1913

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

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 George's Terrace opened by Sir Edward Stone. The article 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". 

1914

November, The International Studio, New York

"In the Galleries" features a b/w image of "A Miniature" by Stella and reports that the young Australian artists with "her husband a landscapist have come to this country to stay". "Mrs. Marks is a portrait painter, too, which explains the broad treatment.....if sitters would only allow it, the miniature might be a really artistic little painting, instead of what it often is, a toy, just a pretty dolled up photograph". The article goes on to report that Stella is working on her first American commission, "the little daughter of Ordway Partridge, the well known the sculptor", and that Monty and Stella intend to hold an exhibition "later in the season".

1915

4 April, The New York Times Magazine (page 15)

"Miniatures at The Academy" critiques the exhibition of The American Society of Miniature Painters. It comments that "many painters of comparatively slight training have entered this field". The article then observes that "this complaint already savors of past fashion, however. We are beginning to realize the importance of things without reference to their size and the art of the miniature is creeping back towards the magnificent competency of the seventeenth and eighteenth centuries......the present exhibition indicates the change in tendency, a change not only towards greater competency, but also towards the freedom of modern technics (sic). Laura Coombs Mills uses so large a space that this freedom appears more or less inevitable and not especially a departure. Her fine portrait of Miss Edith Harlow, dark in colour without heaviness, is the most inspiring of the six examples of her work. Stella Lewis Marks works in two manners, one the manner of the line sketch, the other the manner of the wash drawing. In both she says what she has to say in a personal way and makes her clear impression of doing a small thing in a larger spirit." 

9 October, American Art News (vol. 14 page 43)

"The Miniature Exhibit" describes Stella's "charming pictures" of 'Blue Bow' and 'Sweet Seventeen'. 

1916

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'".

?, The International Studio (one of the editions from March to June 1916, page 72)

The article by 'E.C.' reports on the Pennsylvania Society of Miniature Painters 14th Annual Exhibition at the Pennsylvania Academy of Fine Arts. It refers to three works by Stella Marks and of them cites 'Blue Bow' "as the most attractive".

May, The International Studio

"Miniatures by Stella Lewis Marks, A.R.M.S." features four b/w images of Stella's miniatures: Lucius Julius Henderson Esq.; Miss Betty Miller, S.I.; Mrs James Hardy Barr, Pittsburgh; Herself.

27? July, Musical Courier

Sitter, Artist and Portrait, Features a photograph of Stella drawing a charcoal portrait of the well known cellist, Michael Penha, together with a b/w image of the portrait. The article commented on the "delicacy and strong detail" of the drawing and that Penha was "a strong admirer of the art of Mrs. Lewis [sic]"

9 September, The Billboard

"Broadway in Brief" by Beulah Livingstone reports that Stella had painted a life size portrait of Ann Murdock. It also state that Stella is "the youngest and only American* member of the Royal Miniature Society of England. It will be exhibited at one of the 5th Avenue galleries this coming winter."

[*note from Anthony Pettifer: America sometimes (but not always) claimed Stella as one of their own, but in Stella's mind and statements she always emphasised her Australian birth and artistic training at the National Gallery School, Melbourne.]

October, The International Studio

Noted Stella's miniature "A Portrait Study"* at the Pennsylvania Portrait Miniature Society exhibition.

[*note by Anthony Pettifer: 'A Portrait Study' is of Marjorie Williamson]

November, The American Magazine of Art

The article by 'E.C.' reports on the Pennsylvania Society of Miniature Painters 15th Annual Exhibition at the Pennsylvania Academy of Fine Arts. It mentions that "Stella Lewis Marks, whose work is well known in England was represented by a portrait of 'Alister [sic] Crowley Esq.' and two others."

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.....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"; 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".

1917

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", the new Governor General of Canada and his wife. Now painting portrait miniatures in Detroit.

May, Colour ( Vol 6 page 128)

Reports that Stella "contributes several miniatures to the present exhibition at the National Gallery".

October, Colour (Vol 7 page 71)

"H.B." notes "Stella Lewis Markets R.M.S. has been doing miniatures in aid the Red Cross".

