2010 AICCM BOOK, PAPER AND PHOTOGRAPHIC MATERIALS SYMPOSIUM 77 8/9/:/ ( 6"7#1"5* SUPPLY ( ER .141"51 ( P 3 A P , together with helpful suggestions for

3"&1%#% N ( O 01*#21' ( The Argus ./ CTS

( A P )*+#&%,- IM ( II urge upon your employees the fact that, however much the government departments economise in the use of printing and writing papers, they must have large supplies for vital uses directly connected with defence. Indeed I may say that the product of your Burnie Mill is now an essential war commodity. I hope therefore that every person concerned with production and Work, at that Mill will regard himself as engaged in War will endeavour to continue in that work to the best of his ability (Lawrence 1986). Gentlemen, The difficulty of maintaining adequate supplies of paper in Australia is becoming increasingly great, as Australia is being thrown more on its own resources. I need not dwell upon the affects of the war on European supplies, but I feel that I should Calls for the general public to economise on their use of paper were printed in reducing paper use: Figure 1: Fabriano chiaroscuro watermarks created for the Australian !"#$%&' Commercial the company was known as Australian By the 1930’s for Fabriano was Co. Ltd. Following this incarnation, the agent Bob in the 1970’s, a Mr Smith of Brighton. When Mr Smith died Senior took over distribution. WW The advent of WWII had a profound and immediate effect on Australian paper production and importation. This naturally had an effect on the type and quality of paper available to Melbourne artists. A letter received by the directors of Australian Pulp and Paper Manufacturers (APPM) on 7th June 1940 from the Minister for Supply and Development provides an insight into the pressure placed on Australian paper mills at this time. ) II (WW II In the first few 1 WAR WAR LD Few drawing pads were available, 2 RE-WOR P N

IO CT DS RA SUPPLY DUCT OR ER RO YW P of printmaking papers available to local artists expanded once again in the 1980’s when printmaker Robert Jones became the when printmaker Robert Jones became in the 1980’s available to local artists expanded once again of printmaking papers kaleidoscope of paper was available to Melbourne artists in a a vast array of art Papers. By the 1990’s Australian agent for Magnani than availability. became more about personal preference colours and paper choice Australia and overseas. In the late 1930’s, when the range of papers available to Melbourne artists was just beginning to expand, to Melbourne artists was just beginning when the range of papers available In the late 1930’s, Australia and overseas. The end of the war saw the rebirth of the industry II abruptly interrupted supplies. War hands of returned serviceman, at the World N.S. saw a number of new suppliers emerge including opened Camden Art Centre in 1948. The 1960’s Norman Kaye when he including These enterprises brought with them new papers and Graeme Brown Papers Pty Ltd. Pty Ltd, Art Stretchers Eckersley’s most of the paper available was 19th and early 20th Century, France but as was the case throughout the the Arches range from with a vision to service the was founded in the 1970’s watercolourists. Melbourne Etching Supplies designed specifically for The choice a range of interesting and high quality papers. printmakers, including providing them with diverse needs of Melbourne’s ABST The history of artists, suppliers and paper mills based in encompasses the collective stories of art paper supply in Melbourne E watercolour paper was Kent cartridge, which Deans imported from in England and was used by artists for drawing and Wiggins Teape printmaking (S Edgar [Information Services, Arjo Wiggins, England] 1997, pers. comm., 15 July). Deans, Norman Brothers, B.J. Ball, W.C. Penfold and Sands and Deans, Norman Brothers, B.J. Ball, W.C. Macdougall Ltd. was predominately designed for watercolourists. Canson