning Australian quotas: "In the United States there were in round figures 14,500 picture theatres, with a seating capacity of 10,000,000......In the British Empire there were 8,000 theatres with a seating capacity of5,500,000. The net box office takings from in the United States were, in a recent year, 140,000,000 pounds compared with 35,500,000 pounds in England. If the nations of the Empire could agree, as the British Government is agreeing, to protect the British film industry, the market of 8,000 would go a long way in helping the industry". The article goes on to refer to Monty pointing out that "the figures quoted show the enormous advantages the American industry has over us........War [1st World War] caused the English production to decline and simultaneously the American output increased with great rapidity. The dominant position thus obtained made it difficult for British producers to recover lost ground". Under a subheading "Spreading British Ideas" refers to Monty saying "There could be no doubt that the screen is a very important educational medium, helping in the spread of national ideas, culture ans customs". Monty goes on to quote a 1927 statement by the then President of the Board of Trade "The Cinema is today the most universal means through which national ideas and national atmosphere can be spread, and, even if these be intangible things, surely they are the most important influenced in civilisation. Everyone will admit that the strongest bonds of Empire (outside, of course, the strongest of all, the Crown), are these intangible bonds, a common outlook, the same ideals which are expressed in a common language and a common literature. Should we be content at all if we depended on a foreign literature of foreign press in this country?" Monty refers to Alexander Korda as "a man of genius, an original thinker, and a man who thought in terms of Empire not only for practical reasons, but because of present world trends. It was for this reason that he attracted to him many of the leading men in England. The government was behind him, and it was largely through his influence that the Cinematograph Films Bill was now going through the House of Commons, with all his suggestions embodied in it. He was very well informed about Australia, and was keen when it was decided the he (Mr Marks) should make the present trip. He regarded it as imperative in the public interest of the Empire that the production and distribution of films in the British Empire should be in British hands." The article states Monty as saying that London Films "recently bought* the United Artists organisation, making it one of the largest production and distribution organisation in the world........ It was partly for this reason he had come to Australia. The studios at Denham ceased work for three months.....and this had given him the opportunity of returning to Australia after many years, while Mr Korda went to America."  
[* note from Anthony Pettifer: I believe it was a merger rather than a purchase, as described in other press articles] 

2 December, The Argus

"British Films Seek Help. Quota in Australia" announces Monty's trip and the reasons for it, including his "hope to interview Government authorities in connection with quota arrangements."

2 December, The Film Weekly

"Montague [sic] Marks, Gen. Man. London Films, Visiting Aust. To Make Production Survey, and Bringing With Him First Copies of the Latest Korda Features" refers to Monty's reasons for visiting Australia and that he was welcomed at Fremantel by Eric Lamb, Western Australia Manager of UA; Stan Perry, Hoyts Resident Manager and "a host of prominent exhibitors and film executives." In addition to the three new films 'South Riding', 'Paradise for Two' and 'The Return of the Scarlett Pimpernel' the article refers to Monty bringing a special 'short' about activities at Denham, "now the largest and most up-to-date studio in Europe".

4 December, The Argus and The Sun News-Pictorial

Both newspapers announce Monty and Stella's visit and that he is on his way to Sydney where "he will discuss with Cecil Marks, General Manager of United Artists (A/asia) Limited, distributor of London Films products, the future plans of his company." The notice also refers to Stella "noted for her miniatures" and that both Stella and Monty are natives of Victoria.

4 December, The Advertiser Adelaide

6 December, The Herald

"Make Films Here. London Magnate Inquiring" refers to London Films' "closer association with United Artists" and the reasons for his visit to Australia. It refers importance of technical perfection in productions. "Mr. Marks likes the Australian films he has seen, but emphasises the need for absolute technical perfection. Exhibitors will turn down even a superb story, with a superb actress in the leading role if the technical side of the film has blemishes."  

6 December, The Sydney Morning Herald

6 December, The Advertiser, Adelaide

"Australian Premières for British Film. Three For Early Release" refers to Monty planning to premier 'South Riding', 'Paradise for Two' and 'The Return of The Scarlet Pimpernel' in Australia. It also refers to 'Divorce of Lady X' and 'The Drums' being airmailed to Australia shortly. It goes on to talk about the Technicolor* laboratory built in England "about a year ago" with the capacity to process 250,000 feet a film a week as well as the cost and scale of Denham studios. Before the Technicolor facility was built colour films from Denham studios had to send to be sent to America. Six new large films were planned for next year, including 'Lawrence of Arabia.    
[* note from Anthony Pettifer: Monty's brother, Kay Harrison, was Managing Director of Technicolor in Europe]

7 December, The Argus

Features a photograph of Monty and recounts the reasons he is visiting Australia. "He expects no difficulty in finding material for scenarios, but would be disinclined to use stories with an 'outback' theme. Monty is quoted as saying "there seems to be a conspiracy to make the typical Australian a 'hayseed'. The average Australian today is as intelligent and as sophisticated as the average man of Paris, London or New York."

