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58 — AUSTRALIANA August 1994 Vol. 16 No. 3 August 1994 AUSTRALIANA ISSN 0814-107X XA. AUGUST 1994 X L Published by The Australiana Society Editor: Kevin Fahy

AUSTRALIANA, the journal of the Australiana CONTENTS Society, is published in February, May, August and November. 60 SOCIETY PROGRAMME 1994

Subscription rates (1994): 61 SPECIAL ANNOUNCEMENT — Literary Award Prize Individual & Household Institutions & Overseas $45 62 PRESIDENT'S and SECRETARY'S Reports Life $500 63 FINANCIAL STATEMENT

ARTICLES

ADDRESS FOR CORRESPONDENCE 64 James Lumsden, Master Cabinetmaker and the 1851 Great Exhibition — Caressa Crouch All general correspondence including Advertising, Membership Subscriptions and Requests for Back 68 Obituary: Marjorie Graham (1924-1994) Issues to be sent to: The Hon. Secretary, 69 Exhibition: Martha Berkeley & Theresa Walker Australiana Society, PO Box 643, 70 The Broughton Travelling Writing Desk Woollahra NSW 2025 — J.B. Hawkins All editorial correspondence including the submis­ 74 Forthcoming Australian-American Walter & Marion Griffin Exhibition sion of material for publication in Australiana to be — David Dolan sent to: The Editor, 75 Panel Discussion on Furniture Conservation and Restoration Australiana Society, PO Box 322, 79 Empire of the South Roseville NSW 2069 — Michael Bogle Fax (02) 416 7143 80 From the Editor's Desk

82 Recent Museum Acquisitions of Australiana

Committee 1993/94: President: Kenneth Cavill Vice-Presidents: Michel Reymond, John Morris Secretary: Kevin Skelsey Treasurer: Andrew Simpson SPONSORS Editor: Kevin Fahy Members: Caressa Crouch Aust Building Adhesives Graham Cocks H.P.M. Electrical Industries David Dolan J.B. Hawkins Antiques Price Tiles Pty Ltd

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© Copyright 1994 The Australiana Society or individual authors. Opinions expressed are those of the authors and do not necessarily reflect the views of the Society.

Print Post Approved PP235870/00011.

Cover: Lucien Henry (1850-96). Empire of the South. Bronze. 345 mm diameter. Frame (unidentified timber) 600 x 600 mm. Vaucluse House, Historic Houses Trust of New South Wales. Gift of C, B. Darley and D.F.W, Darley. (V89/126). [Photo Heidrun Lohr.]

AUSTRALIANA August 1994 — 59 THE AUSTRALIANA SOCIETY 25 TERRY STREET, BLAKEHURST 2221

— SOCIETY PROGRAMME —

MEETINGS — 1994

THURSDAY, ANNUAL GENERAL MEETING and "Australiana Showcase" 4 AUGUST — "Show and Tell".

THURSDAY, Guest lecturer Ian Stephenson will speak on "The Reinterpre- 6 OCTOBER tation of Experiment Farm Cottage" Parramatta. Ian Stephenson is the National Trust Museum curator. Experiment Farm Cottage was the first property of the National Trust of Australia (NSW) opened to public inspections. It contains an important collection of early Australian colonial furniture.

THURSDAY, CHRISTMAS PARTY. 1 DECEMBER

Society meetings are held at 7.30pm at the Glover Cottage Hall, 124 Kent Street, Sydney. Convenient street parking. Drinks served 7.30 - 8.00 pm, followed by Australiana Showcase (bring your Australian treasures for general discussion). Lectures will commence at 8.30 pm.

60 — AUSTRALIANA August 1994 Special Announcement

THE POWERHOUSE PRIZE Australian Eastern Colonies' In­ must be submitted prior to 1 De­ FOR 'AUSTRALIANA' volvement in Jewellery and Silver- cember, 1994 and entries are in­ The Australiana Society and the smithing in Western Australia", vited from members of the Society Powerhouse Museum announce which was published in Australiana, as well as non-members. that the POWERHOUSE PRIZE Vol 15, No 1 (February 1993). Articles published in the So­ FOR AUSTRALIANA, sponsored The overall quality of the arti­ ciety's journal during 1994 will be by Simpsons Antiques, for 1993 cles considered by the judges made eligible however previous entries was awarded to Dr Dorothy Erick- their task difficult. (which might be published in sen for her article, "English and the Entries for the 1994 Award 1994) are excluded.

Rules for Literary Award Prize

1. All entries are to be typed in double ted for the prize agree that the Society's Committee. spacing; must reach the Editor no Society can publish those articles in 7. The judges' decision will be final later than Thursday, 1 December the Society's journal whether or not and no correspondence will be 1994, and can be submitted by a prize is awarded. entered into. The judges reserve the members and non-members (other 4. Articles previously published other right not to award the prize if, in than judges). than in the Society's journal during their opinion, the entries are not of 2. To be eligible all entries must be on 1994, will not be considered. a sufficiently high standard. a subject relating to Australiana and 5. The winning article will receive a 8. Articles received after Thursday, 1 preferably be an item of original prize of $250 to be presented at the December 1994 will be eligible for research. All illustrations for articles Society's Australia Day Dinner in the 1995 award. are to be supplied. 1995. 3. The authors for all articles submit­ 6. The judges will be appointed by the

PETER R WALKER Fine Arts • Early Australian Artworks and Items of Historical Interest • Pre 1840 British and European Decorative Paintings

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AUSTRALIANA August 1994 — 61 President's Report

Kenneth Cavill

It is pleasing to be able to report on Australiana to Dr Dorothy Erickson being asked of the experts. It was a progress made by the Society in the of Perth. These events auger well very successful event. past year. Our Australia Day for the future of the Australiana Our improved financial position Dinner was held in the grounds of Society. is shown in the Financial State­ the Mint Museum, Macquarie Our regular meetings at Glover ment prepared by the Treasurer Street, Sydney. Margaret Bet- Cottage Hall in Kent Street have (see following page). However, the teridge, formerly Curator at the been well attended. The guest Society is not yet "out of the Mint Museum, was our guest speak­ speakers - Judy Birmingham, Ann woods"! Substantial fund raising is er. Her thoughtful address appears Bickford and John Ritchie - chose essential to supplement annual sub­ in the February, 1994 issue of Aus- to talk on Australiana topics of scriptions if the Australiana traliana. The Dinner was an out­ broad interest. Their addresses were Society is to maintain all of its standing success - socially and fully appreciated by members and activities. The publication of financially - thanks to the efforts of friends. The June meeting was Australiana is of the highest priori­ David Dolan, Kevin Skelsey and given over to aspects of Furniture ty. Increased membership is needed Andrew Simpson. Our sincere Conservation. The panel of speak­ to ensure the future of the Society. thanks to Terence Measham, Di­ ers - Anne Watson, Julian In closing, I would like to thank rector of the Powerhouse Museum, Bickersteth and Paul Gregson - members of the Committee for and to senior management for their provided many insights to conser­ their many contributions during an considerable help. Terence Mea­ vation and restoration. Kevin Fahy eventful year. A special thank you sham announced the award of the convened and chaired the panel to Kevin Skelsey, Andrew Simpson inaugural Powerhouse Prize for discussion, with many questions and Kevin Fahy.

Secretary's Report Kevin Skelsey

Having served this year as to 1993 strength. Strong promo­ ed article, or a 'topic' letter from Honorary Secretary, I pay tribute to tion, mail outs, leaflet drops and those unable to attend meetings my predecessor Graham Cocks and personal approaches have been would be welcomed for publication to Ann Cocks who have advised fruitful. The professional, promo­ in the journal. This would supple­ Wendy Skelsey and me during the tional and high interest journal ment the crossflow of ideas avail­ transition. We have sought to Australiana is a credit to editor able to those who can participate maintain the high standard of Kevin Fahy, his assistant Graham in the bi-monthly meetings. activities, meetings and catering set Cocks, and the contributors, and Consider your contribution now. by Graham and Ann. The Presi­ represents the Society well. I would like to thank those who dent and Committee have given have been generous with their sup­ stable and clear directions, and this The exceptionally successful port and finances which help defray has resulted in the successes of Australia Day Dinner, and the high the costs of gifts to Guest Speakers, 1993/94. profile Guest Speakers at meetings supper and refreshments at meet­ are elements that have energised ings, and raffle items. Thus the Despite a grim financial climate the Society. I invite all members annual fee paid by members can be and non-renewal of some member­ and associates to be part of this dedicated to maintaining our ships in January 1994, it is encour­ resurgence by encouraging others splendid journal and pursuing the aging that, to date, a new body of to join, and by sharing your opin­ purposes of the Society for all members has restored the Society ions and interests. A short illustrat- members.

