Sculpture in the grounds, with some memories of things that got away Ray Marginson, interviewed by Robyn Sloggett

This is the fourth and fi nal instalment back-plates in the lifts. These were in a series of interviews with Ray removed in the last renovations to Marginson by Robyn Sloggett.1 that building. There is a great story about the Robyn Sloggett: The university’s Ernest Fries Progress of medicine sculptures certainly range from the enamel in the foyer of the medical intimate to the monumental. I know tri-radiate building.2 Its backing is there are a number of sculptures that made of marble panels—some of may surprise people by their decorative the original tops of the tables in or historical signifi cance. Perhaps you the old anatomy dissecting room in could talk about some of these small but Swanston Street. When I announced very interesting objects. to the Buildings Committee the intention to use them for this Robyn Sloggett: Your reference Ray Marginson: One such owes purpose, Professor Wright was to what would probably be seen by much to the fl air for decoration greatly opposed on the grounds Property and Campus Services as of the then staff architect Rae of the possible health danger. He a form of vandalism of university Featherstone. He engaged Clifford vowed that he would culture bacteria property raises another interesting issue Last to do the large cast aluminium from scrapings from their surface. from a conservation point of view: that handles for the doors of the Raymond It was a legitimate point, as the of damage to works in the grounds. Priestley Building. This was the fatty residue impregnated in the structure we put up in 1969 to bring porous marble is still clearly visible. Ray Marginson: Fortunately this the administration together and Fortunately despite assiduous efforts has been rare. An exception was incidentally to enable the demolition on the part of the Department of the gift of the Greek government, of the intrusive two-storey fi bro- Physiology nothing emerged. The the Poseidon bronze,3 that endured cement hut housing administration building also houses on its fourth many years of Brasso polish on his groups that occupied a site to the fl oor stairs the important example genitals when located initially in the north of Wilson Hall, near the of student vandalism by many open near the Beaurepaire Centre. beautiful blue cedar tree. The handle later highly distinguished medical This affectionate student treatment of the west door was removed for graduates. These are the bench tops continued even when it was shifted security reasons in the foyer re- from the old medical lecture theatre. into the trophy hall. However an modelling a few years ago; that on The depth of carving of the initials attack with a hacksaw blade on the the east is still there. They had been in some cases is quite remarkable. same anatomical region meant it a convenient way of chaining and Many medical family names are needed greater security. It now stands padlocking the building in student immortalised: MacCallum, Ryan, majestically in the interior courtyard protests. However the other Clifford Littlejohn, Trinca, Gillespie; these of the Elisabeth Murdoch Building Last feature was the carved wooden planks repay more than cursory study. (illustrated above).

Ray Marginson, interviewed by Robyn Sloggett, ‘Sculpture in the grounds, with some memories of things that got away’ 3 Ray Marginson: We know from anecdotal evidence and our early cataloguing work that pieces of cedar and mahogany furniture and many works of art were lost, or ‘removed’, up to 1966. This is true also I think of some of the fi ne collection of the Melbourne State (Teachers) College that is now part of the university holdings. In my own time we had only two signifi cant pieces of art stolen— one was a Norman Lindsay black and white that had, for the fi rst Lindsay exhibition, been lent to us by the late Hume Dow. The other loss, sadly, was the bronze Lovers given to us by Guy Boyd.4 It was one of several works—including a fi ne Robert Dickerson (illustrated on page 7) and David Boyd’s The trial still life 5—obtained through Another that suffered over the small tower, was part of the original the short-lived ‘Artists’ Choice years was the Wheel of life by Charles National Museum wing, later Collection’, a project I initiated in Web Gilbert, a work recalling demolished. In that location it bore the 1970s. Lovers was housed in the Kipling’s Kim (illustrated above). two bronze Chinese dragon heads. fourth fl oor bridge in the then Arts It was originally commissioned for One was later stolen and, on the Common Room of the John Medley the Springthorpe memorial in the work’s relocation to the foyer Building, subsequently cannibalised Boroondara cemetery, then donated of the then new medical building, into offi ces. A substantial (and to the university as a memorial to we removed the survivor. As far as heavy) piece, it just disappeared one Lilian Alexander, a medical graduate I am aware, the head has disappeared night and has never been recovered. from 1893. This beautiful marble and entirely. Guy generously gave us its bronze work originally stood, as replacement, the bather fi gure which I remember as a student, just inside Robyn Sloggett: There are also stories stands today in the east garden of the old east entrance to the Union of loss through theft. Were there any University House (illustrated on Building which, at the base of the signifi cant works stolen? page 6).

