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Race and the Modern Exotic: Three ‘Australian’ Women on Global Display

List of Illustrations

Page 2. Annette Kellerman diving in sheer swimsuit of silver scales Source: Annette Kellerman, How to Swim (London: William Heinemann, 1918).

Page 5. Annette Kellerman posing at the beach

Source: Papers of Annette Kellerman, MLMSS 6270, with permission of the Mitchell Library, State Library of New South Wales.

Page 8. Annette Kellerman called ‘Coo-ee’ during performances in an assertion of her Australian identity

Source: Papers of Annette Kellerman, MLMSS 6270, with permission of the Mitchell Library, State Library of New South Wales.

Page 11. Annette Kellerman performing in an on-stage tank

Source: Papers of Annette Kellerman, MLMSS 6270, with permission of the Mitchell Library, State Library of New South Wales.

Page 18. Annette Kellerman, ‘The Perfect Woman’

Source: NLA.PIC- AN22948275, David Elliott Postcard Collection, with permission of the National Library of Australia.

Pages 2021. Frontispiece from Physical Beauty and How to Keep It

Source: Annette Kellerman, Physical Beauty and How to Keep It (London: William Heinemann, 1919).

Page 26. Annette Kellerman in mermaid costume

Source: Papers of Annette Kellerman, MLMSS 6270, with permission of the Mitchell Library, State Library of New South Wales

Page 28. Annette Kellerman dives from a tower in A Daughter of the Gods (1916)

Source: Annette Kellerman, How to Swim (London: William Heinemann, 1918).

Page 30. Annette Kellerman in A Daughter of the Gods (1916)

Source: Annette Kellerman, Physical Beauty and How to Keep It (London: William Heinemann, 1919).

Page 32. Annette Kellerman and other actresses in mermaid costume From Annette Kellerman, How to Swim (London: William Heinemann, 1918).

Page 36. Annette Kellerman being officially welcomed in Atlantic City, New Jersey

Source: Papers of Annette Kellerman, MLMSS 6270, with permission of the Mitchell Library, State Library of New South Wales.

Page 39. Annette Kellerman cross-dressing as ‘the English Johnny’ in a vaudeville routine

Source: Papers of Annette Kellerman, MLMSS 6270, with permission of the Mitchell Library, State Library of New South Wales.

Page 50. Portrait of Rose Quong taken in Melbourne

Source: Rose Quong Papers, MSS132, Historical Society of Pennsylvania, with permission of the Historical Society of Pennsylvania.

Page 54. Portrait of Rose Quong, presumably in Australia

Source: Papers of Rose Quong, NLA MS 9796, with permission of the National Library of Australia.

Page 60. Rose Quong in medieval costume

Source: Papers of Rose Quong, NLA MS 9796, with permission of the National Library of Australia.

Page 70. Rose Quong (front left), with legendary actress Ellen Terry (front centre) and Laurence Olivier (standing behind Quong)

Source: Papers of Rose Quong, NLA MS 9796, with permission of the National Library of Australia.

Page 72. Rose Quong in one of her early Chinese costumes

Rose Quong Papers, MSS 132, Historical Society of Pennsylvania, with permission of the Historical Society of Pennsylvania.

Page 75. Rose Quong on stage in Chinese drama

Rose Quong Papers, MSS 132, Historical Society of Pennsylvania, with permission of the Historical Society of Pennsylvania.

Page 78. Advertisement for Rose Quong’s ‘Circle’

Source: Papers of Rose Quong, NLA MS 9796, with permission of the National Library of Australia.

Page 82. Advertising flier used by Quong’s New York agent

Source: Papers of Rose Quong, NLA MS 9796, with permission of the National Library of Australia.

Page 85. Portrait of Rose Quong, presumably during her New York years

Source: Rose Quong Papers, MSS132, Historical Society of Pennsylvania, with permission of the Historical Society of Pennsylvania.

Page 88. Rose Quong at an opening night at the White Barn Theatre in Westport, Connecticut

Source: Rose Quong Papers, MSS 132, Historical Society of Pennsylvania, with permission of the Historical Society of Pennsylvania.

Page 98. Merle Oberon as Anne Boleyn

Source: Special Collections, Cleveland State University Library, with permission of ITN Source.

Page 99. Merle Oberon seated between Fredric March and Charlie Chaplin

Source: Charles Higham and Roy Moseley, Princess Merle: The Romantic Life of Merle Oberon (New York: Coward-McCann Inc., 1983), with permission of Culver Pictures, Inc.

Page 107. Merle Oberon in an advertisement for Max Factor cosmetics

Source: The Australian Women’s Weekly, 10 July 1937, p. 66.

Page 110. The Australian press instantly accepted Oberon as a ‘Tasmanian girl’

Source: The Sydney Morning Herald, Women’s Supplement, 21 June 1934, p. 8.

Page 114. Merle Oberon, featured in The Australian Women’s Weekly article, ‘A Specialist Rarely Escapes’

Source: The Australian Women’s Weekly, 30 January 1937, p. 4.

Page 117. Merle Oberon in The Dark Angel (1935)

Source: Everyone’s, 8 June 1936, p. 12.

Page 121. Merle Oberon as the subject of a cartoon, ‘Screen Oddities’

Source: The Australian Women’s Weekly, 29 February 1936, p. 40.

Page 125. Merle Oberon on the cover of The Australian Woman’s Mirror

Source: The Australian Woman’s Mirror, 14 May 1940.

Race and the Modern Exotic: Three ‘Australian’ Women on Global Display

   by Angela Woollacott