62 — AUSTRALIANA August 1994 The Australians Society (Inc.) Financial Statement INCOME & EXPENDITURE STATEMENT FOR THE YEAR ENDED 30TH JUNE 1994 JOURNAL INCOME Sales to Members (as proportion of subscriptions)* — 228 @ 30.00 6,840.00 Other sales, back copies 549.50 Advertising 2,830.00 TOTAL 10,219.50 JOURNAL EXPENDITURE Production 9,635.52 Postage 524.46 Stationery 143.50 TOTAL 10,303.48 NETT SURPLUS/DEFICIT -83.98 *Based on 228 Financial Members at 30th June 1993 GENERAL INCOME Subscriptions less proportion applied to journal 2,154.22 Annual dinner including raffle 4,290.00 Raffles and Donations 77.00 Excursion, House Visits 235.00 Interest Received 124.73 TOTAL 6,880.95 GENERAL EXPENDITURE Corporate Affairs fee 20.00 Insurance 143.00 Subscriptions to R.A.H.S. 66.00 Postage 224.10 Stationery 7.34 Rent — Glover Cottage 600.00 Annual Dinner Expenses 2,946.99 Excursion Expenses 117.50 Presentations to Speakers 20.00 Government taxes

AUSTRALIANA August 1994 — 63 James Lumsden, Master Cabinetmaker and the 1851 Great Exhibition

Caressa Crouch

James Lumsden can be regarded as free on the Dickensfield on 2 De­ bella died of dysentery on 20 May one of the major cabinetmakers in cember 1832.2 1853,u so James remarried on 3 Van Diemen's Land, being the pro­ A further confusion for his arrival December 1857 to Sarah Elizabeth prietor of a cabinetmaking business date, is the arrival of another James Turner12 having a further three from the early 1830s until his death Lumsden, a former seaman, aged 23 children, Mary Ann (1858), Fanny in 1880, as well as an exhibitor at years old, as a convict, on 13 No­ Ida (1862) and Barbara (1864).13 the 1851 Great Exhibition in vember 1833, on the Isabella, for Both sons went into the cabinet- London. highway robbery.3 Appointed a con­ making business with Neil training James Lumsden describes himself stable at New Norfolk this James and operating as a cabinetmaker as a Master Cabinetmaker, carrying married Sarah Perkins on 23 Feb­ and George operating the other 4 on a business which included cabi­ ruary 1835, and died at New Norfolk areas in the business. netmaking, upholstery, undertaking in 1885. Although family history has James Lumsden carried out his and building1, filling a need in the this man as the father of James cabinetmaking business from 1834 rapidly expanding colony. Like all Lumsden cabinetmaker, the writer's to 1862 in Hobart, moving to master cabinetmakers James Lums­ research found it not to be so. Green Ponds in 1861, operating his den had been trained in the skills However,James did come out cabinetmaking, upholstery, under­ of cabinetry, a major area of his with, or joined his brother John, a taking and building business there. learning, as well as the speciality bootmaker, and throughout their In 1835-36 James was sharing areas of building, carpentry, chair- lives resided in close proximity to premises with his brother John at making, carving, upholstery and each other both in Hobart and 55 Argyle Street, Hobart.14 In the also undertaking. later at Green Ponds (Kempton).5 1842 Census James was renting One means of distinguishing John Lumsden was not a cabinet­ workshops in Murray Street, hav­ between local master cabinetmakers maker as suggested in the Directory ing a rented residence in Bathurst in Tasmania, seems to be whether of Cabinet, Chair and Furniture Street.15 they concentrated their business on Makers list for Tasmania in 19th In 1846 James Lumsden moved 6 the merchandising and warehousing Century Australian Furniture. to Macquarie Street opposite the of furniture and furnishings both It is clear from Lumsden's own Catholic Church and went into locally made and imported, or those advertisements that he had been partnership with the cabinetmaker who concentrated on the manufac­ operating his cabinetmaking busi­ Joseph Keen "recently arrived from turing of furniture, upholstery and ness as a principal from 1834. In England"16 presumably an expedi­ undertaking services as part of their the Colonial Times of 22 September ent way of keeping up with the lat­ furniture business. 1846 he thanked "his friends and est trends in fashion and style from Therefore, we have J.W. Woolley, public generally for the liberal sup­ England, and giving a competitive John McLoughlin and William port he has received for the last 12 edge against his contemporaries Hamilton including merchandising years" and in Walch's Literary J.W. Woolley, Leonard Pearson, and warehousing and James Lums­ Intelligencer on 2 August 1860, stat­ John McLoughlin and William den, Leonard Pearson, William ed he was for "25 years a Master Hamilton, to name a few. Hill, Robert Bell and James Keating Cabinet Maker". The situation of these premises including furniture manufacture James Lumsden was born in on Macquarie Street, described as and undertaking. Elgin, Scotland on 31 July 1796,7 being "one of the finest streets in Exactly when James Lumsden and died in Hobart on 20 Sep­ Australia",17 gives an indication of arrived in Tasmania, or as it was tember 1880 aged 84 years.8 James the status of the business at that then known, Van Diemen's Land, married Isabella Stephans at time, by moving away from the is not clear due to a lack of arrival Hobart on 27 June, 18349 and had artisan section of town to a very details for free settlers,in the five children by this marriage, select and up-market street. Re­ records remaining. It does appear Barbara (1839), Neil (1841), Mar- markably this showroom and resi­ he may have arrived pre-1832, as gret (1844), George(1847) and dence can be seen in T. Bluett's his two unmarried sisters arrived Catherine (1850).l° His wife Isa­ lithograph of St Joseph's Church,

64 — AUSTRALIANA August 1994 Macquarie Street, Hobart Town of efforts shall be spared on his behalf ate, apply to Neil Lumsden, 46 1844 drawn by T.E. Chapman, on to produce substantial articles Brisbane St. 14th June 1862." the right hand side of the street, made from well-seasoned timber On first moving to Green Ponds opposite the church.18 and good workmanship. N.B. Two they rented a house and shop "nearly These larger premises which or three workmen wanted. The opposite St Mary's Church", which is contained a residence above, were highest wages in town will be still standing, from John Picken, but rented off the cabinetmaker Joseph given. Funerals will be attended to by 1862 had moved and purchased a William Woolley (1797-1880). J.W. with punctuality and dispatch. house and shop.23 This is the build­ Woolley operated presumably here James Lumsden. Brisbane St. ing now known as the "Ellis Store". from 1831 to 1837,19 moving to August 10th." Although still standing, but boarded Liverpool Street, formerly occupied It can be presumed from being up, it was tragically damaged by fire by the cabinetmaker Mr Burton, as able to pay the highest wages in in 1992.24 Built in 1833 of brick and advertised in the Colonial Times of town, the trip was a financial suc­ stone it was owned by the James 4 February 1840, then returning to cess. His sons, Neil at 11 years old Lumsden estate for 54 years when it Macquarie Street by 1855. and George at 5 years were still too was sold by the trustees on 5 Unfortunately, this partnership young to be involved in the business. December 1916 to E. Ellis Son Ltd.25 with Joseph Keen was not success­ In 1860 James Lumsden moved By 1874 James Lumsden expanded ful, but even so James Lumsden was with his family, excluding Neil, to his family business to include a fur­ able to advertise in the Colonial Green Ponds, now Kempton. On 2 ther house and shop in Green Ponds, Times of 23 February 1846 that he August 1860 James Lumsden adver­ rented from the estate of Joseph was able to settle all debts due from tised in Walch's Literary Intelli­ Johnson and John Perkins, with son the partnership. gencer that "James Lumsden. For 25 George living in the first house and In the 1848 Census, James Lums­ years Master Cabinet Maker in shop.26 It appears with the early den was still living at the Mac- Hobart Town begs to inform the death at 33 years of his eldest son quarieStreet shop and residence inhabitants of Green Ponds and Neil in 1874, the cabinetmaking side until moving to Brisbane Street. the surrounding districts, that he of the business also finished, with On 13 December 1851 he purchas­ has removed the whole of his busi­ George and his uncle John forming a ed his own premises at Brisbane ness to Green Ponds where he will business arrangement. l Street of 13 perches, being 37 /2{t carry it on in the following branch­ James Lumsden died in Hobart by 128ft,20 formerly belonging and es - Cabinetmaking, upholstery, in 1880 at 84 years.2? occupied by Thomas Hood. Thomas undertaking and building. From his Furniture known to be made by Lloyd Hood appears to have been a long experience in the above James Lumsden is in private owner­ cabinetmaker, and was the son of departments James Lumsden feels ship in Tasmania, although to date Robin V. Hood.21 confident that he will give every no labelled pieces are known, as It seems likely that after sending satisfaction. Funerals will be con­ with most Tasmanian furniture. off a Loo Table to the Great Ex­ ducted after the best Town Style, Possibly the reason for the lack hibition, James Lumsden left Tas­ with every requisite, and at Moder­ of labelled Tasmanian furniture and mania feeling lucky enough to ate Prices. James Lumsden would the scarcity of advertisements par­ close his business and go to Vic­ also invite inspection of the Large ticularly for cabinetmakers living toria. No departure records are Stock of the Best Colonial Furni­ and working outside Hobart and available for this date. ture, which he has on hand, and Launceston, lies in the small popu­ Returning on 19 May 1852 on which may be seen at his establish­ lation numbers of Tasmania com­ the Gold Seeker from Port Phillip,22 ment, Kent Cottage nearly opposite pared to NSW and Victoria. whether from trying the Victorian St Mary's Church, Green Ponds." In a very close knit and stratified goldfields or to look at starting a Neil Lumsden, now at 19, a cabi­ society, word of mouth advertising business in gold booming Mel­ netmaker stayed carrying on the is of more importance, and later bourne we do not know. business at their premises at 76 government legislation for Chinese In the Colonial Times of 17 Brisbane Street until these were let cabinetmakers was not necessary, August 1852 he advised his public in 1862, as we can see from the when the general population in an "Cabinetmaking. The Undersign­ Mercury notice on 17 June 1862. area knew all the cabinetmakers ed, having returned from Victoria, "To Let. Lumsden's Cabinet Manu­ working in their town or city. begs leave to express his thanks to factory 76 Brisbane Street. The This can be seen in James Lums­ those friends who have favoured above well known and spacious den's case. Although the quality of him with their patronage formerly premises are complete in every the furniture produced is mention­ and hopes, by strict attention, to respect, and filled with the require­ ed, the main purpose of each adver­ merit a continuance of their favours. ments of any manufactory business. tisement/notice is to advise of mov­ He begs also to assure them that no Rent moderate. Possession immedi­ ing to new premises and the form-