and Society, The selection included Royal Watercolour (S Davidson 1997, pers. Montgolfier Ingres and Whatman’s comm., 22 April). Whatman paper had been the most broadly advertised and therefore widely used art paper in Australia since so most artists would have been very familiar with it the 1840’s, and the working properties it offered. One of the few alternatives to decades of the 20th Century, the paper range available through decades of the 20th Century, Biordi [Export Sales Department, Catiere Miliani Fabriano S.p.A.] 2009, pers. comm., 1 April) (see Figure 1). but companies such as Dean’s produced a limited number of but companies such as Dean’s sketchpads from bank and bond papers (S Davidson 1997, op.cit.). From 1901 Fabriano paper was imported exclusively into Australia by Melbourne-based company G. Ferrando & Co (M companies such as Winsor and Newton, Barcham and Green, and Dutch company Royal Talens. Whatman’s Prior to WWII, which commenced in 1939 and ended in 1945, Prior to WWII, which commenced in 1939 and quantity of European and American mills had a set minimum There was no paper that suppliers in Australia could purchase. were limited wholesale distribution structure in place so artists (B Senior [Senior by the range and quantity of paper available and M Burnet Art Supplies] 2008, pers.comm., 4 December; [Melbourne Etching Supplies] 2009, pers. comm., 5 February). W & G Dean Pty Ltd (Deans), directly imported materials from English Knowledge of paper availability can assist conservators and art offer an on paper, historians with dating and authenticating works of materials insight into the role of artists’ choice in their selection being used at and provide information about the quality of paper specific times. PA INT in Melbourne This study documents the availability of art papers through to the from 1940-1990, from the period of Modernism focussing particularly on the contemporary art of the 1980’s, were stocking. suppliers operating and the type of paper they K Australian paper history paper importation, art paper, An overview of art paper supply in Melbourne paper supply of art An overview 1940-1990 from Wilson Louise This 7 ( ) N E 61&E#*-' D ( 8& ( (CAM D%#&#+2% ( TD L TY @AAB@C< ( "& ( RE P 7+14215; NT ( CE Kent paper was also available pre-mounted 6 T 3"!2%5 ( R A *42

( N Artist Ian Armstrong recalled: Artist Ian Armstrong >?% 5 E (( D <= ( Kent papers were used…frequently by printmakers during by printmakers during were used…frequently Kent papers Brown used when Graeme and only ceased to be 1940-1945 Rives us to Arches, (paper importer) introduced of Nunawading comm., n.d.) (I Armstrong 1997, pers. You could get quality paper from Camden Art Centre in You I had an account at Camden (G Gertrude St or Dean’s. Sansom 2008, pers.comm., 5 December). saw the return of two servicemenThe end of the war in 1945 who employees. Indeed, Norman Kaye had previously been Dean’s were to become pivotal figures in the supply and Sydney Davidson of art materials in Melbourne. onto pulp board and this was sold as ‘illustration board’ (B Senior 2008, op.cit.). As Melbourne-based artist Gareth Sansom recalled: Kaye was also the agent for Holbein Artist Materials, a Japanese Saunders medium Imperial, Fabriano Ingres, Fabriano Murillo, Whatman 300 gsm, Aurora cartridge, Strathmore hot pressed, Arches Ingres, Arches 300 gsm FIN, Kent ordinary and cartridge Kent hot pressed. paper to Australia in the 1960s (P Fitz-Gibbon 2009 op.cit). paper to Australia in the 1960s (P Fitz-Gibbon 61;+#% photographed in 2008 Camden stocked a range of good quality drawing From the 1960’s and watercolour papers in various weights and surface finishes including Saunders 90 gsm hot pressed watercolour paper, CAM they resumed returned from the war, When Kaye and Davidson in 1948 to establish Cambridge work at Deans. Kaye resigned St Fitzroy (P Fitz-Gibbon 2009, pers. Art Supplies