4 University of Melbourne Collections, Issue 9, December 2011 Page 3: Poseidon, Greek, c. 1950, cast bronze, height: 202.2 cm. Reg. no. 1956.0016, gift of the Greek Orthodox Community of Melbourne in commemoration of the XVI Olympiad, 1956, University of Melbourne Art Collection.

Opposite: Charles Web Gilbert, The wheel of life, 1910, metal, marble and stone, sculpture: 132.0 x 125.0 x 76.5 cm; base: 62.0 x 130.0 x 58.0 cm. Reg. no. 1936.0002, gift of Messrs A.S., F.A. and W.M. Cudmore, in memory of their aunt Ms Lilian Helen Alexander, 1936, University of Melbourne Art Collection.

One strange incident was the lettering ‘Botany’ on that building. that purpose. With Eric Westbrook,7 theft of one of the oak thrones now Also, I think, the much earlier who was a close personal friend in the Wilson Hall foyer, which was disappearance of the bronze plaques of Henry Moore, we developed a on display in the lift foyer on the on the student-designed war proposal which was accepted in ninth fl oor of the Raymond Priestley memorial, replaced by granite ones principle by the trust, and Eric, on a Building. It was returned after it was after World War II. The memorial visit to the UK, negotiated a major found on the premises of a second- originally had a dominating location work with Moore at an agreed price. hand furniture dealer. The logistics on the main axis from Grattan Street, All looked well but the funding of its removal are as bewildering as in front of the Quadrangle. After end failed. So today there is just the that of the Guy Boyd work. The only much negotiation with representative vacant site. other theft I recall was of a sterling ex-servicemen it was relocated, a Other disappointments had to silver two-branch candelabrum, the shift made necessary by the work on do with buildings; one such was gift of the Society of Collectors in the underground car park. It is now ‘Wardlow’, the tower house on an the 1950s. It disappeared after the located just south of the Quadrangle, island block in Parkville, which the splendid dinner in Wilson Hall for near Wilson Hall. university acquired. It consisted of the 1968 Commonwealth Universities the main house, two joined double- Conference. Many candelabra were Robyn Sloggett: Although I know they storey terraces and two separate borrowed for that event from service were few, perhaps you wouldn’t mind terraces. With rear excavation for messes and other sources; ours was sharing some of your signal failures, storage and car parking and some the only one stolen. (The rest of this disappointments or regrets over the long demolition of service areas, I saw it remarkable collection is now safely period of your interest in the cultural as an ideal home for the University housed in University House.) We aspects of the university? of Melbourne Archives, then in used the $400 insurance money cramped quarters in Barry Street. (it was signifi cantly under-insured) Ray Marginson: Yes, there have Clive, Lord Baillieu, was enthusiastic to ask the committee of the Ernst been several and unfortunately some to raise funds as a result of the Matthaei Memorial Collection of have physical reminders that are advocacy of Frank Strahan, then Early Glass to purchase a signifi cant constantly there to mock. The fi rst the University Archivist. All looked piece. The collection now includes a is visible in front of the north of the good but a combination of disasters, beautiful Irish dessert dish from about Raymond Priestley Building, in the principally the sudden death of Lord 1795. It should be acknowledged to vacant square garden plot covered in Baillieu, and also the opposition of the Society of Collectors, the donors low-growing shrubs. It was to be the the Parkville Association (Frank of the stolen candelabrum.6 site of a monumental Henry Moore was invidiously placed as a strong There are examples of heartless stone sculptural work, associated with supporter of the Carlton Association) damage, possibly in the pursuit a fountain. At one period Ronald meant the proposal collapsed. We of scrap metal. One was the Walker headed up a body called the hung on looking for another use disappearance of the large brass Fountains Trust that raised funds for for this wonderful property—it had