7 December, The Age

"Australian Film Production" summaries Monty's views on Australian production and the reasons for his visit to Australia. He is titled as 'General Manager of Imperial Pictures' and makes clear that the decision for "his company to makes films in Australia would depend on the attitude of the Government towards the industry. His company proposed to set up a permanent studio, subject to satisfactory quotas and wages, and the engagement of skilled local technicians." He comments that it "was a great pity that outback stories were considered typical of Australian life" as that type only represented a small percentage of the population.......The Australian today is suave and sophisticated, and could hardly be distinguished from the Londoner or American." He also comments that "the most outstanding development in the film industry was the growth of color films. At present price prevented the general use of color, but eventually all films would be produced in color."

7 December, The Sun News-Pictorial

"Back Home Again" features a photograph of Alexander Korda and write about Monty: "nearly half a century ago a boy was born in South Melbourne whose parents probably planned for him a commercial career, little imagining that one day he would be handling millions as one of the biggest figures in the world's film industry." The writer describes Monty as having"a keen humorous sense and that geniality of a cosmopolitan" and that he "had the happy knack of making himself just one of us." The article refers to Monty's purchase of Denham: "there was no sign of bombastic pride in a stroke of business which even thrilled his friend. Alexander Korda. With the same sang froid he told me how he sat at his office window and watched the tiny wisp of smoke which told of a fire that was to cost his firm many thousands."

7 December, The Herald

"Film Prospects" comments on Monty critical view: "Should we build a local film industry on the foundations of picturesque 'frontier' themes, as America did, or should we skip that period and step into the suave, sophisticated phase?"

7 December, The Sun

"New Film Coy. [sic] In Australia?" has similar content to 'The Age' article of the same day (above).

7 December, (unknown press cutting Melbourne)

"Film Chief Will Investigate Australian Production" features a picture of Monty and similar content to 'The Age' article on the same day (above).

9 December, The Sydney Morning Herald

"Alexander Korda. May Make Film in Australia" refers to Monty saying Korda would probably make a film in Australia in the near future. "He had already made films in India and South Africa, and was now very anxious to make one here".  He wanted the picture to be "a sincere portrayal of the country". Monty went on to say "it has been heartbreaking to hear people in Australia saying that American pictures are better than British....They simply do not realise what they are saying. The British industry today is turning out films as good as any in the world". The article also referred to leading American studios coming over to make films there (Britain).

9 December The Film Weekly

"Korda's Still Further Advance by His Link-up With United Artists. His Australian-born Manager Impressively Reviews the Completeness and Perfection of Denham Studios" features a photograph of Monty and refers to details supplied by him on the state of the United Artists deal. It states that Korda and Samuel Goldwyn would be "the formost members of U-A", that "all terms had been agreed" and that "finalisation merely awaits certain more or less formal British and American legal investigations". "Among other things, the association will permit the inter-change of stars, greatly increasing the already world-established strength of London Films Productions Ltd." The article goes on to talk about the purpose of Monty's visit, the possibility of making a film in Australia, but that "the production would have to be something of a widely-embracing character - a picture showing Australia to Australians and the rest of the world and commanding the patronage of London and New York." It mentions the three new films Monty hoped to premier in Australia and the successful films already produced by London Films, including the South African production, 'Sanders of the River', and the Indian production, 'Elephant Boy'." It goes on to describe Denham Studios. "A studio can be merely a building equipped with stages and sound. Mr. Marks emphasises this truth, with a view to illustrating the difference as regards Denham Studios. These reflect, in every respect, the masterful, artistic personality of Korda - the efficiency of the staff, the technical excellence, and everything else that enters into the creation of the perfected product". The fact that "expense represents nothing to Korda" and that "his art is more to him than money" is remarked on. Monty is quoted as commenting "I'm afraid that he will never die rich." The article also has biographical information on Monty: he first left Australia when he was 17 year old; two of his youthful studies "are still in the National Art Gallery (Melbourne)"; his enlistment in the Royal Flying Corps.; his interest in the pictorial side of films and how, on a visit to Britain, he asked R. Hatfield "if there was anyone with whom he might be brought in touch with"; how Hatfield responded "Korda is the only man - the most vital and imaginative man in England. He stands head and shoulders above everybody else. I'll introduce you."; and how when Monty first met Korda they "remained together till 4 o'clock in the following morning". 