1918

January, Colour (Vol 7 page 144)

Reports on Stella "exhibits some excellent miniatures at Philadelphia"*

[* note from Anthony Pettifer: assumption this refers to The Pennsylvania Academy of Fine Arts Annual Water Color and Miniature Exhibitions in November/December 1917]

February? The Studio International (v 73 page 35) /The Studio

"Studio-Talk" noted Stella's miniature of William Plummer.

23 March, The Pittsburgh Sun

"Noted Painter of Miniatures Talks of "Princess Pat"" features a b/w photograph 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". The paper also reported that Stella's replica of the miniature was exhibited at Grogans until the end of March, along with others by her "all characterised by drawing and freedom of handling not often seen in miniatures." These included: '1830', "a delicate portrait of a girl in early Victorian costume"; 'Barbara - a portrait of a child'; '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 work selected by the American Society of Miniature Painters exhibition in the Academy Room. "A number of the miniatures are painted with a free brush and watercolor technique; May Fairchild's portrait sketch of Milan Trost and the portrait of Cadet S.M. Lewis by Stella Lewis Marks are examples."

? month (pre July 1918), 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. It also references a number of other portraits including 'Mrs Sidney Reilly'. 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.

1920

20 August, Evening Post

month?, a Japanese Newspaper

October or later ?, 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.

1921

March 1921, American Magazine of Art

The article reports on the Royal Miniature Society of Portrait painters exhibition at the Grosvenor Galleries. It singled out the work of two artists: Alyn Williams' (RMS President) miniature of Sarah Bernhardt and Stella Marks' miniature of Lady Maxwell. It also commented on "another American* women artist exhibiting this year is Miss Margaretta Archambault." 

[note from Anthony Pettifer: interesting that Stella is at this stage considered an American Artists.]


1922

April, Art and Decoration Magazine, New York (page 427)

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".

25 November, The Independent (page 316)

"Water Colours and Miniatures" by A.J. Barnouw critiques the exhibition of The Philadelphia Water Color Club and The Pennsylvania Society of Miniature Painters at the Pennsylvania Academy of Fine Arts. The author draws a distinction between 'water colours' and 'miniatures' (although miniatures also use the medium of water colour). Miniatures are described as "a dead beauty of over a hundred years ago, who through some magic of the embalmer has maintained all the freshness and bloom of its antique youth". He contrasts "the Expressionists, the Fauvists, the Futurists, the Cubists" who are "all represented in the water color exhibition" with the Miniaturists, who "apparently careless of the photographer's rivalry, remain equally indifferent to the lure of new theories. He goes on copying nature and the portraits of Mrs. Richards F. Maynard by Wm. J. Whittemore, of Mrs. John W. Warburton by Stella Lewis Marks, of Miss Browning by Maria J. Strean, and of Mrs. Hasselbrus by her husband must convince every visitor that Nature has not ceased to be an inspiring model. There are, indeed portraits in this collection of miniatures that are no better than colored photographs, but these four, with several of lesser excellence, are pure works of art in being not mere copies but beautiful illustrations of life, and not the worse for not having to serve as demonstrations of a theory."  

1924

21 November, The Pittsburgh Gazette Times


1925

January or February? 8 1925, The New York Times (page 10)

"Art: Exhibitions of the Week" reports on The American Society of Miniatures Painters exhibition at The Erich Galleries closing on February 11. It critics the work of Stella and fellow exhibitors, Laura Coombs Hills, Clifford Addams, Margaret Foote Hawley, Mabel Welch, Mrs Pattee, Katherine Myrick and Hasselrius. It comments that "There is a delightful contrast of animate and inanimate in Stella Mark's 'Patricia and Joan' and a nice crisp edge." 

1926

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. Joan'; '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 than 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 travelled to Paris and London with fellow student, Monty, who 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 Stella'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 (page 15) link

"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 Magazine (page 23)

"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 (page 28)

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.]

1930

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. Stella comments that Judge Ruth "was the most nervous sitter I had ever had".       

1932

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".

1936

24 October? 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 (page 9)

"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 of the 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".

