Tom Roberts

Tom Roberts was recorded at birth as Thomas William Roberts. The authorities additionally record the headings Tom. Roberts, Tom William Roberts, Thomas Roberts and Thomas William Roberts.

He married Lillie Williamson.

Works recorded as notable number 5: A break away!, Bailed Up, Bourke Street, The Big Picture and Shearing the Rams. His recorded genre is portrait.

What the record establishes about Tom Roberts.

'Evening, when the quiet east flushes faintly at the sun's last look' is catalogued and held by National Gallery of Victoria (inventory 1375-4). Louise, daughter of the Hon. L. L. Smith is catalogued and held by National Gallery of Victoria (inventory 4647-3). In a corner on the Macintyre is dated 1895 and held by National Gallery of Australia (inventory NGA 71.109). Portrait of a young girl is catalogued and held by National Gallery of Victoria (inventory A19-1972). Barn Close, Diamond Creek is catalogued and held by National Gallery of Victoria (inventory 1466-5). Slumbering sea, Mentone is dated 1887 and held by National Gallery of Victoria (inventory A12-1980).

Fog on the road to Yea is dated 1928 and held by National Gallery of Victoria (inventory A17-1980). Across the Dandenongs is dated 1889 and held by National Gallery of Victoria (inventory 1207-5). (A Moorish doorway) is dated 1883 and held by National Gallery of Victoria (inventory 2004.213). House of Anning Bell is dated 1905 and held by National Gallery of Victoria (inventory 1467-5). Miss Isobel McDonald is dated 1895 and held by National Gallery of Victoria (inventory 3727-4). The elusive Louisa is catalogued and held by National Gallery of Victoria (inventory A15-1980).

Bourke Street is dated 1886 and held by National Gallery of Australia (inventory NGA TEMP.324). G. Rivers Allpress is catalogued and held by National Gallery of Victoria (inventory A15-1979). Landscape, Cremorne is dated 1894 and held by National Gallery of Victoria (inventory 1517-4). Mrs L. A. Abrahams is dated 1888 and held by National Gallery of Victoria (inventory 1650-4). Blue eyes and brown is catalogued and held by National Gallery of Victoria (inventory 778-5). Edward Trenchard is catalogued and held by National Gallery of Victoria (inventory 2003.483).

The artists' camp is catalogued and held by National Gallery of Victoria (inventory 1224-4). Shearing the Rams is dated 1890 and held by National Gallery of Victoria (inventory 4654-3). By the Treasury is catalogued and held by National Gallery of Victoria (inventory 2002.304). The Golden Fleece is dated 1894 and held by Art Gallery of New South Wales (inventory 648). Hobart, Tasmania is catalogued and held by National Gallery of Victoria (inventory 4653-3). The Sunny South is dated 1887 and held by National Gallery of Victoria (inventory 1078-4).

The Art Institute of Chicago catalogues 1 work under this heading. Wikidata Query Service catalogues 40 works under this heading. Open Library catalogues 27 works under this heading.

67 works under this name are catalogued by Wikidata Query Service, Open Library and The Art Institute of Chicago. Their recorded dates run from 1883 to 1928.