10 December, The Sun

"Challenge to View Our Latest Film" highlights the response of Clarence Badger of National Studios Pagewood and Ken Hall of Cinesound for Monty to view recent Australian film productions: "it is obvious that Mr. Marks is unfamiliar with recent trends in motion picture production in Australia. Australian studios, during the last five years, has done splendid work in bringing the real Australia to the screen". "I shall be glad to make a private screening of 'Luggers and Lovers'  available that he may see our latest efforts....". "I accept Mr. Hall's offer" said Mr. Marks today. "As an Australian, I am keenly interested in pictures produced here."

14 December, The Exhibitor's Monthly

"Lon. Films Gen. Mgr. on Local Survey. Montagu Marks Confirms U.A.-Korda Deal: Pounds Sterling 200,000 Establishes 50/50 Setup" features a photograph of Monty in at his office in Denham Studios and refers to his visit "as the personal representative of Alexander Korda". It covers many of the same points as in the 9th December 'Film Weekly' article (above). It mentions that Monty has "two drawings of his own and a miniature of his wife's exhibited in his home town Art Gallery" [The National Gallery in Melbourne]; that "after serving in the RFC during the war he found it difficult to settle down to his palette again"; that "he went into the export business in America instead"; that he met Dr Kalmus of Technicolor. "who introduced him socially to film circles"; and that "Bob Hatfield eventually introduced him to Korda, the two men took to each other, and in 1933 Marks joined Korda's organization".  Monty is quoted as saying "A most amazing man. He [Korda] is a fine scholar -reads Greek and Latin and speaks seven or eight languages fluently. England's greatest intellectuals are his intimate friends." Monty then makes a very direct appeal for some Australian exhibitors to reconsider the quality perception of British Films: "Well, speaking about exhibitors, of whom I should speak to you - and may speak straight to them as one Aussie to others - the complex that exists in some quarters about English pictures is all bunk. Perhaps it arises from the fact that this market has had too many pictures that were made exclusively for England. But here's the point: slate a picture by all means if it is bad, but not because it is English. America, France, Sweden and Italy all make bad pictures, and good ones, too. So does England. The producer in every country is after the finest creative and technical brains he can grab, without regard to nationality, and without regard to expense. You should get rid of that complex; it's unfair to England's bigger producers, if it applies to them at all......What do you think Sam Goldwyn has associated himself with Korda for? Because Goldwyn realises that Korda is as good a producer as he is, and that is saying something, since Goldwyn and Zanuck are generally regarded as the two outstanding American producers of today." The article goes on to refer to the latest developments on the English quota legislation, of which Monty had just been informed there were many amendments. "Quota legislation is like a motor car. If you can drive it, it will take you across Australia, but if you can't, it will smash you up. It all depends on the way it is handled." The article comments "Montagu Marks, it will be seen from all this, has absorbed the ideals, ideas and driving force of Korda, without losing his Australian simplicity of personality and conversation. There is not the slightest trace of bunk about him." Towards the end of the article Monty reinforces his argument to the exhibitors be refer to at least four new London Film productions being made in Technicolor and to the stars: "In the important matter of star value, we are catering more strongly for that essential need of exhibitors than ever before in the history of our organization. Among those popular names that will head the cast lists of London Films productions during 1938 are Merle Oberon, Robert Donat, Raymond Massey, .... Binnie Barnes, Edmund Lowe, Jack Hulbert, Leslie Banks, Flora Ronson and Sabu, the sensational child star of 'Elephant Boy'."  

15 December, The Sun

"Film Man Is Convinced. 'Luggers and Lovers' A 'Good Job'" describes how Monty turned to Ken Hall after his private viewing of 'Luggers and Lovers' "and with a handshake said "A damned good job". He added "its miles ahead of 'Dad and Dave'". "If Australian producers can make films with the same honesty with which Mr. Hall made this one, they have nothing to fear." On Mr. Hall regretting that the film's star, Elaine Hammill, had since gone to England Monty replied "that the loss of stars did not matter, as one could always get actors, but "you must keep your producers and directors".