Ray Marginson, interviewed by Robyn Sloggett, ‘Sculpture in the grounds, with some memories of things that got away’ 5 Guy Boyd, Kneeling teenager tying hair, 1983, re-cast 1985, bronze, height (excluding plinth): 83.4 cm. Reg. no. 1985.0016, gift of Guy and Phyllis Boyd, 1985, University of Melbourne Art Collection.

among other features a completely intact 19th-century hall entrance with all the curtaining and swags.8 For a period the university’s Protocol Offi cer, Tom Hazell, occupied it whilst we looked for uses and later other staff members babysat it. Finally in 1990, well after my time, all had to be sold. The story is very like the ‘Miegunyah’ one I have recounted previously. I cannot go much into the disappointments of our plans for the area of Carlton bounded by Swanston, Faraday, Cardigan and Elgin Streets. This was planned to be two major town squares at the fi rst fl oor level, surrounded by student housing and academic perimeter buildings, with walk-up connection to Carlton from Cardigan Street on the east and lock-up shops to the interior sides of the squares, plus of course underground parking. We acquired much of the site and were strongly attacked by the Carlton Association, but we constructed the earth sciences and IT buildings, moved the maintenance department into an existing factory, and established the overhead bridge connection to the main site. Funding in those days was more diffi cult than today, and major reductions of capital grants during 1973–75 and thereafter fi nally defeated us.

6 University of Melbourne Collections, Issue 9, December 2011 Robert Dickerson, Untitled (Surgery no. 2), c. 1971, oil on composition board, 125.5 x 186.0 cm (including frame). Reg. no. 1971.0056, gift of the artist for the Artists’ Choice Collection, 1971, University of Melbourne Art Collection. © Copyright Robert Dickerson.

A very similar disappointment was after several years of being closed, the Robyn Sloggett: I know when I the proposed 1,200-space car park Grainger Museum has been opened commenced at the university as a planned for under the sports oval. In in a rejuvenated and attractive form. contract conservator in the early 1980s the end it failed because of strong One thing I do regret is the that your advocacy was critical to the staff opposition to a doubling of the incomplete cataloguing project success of much of the cultural activity parking fee from $60 to $120. This for the collection. The fi rst great on campus. What do you see as the most was a great loss. Had it been achieved achievement of the 1971 catalogue important points of your work on the it would have alleviated some of the was followed in my time only by cultural side of the university? problems of today’s moves to rid the acquisition lists for 1971–76 and main site of surface parking. The 1977–85. However, great work was Ray Marginson: Leaving aside the 1973–75 funding cuts also saw the done during this period by a special actual initiative to start work on our abandonment of a proposed second subcommittee of the Works of Art collections and the founding of the level on the sports centre. For a Committee specifi cally established gallery, it is diffi cult to answer that couple of years we made do with a for a computerised catalogue project. question. large space covered by an infl atable, In 1983, work commenced under the There are many overlaps between held up by a small motor-driven air direction of Kay Campbell, the then the cultural side and related aspects. pump, copying something similar I cataloguer, in conjunction with Neil For instance, the master plan was a had seen overseas. This in the end was Harrington of my administration new way of thinking about the site vandalised by unknowns with sharp computer services branch. Initially and it brought with it the need to knives. Now of course the second software was not available and they close off areas to car traffi c, which fl oor is in a more substantial form. developed a reliable system, ‘Galterm’. in turn produced a need to redo the I had great plans also for a new music The university’s computer science south lawn with an underground car building to house the faculty and the department coincidentally developed park, which I still feel is a sculptural manuscript and library elements of a database program, ‘Titan’, which work of art and should have got an the Grainger Museum, leaving Percy became fully operational in 1987. award from the Royal Victorian Grainger’s building as a museum of Design precautions taken with Institute of Architects. Constructed music, objects, paintings, etc. We Galterm meant an easy transition to the design of an engineer, J.L. van bought a major site in Berkeley Street to Titan. This work then proceeded der Molen of Loder and Bayly, this for the proposed Business School and under Annette Welkamp as cataloguer interior space is quite superb. It was for Music. Fervent opposition by the working with Harrington. Today of at the time unique in its recreation of faculty and others opposed to shifting course the Ian Potter Museum of the great south lawn with trees in the Music meant that, in the end, the Art has a fully operational online hyperbolic parabaloid concrete shells Business School got the whole site. catalogue, but much credit must be and great landscape accompaniment Although Music still occupies the given to the early pioneering work. So by Ellis ‘Rocky’ Stones and Ron fi ne Art Nouveau building on Royal this is not really a disappointment; we Rayment. We were very proud Parade, it is a great comfort that, took it as far as we could pre-internet. that the overall landscape and the

