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John McPhee put John Glover in the picture, identifying him as the foreground figure with sketchbook sharing our view of the Tamar River at Launceston. David Hansen saw that Glover marked his Hobart Town house in special colour at the centre of a distant panorama of the town, the viewpoint for which is across the Derwent in a sportive scene of indigenous Tasmanians at Kangaroo Point. For that work, the artist’s point of view (and ours) doubles with that of the Tasmanians, and the artist, looking at the neat settlement under frowning Mt Wellington, sees himself in it. I like the verbal image, which joins the painter to the scholar in viewing a work and imagines the artist as one who searches for meaning. It may not correspond with the deep perspective of art history, however, and the authors of John Glover and the Colonial Picturesque have preferred to look back with hindsight. An intriguing aspect of this gentle, though magisterial, text is what the writers saw.

Posthumously and handsomely published, this book is a poignant tribute to its author’s ‘magnificent obsession’. For a decade before her sudden death in April 2000, the Melbourne historian Jacqueline Templeton had pursued her interest in the migrations to Australia of Italians from the Valtellina, a province of Sondrio in Lombardy, high up in the Alpine and pre-alpine zones of northern Italy, close to the present-day border with Switzerland. On the day following the completion of her manuscript, Templeton was diagnosed with a terminal illness and told that she had only months to live. That night she suffered a severe stroke; three days later she was dead. Family and friends grieved for the loss of a vibrant and charming woman.

Things shimmer in the distance, as idiosyncrasies of air and light press in upon the eye, causing the terrain before one to wobble, smudge and dissolve. It was the singular achievement of Fred Williams to find an original pictorial syntax to poeticise such distance as it was experienced in the Australian landscape.

Gabriel García Márquez once said that all of us lead three different lives simultaneously: public, private, and secret. In his second novel, A Private Man, Malcolm Knox explores two very secret recesses of the modern Australian male’s experience: porn and sport. That both these spheres also have a very public face merely allows for these secret experiences to be played out in front of a paying audience as either tragedy or farce, or sometimes both.

On the cover of Mick Taussig’s new book, video artist Juan Manuel Echavarria performs a rather clever metaphor for the disintegration of the state. A floral pottery platter with the legend Republica de Colombia para siempre (‘The Republic of Colombia for ever’) is progressively broken up until it is nothing but a pile of white powder: the state as drug cartel.

Alfred Felton, bachelor who lived for many years in boarding houses of one kind or another, might seem a familiar Victorian figure, particularly in a colony where there were not enough women to go around. But Felton was a bachelor with a difference. In the first place, as the co-founder of the prosperous drughouse Felton, Grimwade and Co., he was a colonial success story. He also had interests beyond business. His rooms at the Esplanade Hotel in St Kilda, where he spent his last years, were crammed with paintings, books and objects; some splendid, recently unearthed photographs document this ‘obsessive profusion’, as John Poynter describes it.

Were she alive, Edna Walling would probably be delighted to know that another of her books has been reissued. She might also be astonished and just a little peeved. After a brilliant career as a garden designer, columnist and author – as well as photographer, cottage designer and ardent protector of the natural landscape – Walling’s fame had all but faded by the time she died in 1973 at the age of seventy-seven. Few noticed her passing. However, her renaissance began in the early 1980s, with new editions of selected works and with Peter Watts’s widely praised The Gardens of Edna Walling. Many more such publications followed.