AUSTRAL1ANA August 1994 — 65 ing of a partnership in 1846, and came by descent through the Hobart. then the legal requirement of noti­ youngest of James Lumsden's daugh­ Apparently, the exhibitors and fying the dissolving of the partner­ ters. The sixth chair was damaged officials were under the expectation ship and calling in all debts due in and discarded in the early 1970s. that these items would be sold after 1847, the arrival back from inter­ We also know that James Lums­ the exhibition as "Nothing can state in 1852 (a sign in the shop den exhibited at the 1851 Great excel the Huon Pine, Dog or Musk window would have sufficed for Exhibition in London a Huon Pine Woods for beauty, lightness and departure), and the removal of the Loo Table, described in the Courier durability. We have no doubt that business to Green Ponds in 1860. on 3 September 1950 as a "superb the tables, chairs and sideboards So James Lumsden operated in piece of furniture made entirely of made of them will realise high Hobart for 25 years and needed to Huon Pine of the finest character prices in London, no less from their advertise his wares four times, as far and marking". The table was given novelty than general appearance". as we can discover in the present the number 148 by the Royal The official prizes were also to be of indexing of documentation for the Society of Tasmania organisers29 a monetary nature, but the rules period. although in the Official Descriptive were changed and only medals A similar pattern in advertising and Illustrated Catalogue of the Great were given. content can also be noticed for the Exhibition of the Works of Industry of Representing the Royal Society of other master cabinetmakers with a All Nations 1851, the table is listed Tasmania in London was the greater need to inform the public as Number 145, Loo-table of Huon Tasmanian commissioner Charles by those who warehoused and Pine, and Number 146, Pedestal for McLauchlan. The Royal Society imported furniture such as W.J. the table, with nothing listed for numbered and listed each item, Woolley and William Hamilton. the Numbers 147-148.30 along with the name of the person An excellent example of James In the article, "A Champion each item was consigned to, and Lumsden's work, known through Table", by Anne Watson, Aus­ how they were to be handled after family descent are five Huon Pine tralian Vol. 15, No. 4 (1993), refer­ the exhibition.32 A few went to fam­ Trafalgar back dining chairs. The ence No. 13 is noted as "This table ily and friends but the majority, as back splat have a rolled edge with a No. 148 was submitted by Gover­ was James Lumsden's, were con­ decorative bird's-eye veneer front- nor Denison". Sir W.T. Denison's signed to Charles McLauchlan Esq. piece, as does the carved scrolled table was Number 149 Loo-table "to be sold and proceeds remitted".33 mid-splat. The front seal rail is of top, dogwood and Number 150, From letters written by Charles moulded solid bird's-eye Huon pedestal for the same.31 McLauchlan to the Royal Society Pine. The legs are turned and James Lumsden's table along we can gauge his impatience and octagonally chamfered. Particularly with all the other furniture and even contempt for his task of han­ unusual for Australian made chairs wood products and samples were dling and disposing of the exhibition are the three finely turned spindles exhibited to show off the richly items. We only have on record the of the back, finished with turned coloured, grained and figured tim­ official letters written. What may finials, showing a further attribute bers found in Van Diemen's Land, have been written to the individual of Huon Pine, as being an excellent such as Huon Pine, Blackwood, exhibitors, by Charles McLauchlan wood turning timber. Myrtle, Musk, Dogwood, etc. can only be presumed, from the tone The octagonal chamfered legs, a To exhibit in the 1851 Exhi­ in the official letters.33 dominant feature in Loudon's En­ bition suggests a social position and I propose that it was the treat­ cyclopaedia of Cottage, Farm and financial standing as a master cabi­ ment by Charles McLauchlan to­ Villa Architecture and Furniture netmaker which enabled James wards James Lumsden and other ex­ (1833), and combined with the Lumsden to make an item of furni­ hibitors, that caused a dissatisfaction spindled infill, as illustrated in ture without expecting immediate and disappointment to develop, Thomas King's The Modern Style of financial gain from its sale. towards sending exhibits overseas. Cabinet Work Exemplified of 1829, It is apparent that the exhibits On 1 November 1851 he wrote and the improved 1835 edition28 attracted considerable interest, explaining, "the Royal Commis­ suggests a date of the mid- to late which would have enhanced the sioners have changed their first 1830s and the use of these pattern reputations of those exhibiting, design, and no money reward will books by Lumsden. Original light when put on show in the Exhi­ be granted, medals will be given green Cotton Rep upholstery bition Room at Hobart's Govern­ instead. I send in a separate cover remains with horsehair stuffing ment House. As reported in the the awards of the prizes, which which is attached to the frame. Colonial Times and Tasmanian of 29 have given great dissatisfaction to Chairs in Huon Pine are ex­ November 1850, 2,000 people visit­ many parties, so much so that the tremely rare, the above being the ed to look at the exhibits to be sent commissioners regret granting any second set known. These chairs overseas, a very large number for mark of distinction at all".

66 — AUSTRALIANA August 1994 On 9 January 1852 he wrote that only sold for £5 and the small table turning unsold goods to Tasmania. only two items were sold after the for £1 5s, it can be seen that R.V. The small and tightly-knit group of exhibition, one of those being Hood did not want the same thing Tasmanian cabinetmakers would James Lumsden's Loo table, Num­ to happen to his series of picture not easily forget this treatment ber 148, for £5 along with a small frames manufactured of Tasmanian received, nor would their sons who Huon Pine inlaid table, No. 311, woods, having mouldings gilded followed in their footsteps. for £1 5s which he noted "the with Tasmanian gold, thereby set­ From then on for over 45 years prices obtained are very small but ting a reserve price of £15. Tasmanian cabinetmakers were there was no use in keeping them". Except for the cabinetmaker W.J. noticeably absent in placing items Item Number 311 was submitted by Woolley who exhibited a table, in exhibitions, instead only private F. Lipscomb, a small round table, of round star top of myrtle, it appears individuals and skilled amateurs Huon Pine, inlaid, which is listed the other items of furniture exhib­ entered their work. Maybe their in the Official Catalogue as ited in Paris in 1855, had been was a perceived slight or insult felt Number 308. obtained from cabinetmakers but with wealthy skilled amateurs par­ In a further letter he stated that sent for exhibition by the owners ticipating. as he was not able to get any offer or the Executive Committee. For Also, we can see the high hand­ for the other furniture sent he example, the Executive Committee ed treatment of the 1851 Commis­ returned it to the parties who sent over a Loo table of blackwood, sioner Charles McLauchlan being owned it. Presumably, this extra tabletop a star pattern with border echoed by later organisers in fol­ shipping cost would have been of the same wood, and another lowing years. The Mercury of 31 borne by the exhibitors, another smaller one, a Lady's trinket box of August 1866, seems to suggest this. cause of complaint. Further stating fancy woods, a small round table of "We have been informed by many "I have now closed this (to me) Myrtle with basket of Huon Pine of our leading tradesmen, complain very troublesome matter in which for lady's work and a lady's work that they have never been asked by there has been a great deal of work table of muskwood, etc. the Intercolonial or Parisian Ex­ with but little thanks from any The Mayor of Hobart Town, Mr hibition Commissioners to contri­ quarter". W.G. Elliston, sent a sofa table, bute specimens of their workman­ Even the sale in London of the inlaid with a variety of colonial ship to these exhibitions. two tables, way under value, would woods, a chess board being in the We think there must be some have caused great dissatisfaction to middle; Mr George Strutt, a lady's grave misapprehension at the bot­ both James Lumsden and F. work table with lyre stand of Musk, tom of this complaint. We under­ Lipscomb, as well as to the other top of Blackwood, with border of stood that the Secretary of the cabinetmakers, who knew the Musk, the inside and top and the Commissions was directed to for­ value of the goods sold, even fittings of the interior of inlaid ward a circular to all our leading though they had their goods work of Huon Pine, Blackwood, tradesmen likely to become exhi­ returned. Myrtle and Musk as an example of bitors, and we have always been Only the two exhibitors who the items sent by owners.36 under the impression that this was were awarded a Prize Medal for It is also interesting to note that done. Under any circumstances full their exhibits of wood samples, Mr most of the exhibits were con­ publicity was given to the proceed­ A.M. Naughton, Nos. 96-102,, signed to family and friends instead ings in reference to the commission muskwood samples, and R.V. of the Tasmanian representative, and its objects, in these columns, Hood, No. Ill, timber of silver wat­ FA. Ducroz Esq., who had con­ and exhibits were freely invited by tle with one side polished,34 exhib­ signed all the Executive Com­ advertisement. Surely our trades­ ited again in the 1855 Paris mittee items, plus a frame to be men did not expect the members to Universal Exhibition. It is interest­ sold an the proceeds given to the visit them individually, hat in hand, ing to note that Robin V. Hood Patriotic War Fund as well as the to request our tradesmen to en­ was quite specific in his instruc­ Robin V. Hood frames. deavour, as far as possible, to out­ tions about how his frames were Present day assumptions by Aus- strip those of other countries in the disposed after this exhibition, being traliana buffs presume that the best articles they produce, and their consigned to FA. Ducroz Esq., the tradesmen put their wares in exhi­ business instricts should have in­ Tasmanian representative, and bitions. However, I believe the 1851 duced them to prepare without "sold, subject to a reserve price of Great Exhibition in London was a waiting for a special invitation, if £15. In the event of not fetching major cause of tradesmen not they had any idea that exhibiting this they are to be returned to Mr putting their goods in future exhibi­ would be advantageous to them. Hood, Liverpool St. Hobart Town. tions, from the way they were treat­ We fear that the complaint now V.D.L."35 ed and the goods cheaply sold off, made at the eleventh hour is to be If James Lumsden's Loo Table and the additional expense of re­ traced to Tasmanian apathy. We