? November, Buenos Aires Herald - Sunday Pictorial Supplement

Features a full length photograph of Stella with the caption "Mrs. S. L. Marks, on arrival by the Almanzora."

1937

4 November, The Herald

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

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 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".

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).

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.

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 (page 4) link

"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 from 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 of 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."
[*note from Anthony Pettifer: it was part of the myth of Merle Oberon's heritage that she was Australian. She was half Indian and actually born in Bombay (Mumbai)]

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 (page 22) link

"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]

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.  

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)".

17 December, The Sydney Morning Herald

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

20 December, Woman

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.

? 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'.

1938

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, The Argus, Melbourne (page 29) link

"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 goes 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 Elizabeth Foster' and 'Madame du Barry'. "I would sooner have those two Cosways 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. It also refers to her being asked to become President of the American Miniature Society and concludes that "with her husband, who travels backwards and forwards between Melbourne and Sydney on business, she is making Menzies Hotel her headquarters until they sail on the Orion on March 1 to return to London. Until three years ago they had been living in the United States. Now they have a lovely home in the Chiltern Hills, England."

29 January, The Leader (pages 42 and 49)

'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. It recounts how Stella was persuaded by Monty and Penleigh Boyd to paint her first miniature. 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".        

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.

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. 
[note from Anthony Pettifer: Pam Baker, the daughter of the girl featured has identified her as her mother,Stella's niece.]

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

"Noted Artist. Painter of Miniatures" refers to Stella as "one of the foremost miniature painters in the world" arriving in New Zealand by 'the Monterey'. It gives a brief biography of her career to date and quotes her: "the vogue for miniature painting will always exist. It is one of the most beautiful forms of art and one that does not require a larger gallery to show it to advantage.""A good miniature must have all the drawing composition and knowledge that goes to make up a large portrait. It is in fact a portrait in water colour.....The beauty is in the transparency of colour....and to achieve that the artist has to be swift and direct in her work."

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.'

16 March, The Ceylon Observer

"Portrait Princess Pat Treasures" announces that Stella, "one of the worlds greatest miniature-painters, accompanied by her husband, the General Manager of London Imperial Pictures [sic], arrives in Colombo today by the Orient liner Orion." The article refers to the miniature of Princess Patricia and that "the Princess, herself an artist was then 31, and she treasures the miniature as her favourite portrait. In 1931 she lent it to Mrs. Marks to hang in the Royal Academy". Stella is quoted "I have been painting miniatures since 1912, when I left Melbourne. My daughter is at school in Ascot, and I have painted her every year since a few months old." The article concludes that she is carrying with her miniatures, including those exhibited this year* at the Royal Academy. Mrs. Marks has to hold exhibitions twice a day on board the Orion to her fellow passengers."
[* note from Anthony Pettifer: I assume 1937 not 1938]

16 March, The Ceylon Observer

Features as photograph of Monty and Stella with the caption, "Mr. Montagu Marks, General Manager of London Films Productions Ltd. and Mrs. Marks photographed today with Mr. A Gardiner, Managing Director of Ceylon Theatres Ltd, (right) and Mr. A. Thambiaiyah. Mrs. Marks is a famous miniature portrait painter.

1941

1 November, Daily Telegraph and Morning Post, 'London day-by-day', (page 2)

"P.M.'s Youngest Daughter" features a black and white photograph of a portrait miniature of Mary Churchill. The article reports "it was given to Mr. and Mrs. Churchill by members of the family when she was leaving home to join the A.T.S. The artist Stella Marks, tells me that Mrs. Churchill rang her up to say how delighted she and the Prime Minister were with it."

1943

30 June, The Evening Standard (page 8)

"Riddle of a Missing Miniature" reports that Scotland Yard detectives are assisting the Edinburgh police on the theft of Stella's miniature of 'Betty Ince'. Stella is quoted, "I first saw her in a train travelling from Sydney to Melbourne and was struck by her beauty. When I came to this country in 1938, Miss Ince was in the same ship and I got to know her.....I painted her as she was then, a girl of about 17." The article continues that the miniature is in a metal frame of no great value. Stella said "Why this one miniature was chosen it is difficult to understand. It could not be sold for its frame and would not be likely to attract an unscrupulous collector."