A break away!, dated 1891, held by Art Gallery of South Australia, inventory 0.139. Bailed Up, dated 1895, held by Art Gallery of New South Wales, inventory 833. Bourke Street, dated 1886, held by National Gallery of Australia, inventory NGA TEMP.324. Coming South, dated 1886, held by National Gallery of Victoria, inventory 1738-5. Shearing the Rams, dated 1890, held by National Gallery of Victoria, inventory 4654-3. The Big Picture, dated 1903, held by Royal Collection, inventory RCIN 407587. The Golden Fleece, dated 1894, held by Art Gallery of New South Wales, inventory 648. In a corner on the Macintyre, dated 1895, held by National Gallery of Australia, inventory NGA 71.109. The Sunny South, dated 1887, held by National Gallery of Victoria, inventory 1078-4. Charcoal burners, dated 1886, held by Art Gallery of Ballarat. Portrait of a young girl, held by National Gallery of Victoria, inventory A19-1972. Fog on the road to Yea, dated 1928, held by National Gallery of Victoria, inventory A17-1980. Pelargoniums, held by National Gallery of Victoria, inventory A16-1980. G. Rivers Allpress, held by National Gallery of Victoria, inventory A15-1979. The elusive Louisa, held by National Gallery of Victoria, inventory A15-1980. Girl's head, held by National Gallery of Victoria, inventory A14-1980. Lily Stirling, held by National Gallery of Victoria, inventory A13-1980. Slumbering sea, Mentone, dated 1887, held by National Gallery of Victoria, inventory A12-1980. Lake Como, dated 1922, held by National Gallery of Victoria, inventory 89-5. Blue eyes and brown, held by National Gallery of Victoria, inventory 778-5. Harper's Weekly, held by National Gallery of Victoria, inventory 66-5. Across the Dandenongs, dated 1889, held by National Gallery of Victoria, inventory 1207-5. House of Anning Bell, dated 1905, held by National Gallery of Victoria, inventory 1467-5. Barn Close, Diamond Creek, held by National Gallery of Victoria, inventory 1466-5. Cloud study, held by National Gallery of Victoria, inventory 12-5. Hobart, Tasmania, held by National Gallery of Victoria, inventory 4653-3. Louise, daughter of the Hon. L. L. Smith, held by National Gallery of Victoria, inventory 4647-3. Mentone, dated 1888, held by National Gallery of Victoria, inventory 3194-4. Miss Isobel McDonald, dated 1895, held by National Gallery of Victoria, inventory 3727-4. Dogging a log, held by National Gallery of Victoria, inventory 3316-4. Madame Pfund, held by National Gallery of Victoria, inventory 1830-4. The artists' camp, held by National Gallery of Victoria, inventory 1224-4. Landscape, Cremorne, dated 1894, held by National Gallery of Victoria, inventory 1517-4. A turbaned man, held by National Gallery of Victoria, inventory 1997-4. 'Evening, when the quiet east flushes faintly at the sun's last look', held by National Gallery of Victoria, inventory 1375-4. Mrs L. A. Abrahams, dated 1888, held by National Gallery of Victoria, inventory 1650-4. Penelope, dated 1919, held by National Gallery of Victoria, inventory 1059-3. (A Moorish doorway), dated 1883, held by National Gallery of Victoria, inventory 2004.213. Edward Trenchard, held by National Gallery of Victoria, inventory 2003.483. By the Treasury, held by National Gallery of Victoria, inventory 2002.304. Windy City Pulp Stories, no.24. Queries & Explications. Evenfall. Starting on Pole. The Little Lost Sock. Alex Raymond. Racquetball. Windy City Pulp Stories No.11. Joan Chittister. Windy City Pulp Stories No.12. Windy City Pulp Stories No.10. Windy City Pulp Stories No.13. Windy City Pulp Stories No.18. The Three Billy Goats Gruff. Windy City Pulp Stories No.17. Windy City Pulp Stories No.16. The Birds of Pakistan: Volume 2: Passeriformes. Formula One. Horse control reminiscences. I gotta hunger. The isle of Anglesey official county guide. Red Riding Hood. Shepherd's Purse. Three Billy Goats Gruff. 'Twas the night before Christ. Friends and Villains. Shipdock Scene, dated n.d., pen and brown ink and brush and watercolor, over traces of graphite and graphite grid, on ivory wove paper, laid down on board, held by The Art Institute of Chicago, inventory 1993.248.177.

Work associated with this heading is recorded in 11 named public collections.

Art Gallery of New South Wales: 38 recorded objects, read from the institution's own published catalogue. National Gallery of Victoria: 37 recorded objects, read from the institution's own published catalogue. National Gallery of Australia: 32 recorded objects, read from the institution's own published catalogue. Art Gallery of South Australia: 5 recorded objects, read from the institution's own published catalogue. Museum of New Zealand Te Papa Tongarewa: 2 recorded objects, read from the institution's own published catalogue. Royal Collection: 1 recorded object, read from the institution's own published catalogue. Art Gallery of Ballarat: 1 recorded object, read from the institution's own published catalogue. Kerry Stokes: 1 recorded object, read from the institution's own published catalogue. Wesfarmers: 1 recorded object, read from the institution's own published catalogue. Joe Natoli: 1 recorded object, read from the institution's own published catalogue. The Art Institute of Chicago: 1 recorded object, read from the institution's own published catalogue.

4 scholarly publications naming this subject were located in the registry of record.

Roberts, Tom, Oxford Art Online, 2003. Roberts, Tom, (9 March 1856–14 Sept. 1931), painter; Sergt. RAMC (T), serving 1915–19, Who Was Who, 2007. Roberts, Tom Aerwyn (1924–99), The Dictionary of Twentieth-Century British Philosophers, 2005. Tom Roberts anyone? A national survey finds the line in art appreciation, 2015.

Bibliographic registers publish measured figures for this heading: 22 language editions of the general reference literature carrying an article (Wikimedia (language editions)). A count of publications is evidence of attention, not of standing, and is given here only as a measure.

This article draws on 6 independent source lineages. Copies and mirrors of the same underlying record were collapsed into a single witness, so 6 means 6 genuinely separate publishers of record. 12 further registers were consulted and returned nothing for this heading.

Tom Roberts studied at National Gallery of Victoria Art School and The Thomas Hardye School.

Subjects and genres recorded for the work are portrait. The authority associates the name with Heidelberg School.

Places of work recorded in the authority are Melbourne.

Works named in the authority record are A break away!, Bailed Up, Bourke Street, The Big Picture and Shearing the Rams.

Work by Tom Roberts is recorded in the collections of National Gallery of Victoria, National Portrait Gallery, Art Gallery of New South Wales, National Gallery of Australia and Art Gallery of South Australia.