Catherine Moriarty’s interesting and detailed account helps redress this balance. Montford was the last example of what can be termed an architectural sculptor, when sculptures were integral to the embellishment of a building. What might have been a slender account in rehabilitating an artist’s reputation is given richness and vitality through the inclusion of extensive correspondence, mostly from Montford to his brother Louis in London, covering the period 1923–30. Some is general family news and chit-chat, but there are interesting comments on Australian society and landscape. The most rewarding parts cover his role as a sculptor in Melbourne during the 1920s.

Montford’s public works in Australia include sculptures on the Shrine of Remembrance, the statue for Adam Lindsay Gordon in Melbourne, and the W.B. Chaffey memorial in Mildura, and portraits in Old Parliament House, Canberra. In addition to his numerous public commissions, he supported himself by making portrait busts of Melbourne notables. In his letters, Montford describes the process of securing work via competitions and commissions, as well as those he missed out on, the costing process, the difficulties of casting, and his various subjects.

In addition to the biographical account that succinctly places Montford in context, and along with the correspondence – all extensively researched and footnoted – Moriarty provides a detailed catalogue of Montford’s work. A generous selection of images helps bring this elusive figure to life.