AUSTRALIANA August 1994 — 67 venture to assert that no tradesmen Simpson, Sydney, 1985, p579. 23. Archives of Tasmania, MB 2/39/15, in any other country would ever 7. Family Records. p.71. have thought of waiting for an 8. Archives of Tasmania, 35, 1880, 24- The Heritage of Tasmania, Australian invitation before moving in a mat­ Settlers List. Heritage Commission, Melbourne, 9. Archives of Tasmania, 36, 1834, 2494, ter so important to themselves." 1983, p.32. Settlers List. 25. Private Papers. An article surely to add insult to 10. Family Records. 26. 1874 Valuation Rolls Green Ponds. injury. One fact is clear, the solidar­ 11. Archives of Tasmania, 35, 1835, 5, 27. Archives of Tasmania, 35, 1880, 2708, ity of Tasmanian cabinetmakers Settlers List. Settlers List. not to enter in exhibitions. 12. Archives of Tasmania, NS663/16, No. 241. 28. Thomas King illustrations in E. Joy, From a state which produces Pictorial Dictionary of British Nineteenth highly figured woods which lend 13. Family Records. 14. Nineteenth Century Australian Century Furniture Design, United themselves to exhibition wares, it Furniture, op. cit., p579. Kingdom, 1977. is indeed exceedingly unfortunate, 15. Archives of Tasmania, Census No. 29. 1851 Exhibition note. Archives of local cabinetmakers, and also James 540, CI/15. Tasmania, NS 544/2, p.72-73. Lumsden did not exhibit again. 16. Colonial Times, 22 September 1846, 30. Official & Descriptive Catalogue of the pic. 3. Great Exhibition of The Works of References 17. Early Buildings of Southern Tasmania, Industry of All Nations, 1851, p.995. 1. Walch's Literary Intelligencer, 2 E.G. Robertson, Melbourne, 1970, Vol. 31. Ibid. I,p.l21. August 1860. 32. Minutes of General Committee to 18. Ibid, Vol. I,p.l22. 2. Archives of Tasmania. Free Arrivals. Exhibition, 1851. 19. Nineteenth Century Australian COS30, pl72. 33. Ibid. 3. Archives of Tasmania, Free Arrivals, Furniture, op. cit., p580. 34. Official & Descriptive Catalogue of the CON 31/28, No. 785 Conduct Rec. 20. Archives of Tasmania, SC285, 455. Great Exhibition of the Works of All 4. Archives of Tasmania, 36, 1835, 2999 21. Milford McArthur, "A Brief History Settlers List. and Chronology of the Hood Family", Nations, 1851, p.XIVII. 5. 1842 Census & 1879 Valuation Rolls. Australiana, Vol. 10, No. 2 (1988). 35. Nineteenth Century Australian 6. Nineteenth Century Australian 22. Archives of Tasmania, MB 2/39/15, Furniture, op. cit., p. 138. Furniture, K. Fahy, C. Simpson & A. p.71. 36. Ibid.

OBITUARY: Marjorie Graham (19244994) Kevin Fahy

The recent and sudden death of 'Patchwork' column. lished a list of early NSW potters of Marjorie Graham is a major loss for the 19th century. I drew their Her extraordinary memory and all collectors and students of names from sundry contemporary encyclopaedic knowledge of Aus­ Australiana. newspapers and directories. Mar­ traliana minutiae endeared her to An Honorary Associate of the jorie was to later casually enquire readers and many correspondents. Museum of Applied Arts and as to whether I had double checked Her death is a dreadful blow to all Sciences, Sydney she (with the several directory entries. To my her friends and acquaintances with able assistance of her late husband eternal embarassment, as a result of whom she willingly shared the Donald Graham's photographs) was directory misprints, I found I had results of her extensive researches. the author of two definitive publi­ listed several poulterers as potters! I regard myself fortunate in our cations — Australian Pottery of the She gently taught me a basic re­ long-term friendship. Marjorie was 19th & Early 20th Century (1979), quirement for all serious resear­ divinely eccentric, a keen devotee and Australian Glass of the 19th & chers - the printed word is not to lengthy telephone calls. A lady Early 20th Century (1981). Neither always what it seems — double of rare style and quality, the like of have yet been equalled in their check, and even then, the printed which we can never hope to again scope and scholarship. word may well immortalise fiction. encounter. She was a contributor to Aus' As many, I will miss her greatly, traliana from its inception, and to Her scrupulous attention to aca­ but whatever I write in future I sus­ the Australian Antique Collector demic detail was often to curb my pect she will be looking over my with articles and her regular wildest enthusiasms. I once pub- shoulder.

68 — AUSTRALIANA August 1994 EXHIBITION: Martha Berkeley & Theresa Walker FRIDAY 5 AUGUST - SUNDAY 25 SEPTEMBER 1994 • ADMISSION: FREE GALLERY: 7, ART GALLERY OF SOUTH AUSTRALIA

The sisters Martha Berkeley and ian Aborigines Encounter Bay Bob Theresa's husband John Walker, Theresa Walker arrived in South and his wife, will also be included her own husband, Charles Berkeley Australia in February 1837 and in this important exhibition. Walker and a self portrait, as well as a de­ became two of Australia's most is represented in numerous public lightful group portrait of her three important colonial artists. They collections around Australia and in daughters, Georgina, Augusta Rose were South Australia's first profes­ the Philadelphia Museum of Art in and Emily, which is part of the sional artists and Theresa Walker the United States as well as in the M.J.M. Carter Collection. They was Australia's first woman sculp­ Art Gallery of South Australia. A place Martha Berkeley as South tor. The exhibition Martha Berkeley number of Australian institutions Australia's leading portrait painter & Theresa Walker focuses for the have lent works for this exhibition to of the 1840s and one of the finest first time on the work of these two supplement those in this collection. in Australia at that time. major artists. Martha Berkeley spent the first Theresa Walker travelled exten­ fifteen years of her career in Ade­ sively throughout Australia living laide, and during that time pro­ in various cities, and made wax duced watercolour paintings of the medallion portraits of important developing township, as well as citizens in Adelaide, Melbourne, important colonial events, such as Hobart, Launceston and Sydney. The first dinner given to the Abo­ These included images of governors rigines in 1838. In addition Berkeley and clergymen from every colony made a number of extremely fine she lived in, as well as portraits of miniatures of Adelaide citizens, outstanding citizens, such as the and outstanding among these is explorers Burke and Wills and Mrs Andrew with a harp cl840. Ludwig Leichhardt. Until quite recently only a very Two of her most significant por­ small number of works by Martha traits, those of the South Austral- Berkeley were known, all of South Australian subjects and most of them in the Art Gallery of South Martha Berkeley, Australia, 1813-1899, Australia's collection. Because of Mrs Andrews with a harp, cl840, this, little was known of her life Adelaide, watercolour on paper, 16.5 x 13.5 cm; Gift of Barbara Rennie in after she left South Australia memory of her parents P.H. and F.A.B. around 1852. Andrews 1987 A collection of over forty of her works recently acquired by the The exhibition of landscapes Gallery from a family descendant and portraits in oils and water- shed light on her later life. In­ colours by Martha Berkeley and cluded in this collection are a fine wax portraits by Theresa Walker group of watercolours depicting a will be held in Gallery 7. An rural property in Victoria, known accompanying full-colour publica­ to be part-owned by Berkeley. She tion will document the lives of Theresa Walker, Australia, 1807-1876, was reputed to have worked in oils, both artists and has attracted fund­ Aboriginal woman, J838, Adelaide, but none had ever been traced ing assistance from the Women's wax medallion with metal, velvet and until this descendant's collection Suffrage Centenary Steering Com­ carved wood frame, frame: 19.8 x 19.8 was discovered. There are five oil mittee. [Reprinted from Art Gallery cm, medallion: 9.2 cm diameter; Bequest paintings. These outstanding por­ of South Australia News, June-July of Sir Samuel Way 1916 traits are of her sister Theresa, 1994.]