1 July, The Scotsman

"R.S.A. Exhibit Stolen. Mystery of Missing Miniature" reports that "for the first time in the history of the Royal Scottish Academy an exhibit has been stolen from the annual exhibition". The miniature was painted by "an Australian women artist, Mrs. Stella L. Marks." The subject was "Miss Betty Ince, daughter of a Melbourne business man and barrister". It was speculated that the miniature was stolen on Friday 18 June by a "souvenir-hunter" when the gallery was unusually very full of spectators.  Police in England as well as Scotland had so far not traced it.  

1 July, Glasgow Herald

"Search For Stolen Miniature" invites the public to help in the search of Stella's miniature stolen from the Royal Scottish Academy "between June 16th and 19th". Its gives Stella's address as Bolton Studios, London.

1 July, Edinburgh Evening News

"Miniature Stolen from RSA" (carried a similar article to The Scotsman above)

1946

October, Woman's Journal

Features an oil portrait of Mary Churchill on the front cover. Inset on page 74 is reference to the portrait by Stella and that Mary Churchill had "attained the rank of Junior Commander and served in Belgium and Germany. Recently, after these strenuous years, Mary, with her father and mother has had a holiday in Switzerland."

1948

14 December, The Times (page 8)

"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.

1949

21 April, The Star, London (page two)

"Painting Princess" reports on the Duke of Edinburgh's birthday present to Princess Elizabeth and comments on the number of sittings and Stella's observation that the Princess had "soft lovely eyes and a firm beautifully shaped mouth." and that "she was much slimmer than her photographs". 

22 April, unknown publication

"Elizabeth's Birthday Present" London (AAP) reports that "The Duke of Edinburgh's present to his wife on her 23rd birthday was a miniature of the Princess painted by Australian artist, Mrs. Stella Marks.

28 May, Home Chat ?

Features photographs [by Studio Lisa] of Stella's portrait miniature of H.R.H. the Princess Elizabeth and of Stella at work on an oil painting. A captioned paragraph comments that "revived a charming old fashion recently when he commissioned a portrait of his wife" and that "no less a person than the Director of the Wallace Collection called at [Stella's] London studio to see her work, and within a few days she had heard that the Duke had commissioned the miniature, which was carried out at Buckingham Palace last July."

16 June, The Australisian Post Magazine (front cover and page 3)

Features a colour photograph of Stella's portrait miniature of Princess Elizabeth.

18 June, The Australian Women's Weekly

"Painted Miniature of Princess. Melbourne Artist tells story of her commission from Prince Philip" by Mary St. Claire features a photograph of the miniature of Princess Elizabeth painted by Stella and a photograph of Stella at work which included the framed miniature of Lady Swan.  It recounts how in 1947 the then Lieut. Philip Mountbatten asked Sir James Mann, director of the Wallace Collection, to recommend someone to paint a miniature of Princess Elizabeth. "Sir James took 12 months before he finally fulfilled the request. When he did - and only after much deliberation - he chose Melbourne-born Mrs. Marks." The article continues that Sir James visited Stella's studio saying he had been asked to recommend a miniature portrait painter. After looking at her miniatures he asked to take three samples away "to show the person concerned". Stella is quoted, "it had me puzzled. I knew he couldn't want any of my works for the [Wallace] collection, as it could never be added to - but I never dreamed it would be for the Duke of Edinburgh." The article continues with how well the miniature was regarded by Princess Elizabeth: "the Princess was delighted" said Mrs. Marks. "She told me it was the first miniature she ever had". It also references that the Duke and Princess were "intrigued by the small portrait box Mrs. Mark's always uses", given to her by the Studebaker family. It concludes with biographical and earlier career details.

1950

2 October, The Evening Standard (page 4, The Londoner's Diary)

"Portrait for Princess" reports "Princess Elizabeth has a the new miniature portrait of her husband......that makes a pair with another, of herself, that was painted two years ago." The article reveals that Prince Philip sat for his portrait while on leave at the time of Princess Anne's birth and that Stella "went to Clarence House four times"

2 December, The Daily Express (page 5)

"Prince Charles is Sitting For his First Portrait" features a picture of Stella painting the miniature of H.R.H. the Prince Charles (an enlarged a photograph of the prince which is not of the portrait). It reports that this is the first portrait of the prince who is two years old and that Stella started painting aged ten.)