20 December, Daily Telegraph

Features a picture of Monty dancing with Miss Margaret Adams, who played the leading feminine role in 'Balalaika'. 

22 December, The Sun

23 December, The Film Weekly

"Montague (sic) Marks Entertained by the Council of the British Film Industry" features a picture of Monty with Ralph Smth, Gordon Ellis, Ernest Turnbull, E.G. Blanshard, A.J. Williamson, S.Y. Greisman and Gordon Williams and refers to his meeting with the 'British Film Industry Association of Australia and New Zealand' at 'The Millions Club' in Sydney. "It was the first time in Australia that every major film producing organization in England was represented": Associated British Film Distributors Ltd., Associated Talking Pictures Ltd., Grosvenor Sound Films Ltd., Phoenix Films Productions Ltd., Associated Film Picture Corporation, Mayflower Picture Corporation, British and Dominions Film Corporation Ltd., British Dominion Films Ltd., British Lion Film Corporation Ltd., British Empire Films Ltd., Capitol Films Ltd., Herbert Wilcox Films Ltd., Gainsborough Pictures Ltd. Gaumont British Picture Corporation Ltd., Jack Buchanan Productions Ltd. and London Film Productions Ltd." 

23 December, The Labor Daily

"Film Man to Leave For Melbourne" refers to Monty and Stella having Christmas in Melbourne with friends and relatives.

December, Cinesound Review News (a film news reel)

Month?, (a Melbourne newspaper)

"Putting English Films on The Market. Quality Propaganda. Some Box-Office Figures" quotes Monty, "Supposing a law were passed that no American films could be shown in British countries, English studios 'could not make a do of it'. English films must therefore be established all over the world. We cannot compete with America in the general type of picture; we can compete with America only in a technically perfect production. Secondly, we can compete by making pictures essentially British or English in sentiment. London Films has a name for a 'Rolls-Royce' product. Its films are propaganda for English ideals, English manners, English craftsmanship and technique." The article refers to London Films launching this 'propaganda' first with 'The Private Life of Henry the Eighth', which cost 96,000 pounds to make and yielded a box office of 600,000 pounds. It refers 'The Scarlett Pimpernel' as the most successful British film to date, costing 135,000 pounds with a gross return of2,000,000 pounds. It also refers to 'The Ghost Goes West' yielding 900,000 pounds and 'Sanders of The River' yielding 800,000 pounds. It states that "Things to Come" will show a loss from 60,000 to 70,000 pounds. It also references "subsequent films, such as 'Rembrandt', 'Fire over England' and 'Knight Without Armour' as expensive productions that have done much to establish quality prestige for English prodctions."      



Monty & Stella

4 February, The Argus, The Sun News-Pictorial and The Age

Announcements that Stella left Menzies Hotel to join Monty in Sydney and will will leave for New Zealand by the Monterey "today". Mrs. Marks is expected back in Melbourne on 22 February.

16 March, The Ceylon Observer


3 January, Woman

Features a photograph of Stella by Dorothy Wilding which she gave her mother for Christmas.

22 January, The Age

"A Charming Personality" features Stella's 1934 portrait of her daughter, Patricia, and a photograph of Stella by Dorothy Wilding. The article introduces her as "the wife of the general manager for London Imperial Pictures" and then goes on to say "she is a talented artist, of whom Australia can be proud. For although she has not been here for twelve years this is her native country, and it was at the Melbourne Gallery that she received her training in drawing and painting under Bernard Hall." It describes how Stella started to paint miniatures by taking on a commission that Penleigh Boyd did not wish to undertake and how subsequently her work met with "unqualified success" in America. "So much so, in fact, that she was asked to become president of the American Society of Miniature Painters - a unique distinction for a British subject. She had to refuse the honor, for almost immediately she left with her husband for England". It notes she has also been a member of the Royal Miniature Society for eighteen years and that her miniatures are "wonderfully executed, and notable for their light and brilliance". The article also mentions one of Stella's most treasured possessions is the series of miniatures she has painted of her daughter every year since she was six months old and concludes by mentioning 'Hengrove', Stella's home in the Chilterns, and the joy its garden gives her.    