AUSTRALIANA August 1994 — 69 The Broughton Travelling Writing Desk J.B. Hawkins

Published in 1888, 'Garryowen's' ceston to later work with Charles of the Argus who had called him a Chronicles of Early Melbourne is a Brentani. This Launceston/Tas- "double faced and unprincipled wonderful compendium of life in manian connection may well prove schemer". He won the verdict but that city by the journalist Edmund important to both furniture and sil­ was only awarded a farthing in Finn in the period between 1835 ver historians. Broughton's skill damages. He finally left in January and 1852. He notes that the Vic­ and knowledge of timbers, as evi­ 1852, presumably taking the desk torian Industrial Society's first denced by this example, may be the with him. exhibition held at St Patrick's Hall, key to the complicated parquetry I purchased the writing desk at Bourke Street on January 29 and cabinet work produced in Tasmania Olympia in 1993 and so its return 30, 1851 was a result of its forma­ prior to 1850, finally resulting in marks a gap of 142 years out of tion the previous year at the the important Tasmanian exhibits Australia. I would suggest that the Melbourne Mechanics' Institute. forwarded to the London Exhi­ wooden travelling case for the At this exhibition, the travelling bition of 1851. Broughton is listed Sugden silver box of 1848/9, also writing desk illustrated on the in the Directories at Victoria made from native timbers of a simi­ opposite page was shown and drew Parade, Collingwood in 1851, at 116 lar geometric format and now in the following comments from Russell Street in 1861-62 and 118 the Australian National Gallery is 'Garryowen': "The gem of the exhi­ Lonsdale Street in 1870-72, the also a product of Broughton's work­ bition was ... a marvel of ingenious large gaps between addresses tend shop.6 I would also suggest that as handicraft by Mr William Brough­ to point to an employee rather with the Packer Cabinet, sold by ton, a Collingwood mechanic. This than an employer. J.B. Hawkins Antiques to Old was a writing desk composed of the His source of woods may well Government House, Parramatta, following 18 colonial woods:— He- have been Crooks Furniture Ware­ 20 years ago, the H.W. Broughton oak, tartarra, honeysuckle, sas­ house who advertised "Fancy woods. exhibition travelling writing desk safras, Murray pine, Huon pine, The public are invited to an inspec­ will be the key to pre-1850 Mel­ forest oak, blackwood, box, teak, tion of some of the finest specimens bourne and Tasmanian furniture. musk, tulip-wood, silk-wood, red- of Van Diemen's Land, Port Phillip Pre-gold rush Victoria had a popu­ gum, dog-wood, Cypress pine, cher­ and Moreton Bay woods, at Crooks lation of approximately 12,500 ry-tree and myall. It was purchased Furniture Warehouse, where Picture married couples of which about by Mr Henry Moor as a Melbourne Frames and every other description 6,000 lived in Melbourne and the curio, and sent to England."1 of Cabinet work, from the above chances of the "Gem of the Ex­ Broughton was awarded a large sil­ woods are made. Gentlemen requir­ hibition" being made, much less ver medal for the exhibition.2 ing samples, for the purpose of send­ surviving to be correctly identified, The survival of this labelled and ing to England, &c, can be sup­ must be considered extremely small. documented piece of furniture with plied."4 It should be noted that Henry Broughton died at Sand­ its contemporary hand-written list Samuel Crook advertised "the avail­ hurst in the colony of Victoria on of colloquially named timbers is a ability of Australian Furniture of February 16, 1881.7 His death cer­ major discovery for the furniture every description and hand-made to tificate states him to be a cabinet historian. It brooks no argument as order of the best cedar, Blackwood, maker aged 75 years, name of par­ to contemporary timber descrip­ Huon pine, Cypress, etc., etc."5 ents unknown, born in London, tions, their sources and the practi­ Maybe the cabinet maker behind England, was married in England cality of their use. As an example this sudden interest was none other and buried in the White Hills of pre-goldrush Melbourne cabinet- than Broughton. Cemetery: "nothing else known". making, it is a key survivor. Henry Moor, the purchaser of Broughton died a pauper and at the H.W. Broughton has so far the writing desk, was a Melbourne Coronial Enquiry into his death8 proved to be something of an enig­ lawyer who had arrived there in his next door neighbour in Echuca. ma. He arrived in Melbourne on 1842. He was Melbourne's second Mary Ann Neeson stated that, "he January 9, 1846 from Launceston, Lord Mayor and was considering a was a cabinet maker by trade but Tasmania on the 'Swan'3 the same return to England at the time of for some time unable to do much vessel that 10 weeks earlier had purchase, the result of his disap­ work. He was a native of London brought the watchmaker David pointment over a libel suit in and a very old colonist ... lived Hamilton Fleming from Laun­ March 1851 against the proprietors alone ... been receiving relief from

70 — AUSTRALIANA August 1994 JktJtL *-/ /l/^

4t^ Xw^e <3W«u,- .*zl,/f £r-£-. M*y^.-_*e. i'V^' /"Tt^X-^. ,A.,<£ •& .4^ -^ ^ # 7 /„>-r ^^^— *-x-it -V»->' -- . :' j*^yJ'/^

The writing desk contains the original somewhat-faded manuscript indexes which provide a possibly unique key to the contemporary names and origins of Australian timbers.

AUSTRALIANA August 1994 — 71 - 4-... ,.,. •«^'/e^ '•-»-— • • ^ 'v \ £ & IN l f 1 X % i i -x Xs5 X m X $ i*f,^r d fu-**3 —• ?&£ 0fc*&. #Lik»**~~- J&^~~ *-fi-*~*'

,yCv?W,., z .— *«* ^:- B /- // a,£u* /'i."~ •'-** /, Se^iA r*t£ ," — / 2 /«-4^ — " m 3 ol /J JU&4T& ^*»~ f/f /£*.•%Jk*,*~^ WL ; i, W. Brougbton, Hll Fuisr-T Cabinet 31 titer. /J- J*y U~rZ2>t /!&,- ^1 v E. /""^fH

/<", ./l !••'/><•• >A Label from the above tray. l.v •'•//'<. .•...*«. 3? , ^...

,, 4 ./ ,../'^ jf..w£t*r4„ •

- 4 .;,. .,< *- ••-" - ••'

.<, ;.^.. ,>.••><•

The removable tray to the inside of the desk is made up of 20 various woods whose origins when known are given, a total of 27 woods being used in its construction.

72 — AUSTRALIANA August 1994 The desk shown open: 'Brass inside corners, flush bolts, hinge sockets, all colonial brass, leather and springs.' the Ladies Benevolent Society ... his bed in Echuca". A sad end for a The Argus 1 Feb 1851. confined to bed ... determined to man whom time may prove to be P.R.O.V. V.P.R.S. 22 Unit 29 Passen­ send the deceased to the Sandhurst Australia's equivalent to New ger Arrivals 1846-47 to Port Phillip. Hospital. A ticket was obtained Zealand's Anton Seuffert. Port Phillip Directory 1847 Advertise­ from The Rev. Mr Garlick ... left by ments. train ... in charge of the guard ... Kerr's Melbourne Almanac and his cab fare was provided ... he Notes Directory, 1842. appeared strong enough for the The Chronicles of Early Melbourne Nineteenth Century Australian Silver journey". Archibald Colquhoun, 1835-52, p437 and Melbourne Morning by J.B. Hawkins Vol. II plate 465. the hospital doctor stated, "death Herald 30 Jan 1851, p2. Death Certificate Schedule B, no. "The most unique article in the place 13465, District of Sandhurst, 1881. was accelerated by removal, de­ ... purchased by Mr Moor M.L.C. for Coroner's Inquest 18 Feb 1881, ceased was not in a fit state to leave exportation to England ... P.R.O.V. V.P.R.S. 24 Unit 418.