Ray Marginson, interviewed by Robyn Sloggett, ‘Sculpture in the grounds, with some memories of things that got away’ 7 Parts of the suite of Mannerist-revival style furniture, French, c. 1880, carved walnut, marble, paint. Comprises dining table and chairs, fi replaces, cabinets, screen, door surrounds and panelling. Reg. nos 1954.0009–1954.0018, gift of Vahram N.T. Karagheusian and his sister Elza Ispenien, 1954, University of Melbourne Art Collection. Formerly part of the Paris residence of the donors’ parents. Visible above chair is Danila Vassilieff’s Nazareth Karagheusian, c. 1940s, oil on composition board, 41.0 x 30.0 cm. Reg. no. 1982.0033, purchased 1983, University of Melbourne Art Collection.

Your appointment and the creation of the highly professional conservation service meant a real bonding back into the academic stream. Not only through the rapid development you achieved by drawing in colleagues from departments critical to your scientifi c approach, like Chemistry and Physics, but by the development of academic postgraduate courses in the professional area of materials conservation and all its associated aspects. This, of course, was fi nally endorsed by the Centre for Cultural Materials Conservation being given academic status, and by your national reputation as an exposer of art fakes. Thinking again about highlights, I remember the immense satisfaction, unmortared brick paving of the site centre. This latter move was critical, early in my retirement, of Margaret received a National Trust plaque in my view, not just for the service Manion telling me of the allocation which is installed near the steps you created, but because it opened of $5 million by the Vice-Chancellor, down to the Baillieu Library. the way to the achievement of an Professor David Penington, that But I can say there were many objective that I shared with Professor made possible the work of Frances highlights and moments of great Margaret Manion (who succeeded Lindsay, architect Nonda Katsalidis satisfaction, to all our mutual work me in 1989 as chair of the Works and all involved to make a reality over the years 1966–88. One of of Art Committee).11 This was to of our dream of a fully designed these was the discussions with bring the gallery and the collection gallery; and incidentally a home Pat Feilman of the Ian Potter and its programs into even closer for the Leckie window by Napier Foundation which led to the contact with the academic work of Waller, rescued from Wilson Hall and funding of your own appointment.9 Fine Arts and closer to the primary carefully stored from my fi rst seeing it It was very satisfying to create with purpose of the university. From the in 1966.13 I tried many times to fi nd Frances Lindsay10 the conversion earliest days we had worked well an appropriate home for it. I even of the old bacteriology building to with the department and I have had the mad idea of somehow fi tting a second exhibition space and to mentioned how harmonious was the it into an extension to University provide a home for the conservation association with Sir Joseph Burke.12 House, which was fortunately