5 December, The Yorkshire Evening Post

"Present for Prince" reports on Stella's portrait miniature of Prince Charles "measuring three by two and a half inches": "an unexpected present today was a drawing book and crayons. They came from Australian-born artist, Mrs. Stella Marks, who called at Clarence House with a completed miniature of the young Prince for his mother and father." 

1951

January, Woman's Journal (pages 27 and 122)

"Royal Portrait Painters" by Jean Lorimer features a photograph of Stella at work on a miniature and the framed miniature of 'Lady Swan' with the caption "Australian by Birth - International by Repute - Stella Marks paints exquisite miniatures." The article describes Stella's skills "in oils and watercolours as a portrait and landscape painter" and quotes her "it is essential for an artist to have studied art in all its forms before concentrating on the one she has chosen to become her particular medium". It describes how Stella only had one ambition by the age of eleven - to paint. "As soon as she left school she went to the Melbourne National Gallery were she spent the next five years." It continues to describe Stella's early success in America and Canada, her two miniatures in the permanent collection of the National Gallery of Victoria, and how Prince Philip first commissioned her to paint Princess Elizabeth. It concludes by mentioning that "two of her most recently painted miniatures, Mrs. H.T. Kalmus and Mrs. Ian Cleland, daughter-in-law of our own Jean Cleland, were shown at Burlington House last year."

5 January, The Age (page 5) link

"Portrait of Prince" features a photograph of Stella at work on her miniature of Prince Charles. The article reports that "a former Melbourne women has spent half an hour a day......with two year old Prince Charles". It goes on to describe the sittings and how Prince Philip first commissioned her to paint Princess Elizabeth. It continues with a biography of Stella's career. It describes "Mrs. Stella Marks, with her soft curling grey hair, alert blue eyes and petite figure looks anything but an artist, She says "There is nothing of the Bohemian about me. I love neat tailored clothes and can't bear an untidy studio."

1952

17 July The Evening Standard (page 4, The Londoner's Diary)
"Princess Anne Portrait" reports on Stella painting H.R.H. the Princess Anne at Buckingham Palace. It states that "the portrait is to be ready for the Queen before August 15, Princess Anne's second birthday."

17 October, ? Daily Express

"Princess's Portrait" reports that "Princess Anne's first portrait a water colour miniature... has just been finished. Artist Mrs. Stella Marks has taken it to Buckingham Palace were it completes the four family miniatures of the Queen and her family Mrs. Marks has painted during the last four years."

1953

28 February, Everybody's Weekly

Features a cropped photograph of Stella's oil painting of H.R.H. Prince Charles and announces that the painting was specially commissioned by 'Woman's Illustrated'

4 March, The Daily Mirror (page 5)

Features a photograph of Stella's oil painting of H.R.H. Prince Charles (the first full colour portrait of H.R.H. Prince Charles) and announces that a reproduction copy will appear in Woman's Illustrated.

7 March, Woman's Illustrated

Features on the front cover a black and white photograph of the oil portrait of H.R.H. Prince Charles dated 1952. Inside was a free full colour reproduction on art paper. The accompanying article, "Portrait of a Prince", features a series of photographs: 'Stella with her grandson, Michael' captioned "Mrs. Stella Marks - Royal portrait painter and happy grandmother..." ; 'Stella at work the oil painting of Prince Charles' captioned "The artist draw from Monday until Thursday....painted from Friday till Wednesday....when the portrait was completed and ready for H.M. the Queen's approval" ; two 'Pencil sketched of Prince Charles' captioned ".... from Mrs. Marks Sketch book"; and 'A photograph of the autographed reproductions [framed on a table] of miniatures Stella painted of H.M. the Queen and H.R.H. the Duke of Edinburgh' captioned "Two of Mrs. Marks' most treasured possessions". The article tells of Stella's technique and that she 'talks' to her portraits as if they were real people. It also describes how the young Prince recognised his parents in Stella's sketch book and how she came to give the him a painting lesson. It goes on to give biographical details of Stella's life and career and that she talks to her paintings as if they were real people.