AUSTRALIANA August 1994 — 73 Forthcoming Australian-American Walter & Marion Griffin Exhibition

David Dolan, Senior Curator, Powerhouse Museum

During the northern hemisphere winter of 1993 I travelled to the USA to study Griffin buildings in the Chicago area, and take part in meetings of the Griffin Exchange Program at the University of Illinois. The costs were met by the Australian Embassy in Washing­ ton, and the purpose was to link the research of the Griffin Ex­ change Program, which also in­ volves the University of Mel­ bourne, with an international tour­ ing Griffin exhibition being devel­ oped by the Powerhouse Museum for 1996-7. The main aim of the exhibition is to increase public awareness of the Griffins, in order to create a cli­ mate of opinion which will ensure that their remaining buildings here and in the USA are preserved and protected. We believe that if enough people understand the im­ A design for dinner china (Cafe Australia) Melbourne. [Published by D. Van Zanten portance of their work, further 1970.] demolition and unsympathetic alteration would be socially and servation work and council ap­ domestic fittings, furniture, and politically unacceptable. proval of a plan for sympathetic even ceramics for particular build­ Never before has there been suf­ extensions, that house is to be sold ings, and we are keen to include as ficient funding for a Griffin exhibi­ for private occupation. Early in many examples as possible in the tion on this scale, and it is unlikely 1994, one of three original light fit­ exhibition. We are also interested that comparable funding will be­ tings Griffin designed for "Dwelling in objects which were not necessar­ come available again in the forsee- number one" was purchased by the ily designed by them but which are able future. The 1996-7 exhibition Powerhouse for permanent reten­ associated with them personally or can therefore be regarded as the tion as a design resource. In addi­ with events and organisations (eg: definitive Griffin exhibition for our tion to acquiring the remnants of anthroposophy) which they were times, and we are hoping for unani­ the Pyrmont Incinerator, the Power­ involved. mous co-operation so we can get it house has received the perspective Members of the Australiana right. drawing, and house and garden Society who have any information Funding for the exhibition has plan, for the 1933 Cameron House which may be relevant can assist by come from the Council of the City at Killara in two separate gifts from contacting me on 217 0280, to tell of Sydney, in the context of the members of Griffin's client's family. me of any items of interest they demolition of the Pyrmont Incine­ Anne Watson and myself, the may be aware of, especially if they rator— the same source which curators assigned to the Griffin pro­ might be available for loan to the topped up State Government funds ject, are eager to avoid an exhibi­ exhibition, or could be acquired by to enable the Historic Houses Trust tion consisting only of architectur­ the Museum for documentation, to purchase "Dwelling number al plans, drawings, and models. The conservation and permanent safe one" at Castlecrag. Following con­ Griffins designed a wide range of keeping.

74 — AUSTRALIANA August 1994 Panel Discussion on Furniture Conservation and Restoration

Following is an abridged version of dition, and now wants to put a water stains, glass replacement, etc. the panel discussion on furniture cover on it. So, you have to be able Well, if you have a secretaire book­ conservation and restoration held to explain that what you are deal­ case standing there and someone at The Glover Cottage, Sydney on ing with is something pretty spe­ has put a foot through the glass, June 2, 1994- Guest speakers were cial. So you show them all the then there is no question that you Paul Gregson, Director of Greg- salient points, then you show them replace the glass (sad but true). son's Conservation of Antique Fur­ the missing tenons in the side of There is not much point in saying, niture, Thornleigh, NSW; Julian the legs, and let them know that oh well, that is the history of this Bickersteth, Managing Director of there was a frieze around that and piece of furniture, we'll leave it like International Conservation Ser­ it would have been fretcut. At this that, or a chair has fallen over and vices, Chatswood, NSW; and Anne point we sit down and say that's the smashed to smithereens; you put it Watson Curator of Decorative Arts story of the piece of furniture, and back the best way you can. and Design, Powerhouse Museum, make a decision, but we won't As for cracks, this is the worst Sydney; convened and chaired by redesign the fret work because we year I have seen for cracks. The Kevin Fahy. don't know what it would have bushfires in January created enor­ Kevin Fahy: Tonight we are been like, but we will dismantle it mous moisture losses. going to have a panel discussion on and put a false tenon in the leg to We still have a very low humidi­ furniture conservation and restora­ make it sound, clean it only and ty period at the moment so for peo­ tion and we are fortunate to have upholster it. And I think at that ple who have homes with the silly with us Paul Gregson, Julian point there is no reason to go any Architecture that we build in Aus­ Bickersteth and Anne Watson, further than that. tralia - lots of glass and eaves, all who will each speak for 15 minutes Basically the role for me is to you are doing is creating a disaster and afterwards we will be asking for maintain and advise people on area for wooden furniture. Hope­ questions from the floor. So I will their collections, and with that we fully, humidifiers can be introduced ask Paul Gregson to give us a can understand the crafts of the into private dwellings, as they are starter on the role of furniture con­ last two hundred years of 'modern' sufficient to keep the moisture con­ servation and restoration. furniture. But when we pick some­ tent up. Paul Gregson: I think something thing up, we have to understand Furniture doesn't get hungry, like this is quite good to let people the craft from one hundred, two contrary to popular belief and old know what we do in our work­ hundred years ago and be able to wives tales, and contrary to what shops, and behind the doors, and duplicate it. There is not point in you may find on supermarket the study needed, etc. But basically saying there was a tenon used, but shelves to feed your furniture. It the role of restorers and conserva­ we won't repair that, but close it up never gets hungry, it never loses its tors is that we are serving the com­ and put a bit of glue in there. oils, otherwise every carpet in munity. It is nothing more and There is no point in doing that, it every house would have black nothing less, than people to knock won't be strong enough - you may marks everywhere if this was the on the door, if they have something as well take it apart and do it prop­ case. The only thing that timber broken, bent and twisted and they erly. survives on is water. It lets it in, want it repaired. Now there is an So in effect, what we are doing is and lets it out. So for now I'll let educated way of saying, that it is preserving not only furniture, but someone else take over and answer best if it still looks two hundred we are preserving the crafts in the some questions later on. years old, but we will present it in community as well. E.g. if mar­ Kevin Fahy: Well thanks Paul, such a way, so you can still use it. quetry has missing pieces you have and I will now ask Julian to contin­ For example I have brought to sit down and duplicate it. (A ue the discussion. along an eighteenth century dress­ series of slides plus some items Julian Bickersteth: Conservation ing stool and this is how it came brought along for discussion were versus restoration, it would be a bit through the door, with a leg loose. shown.) boring if the subject didn't exist I It has a drop-in seat and the lady How far should restoration go to think, if everything was cut and has had it for 15 years in that con­ repair cracks, gouges, burn marks, dried in terms of what you conserve

AUSTRALIANA August 1994 — 75 and when you restore, and I think I case we thought it worth it for the totally inappropriate, or in fact, do would have given up long ago if minor amount of damage, to create you dismantle the fabric that is every issue that came through our a uniform whole which was inter- there, trying to determine if there doors was self explanatory in what pretable. is original fabric underneath. There to do. I think the best thing to do Kevin Fahy: Thank you Julian for are a whole range of scenarios, and is to show you how I would your comments regarding the I will go through them now to approach various pieces that we process of conservation. Perhaps show you the various options that have worked on. Anne will now enter the fray. may relate to the debate on uphol­ There is a very interesting, one Anne Watson: Well I'm not a fur­ stery. These are listed in descend­ could say, a most unholy row going niture conservator, I'm a curator ing range of desirability. on in the conservation profession at and we are quite different people, I The first and most desirable is the moment. Largely, if not entirely, can tell you now. Quite often we in that the original fabric is there and started by Professor James Beck at fact differ at the museum in what that it is in good condition. This the New York University, who has type of approach we might take in hardly ever happens. basically written a book criticising restoration or conservation on a Secondly, the original intact fab­ the conservation profession for piece of furniture. We, in fact, at ric is found after the removal of the over-cleaning, specifically pointing the Powerhouse, don't have a furni­ outer layers. Now this is a bit of a to paintings. I think it has been par­ ture conservator, we used to have gamble, as once you start to inter­ ticularly brought to the attention of Julian. Most of the conservation fere with the framework of the the public by the Sistine Chapel, people we hare are multi-media piece, you may cause quite a bit of which I am sure you all are aware, specialists, except for our textile damage depending on how the fab­ which is largely controversial in specialists. ric has been fixed to the frame­ terms of the original parts of the So my job is to recommend work. Retaining the layers as docu­ Michelangelo painting work having acquisitions, and once they come mentation of the piece is impor­ been removed. into the Museum, I then liaise with tant. And although the conservation our conservation staff about the Thirdly, you find scraps of origi­ profession is united in terms of con­ most appropriate treatment to use. nal fabric and similar reproduction demning Professor Beck, being basi­ But normally, it is a very conserva­ upholstery fabric is still available, cally uninformed, I think what it tive kind of treatment, we like to such as horsehair. has proved once again, is that these retain original finishes and we Fourthly, there are scraps of issues are always ongoing, and I don't like to fiddle around with fabric found, maybe only threads, think that from our point of view as damaged areas too much. but there is no equivalent avail­ conservators we should be con­ I guess where my attitude differs able today. Then you are really in stantly assessing and reassessing. from the non-furniture trained trouble. Let me now show you some conservators at the Museum is, I Fifthly, there is no original fabric slides. (Note. Only one series are have a much more historical con­ found but there is good documenta­ discussed here.) sciousness of the way furniture tion about what type of fabric These are cedar panels, almost would have looked, and the way it might have been on it and colours certainly 1820s, built for the origi­ possibly could look, as well as pick­ that were used, etc. This was cer­ nal pulpit of St James' Church, ing up alterations and additions to tainly the case with the Thomas King Street, Sydney. The church a piece of furniture that obviously Hope chairs. layout was revamped in the 1890s are not original. And so these can and these were removed and put up lead to debate, differences of opin­ (Slides and discussion followed, into the attic in pieces. Our chal­ ion, and there are a couple of pro­ one item discussed here.) lenge was to create from them a jects in fact at the moment where Now this is an Australian sofa, unified and recognisable pulpit. All nothing has happened, because some of you will recognise it as it we have done is brought it all we haven't been able to come to was on display at the Mint for sev­ together, held together with brass agreement on their conservation eral years, by John Mason, a turn- 'table forks' and cleaned and waxed approach. of-the-century Queensland cabi­ it, but you can still see the large The areas that prove to be very netmaker. Acquired in 1980, it was cracks inside, and no mouldings difficult at the moment have a lot my first acquisition. It came from have been replaced and no damage to do with upholstery conservation, the National Gallery of Victoria's particularly around the bottom has and as Julian alluded to, there is a "Kangaroo in the Decorative Arts" been interfered with. You could say lot of debate about what to do with Exhibition. It has a very restrained, that we have disturbed the original upholstery, whether you retain very neutral fabric, obviously not fabric by introducing the brass what's there as part of the history of the original, but the line of think­ 'table forks' and screws, but in this the piece, despite the fact that it is ing then was that if you didn't