8 University of Melbourne Collections, Issue 9, December 2011 as I have already mentioned, the He eventually tracked them down, superb exhibition Frances Lindsay piled on top of each other in the put together of the works of all our cadet corps’ dungeon. Among them artists-in-residence up to 1988, as was a Hugh Ramsay painting of a a retirement gift to me.14 There are seated girl (illustrated on front cover too many great occasions to list but and on page 11), with signifi cant strangely last year I had a pleasant damage to it. The school was not reminder of those days when visiting willing to pay for restoration, so Ken NGV Australia at Federation Square negotiated with the then Melbourne to see the Rupert Bunny exhibition. Teachers College who agreed to On that occasion I suddenly came pay for the conservation of work by across his monotypes; and there were the NGV conservators if the school three of our fi ve among them.15 would let the college have it. All this I remember Laurence Course of Fine was done. Ken later became a staff Arts, fresh back from Europe, who member of the college and, even later, told me of these, which he had seen director of its Gryphon Gallery. The on sale in Paris. In haste we made relevance to our collection is that the contact and secured them (example entire art holdings of the college, illustrated on page 10). It may seem a then the Melbourne State College, never attempted. The extension to minor moment but it brought back all came into our collection when in the the House which was made was the memories of the long and fruitful 1980s the college was taken over by of course to accommodate another collaboration with all my colleagues the university. orphan I hawked around, the splendid that led the way to the excellent Karagheusian furniture gift (illustrated manner in which the university Robyn Sloggett: I suppose we opposite, above and on back cover). now approaches its cultural heritage. should wind up what has been a most Other great memories are the A further echo from the past interesting interchange and review of a fi rst gallery exhibition, which was occurred recently when talking critical 20 years or so in the history of the at the National Gallery of Victoria to Ken Scarlett, the author of the university’s cultural collections, and of its (NGV). Then came the opening authoritative Australian sculptors16 site development. Thank you for sharing of the Old Physics Gallery. Other (and of many other more recent your time and thoughts. I’m very pleased exhibitions remain in my memory: works); it bears setting down. that we’ve been able to record your the fi rst Lindsay exhibition; the work Some years ago Ken was teaching memories of your work and of the period of Grazia Gunn that produced the at Melbourne High School, and when both the collections and the campus fi rst exhibition of the Groote Eylandt remembered the works of art that changed so dramatically. I know that, barks; the L’Oiseau-Lyre exhibition; had lined the corridors when he was like me, many people are very grateful the fi rst Grimwade exhibition; and a student there (which I also recall). for your advocacy for culture on campus.

Ray Marginson, interviewed by Robyn Sloggett, ‘Sculpture in the grounds, with some memories of things that got away’ 9 Rupert Bunny, Untitled (Death’s summons), c. 1898, oil monotype on wove paper, 25.0 x 34.8 cm (plate). Reg. no. 1972.0003, purchased with funds from the Charles Duplan Lloyd Trust, 1972, University of Melbourne Art Collection.