August, Woman's Journal

Features a reproduction of an oil painting of H.R.H. the Princess Anne on the front cover, "specially painted for Women's Journal by Stella Marks,"

12 September, Woman's Pictorial

"Enchanting Portrait of Our Little Princess" features on the front cover a colour photograph of an oil portrait by Stella marks of H.R.H. the Princess Anne.

8 November, The Sun-Herald (page 50)

"Two Lovely Paintings" features Stella's portraits of H.R.H. the Prince Charles and H.R.H. the Princess Anne and promotes their colour prints in the next edition of Woman.

9 November, Woman (Australia)

The magazine shows full colour reproductions of Stella's oil paintings* of H.R.H. the Prince Charles and H.R.H. the Princess Anne. "She Painted Royal Children" by George H. Johnson 'in London', features a photograph of Stella and describes her as "grey-haired and with very young, alert blue eyes". It refers to her now living at Pembroke Gardens in London and mentions that "as a Royal miniaturist Mrs. Marks follows in a long and honoured pattern of art which goes uninterruptedly back to the days of Hans Holbein and before...."
[*note from Anthony Pettifer: I believe that the magazine mistaken refers to the oil paintings as miniatures.]

 


1954

February, Woman's Journal

"Spellbound. Georgian invincible, invisible, Master of Ceremonies, presents from Australia and New Zealand authors, artists, actors and writers..... spellbinders from across the sea"  reviews Stella Marks amongst other accomplished Australians living in Britain: Ngaio Marsh, Davis Low, Joan Hammond, Anona Winn, Ted Kavanag, Sir and Lady Leslie Boyce, Dick Bentley, Rowena Jackson, Robert Helpmann, Sir Harold Gillies and Eileen Joyce. The article features a photograph of Stella with her grandson Michael. It records that "Mrs. Marks and her husband are both artists, and first met when they were sixteen-year-old art students* at the Melbourne National Gallery - where Mrs. Marks has to paintings in the permanent collection.  "So you see" she smiles "we have only spent sixteen of our years apart !**""
[*note from Anthony Pettifer: Monty was aged 16 and Stella either 17 or 19 when they first met. ** Also, Monty and Stella were apart during both World Wars.]

1956

5 February, The Sunday Times (front page headline)

"An Accession Anniversary. Her Majesty The Queen" features 8 portraits of the H.M. Queen Elizabeth by Margaret Lindsay Williams, Savely Sorine, Stella Marks, Douglas Chandor, William A. Dargie, Edward Halliday, James Gunn and Pietro Annigoni. Stella's portrait is the only miniature and is in the centre. The article concludes that "Queen Elizabeth I sat to [sic] Nicholas Hilliard for the portrait which has been a matter of awe and delight ever since. Who will take Hilliard's place in the iconography of her namesake?"

1964

11 August or 8 November? The Herald

"Miniature Portrait of Prince of Andrew" reports that "Australian Artist - Mrs Stella Lewis Marks is finishing her fifth of a series of Royal family miniature portraits" The article comments that "although Mrs. Marks studied at the Melbourne National Gallery as a full length oil portrait painter, she has completed more than 400 portrait miniatures."

19 November, The Daily Express (page 3)

"In Miniature" features a black and white photograph of the portrait miniature of H.R.H. the Prince Andrew with the caption "Prince Andrew - By Stella Marks". It reports that "it is a two-and-a-half-inch miniature.....by Australian-born artist Mrs. Stella Marks. She has seven sittings with the fair-hired prince in the music-room at Buckingham Palace." "This is the fifth miniature of the Royal Family that the Queen has commissioned from Mrs. Marks."

20 November, The Times (page 14)

Features a black and white photograph of a portrait miniature of H.R.H. the Prince Andrew "painted for the Queen at Buckingham Palace by Mrs. Stella L. Marks."