22 January, Melbourne (unknown press cutting)

"Famous Miniature Painter Mrs. Marks in Melbourne" states that "an interesting visitor in Melbourne at present is Mrs. Montagu Marks, the attractive wife of the general manager of London Films. An Australian by birth, she has a claim to fame in her own right, for she is regarded as one of the foremost miniature painters in the world". The article does on to state that Stella's study at the National Gallery under the late Bernard Hall; that "she began painting miniatures just before the war"; that "she returned to Australia in 1914, held exhibitions in in Perth and Melbourne; and that in 1914 she left for New York were she lived for 19 years". It refers to her miniatures having "a great reputation in the United States as they have among art connoisseurs in England and other countries". Stella is quoted as saying "I was excited to find...in the National Gallery two of the finest Richard Cosway miniatures ever painted": 'Lady Elizebath Foster' and 'Madame du Barry'. "I would sooner have those two Cosway's than half the Wallace collection of miniatures".  They were from the Pierpont Morgan collection and the Felton Bequest bought them at Christies last year. "Other fine miniatures in our National Gallery, which impressed her, were a portrait by Humphrey, called 'Mary', and a delightful one of by Samuel Coates of 'Miss Brougham', and some splendid examples of Augustin's work. Mrs. Marks is herself represented by a charming study of 'Maud Allan'". "The vogue for miniature painting will always exist", Mrs. Marks, considers. "It is a most beautiful form of art and one which does not require a large gallery to show it to advantage". The article refers to Stella's technique: "a good miniature most have all the drawing, composition and knowledge that go to making a large portrait". The beauty of a miniature is the transparency of color.... and to achieve that the Artist must be swift and direct in her work".  The article refers to the 150th Anniversary Celebrations and that the Director of the Sydney Art Gallery, Mr. Will Ashton, persuaded Stella to lend four of her miniatures to be exhibited as part of these celebrations.

22 January, The Argus

29 January, The Leader

'A Melbourne Letter' by Viola, features Stella's miniatures of 'Princess Patricia' and of the artist's daughter, Patricia, aged five, as well as a photograph of Stella by Dorothy Wilding. The 'letter' comments warmly on Stella's love for Australia: "Mrs. Marks is the right kind of Australian. She has traveled widely in America, in England and on the Continent, yet still retains her love for her own country. And, whilst acknowledging the beauties and advantages - one can perhaps say - of other countries her heart still seems to be here". It refers to her as the wife of Montagu Marks, general manager of London Films Productions, and to her exclusive membership of both the Royal Miniature Society and the America Society of Miniature Painters. It comments that she was the only non-American to be invited to be President of the latter, but that she had to decline owing to her move to England. The letter then talks about Stella's miniature of 'Princess Patricia' and the series she has of her daughter since being a baby. Commenting on this work the author writes "I marvel at their beauty. The brilliance, the light, their exquisite coloring!.....It is fascinating to see Patricia as a small babe, as a dear little girl ...... lovingly clasping a doll with wide blue eyes, and later as a school girl, so obviously full of enthusiasm for the future". The letter concludes with comment about Mr. and Mrs. Marks' home in England, Hengrove, at the beautiful garden. Showing the author some photographs of Hengrove, Stella "pointed out certain trees and shrubs for which she has a special affection, for she is an enthusiastic gardener".        


7 February, Woman

"Australia Has Produced Masters" features a photograph of Stella in her room at Menzies Hotel painting a miniature of a girl . The girl she is described as wearing "a green frock - a splendid contrast to her red gold hair and amber brown eyes, ideal according to the artist". And the article refers to Stella's "little case, which is also her easel" (shown in the photograph). "This wooden case, although somewhat debilitated, has a particular interest....It was made - as a surprise - by members of the Studebaker family... for whom she painted a number of miniatures". The article comments that the "famous miniature painter" has "some very definite views about her home country". She is quoted as saying "for its population we have produced some wonderful artists, painters especially...... If one could predict who would be considered a master in the future I would say that George W. Lambert and Mr. Streeton deserve that classification." The article continues that Stella has bought a number of scenic exhibition pieces by Harold Herbert, which she will take back to be hung at Hengrove, her home in the Chilterns.  It mentions Stella's views on the lack of a purpose built gallery in Melbourne and that the Cosway miniatures, recently bought by the National Gallery, are two of the best in the world. She last had seen them at the Metropolitan Museum of Art in New York. 

9 February, The New Zealand Herald

"A Noted Artist. Mrs. Montague (sic) Marks. Painter of Miniatures. International Reputation." the article refers to Stella as an Australian by birth; "one of the foremost miniature painters in the world"; and the wife of the general manager of London Film Productions. It says she started painting miniatures before the start of the Great War and returned to Australia in 1914, holding exhibitions in Perth and Melbourne. It states "her miniatures have as great a reputation in the United States as they have amongst art connoisseurs in England and other countries". It goes on to talk of Stella's "swift and direct" water colour technique. 