Ray Marginson: Yes, this discussion our site and buildings. It includes They include the Works of Art was intended to be about sculpture in information on the sculptural and Committee, my own staff, the Fine the grounds. As you are well aware, decorative aspects of the university’s Arts Department, the gallery staff Robyn, I have not covered all the built environment. I acknowledge the and our great supporting sponsors artworks in the grounds, I have merely great help this publication has been in including state and commonwealth tried to record some of the more clarifying my memory of many of authorities, foundations, business interesting background stories about the works. fi rms and individuals. the creation, acquisition or arrival on One heartening aspect of the It would be remiss of me not the site of some of them. Among those sculpture in the grounds is that we to say also that, as everyone in I have not covered are the important continue to get signifi cant works, universities well knows, no continued works by the late Tom Bass, not only albeit a little slowly. An important and effective work of this kind is the Socrates group on the north face of addition has been the gift in 2009 by possible without the support of the Wilson Hall but,17 perhaps not often Emeritus Professor John Lovering vice-chancellor of the day. In this observed, the four very large pressed and his wife Kerry of a unique style I was most fortunate having such fi rm cement sculptures on the west side.18 of sundial, an armillary sphere. It support from Sir David Derham and These were produced by an unusual stands in Cussonia Court. We are still Professor David Caro. David’s wife, and original casting method developed waiting for another monumental work Fiona Caro, was also a great support by Tom and which he documented. to occupy the still vacant square site on the Works of Art Committee. The details of this and accompanying just north of the Raymond Priestley The university’s greatest debt in photographs are in the possession of Building. Any offers I wonder? the changes achieved in the physical the university and are worthy of an side of the campus was however to article in this journal. Robyn Sloggett: You mentioned in an the sustained creative contribution For those interested in this whole earlier conversation a wish to record of Maurie Pawsey, my deputy as question, there exists an excellent the support you had over the 20 years Controller of Buildings and Property. pamphlet, Sculpture on campus, of your work on the cultural side of the This is fully set out in Juliet Flesch’s published by the Ian Potter Museum university. comprehensive book Minding the of Art, which also contains a guided shop,21 and I thank him. However, in tour.19 It does not, however, cover all Ray Marginson: Yes, nothing we winding up I must again emphasise the works I have mentioned, but does achieved could have been possible the great importance to the gallery deal with many I haven’t. The other without the support of my fellow of our founding curator, the late essential reference is Architecture on pioneers who worked with so much Mrs Betty Clarke, and of my own campus by Philip Goad and the late dedication and patience, particularly personal assistant, Mrs Robin Patton. George Tibbits.20 This thorough in the fi rst diffi cult years of Thanks also to you Robyn, who and scholarly booklet refl ects in part establishing the university gallery. pushed me into this writing project the lifelong work of George, who I have mentioned many of their and designed the questions that had a monumental knowledge of names incidentally in our talks. stirred my memory so effectively,

10 University of Melbourne Collections, Issue 9, December 2011 Hugh Ramsay, Untitled (Seated girl), c. 1894–1906, oil on canvas on board, 95.2 x 70.1 cm. Reg. no. 1965.0018, gift of Melbourne High School to Melbourne Teachers College, 1965, University of Melbourne Art Collection. (See also front cover.)