22 November, Sunday Telegraph, Sydney (Front Page)

"Andrew - by Stella" features am enlarges b/w photograph of H.R.H. the Prince Edwardand reports it is "the first portrait of the Queen's four year old son" and that Stella was commissioned by the Queen.

? month, Sunday Pictorial? The Rex North Column

Reports that "Prince Andrew has had his first portrait painted" by "Australian born artists Stella Marks.”


1965

29 November, The Daily Telegraph 'London Day by Day' (page 12)

"500th Miniature" features a photograph as Stella's miniature of Sir Colin Coote, editor of The Daily Telegraph from 1950 to 1964. The article states it is Stella's 500th miniature and refers to how Sir James Mann of the Wallace Collection found her on behalf of Prince Philip "and so Mrs. Marks came to paint all the Royal family."

1966

19 October, The Daily Telegraph (page 21)

"Greatness in Miniature" features photographs of Stella working on a 'miniature within a miniature' of Sir Winston Churchill and a close up of the miniature. The article reports that Stella started work on the miniature six years ago but stopped at the time of Sir Winston's illness. The miniature measures 4 inches by 2 1/2 inches. "The portrait itself is only the size of a drawing pin. The actual head is about twice the size of a match head. Churchill is wearing his famous polka-dot tie."  

1967

February, Woman and Home

"Prince Philips' Paintings" by Helen Cathcart features an black and white photograph of Stella's portrait miniature of Queen Elizabeth II with the caption "For his first purchase Prince Philip directly commissioned Stella Marks to paint this charming portrait of his bride." The article reports that once Prince Philip had decided he wanted a miniature painted "naturally the miniature had to be painted by the finest artist specializing in the field, and Prince Philip typically sought advice from the royal art expert, the late Sir James Mann."

29 April, Woman's Weekly (pages 6 and 7)

"Mementoes of Royal Childhood"  by Helen Cathcart features a photograph of Stella at work on an oil in her studio and photographs of her portrait miniatures of Prince Charles and Prince Andrew. The article includes descriptions of how Stella worked with her young Royal setters, including Stella's observation of Prince Charles' fervent interest in drawing and painting at a very young age.

13 November, The Daily Telegraph

"Master Spy Painted by Stella Marks" reports on Sidney Reilly sitting for Stella in 1919 at the Plaza Hotel, New York. She is quoted, "I had already painted Nadine, the girl I knew as his wife, and he sat for me five times." The article goes on to report that "Reilly struck up an acquaintance with Mrs. Mark's husband, Montagu, in a boat returning from Canada in 1917.*" It quoted Stella that "at the time Reilly was in the uniform of the Royal Flying Corp although not a pilot. After they got to England* and he learned that I was a miniature portrait painter, Reilly asked my husband to write to me in New York with a request to paint Nadine. She was a dark Russian beauty and Reilly lavished money on her. I once went to Cartier's with her, when she was buying diamonds." The article states that Stella still has in her possession a painting of Nadine and the sketch she drew of Reilly. Stella quotes from a letter Reilly wrote to Monty in December 1918. "My dear Monty, keep Nadine cheerful" and also refers to "10 awful days in London....the uncertainty nearly drove me crazy". The article also refers to Monty being invited by Reilly to baccarat parties at the Savoy and that Monty "towards the end of the war" got an "astonishing" amount of leave thanks to Reilly who had "enormous pull somewhere."
[Note from Anthony Pettifer: as a result of this piece Brigadier George Hill, Reilly's fellow spy, wrote to Stella, saying that her miniature of Nadine was one of Reilly's "most treasured possessions" and that Reilly took it with him on his mission to Russia in 1918, were he [Hill] saw it. * I do not think that Monty travelled to England until early 1918. So contrary to Stella's recollection, I suspect that Monty and Reilly met in Canada in 1917 and the miniature was commissioned in late 1917. Monty could then have brought it with him and given it to Reilly in England. Also it is possible that Monty and Reilly travelled to England in early 1918 on the same ship. However, if Monty really did travel to the UK in late 1917 the mystery thickens. More research needed.]

1970

Month?, publication ?