in Brunswick long after establishing the business it was comm., 13 March). Not for legal reasons found the name ‘Cambridge’ could not be used Art Centre (ibid.). so the business name was changed to Camden Manager and Davidson joined the business in 1949 as Sales he was well daughter Pamela Fitz-Gibbon according to Kaye’s early Camden’s suited to the role, being a natural extrovert. In were imported years, art materials were rationed because they 1996). Of and this was the case into the early 1950s (Zimmer were by far the the paper range stocked, Whatman and Fabriano introduction of Arches most popular with Melbourne artists until the is probably due to the fact that Whatman paper had been available is probably due to the fact that Whatman paper in Australia for more than a century at this stage and Fabriano had 50 years, so these been supplied intermittently for approximately familiar with. From were the paper supports that artists were most ship to visit suppliers the late 1950s Kaye travelled to England by (of the and on these occasions he stayed with the Roberson’s & Co.). The London-based artists’ colourman Charles Roberson as a result of these Camden range of products naturally expanded overseas business trips. Furniture Kaye purchased the building housing the Johnston’s factory Gertrude St Fitzroy and the business moved to at 188-192 this new address in 1964 (see Figure 2). Faerber, an art student during WWII, the smooth, calendared side smooth, calendared WWII, the during an art student Faerber, and the painting and drawing was used by artists for of MG Litho (R Faerber 1997, pers.comm., used by printmakers felt side was 21 April). two years later, indicates some two years later, English art papers imported into Australia 4 The Argus

cases (letters, commercial printing jobs and pamphlets) curtail cases (letters, commercial using the smallest type face consistent margins. 10 Consider in not to pack items individually-pack 11 Try with legibility. just what is unnecessarybulk. 12 Avoid packing paper-use Collins, Melbourne. &c. N.T.F. necessary and no more. Yours, (Collins 1940) of paper for any purpose that will do the job. 3. Type on do the job. 3. Type any purpose that will of paper for of simple answers, reply of the sheet. 4 In case both sides 5. Do not make copies letter. on the back of the incoming a copy is 6. Where necessary. except where absolutely necessary of the incoming letter. in a reply keep it on the back the numbers of copies taken in system 7 Consider whether all 9 In all 8 Always type single spacing. forms are necessary. Paper shortage Paper of our English correspondents received from one have We Sir, may prove which paper, for the saving of recommendations for smallest sheet of paper readers: 1. Use the of interest to 2. Use the thinnest sheet that will do the job. any purpose have received only half our order and are finding it difficult to obtain advice as to when the balance will arrive…In the meantime it is a headache to keep artists supplied and to make provision for some additional artists whom it is desired to appoint (‘Letter addressed to Capt. Ivor Hele’ 1944). Supplies have arrived from England but up to the present we companies are now saving labour and paper by not printing companies are now saving labour and paper accounts of statements and reports annual their distributing and meetings. -R. and eliminating long speeches at the annual ADAMSON (Caulfield). (Adamson 1942). Sir: Could anything be more ironical? On the one hand a Sir: Could anything be more ironical? On the of companies Commonwealth order suspends the obligation the other hand a to distribute balance-sheets and reports; on sends out organisation in Australia well-known paper-making statement of a 12-page annual report and a double foolscap Surely these paper mills should its accounts on stout paper. In England be the first to set an example in paper economy.