also to the University Library for Reg. no. 1972.0027, gift of the artist for the 15 The University’s five Rupert Bunny Artists’ Choice Collection, 1972, University monotypes are: Untitled (Cupid assisting publishing the series in its magazine. of Melbourne Art Collection. Venus), c. 1898, oil monotype on wove Next year—2012—is the 40th 6 Sweet dish, Irish, c. 1795, glass, height: paper, 35.0 x 25.0 cm (plate); Untitled anniversary of the founding of the 22.5 cm. Reg. no. 1981.0037, Ernst Matthaei (Death’s summons), c. 1898, oil monotype Memorial Collection of Early Glass, on wove paper, 25.0 x 34.8 cm (plate); university gallery, and I understand University of Melbourne. For more Untitled (Three sirens), c. 1898–1900, planning is in train for suitable information on this collection, see Peter oil monotype on wove paper, 24.5 x 25.0 cm; celebrations at the Ian Potter Attiwill, ‘The Ernst Matthaei Memorial Untitled (Mermaid watching companions), Collection of Early Glass’, University of c. 1898, oil monotype on wove paper, Museum of Art. Melbourne Collections, issue 8, June 2011, 24.8 x 34.6 cm (plate); Untitled (Nymph pp. 37–46. Peter Attiwill has been key to the reclining by a stream), c. 1898–1902, oil development and management of that monotype on wove paper, 24.8 x 34.7 cm Dr Ray Marginson am was Vice-Principal of the collection for many years. (plate). Reg. nos. 1972.0002–1972.0006, University of Melbourne from 1965 to 1988. 7 Eric Westbrook (1915–2005); artist, gallery purchased with funds from the Charles director and arts administrator; Director, Duplan Lloyd Trust, 1972, University of Associate Professor Dr Robyn Sloggett is National Gallery of Victoria 1956–75; Melbourne Art Collection. Director of the Centre for Cultural Materials Director, Victorian Ministry for the Arts 16 Ken Scarlett, Australian sculptors, Conservation at the University of Melbourne. 1976–80. West Melbourne: Nelson, 1980. 8 For images of ‘Wardlow’ see Suzanne Forge, 17 Tom Bass, Trial of Socrates, 1956, copper, photography by Irvine Green, Victorian approx. 350 x 457 cm. Reg. no. 0000.0086, splendour: Australian interior decorations, University of Melbourne Art Collection. 1837–1901, Melbourne: Oxford University 18 Tom Bass, Wilson Hall west wall reliefs: 1 The previous interviews appeared in issue 3 Press, 1981. Observation; Contemplation; Teaching and (December 2008), issue 5 (November 2009) 9 Robyn Sloggett was appointed University learning; The talents of knowledge; pressed and issue 7 (December 2010) of University Conservator in 1987. cement, each panel approx. 275 x 397 cm. of Melbourne Collections, available at 10 Frances Lindsay (b. 1946); director of the Reg. no. 0000.0087.001.004, commissioned www.unimelb.edu.au/culturalcollections/ University Gallery (later Ian Potter Museum c. 1957, University of Melbourne Art research/magazine.html. of Art) 1984–2000; now Deputy Director, Collection. See also Emily Wubben and 2 Ernest Fries, Progress of medicine, c. 1970, National Gallery of Victoria. Jason Benjamin, ‘The art of Wilson Hall’, vitreous enamel, edges gold-plated, symbolic 11 Emeritus Professor Margaret Manion ao University of Melbourne Collections, issue 7, flame: 227.2 x 92.8 cm; six panels: (b. 1935); specialist in Medieval and December 2010, pp. 3–11. each 61.9 x 40.0 cm. Reg. no. Renaissance art, particularly illuminated 19 Lorinda Cramer and Lisa Sullivan, 1970.0234.001.002, purchased with funds manuscripts; Herald Professor of Fine Arts, photography by Robert Colvin, Sculpture on from the Medical Centre Project Fund, 1970, University of Melbourne 1979–95. campus: University of Melbourne, Parkville University of Melbourne Art Collection. 12 Professor Sir Joseph Burke cbe (1913–1992); campus, Parkville: Ian Potter Museum of 3 Poseidon, Greek, c. 1950, cast bronze, teacher, writer, art historian and administrator; Art and Cultural and Community Relations height: 202.2 cm. Reg. no. 1956.0016, Herald Professor of Fine Arts, University of Committee, University of Melbourne, 2003. gift of the Greek Orthodox Community Melbourne, 1947–78. 20 Philip Goad and George Tibbits, photography of Melbourne in commemoration of the 13 Napier Waller, The Leckie window, 1935, by Patrick Bingham-Hall, Architecture on XVI Olympiad, 1956, University of stained glass, lead, approx. 10 metres x 130 cm campus: A guide to the University of Melbourne Melbourne Art Collection. in original location. Reg. no. and its colleges, Carlton: Melbourne University 4 Guy Boyd, Lovers, 1972, bronze, height: 1935.0002.001.059, gift of John E. Leckie, Press, 2003. 76.0 cm. Reg. no. 1972.0077, gift of the 1935, University of Melbourne Art Collection. 21 Juliet Flesch, Minding the shop: People and artist for the Artists’ Choice Collection, 1972, 14 The University of Melbourne artists-in- events that shaped the Department of Property University of Melbourne Art Collection. residence, 1975–1988 (exhibition catalogue), and Buildings 1853–2003 at the University 5 David Boyd, The trial still life, 1962, oil on Parkville: University Gallery, University of of Melbourne, Department of Property and composition board, 130.5 x 129.4 cm. Melbourne, 1988. Buildings, University of Melbourne, 2005.

Ray Marginson, interviewed by Robyn Sloggett, ‘Sculpture in the grounds, with some memories of things that got away’ 11