Fox was born in Melbourne. His uncle was the painter Emanuel Phillips Fox, who died when Len Fox was aged 10. In 1984 Fox donated a painting Sunlight Effect painted by his uncle (ca. 1889) to the National Gallery of Australia, in memory of his mother.
His career as a journalist began in 1936 with a pamphlet entitled Spain!.[1]
He moved to Sydney in 1940, and immediately started writing for left-wing weeklies, starting with The Voice of State Labor. He took up painting, producing an array of left-wing propagandist posters, and covers for his many booklets, such as Australia's Guilty Men, a 32-page diatribe against (inter alia)Prime MinisterRobert Menzies for his dealings with Axis countries in the early days of WWII[2] When the State Labor Party collapsed in 1944, he took up with The Tribune where he worked from 1946 to 1955,[1][3] and in which he first wrote defending refugees and Jews against prejudice[4]
In 1955 he married Mona Brand, a fellow Communist and idealist, who was to become a respected playwright. At the instigation of Wilfred Burchett, they spent 1955–56 in Hanoi, he working as a print journalist, she for Radio Hanoi.[1]
Fox and Brand's home for the next 50 years was a modest terrace house in Little Surrey Street, near Kings Cross,[7] in an era when the area was not fashionable. They were together when he died,[1] and his coffin was draped with the Eureka Flag, long a subject of his research and of three of his books, authenticating a flag in the Ballarat Art Gallery as the flag that flew over the stockade of the Eureka rebels in 1854.[8]
In December 1944, Fox published an article about the as then unconfirmed fragments of the Eureka Flag held by the Art Gallery of Ballarat. He entered into correspondence with the family of Private John King, the art gallery, and Ballarat local historian Nathan Spielvogel. The art gallery gave Fox a sample of the Eureka Flag in March 1945, along with a drawing.[9]
Spielvogel doubted the authenticity of the fragments held by the art gallery. On a visit to Ballarat later that year, Fox visited the art gallery and was given two more pieces by the custodians.[9] In his 1963 self-published booklet, Fox advanced his argument about why the King fragments are authentic.[10] Perhaps due to interest generated by Fox's publication, the main Eureka flag remnants were transferred to a safe at the art gallery later in 1963.[11]
Fox's widow Mona initiated the Len Fox Painting Award in his memory. From 2011 and bi-annually the Castlemaine Art Museum invites entrants from amongst living Australian artists who are to represent in painting their reactions to the art and life of Emanuel Phillips Fox whose first biography was written by Len Fox in 1985.[12] One winner is awarded $50,000 and their painting acquired for the collection of the Art Museum. It is amongst the richest painting prizes in Australia.[13] The 2021 winner was First Nations artist Betty Kuntiwa Pumani.[14]
The Time was Ripe: A History of the Aboriginal-Australian Fellowship, 1956–69 with Faith Bandler Alternative Publishing Cooperative 1983 ISBN0-909188-78-5
^Anderson, Hugh (June 2001). "Len Fox alive and kicking"(PDF). The Australian Association for Maritime History. Quarterly Newsletter (83): 8. Archived from the original(PDF) on 9 April 2013. Retrieved 19 July 2013.
Beggs-Sunter, Anne (2004). "Contesting the Flag: the mixed messages of the Eureka Flag". In Mayne, Alan (ed.). Eureka: reappraising an Australian Legend. Paper originally presented at Eureka Seminar, University of Melbourne History Department, 1 December 2004. Perth, Australia: Network Books. ISBN978-1-92-084536-0.
Fox, Len (1963). The strange story of the Eureka flag. Darlinghurst: The Author.