after the war ended. Bankers and Imperial cartridge papers Burnie Mill and envelope paper that were produced by APPM’s Ruth to According supports. drawing and painting popular became In Melbourne, civilian artists were forced to become increasingly resourceful and this ‘make-do’ ethic continued for many years could produce what paper and in what quantities (P Bower 1997, pers. comm., 8 July). As the war continued, art papers became increasingly scarce, Artists, as a letter addressed to Captain Ivor even for Official War Hele indicates: at this time were probably old stock because during the war, paper war, the during because stock old probably were time this at production in Britain came under direct government control and who dictated which mills was directed by the Ministry of Supply, comm.,30 September). as Norman Brothers and Deans (R Neville [President of the as Norman Brothers and Deans (R Neville [President during WWII] 1997, Association of Stationers and Manufacturers pers. comm., 14 June). Paper imported into Australia at this time included Strathmore drawing and charcoal paper from America Canson and Montgolfier and Kent drawing and cartridge paper, Art paper Cotman Rough watercolour paper and Col Ingres paper, Artist]1997, pers. from Europe (N Heysen [WWII Official War During WWII, the Department of Defence had great buying power During WWII, the Department of Defence had into Australia. and the first right of refusal on all paper coming of Manufacturing Meetings were held between the Federation Industry Organisation and Stationers and the Department of War for the war effort. to discuss the supplies the Department needed with overseas mills The Federation would then place bulk orders on behalf of the Department and stationary companies such thought that more could be done by local paper mills to alleviate thought that more could be done by local paper the chronic shortage of paper: A letter to the editor of A letter to the editor of

2010 AICCM BOOK, PAPER AND PHOTOGRAPHIC MATERIALS SYMPOSIUM 78 2010 AICCM BOOK, PAPER AND PHOTOGRAPHIC MATERIALS SYMPOSIUM 79 . TD . L TY

P S ND Graeme Brown walked into the ER P received an honourable mention EMA PA D

!"#$%&'%()* WN SUS !"#$%&'%()* VER I knew the Norman Brothers down the bottom of Elizabeth St I knew the Norman Brothers down the bottom I’m pretty one I’d come up to occasionally, ...and the Dean’s remember that sure it was the one in Lonsdale St. Then I can shop [Camden]. I had to get a tram up to Fitzroy to this other trip probably I remember over about 3 or 4 days, I made the about 3 times trying to work out what paper was I going to buy. of this’. Then Getting 10 sheets and thinking ‘I can get more and saying ‘no printing the 10 and having trouble printing them forget it’, then regretting it. It stuck the edition is 10 end of story, people don’t in my mind that whole episode...What a lot of about art realise, the actual resources to resource something 15 February).were not there (J Neeson 2008, pers. comm., Generally butcher’s paper would be used for classes, we were be used for classes, paper would Generally butcher’s do for exams, we would sketches, but just doing 20-minute and good quality paper would be a 3-hour rendered drawing paper couldn’t withstand the rendering. used for that. Butchers (ibid.). RAEME BRO UPPLY interested in paper whilst working for James Cook, a stationary business owned by the French paper company Arjomari and as a salesman for the fine paper merchant, B.J. Ball (B Allen 2007, pers. comm., 2 August). Through connections made at this time, he was invited to be the Australian importer of Arches paper and this was the impetus for establishing Graeme Brown Initially the main and Company in Mitcham, Victoria in the 1960’s. client base was high schools and colleges, whom he supplied with news and cartridge paper (F Brown 2007 pers. comm., 27 September). The business gradually shifted focus towards the Arches and Rives range of papers and Graeme developed a genuine interest in the papermaking process, travelling regularly to France to oversee the making of the paper he supplied. In addition print Neeson’s various state and he sold the complete edition. Soon afterwards institutions contacted him to purchase prints but they were all sold. He bitterly regretted having only been able to print an edition of 10 due to the difficulty of obtaining paper and decided his Two print runs needed to be 25 provided he could get the paper. weeks after printing print room at RMIT School of Art where Neeson was printing. He said ‘nice paper you’re working on. I believe its Arches Arjomaria’. Neeson explained how hard it was to get paper and Brown told him he was the distributor and that he would come back next week. ‘He brought 200-300 sheets of paper in, all different types. I thought this must be the father I never knew!’ (ibid.). G Melbourne-based paper importer Graeme Brown became S of papers available to Melbourne the range By the late 1960’s Deans, Camden artists had expanded and suppliers such as even by this were well established. However, and Eckersley’s for watercolour or time, most of the paper available was designed for a print run drawing and obtaining enough of the same paper the Australian was difficult. In 1969 artist John R. Neeson entered Baldessin he Print Prize and was advised by fellow artist George went to several paper should print an edition for the Prize. Neeson same paper to print suppliers in Melbourne to get enough of the an edition. of the administration staff (G Sansom 2008, op.cit.). They stocked They stocked op.cit.). Sansom 2008, staff (G administration of the of different colours Ingres in a range Arches paper, Kent drawing paper. light grey and cartridge beige, cream and including white, and enrolled in life drawing were used by students The papers to Gareth Sansom classes. According costume drawing at the Victorian College of the Arts (VCA) The art materials store 1971. It stocked a range of drawing opened in approximately and was eventually taken over by materials, paper and paint because it wasn’t economically but closed in 1988 Eckersley’s viable. ) S ’ Y E SL ER ECK After Norman Kaye sold ( 10 TD Camden stocked a range of Camden stocked 8 L TY P S ’ Y E LS SL OO ER Camden employed a number of individuals who went on Camden employed a number of individuals ECK SCH 9

T suppliers...when you handle paper you should wear gloves. In suppliers...when you handle paper you should it’s not today, it’s the old days all the paper was all locked but no longer acid-free... I all out and everybody handles it and it’s Caulfield and all these always used to get very angry with RMIT, if you wanted big institutions, never taught it [permanence], to learn it you had to go to the old National Gallery School or Society... private teachers through the Victorian Artists paramount and it still is today... In ’63 when I first joined In today... paramount and it still is were permanence, permanence Camden the first lessons verypermanence, it was a thing...As a young man strong inbuilt there when I was 23, I would get so at Camden, and I started angry when I was serving artist would in the shop and a famous like false pretences, pigments. It’s come in and buy student very so it was always through those traditional strong you know, At Deans and Camden’s permanence of materials was always permanence At Deans and Camden’s R Camden in 1979, Pamela Fitz-Gibbon joined Eckersley’s where Camden in 1979, Pamela Fitz-Gibbon joined Eckersley’s she worked for the following 8 years. Manager of Eckersley’s, Pamela Fitz-Gibbon, Managing Director Pamela Fitz-Gibbon, Managing Manager of Eckersley’s, founder of Senior Art of National Art Materials and Bob Senior, Supplies. to become key figures in the supply of art materials in Melbourne. to become key figures in the supply of art materials the Art Shop in Among these were Rod Beer who now owns became Sales Maples Lane Prahran, Sydney Davidson who sold Camden and the business amalgamated with Deans Art sold Camden and the business amalgamated to become one of Supplies and Sydney-based company Vitrex Hemisphere the largest retailers of art materials in the Southern (ibid.). Kaye was the first international member of the American-based Kaye was the first international member of the and in 1960 Association (NAMTA) National Art Materials Trade from Materials was awarded a Degree of Master of Artist’s to the industry in recognition for his contribution (P NAMTA continued to work Fitzgibbon 2009, op.cit.). Davidson and Kaye left the business together at Camden until 1966 when Davidson son Kaye’s Pty Ltd. In 1968, Norman to join N.S. Eckersley’s In 1979 Kaye Colin and daughter Pamela joined the business. paper imported from Holbein including Shin Hosho, Kozo and Chiri Shin Hosho, Kozo from Holbein including paper imported rolls of Kongo paper. printing and papers for woodblock When interviewed former employee B on 4 December 2008, to which the concept of archival Senior explained the degree Camden employees. quality was stressed to A Several Melbourne art schools operated their own small art supply outlets. There was an art materials store on the 3rd floor of the (RMIT) building that Royal Melbourne Institute of Technology opened for a couple of hours a day and was staffed by a member Toorak Road property. They were fortunate that the Toorak Road They were fortunate that the Toorak Road property. Toorak address commanded such high rent that they were in the