76 — AUSTRALIANA August 1994 know what was on it, you went for want to enjoy it, not have a cloudy pieces. Original finishes, if it is something that was very bland and old finish over it, but have it repol- there, great, but if it has been refin- didn't conflict with the piece, and ished. ished a hundred years ago, then its shows up the intricate inlay on the I couldn't give an across-the- an early finish, and sometimes it back and sides, etc, of the sofa. board assessment of how we go can't be decided whether it is origi­ But interestingly enough, the about restoring, as every one is nal or repolished. research we did after we acquired it assessed on its merits, but clients QUESTION: I'm a bit confused turned up a contemporary photo­ know that, even in their own col­ about original finish. How does an graph of the sofa taken about 1900, lections they are going to have dif­ original finish survive a hundred which showed a strong floral late ferent assessments on different years? Isn't there going to be all 19th Century chintz on it, which to pieces, we'll do that on that piece, sorts of things put over it - waxes modern thinking looked terrible. but I know I'm not going to do that and dirt - and if you remove these We are now faced with the dilem­ on this piece for example. waxes, what state do you go down ma of whether we should go and QUESTION: With all the pieces to? find a similar chintz, or even have of furniture that were highly pol­ Julian Bickersteth: My interpreta­ one made, to replace what is very ished in the '80s, when most deal­ tion of that is that as long as bland upholstery. So that is one ers said they couldn't sell them nobody has ever gone back to the piece that is waiting for someone to unless they were polished, is there original timber surface, to the tim­ come to a decision. anything that can be done to undo ber grain if you like, you still have Kevin Fahy: Perhaps now we the damage that has been done? the original finish under there. Paul could have some questions from Paul Gregson: Yes they can. and I clean furniture, and what we the audience. QUESTION: What about are doing, as Anne said, is cleaning QUESTION: I just seem to get the polyurethane on dining tables; can the excretions, particularly of wax point, that the difference between they be turned back? that has built up over the years and conserving something for private Paul Gregson: Yes. All those sur­ dirt that has got trapped in that, use and conserving something for a face coatings can be removed with­ but as long as it has never been museum, that in private use, if it out abrasion, to the surface and all physically stripped back to the orig­ has a use, like the Rocking horse, surfaces are preserved as much as inal timber, then its original finish it's got to go back to being a rock­ possible. is still there. ing horse and being used, whereas )ulian Bickersteth: It is a question QUESTION: Does furniture need if it was in a museum, no one is I suppose of what we mean by "can to be polished and waxed to fee the going to jump on it, it doesn't real­ be rectified", I mean you can never timber? ly need meticulous work to bring it recover original patination. Paul Gregson: No, as I said back to full working order. At Paul Gregson: Original patina­ before, wood doesn't need to be fed. home we had a bookcase that had tion is an interesting thing. When Julian Bickersteth: Feeding is one adjustable shelves that started to you see real patination on a piece of the great myths. drop, and it reached a point where of timber it is in the years of surface Paul Gregson: Timber doesn't you really had to do something fibres being consolidated and com­ lose its oils, particularly if it doesn't about it, otherwise it couldn't hold pacted down by rubbing, etc. You have any essential oils in it to start any books, so we had to get it fixed. can throw anything at that finish, with, timber objects only survive I'd just like to ask one point metho or petrol and it will not on moisture gain and moisture loss. about the chair, that if there is no change it. All you need to do is dry The only reason the surface coating evidence of joining or mitring, do it and buff it, and it will return. is there, is that when the cabinet­ you leave it up to records or prece­ The only way that it will be distort­ maker made the piece, he put a dent? ed is by altering the pH on the sur­ coating on it to enhance the tim­ Paul Gregson: Precedent, knowl­ face. ber in the piece, to protect it from edge, experience and a hunch. I Kevin Fahy: I think when we say the elements and to preserve it or think that everyone should be original finish, it is the very first shut out moisture content. quite pleased that we are all so con­ finish that the item has had, but I QUESTION: What about the use sistent in firstly our problems and think the term really means an of silicon based polishes? our solutions to them. Look, some­ early finish. Paul Gregson: If there has to be one may come along and say we are Paul Gregson: Well, there is no refinishing done at a future date, doing it totally incorrectly in ten doubt that you can come across heaven help the polisher, as you years time, or maybe say we want it pieces that have original finishes, can't get it out successfully. like the French. They say that their and there are pieces of furniture QUESTION: Should a wax polish cabinetmakers have put a lot of that duplicate it in their own right, be applied to furniture regularly? work in this marquetry, and we and they will be more valuable Paul Gregson: Not regularly, all

AUSTRALIANA August 1994 — 77 that happens in my opinion, is that the public on what has been done. wee hours of the morning, and I you become a slave to your furni­ But with a client, I would sit down think we should sign our speakers ture. It's there for you to use, but if and weigh up the options which up for a return visit, if they are will­ you get a whim or a free day off, include that we redo it and make ing. I really enjoyed our panelists run around with a good wax - the bolsters. On the day I'd get a tonight, sharing their expertise and which is hard to find now. pencil out and say this is how it while they did show many facets of Generally with furniture, all you was and I would draw it, or show a the restoration craft, I think they need to do is keep the dust off it. drawing from a pattern book. did pretty well sing the one song. I That's good housekeeping. So use a Julian Bickersteth: Yes, like it or was more than impressed with the damp chamois - not wet - pick up not we are never immune from our slides, but the frightening thing is, the dust and buff it with a dry own feelings on this. I look at the that they reminded me of the cloth. If you have got a residue of leather and see a lovely old worn emergency wing of a public hospi­ wax on there, it will buff up bright­ look. tal. I tend to look at pieces in their ly by itself, you will not need to put QUESTION: So it is a pretty rare finished condition in a museum or another layer on. Most of the wax example, to be done in leather, shop, and I have forgotten what mediums around at the moment are most of them are not normally those pieces have obviously gone virtually liquids. You put them on, done in leather? through, in many cases, so this was then you wipe them off again. But Julian Bickersteth: But ultimately an eye-opener. On behalf of all of you feel good because of the nice it is horses for courses, and ulti­ us here tonight I would like to aromatic smell that they leave. mately I would push very hard for thank Paul, Julian and Anne for QUESTION: I'm quite fascinated the upholstery to be kept in a pri­ giving up their time and speaking on the debate on upholstery as a vate situation, but if a client wants to us. subject, and I'm quite interested in a fabric that is more fashionable, [Transcriber's Note: Due to each what to do about upholstery, espe­ because upholstery is very fashion­ speaker showing slides and dis­ cially when so much 19th Century able, and changes as fashions cussing individual pieces of furni­ furniture has been incorrectly re- change. I think I would try very ture, plus the problem of the length upholstered, especially in style, and hard to try and maintain evidence of the transcription, I have attemp­ I would like to ask both Paul and of that underneath in some form if ted to reduce the panelists' off-the- Julian what they would do for you can. cuff discussions, and questions from example on the Sly couch that I think one of the problems that the audience, while attempting to Anne showed in the slides, how you can see at the moment, and give a taste of an Australiana they would advise a client and how you can see it more broadly in the Society meeting, as requested by they would advise a major institu­ way that houses are conserved, is our interstate and out-of-town tion, just on the upholstery and we tend to rush back to its earliest members, who cannot attend nothing else. state, without leaving evidence of Sydney meetings. The Letters to Paul Gregson: From the institu­ later states as we do so. the Editor section of the Journal is tion's point of view, it is there and Kevin Fahy: Now it is perfectly a marvellous way to continue the has to be allowed to be displayed to obvious that we will be here till the discussion. Caressa Crouch.]

Exhibition: 'Australians Folk Art' — Simple and Honest Objects of the 19th & 20th Centuries. Josef Lebovic Gallery, 34 Paddington Street, Paddington. To 24 August 1994 - Illustrated catalogue available $10.

The collection of 184 items, all for sale, encompasses a wide range, from robust to whimsical. The smaller items, including boxes, picture frames, games and toys, are particularly intriguing.

