Mosman

I did it manually, okay? I did it by myself.

And this is all across Sydney, Bondi, Blacktown, Mosman, pubs, cafes, clubs, RSLs, restaurants.

Like, whatever I could find, if it had a kids menu, I saved it.

And then what I did is I just put all of them into an Excel document.

There's all the floral paintings, and then you mentioned the block work that she did.

But then there's some scenes of paintings on Sydney Harbour in Mosman when she was living, and of course her incredible work with Indigenous groups as well.

She really got involved there and was quite pushing the boundaries there a bit, wasn't she?

Yes, she was.

Wow.

There's the story in Mosman of the mansion that sold for 17 million.

It's on the market now for 12 million.

Yeah.

I don't think it's intelligent for people to say, "Bathla Group's in Western Sydney, it's different out there."

Yeah.

Because it's happening in Mosman, it's happening, uh, in Balmain East, it's happening elsewhere in the Inner West, it's happening on the Northern Beaches.

Um, so this notion that the top end is different is garbage.

The reception was at the family's home, a spacious property with its own orchard.

They built a house in Mosman called Avenel, overlooking Middle Harbour.

It was completed in 1903 and Ethel Turner spent the rest of her life there.

The marriage was, by every account, a happy one.

This has been the story of Ethel Turner.

Born Ethel Mary Burwell in Doncaster, Yorkshire, 1872.

Died at Mosman, Sydney, 1958. daughter of a father who died when she was two, migrant at seven, student, magazine editor from 18, children's columnist as Dame Durden, wife of Herbert, mother of Jean and Adrian, resident of Avenel, Mosman, overlooking Middle Harbour.

author of more than 40 books, keeper of 62 years of diaries, creator of the Woolcott family, inventor of Judy, the woman who told Australian children they were never model children.

[laughs]

[laughs] Up a hill, uh, Awaba Street in Mosman.

Mm.

I don't even know if that's how you pronounce the street name.

Yeah.

Um, it's an interesting one 'cause I think, you know what we, we always find long-term is on average for a city, houses always outperform apartments, but then when you look at a suburb level, you know, if you'd bought a house in, say, Blacktown versus an apartment in Mosman, it may have been that the, the apartment in Mosman would've done better than the Blacktown house.

No, but they're not really comparing-

Ap- exactly

Mm-hmm.

Don't compare the dude that is buying that 5, 6, $7 million place in Mosman with your number one.

Mm.

But also, and you and I will probably spend a lot of time talking about the Melbourne market, man, if you scroll through realestate.com.au and you look at some of those top echelon suburbs, those real crème de la crème suburbs, and we're talking probably suburbs in Australia where your average income is, you know, in the top 5%.

His work sits somewhere between observation and memory, inviting us to pause and experience the landscape in a deeply personal way.

Over a career spanning more than four decades, Peter has exhibited extensively and been selected as a finalist in the Mosman and Paddington Art Prizes and the Salon des Refusés on eight occasions.

At the heart of his practice remains a simple curiosity, returning to the landscape, looking more closely, and discovering something new each time.

In this conversation, we'll explore Peter's creative journey, the evolution of his artistic practice, the influence of printmaking, and why the Australian landscape continues to offer endless inspiration.

No.

What about prizes? Because, you know, we st- we said in the opening that you've been successful.

You've been a finalist in the Mosman Art Prize-

Mm