10 February, The Argus

"Refinement of Diplomacy" by Oriel refers to Stella's bridge playing with Lord Richard Nevill.

11 February, The Dominion

12 February, The Wanganui Chronicle

The article is similar to that of the New Zealand Herald on 9 February (above)

26 February, The Age

"Mrs. Marks' Miniature for Gallery" announces that the Felton Bequest has purchased Stella's miniature, 'Mr. Justice McKenna'. It comments that "Australians are so often inclined to overlook the work of their compatriots that it is good to know that Mrs. Marks' miniatures are as much appreciated here as in America and England."

26 February, The Argus

"Miniature Bought" announces the Felton Bequest's purchase of Stella's miniature, 'Mr. Justice McKenna of the Supreme Court Washington D.C.'


1 January, Smith's Weekly

"Australian Film-Mogul" refers to many American film chiefs visiting Australia but that Monty was one of the first English film principles to make the journey. Adding the unique fact that he is Australian born. It comments that his "outstanding career is evidence of what Australians can do on the other side of the world". "As General Manager of London Films he has one of the biggest motion-picture jobs in the industry today."

1 January, The Photoplayer and Talkies

"British Film Executives" features a picture of Monty seated at the centre of film executives similar to that shown in the 23 December, The Film Weekly.

7 January, The Sun

Announces that Montagu Marks, General Manager of London Film Productions, arrived in Melbourne today as is staying at the Hotel Australia.

7 January, The Exhibitor's Monthly

"Did You Read The News Last Month" features a picture of Monty seated at the centre of film executives similar to that shown in the 23 December, The Film Weekly.

12 January, The Sun

"Five London Films in West End Shows" refers to Monty's announcement that five London Film Productions: 'South Riding', 'Paradise for Two', 'The Divorce of Lady X', 'The Squeaker' and 'The Return of the Scarlet Pimpernel' are being shown concurrently in West End cinema's, which he considers a record.
13 January, The Argus, The Sun News-Pictorial and The Herald
Announces that Monty and Mr. Cecil Marks will arrive in Melbourne today to attend the first screening in Australia of 'Paradise For Two'. 

13 January, The Age

Announces Monty and Mr. Cecil Marks will arrive in Melbourne today.

13 January

The Sun News-Pictorial and The Herald

20 January, The Film Weekly
"Important U.-A Melb. Openings at the Regent and the Athenaeum" features a picture of Mrs. W. Hampton, Mr. Cecil Marks (General Manager of U.-A) Miss Nancy Lewis, and Mr. and Mrs. Montagu Marks. The article references the Melbourne release of David Selznick's 'A Star is Born' and the Australian première of Alexander Korda's 'Paradise for Two'. It comments that "the enthusiasm with which both public and press have received it ['Paradise For Two'] argues well for its box office success"  

30 January, Truth

Features a photograph of Monty and announces his visit to Brisbane. The piece also states that he "has two pictures hung in the Melbourne Art Gallery".

31 January, The Courier-Mail

Announces Monty's visit to Brisbane.

1 February, The Telegraph

"Film Chief Here To Study Local Possibilities For British Pictures" features a photograph of Monty and refers to the purpose of his visit to Australia. It also describes Monty views that "his company seeks to produce films of essentially British and Empire spirit." The article reports that "whether his company produces films in Australia or establishes a permanent studio will depend on the attitude of the Australian Government for quotas, and the conditions under which labour is procurable." It goes on to mention his wife "the former Miss Stella Lewis, of Melbourne, well known miniature painter."

2 February, The Courier-Mail

"Real Australia In Film. Plans of British Producer" features a photograph of Monty and refers to him hoping to make an Australian film "that would show the real Australia with its culture and natural beauty."