"As Dame Laura Knight, 92, lies in her sick bed at her studio in London....." is an article by Robert Merry that reports on Dame Laura's reminiscences and the "trail she blazed" for women artists at "the beginning of the century". It describes her success as the second woman to become Royal Academician. The article goes on to describe that "although the British art world is generally assumed to be a male preserve, there is no shortage of fine women artists." Its singles out "Australian born Mrs. Stella Marks" as "the leading woman miniature painter referring to her portraits of Queen Elizabeth and other members of the royal family.

22 February, The Cleveland Plain Dealer

"Portrait of the Prince" features a photograph of Stella's portrait miniature with the caption "This is the first portrait of Britain's Prince Charles since his investiture as Prince of Wales last June". It states that the portrait is in possession of H.M. The Queen.

The March, The Field (page 996)

[Stella featured according to a letter to Stella from Sir Kenneth Grubb]

25 April, Woman's Weekly

Features a photograph of Stella at work with her miniature box and photographs of the two portrait miniatures she painted of Prince Charles. The portrait of Prince Charles on his 21st Birthday is also shown with a close up crop and the caption, "An enlargement to give you an idea of the fine brushwork."

November, The Field

"Contrasts in Royal Portraits" by Derek Bingham features Stella's portrait miniature of Prince Charles on his 21st Birthday. It is featured alongside other Royal portraits, including Annigoni's second portrait of Queen Elizabeth II. The article states that the miniature is 3 5/8 in by 2 7/8 in unframed and that attention is drawn to the face: "the mouth and jaw are firm, but the eyes convey the most. They are perhaps a little heavy, but their strength emphasize his character and responsibility.”

1974

January, Point De Vue Images Du Monde

Stella Mark's miniature of Prince Charles as the Prince of Wales on his 21st Birthday is featured in colour as the main image on the front cover and again in black and white inside.

16 December, BBC One Television - 'Nationwide'

Stella is featured painting a portrait. She is interviewed about her work, her thoughts on portraiture, her being recommended to the Duke of Edinburgh by Sir James Mann of the Wallace Collection and her subsequent royal commissions. The documentary states that Sir Winston Churchill was one of her greatest admirers. Some of her miniatures are shown in close up: including Patricia Marks as a young girl, Mrs. Margaret Batten aged 84, Mrs. T. Akaboshia painted in 1920, a Miniature within and miniature of Sir Winston Churchill, H.R.H. The Duke of Edinburgh, H.M. Queen Elizabeth II when she was H.R.H. The Princess Elizabeth, and H.R.H. The Princess Anne aged two years and 21 years.

1977

BBC Television - 'Arena'

Stella features in the arts program 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) 

1978

30 December, The London Gazette issue/47723/supplement/page 4 (link)

Stella awarded an MVO (Member of the Royal Victorian Order)

1979

January, further press announcements that Stella is awarded an MVO

8 April, Sunday Mail (Australia)

"An Artist in Miniatures" [I cannot locate this article, which is referenced in a letter to Stella 8 May 1979 from her pupil Lola McCausland? of 57 Oleander Drive, Ashgrove, Brisbane.]

1981

? July, Royal Wedding In Vogue

'Portraits of a Prince' features Stella Marks' portrait miniatures of Prince Charles in 1951 and 1969, as well as an oil portrait of Prince Charles painted by her.

1985

Obituaries

20 November, The Telegraph

Details Stella's Australian birth and portraits of the Royal Family, Churchill and General Franco's daughter. Also her first royal miniature of Princess Patricia of Connaught painted in 1909* [sic]. It also notes that Winston Churchill "always carried on his wartime journeys a miniature of Mary, now Lady Soames, painted by Mrs, Marks in 1941."
[* note from Anthony Pettifer: painted in 1916]

22 November, The Times

Details Stella's birth as 27 November 1887 and death as 18 November 1985. "Over the years she painted miniatures of the Queen both before and after her accession, Prince Philip, and all four royal children, as well as other members of the Royal Family......she became a member, and later honorary member, ofthe Royal Society of Miniature Painters Sculptors and Gravers, and of the American Miniature Society."

1986

'Finest Hour', Journal of the International Churchill Society, Summer 1986