Supreme Court of Victoria, addressing about 50 guests. Its 4 page catalogue entitled "J. H. Scheltema's Exhibition of English, Scottish and Australian Paintings", showing descriptions/titles and prices, can be sighted in the National Library of Australia today. The press covered the 1911 exhibition well. 71 of the 88 paintings were sold at or before the exhibition where no auction was held. His works currently Paintings by Scheltema still sell at auction from time to time. In December 2018 a total of 18 works by J. H. Scheltema, previously not known to exist by the art world but held by his family, were discovered in the legacy of the recently deceased widow of the artist's great nephew Dr C. A. W. Jeekel and came to Australia. Most are now part of the collection of the Gippsland Art Gallery, in the town of Sale, Victoria, which displayed them and others in the first Scheltema-only exhibition since 1911, to be held from 21 March to 9 August 2020, but prematurely closed for the Covid virus, under the title "The Lost Impressionist". It includes a portrait of his father. The landscape shown below, painted at Alphington, near Melbourne, Scheltema had sent home explaining that such old eucalypts that had survived the ring-barking, the fires and the clearing are 'monuments' from before white settlement. Recognition In art history Scheltema is an 'important artist in Australia'. He gained a reputation as a masterly painter of pastoral scenes, particularly as a specialist of foreground livestock in the landscape, a genre developed by Paulus Potter in 17th century Holland with Potter's "Young Bull" hanging in the Mauritshuis Museum in Scheltema's birthplace where he lived until the age of 5 and later studied for two years. His skills in that genre were often publicly acknowledged in Australian newspapers. His treatment of livestock was not limited to making them a focal landscape element in the painting, but he often showed them in action, such as drinking, running, breaking away being chased, being shorn or fed, showing what they were watching, depicting their interaction with humans as well as the landscape. He produced several equine works, some with the movement of full gallop. Photos of the colourful oils of his well known bullock teams are repeatedly used to illustrate the narratives of Australian bullock team history, besides contemporary black and white photographs. He painted more bullock teams than any other painter