2 February, The Telegraph

"Australia Should Have Sunday Shows Says London Film Executive. Suggests Government Subsidy For Local Films. All Colour Films Soon" features as photograph of Monty and a long interview. It reports on Monty's arguments about Sunday evening shows similar to those in the 23rd February Sun article (below). It goes on to describe Monty's views on the sort of films that could be subsidised by a 20% levy on Sunday films: "he would not subsidise films of the mushroom type, such as sometimes are made to provide quota contributions; the films must be of a worth-while type that would find a market abroad as well as in Australia." He is quoted as saying "Entertainment is one thing Australia could sell to the rest of the world. Australia cannot sell manufactured articles in Germany, America and other countries across the seas in competition with local manufacturers, but she could sell entertainment in the form of film productions if the industry were placed on a proper basis. Australia takes millions of feet of film entertainment from America every year but does not sell an inch of film to America." The article goes to say "Ken Hall is an Australian producer whom Mr. Marks picks as outstanding." Regarding Australians' perception of British Films and their preference for American Films, Monty is reported as thinking that this "was born out of the early practice of English film producers to introduce an exaggerated English accent which was a laughable thing to Australian audiences. He, however, was happy to note that the prejudice was being broken down and the Australian public was appreciating the very fine British productions that were [now] coming to this country." The interview the refers to the "bigger productions" of London Films such as 'Night without Armour' and 'Things to Come', "which had each cost 300,000 GBP to produce". It goes on to quote Monty's optimistic view of the British industry: "I think the future of the British film industry is assured for two reasons. In the first place, the British Government is very keen to establish the film industry in England because it recognises that with the newspaper and radio it can be a big vehicle for propaganda in the interests of Great Britain and the British Empire. The second reason is the high educational value of films." The interview continues with Monty disagreeing with Andrew Buchanan's book, 'Film Making from Script to Screen', that "British films are a slavish imitation of production modelled on the American pattern". Monty is quoted as saying, "The story is the most important thing of the film and if we can weave into that story the atmosphere of the open spaces we do it. Pictures in which we did with great success were 'Elephant Boy', 'Sanders of the River' and 'The Man Who Could Make Miracles'. On the other hand our pictures 'Henry VIII' and 'The Scarlet Pimpernel' were not done in any country from the point of view of scenery and they were most successful because the stories appealed to the general theatre-going public." Monty went on to state that "colour is the film of the future. There will be nothing but colour productions in the near future". Monty concludes that London Film Productions to be "seen in Australia this year" would include 'Conquest of the Air', 'Divorce of Lady X', 'The Drum', 'Paradise for Two', 'Action for Slander' and 'South Riding'."   

3 February, The Film Weekly

"Montague [sic] Marks For Brisbane" announces Monty's visit to Brisbane by air.

7 February, Auckland Star

"British Films. Reciprocity Need. Combating Competition. Where America Gained." features a photograph of Monty and says that he arrived this morning by the Monterey on his first trip to New Zealand. The article outlines Monty's historical analysis of how America has gained its dominant position. It opens, "the need for Empire-wide reciprocity in the production and exhibition of films as a bulwark against foreign competition was stressed by Mr. Montague [sic] Marks". It goes on to directly quote him, "those who regard the cinema as a cheap form of popular entertainment see no necessity for worrying about the national integrity of the screen. Yet those same people would be the first to clamour if the Press were to pass under the control of foreign interests". The article then points out that in America there are 14,500 theatres, but approximately only 8,000 in the whole of the Empire, with a seating capacity of less the half America's. "Box office returns in America for a year totalled 140,000,000 pounds, while for the same period England netted 35,000,000 pounds". Monty comments that "the British film industry welcomes American competition, but first must be assured of Empire production. Before the war, the film production of Europe and America was a matter of equal progress. Each continent was developing along individual lines and the British films were so flourishing that 25% of those released in English theatres in 1914 were home-made". The article goes on to state that due to the outbreak of the war English (and European) production came to a standstill. For the next two year, before America joined the war, Hollywood and New York became "the centre of the film universe, a position which has remained to this day to a large extent". After the war British films were back on a rising tide but, the advent of the talkies, an American invention, gave America another two year advantage. Finally, Monty describes the impact of the quota system: "the year 1928 was a year of double import for the British industry. That year the Film Quota Act came into effect. On the one hand British motion pictures reached international fame - on the other the motion picture in England descended to the wretched level of the 'quota quickie'. This fungus growth has been largely responsible for the present slow up in English film production". Monty goes on to point out "that diffidence on the part of foreign film renters had not had a good effect." The article concludes that the new Chromatograph Films Bill, introduce in Parliament last November, would ensure quota films of a higher standard. "If a film failed to comply with the minimum cost clause of 15,000 pounds it could not count as quota. Monty quotes a sentiment, expressed by Mr. Stanley, president of the Board of Trade, in the House of Commons: "I want the world to be able to see British Films true to British life, accepting British standards and spreading British ideals*." 
[*note from Anthony Pettifer: a very direct statement about the soft power and propaganda value of film]             

8 February, The New Zealand Herald

9 February, New Zealand Free Lance

12 February, The Evening Post

12 February, Hawke's Bay Herald-Tribune,

12 February, Wanganui Herald

Carries the same article as the 7 February Auckland Star.