78 — AUSTRALIANA August 1994 Empire of the South

Michael Bogle

In 1952, Mr C.B. Darley and D.F.W. Mr Henry arrived in mid-1879 from medallion by Mons. Henry entitled Darley of Brisbane, Queensland New Caledonia. If so, how could he "Empire of the South". Too late for donated an unusual circular bronze have managed to work so quickly; the official catalogue but not too relief to Vaucluse House. Once the the International Exhibition had late for a prize. home of William Charles and Sarah only opened in September? Could The primary sources now insure Wentworth, Vaucluse House was Lucien Henry be the artist of the that there was a Lucien Henry work managed during in the 1950s by the Historic Houses Trust's "Empire of entitled "Empire of the South". honorary Vaucluse-Nielsen Park the South"? Could it have been documented in Trust. The Darleys' gift to the Trust The title was not enough to verify the volumes of photographs of the entitled "Empire of the South" was the relief's origin and a search was 1879 exhibition? A methodical displayed for many years as the begun at the Mitchell Library for page-by-page search finally located emblem of the Australian Patriotic additional information. The Official Mr Henry's relief in the New South Association. This was a 19th centu­ Catalogue of the Art Gallery (1879) Wales Court, hanging low; suggest­ ry organisation that boasted said nothing of Henry's work. The ing unofficial approval of the work. William Charles Wentworth as a list of official awards from the It still retains the original timber key member. Exhibition was also silent. Could it frame from the photograph of the The "Empire of the South" has have been confused with Simonetti's 1879 display. not been on display for over a de­ "Venus of the South" from the same The discovery of the Lucien Henry cade. At least, not since the man­ exhibition? Then the two volume medallion "Empire of the South" in agement of the property was trans­ Exhibition scrap-book of 1879-80 the Vaucluse House collections gives ferred to the Historic Houses Trust news cuttings from the Sydney us an example of one of his earliest of New South Wales in 1981. Then newspapers gave the first clue. Australian works. While I have not early last year, we resurrected the An anonymous art critic writing been able to establish with certainty relief again and it was re-hung in our in the 8 January 1880 Sydney Mor­ the date of Henry's arrival from the new Vaucluse House shop noting its ning Herald says, "We may notice convict colony of New Caledonia, alleged associations with the before quitting the art gallery a bust the exhibition opening in September Patriotic Association. But a scepti­ of Mr Justice Windeyer which has 1879 would have only given him cal comment from a noted art histo­ just been placed there. [Note that weeks to prepare work for display. His rian on the Historic Houses Trust the Official Art Gallery Catalogue speed in assimilation is extraordinary Board caused us to begin to question published earlier said nothing of as the title "Empire of the South" its attribution. Henry.] It is considered by his suggests that he was quick to sense the mood of 1879 and the excitement In truth, the relief's finish was too friends an excellent likeness and is of this new Nation-in-the-Making. fine for an early colonial date of the the work of M. Henry, a young Australian Patriotic Association; French sculptor who has recently arrived in the colony." The Herald's Michael Bogle is a curator with the the drawing was exceptionally confi­ Historic House Trust of NSW. dent and its title "Empire of the nameless critic confidently states in South" carried political undertones a later 27 January edition that "M. more in keeping with the mood of Henry represents a good school...". the later 19th century. This January review suggests that Then, a chance re-read of Mar­ Henry's work was very late in arriv­ garet Betteridge's Australian Flora in ing at the exhibition. An appropri­ Art (Sun Academy, 1979) provided a ate conclusion if he only arrived in clue to the medallion's creator. In Sydney in June/July 1879. But where any discussion of Australian flora, is the medallion? The Sydney the French exile Lucien Henry Morning Herald of 19 April 1880 (1850-96) must play a part and Ms finally comes to the rescue when Betteridge's essay mentions that he they publish the Arts Committee exhibited a bronze medallion, "The report that one of its prize-winners Empire of the South" in the Sydney in the "non-European Sculpture International Exhibition of 1879. (class 400, NSW) chosen in their 27 Where was the source of her infor­ March 1880 meeting was an Lucien Henry (1850-96). Empire of the mation? It has been suggested that Honourable Mention "... of a bronze South. Bronze.

AUSTRALIANA August 1994 — 79 New South Wales Court. Sydney International Exhibition Photographic Album. 1879-80. Three volumes, Mitchell Library, State Library of New South Wales. The Lucien Henry medallion is hanging in the lower left section of the photograph. (Q 6061 s.)

From the Editor's Desk

CLIFFORD CRAIG ture'? My affirmative answer resulted of early Australian furniture - Early (1896-1986) in an invitation to visit his home in Colonial Furniture in New South Wales High Street, Launceston. and Van Diemen's Land, (Georgian During a National Trust of Australia My search was over. Here was a House, Melbourne 1972). (NSW) tour of Tasmania in 1964 I first superb collection, gathered over 40 As the surviving member of this met Dr Clifford Craig. My visit was years. No wonder I saw little of trinity I only hope that in the disper­ prompted by the hope of seeing a relevent interest in the historic houses sal of his major collection of early wealth of Australian early colonial fur­ I visited. Australian colonial furniture its many niture for which Tasmania has been For some time I had researched colo­ significant items find an appreciative long renowned. My disappointment at nial furniture in New South Wales. I home, but remain within a historical its paucity in the several Tasmanian soon found out that Cliff was similarly record of Australia's early colonial historical houses visited flared into occupied in a study of the colonial fur­ heritage. audible comment at Franklin House, niture of Tasmania. We quickly realised The sale will be held by Sotheby's in Launceston. the virtue of combining the results of Launceston on Saturday 19 November I received a gentle tap on the shoul­ both our researches, which with the 1994- Viewing of the collection will be der from a total stranger who enquired magnificent photographs of E. Graeme the previous Wednesday to Friday and 'are you interested in colonial furni­ Robertson resulted in the seminal study the morning of the sale.

80 — AUSTRAL1ANA August 1994 An Early Sydney Antique Dealer

Eighty years ago, Sydney boasted January 1913 was recently shown to length the variety of stock carried some dozen fine art dealers and gal­ the Editor. The business was listed and has the logo of a hanging shop leries. Several such as James Tyrell, in Sands' Sydney Directory in 1912 sign captioned 'Ye Olde Silver- Angus and Robertson, Anthony and 1913 at 88 Hunter Street. smithe'. It includes particulars of Hordern & Son and R.T. Carter Walter C. Astley was its director the vendors and purchaser of a included a wide range of antiques and proprietor. In 1914 it had number of pieces of 'Old Scotch' in the stock they carried. The moved to 29a Elizabeth Street and table silver of the period of George antique market in Sydney during in 1915 to 80 Hunter Street where the early 19th century is described it was known as Astley's Antiques. III and priced at an average £1 in Terry Ingram's A Question of The business appears to have each. Mostly undated one might Polish: The Antique Market in AuS' closed about that date and Mr wonder if the dealer has confused tralia (Sydney 1979). Astley retired to his residence at 'Old Scotch' marks with pseudo An interesting letterhead of An­ Gore Hill. Scottish marks used by some early tiques Ltd, Sydney dated 22 The letterhead described at some Sydney silversmiths?

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AUSTRALIAN A August 1994 — 81 RECENT MUSEUM ACQUISITIONS OF AUSTRALIANS Art Gallery of South Australian Acquires an Outstanding Example of Cabinet-Makers Art

George Debney (c 1819-1895) was right hand end of the table. Un­ books of the 1850s and '60s. one of Adelaide's most prominent usually for nineteenth century Historical revivals in furniture were cabinet-makers during the nine­ Australian furniture, the table and a feature of nineteenth century teenth century and operated his chairs retain their original maker's design and stylistically the design business in Rundle Street from labels. of the chair backs derives from 1847 to 1875. The Hall table and Hall furniture is often imposing, what was considered an Eliza­ two chairs is an outstanding exam­ formal and usually designed to be bethan style. Corkscrew legs were a ple of his work. Made of English viewed from the front. Its primary feature of seventeenth century fur­ oak on an Australian cedar frame, function is often decorative. Tables niture. Similar furniture was often it is highly crafted and finished. flanked by pairs of un-upholstered in a Gothic style. The Hall table The extravagant cork-screw legs, solid wood chairs were popular and two chairs are on display in the decorative carved backs of the around the middle of the nine­ Elder Wing. chairs and highly quality of the teenth century in Britain and veneers indicate the skill of the Australia. Related designs for hall [Reprinted from Art Gallery of workmanship of this cabinetmaker. tables and chairs with applied South Australia News, June-July A concealed drawer is fitted in the shields appear in English pattern 1994.1

G.R. Debney, Australia, 1847-1875, Hall table and two chairs, c 1860-65, Adelaide, English oak, veneers of English oak on cedar (Toonaaustralis), table 103.0x 136.0x59.0cm; A.E. ScottO.B.E, BequestFund 1994-

82 — AUSTRALIANA August 1994 INDUSTRIES PTY LTD australian 4 HILL STREET building DARLINGHURST2010 aba EB i adhesives Tel: (02) 361 9999 Fax: (02) 332 1294 1-5 Mary Parade, Rydalmere 2116 Tel: (02) 638 5244 Fax: (02) 638 6427

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Available for inspection and purchase from Elizabeth Antiques THE GROSVENOR ANTIQUE CENTRE 216 Pacific Highway Lindfield NSW 2070 Phone (02) 416 1779 OPEN 7 DAYS • 10am to 5.30pm

AUSTRALIANA August 1994 — 83 TELEPHONE WHITLEY HOUSE 048 68 2726 OLDBURY ROAD OFFICE 048 69 1190 MOSS VALE 2577 FAX 048 68 3212 NEW SOUTH WALES J.B.HAWKINS ANTIQUES

A remarkable Travelling Writing Desk by Henry Broughton, exhibited at the first Victorian Industrial Society Exhibition, January 1851, with the original list of all the local timbers employed in its construction.

84 — AUSTRALIANA August 1994