enviable position of no longer needing to work. When the brothers retired, Bob Senior resigned from Camden Art Centre to join Sydney and David Green as the fourth partner Davidson, Colin Vaughan (B Senior 2008, op.cit.). in Eckersley’s and initially stocked only a small selection of art materials (B Senior 2008, op.cit.). When Sydney Davison left Camden to join two of the Camden art representatives joined him and Eckersley’s, business flourished. The papers stocked from the the Eckersley’s included Strathmore, the Arches range, into the 1970’s late 1960’s Saunders watercolour paper and Kent drawing pads. Although the Rd building, in 1968 they Eckersley brothers owned the Toorak decided to move the business to Commercial Rd and rent out the N.S. The Eckersley twin brothers established their business at 17 in 1965. They were society printers Rd, South Yarra Toorak company established at the beginning of the 20th century. One century. of the 20th beginning at the established company Holbein was to Japan to visit business trips of his first overseas and between Kaye paper mills. The relationship and Japanese K’-after named a brush -‘Series so genial that Holbein Holbein was 2009 op.cit.). him (P Fitz-Gibbon ( @CIF/ ( S) )1#)" ME ( ( S IE ,+9941%, ( UPPL H&)?15;, ( G S N I .%47*+#5% ( *G ( ETCH E 0+#5%& ( N 15&%#1*# ( R U 8?*9 ."#;1% O ( (( F= ( LB E trade shows and engaging with artists. They were very interested in adding handmade Australian paper to their range, but with the minimum order for Jabberwock paper in particular being approximately 2000 sheets, it was too financially risky for their burgeoning business (M Burnet 2009, op.cit.). Graeme Brown supplied MES with Japanese papers and the Arches range and they sourced Aquarelle Arches on a roll from Burnet Art Papers Australia, which was operated by Jack Tanner. were business partners until 1998 and over that time and Wallace they opened conservation framing stores, galleries and material and Prahran, East Brunswick, Carlton supply outlets in Fitzroy, even London. 61;+#% 3*+#&%,- Institute of Burnet had studied Art and Design at Prahran had RMIT, who studied Metallurgy at and Wallace, Technology Their in Toronto. become interested in printmaking whilst living Guild print shop enterprise was run in conjunction with the Print fine quality materials and their aim was to supply printmakers with a space for and to promote Australian printmakers by providing them to exhibit their work (M Burnet 2009, op.cit.). As a natural extension of this vision, the works of the artists required framing and accordingly conservation of framing became another aspect their business. Their first catalogue lists a range of French papers for etching and Aquarelle Arches Fin, Aquarelle lithography including Arches Velin, Arches Technique, Arches Satine, Aquarelle Arches Torchon, Cuve and BFK, Italian rag paper for etching and lithography Velin including Fabriano Classico and Fabriano Murillo (available in a range of colours), English rag paper for etching, lithography and silk screen including Kent cartridge and finally Japanese cartridge 1976). The paper and Haruki rice paper (Burnet and Wallace range stocked by MES grew exponentially as a result of visiting M in 1974 by Margie Burnet and Neil The establishment of MES was pivotal in the historyWallace in Melbourne. The of printmaking from 227 Brunswick St, Fitzroy and was business first operated Print Guild (see Figure 4). commonly known as the a friend who owned a timber mill (Zimmer 1996). He set up a set up a 1996). He mill (Zimmer a timber who owned a friend this in Lower Plenty and stretchers workshop manufacturing As the as it is known today. of Art Stretchers was the beginning and of products stocked so did the range company expanded, Enjay paints, pastels and selling stretchers, linen, in addition to European watercolour they began to import etching presses, and and Green, Saunders as Arches, Barcham papers such Keys was unusual in the (D Keys Snr 2008, op.cit.). Waterford industryMelbourne art materials he fostered relationships because papermills: Bemboka, Jabberwock with three Australian boutique them to produce high quality and Blue Lake and encouraged he marketed and distributed on their papers for artists which behalf. M U R CT E P S T R A / S ER TCH RE T S T When Graeme was bringing the paper in, he sold five times more of the art paper in Australia, per head of population, than anywhere else in the world. So he did make an inroad. He was quite pioneering really (ibid.). he really did take an interest in the artist and what they were he really did take an interest in the artist and doing and tryto get them to use the best quality so they could op.cit.). bring out the best in their work (F Brown 