12 February, The Christchurch Star-Sun

"British Film Industry. Reciprocity Issue. Effect Of Quota Act. American Competition" features a photograph of Oliver Stanley and in the body copy carries the same article as the 7 February Auckland Star.

12 February, The Argus Weekend Magazine (article by Montague Marks)

14 February, The Dominion*

"Propaganda Of The Film. Maker's Responsibilities. English Executive in Dominion"
[*note from Anthony Pettifer: an encapsulation of Monty's thoughts as the world was rapidly become a more dangerous place.]             
"Propaganda Of The Film. Maker's Responsibilities. English Executive in Dominion"

14 February, The Press, The Times Palmerston North

15 February, The Dominion

17 February, The Film Weekly

Announces that Monty arrived in Auckland and was met by New Zealand Manager of United Artists, B. Allen.

17 February, The New Zealand Observer

23 February, The Sun

"Sydney Sundays Are Boring. Cinema Proposed Cure" describes an interview with Monty where he suggests that cinema's should be open on Sunday with part of the takings going towards the creation of a fund to subsidise Australian film productions. He is quoted as saying "Everywhere is that same puritan Sunday - something that you would not find in cities overseas. I don't know how you stand it." He goes on to comment that when 5pm to 8pm Sunday showings were proposed in London "there was a loud protest, but the scheme went through and now there are talkie programmes every Sunday with 15% of the proceeds set aside for various charities authorised by the London County Council. Here in Australia I would suggest a 20% deduction, the money to go to the Federal Government for subsidising Australian productions. In this country are many worthwhile organizations struggling to make pictures against tremendous odds. Here is a logical solution of their difficulties. I know that you people want a brighter Sunday - I have spoken to them about it. In this way you would not only bring greater happiness but also perform a national service. Thousands are on the beach every Sunday. Others play golf or go driving. I dozens of ways the day is given up to pleasure. Surely pictures could do additional harm, but must help to overcome boredom". The interview goes on to report on Monty's suggestion that "when Australia makes a trade agreement with the United States it should insist on that country taking at least 1,000,000 pounds of Australian films annually since the American film industry tool at least 2,000,000 pounds annually from Australian audiences. A more reciprocal arrangement would give an incentive to Australian production and a new industry opened up.

25 February, Daily Telegraph

"Evil Days For British Film Folk. Thousand Attend Commons Debate" reports on the quota issue between Britain and Australia with amendments that, in an attempt to help jobs in Britain, would disadvantage Australia. Monty is quotes as trying to reassure Australia: "Up to the present Australian or Empire film has counted as quota against foreign film in England. I am quite positive that there will be no laws passed in England that will discriminate against Empire film."  

2 March, The Advertiser, Adelaide

5 March, The Mirror

9 August, The Sun New Pictorial

4 December, London Evening Standard



1 November, Daily Telegraph and Morning Post, 'London day-by-day'



1 July, The Scotsman, Glasgow Herald and Edinburgh Evening News



14 December, The Times

"Reopening of the Royal Exchange" features a photograph of Queen Elizabeth "visiting the exhibition of the Royal Society of Portrait Painters". Stella's oil portrait of the actress, 'Elena Miramova', is shown top right.



16 June, The Australian Post Magazine (front cover)



January, Woman's Journal (article on Royal Portrait Painters)

5 January, The Age



March, Women's Illustrated and The Daily Mirror

month?, Woman's Pictorial

Month?, Women and Woman's Journal



5 February, The Sunday Times (front page)



4 February, The Daily Express



19 November, The Daily Express

20 November, The Times



29 November, The Daily Telegraph



19 October, The Daily Telegraph featured 'miniature within a miniature' of Sir Winston Churchill



13 November, The Daily Telegraph



25 April, Woman's Weekly

November, Field Magazine


Stella's TV Coverage

Stella features in the BBC arts program Aquarius as "today's foremost miniature portrait painter". (I wish I could get a copy of this program. It no longer appears in the BBC archive) 



Announcements that Stella awarded an MVO (Member of the Victorian Order)


Stella's Obituaries

November, The Times, The Telegraph


Journal of the International Churchill Society, Summer 1986