2007, Fred Williams would never do anything unless Graeme came along and he would give him something to try out and say right very it, I’ll use that. As far as I know he never used much that’s the main one more once Arches paper came on. Arches was the big rolls of he used. He [Graeme] was the one who started instead of canvas paper which allowed them to do bigger work his paper and which was more expensive. He really did know He was in a good position because he could talk extensively he could talk extensively good position because He was in a paper and view the manufactured the to people who talk in depth to the end user. manufacturing and then R Keys Snr was a lecturer of painting at RMIT. He had just returned Keys Snr was a lecturer of painting at RMIT. to Melbourne after spending 12 months in England on a British Council grant and he and fellow artist George Baldessin were having difficulty sourcing linen and stretchers (D Keys Snr 2008, pers. comm., 27 November). They decided to have some linen woven by David Coop to their specifications and gradually Keys began to orchestrate the manufacture of stretchers through A Art Stretchers was established in 1966 when founder David Figure 3: Graeme Brown (seated at right) signing his business over to Canson Australia in 1986 Courtesy Faye Brown Brown opened a retail outlet and distributed paper nationally. At paper nationally. Brown opened a retail outlet and distributed to Canson the pinnacle of his working life he sold his business (see Figure 3). Australia and became Managing Director in 1986 was a defining moment in paper supply in Melbourne because was a defining moment in paper supply in Melbourne watercolour and rather than the focus being placed primarily on Brown introduced papers made for various end drawing paper, uses including printmaking. when introducing an artist or lecturer to his new but expensive when introducing an artist no alternative to a Rolls Royce’ and ‘once products were ‘there is never use anything else’ (J Neeson 2008 you’ve tried this, you’ll see himself simply as a supplier; he was op.cit.). Graeme didn’t students and artists to enable them equally driven about educating type for their specific application and to choose the right paper paper so their work would last. This ensuring they chose quality sales strategy R. Neeson, Brown’s As recalled by artist John He would visit artists and art schools and was simple and direct. of his common phrases with him. Two take a selection of papers to distributing European paper, a selection of approximately nine nine of approximately a selection paper, European to distributing thick, by Brown including a were distributed Japanese papers Y Boag Allen 2007, op.cit. and (B similar to Torinoko white paper interviewed comm., 2 August). When 2007, pers. 25 September employee R Beer recalled: 2008, former

2010 AICCM BOOK, PAPER AND PHOTOGRAPHIC MATERIALS SYMPOSIUM 80 2010 AICCM BOOK, PAPER AND PHOTOGRAPHIC MATERIALS SYMPOSIUM 81

S E T O All four partners were previously employees of Camden Art Centre. Robert Jones has since retired and the business is now owned by James MacDoughall, Great-Great-Grandson of James MacDoughall who built the Broadford paper mill in the 1870’s. James is the son of Peter MacDoughall, who was an owner of the Bemboka Paper Mill in Bega. Camden building in Gertrude Street. that Wiggins Teape had arrangements with. These were that Wiggins Teape Detmold Ltd. Adelaide, D.L. Brown and Co. Brisbane W. Co. and (not related to Graeme Brown) and R.R. Woolcott Melbourne. four distributors the agency for Fabriano is shared by Today Supplies. including Margie Burnet of Melbourne Etching in Sydney B.J. Ball was the agent for Strathmore papers a great deal of and Melbourne. Suppliers were not stocking at the time was Strathmore paper because the general feeling not pro-American. During WWII it MG Litho is a cheap, general-purpose paper. ammunition. was used for making bottle labels and wrapping This product list has been compiled from information received from former employee Bob Senior and invoices dating from the that were retained by Melbourne artist Fred Williams. 1960’s Copies of his invoices are retained by Paper Conservation at the National Gallery of Victoria. His prints provide a great insight into the paper range available to Melbourne artists. The production of Whatman art paper ceased during WWII but recommenced after the war for approximately 2 decades. and after a hiatus Production ceased in the early to mid 1960’s of approximately a decade, it became available in Melbourne again. The Series-K brush is still produced. Art Fitzroy office still operates from the old The Dean’s W & G Dean Pty Ltd was established in 1854 and they were W & G Dean Pty Ltd was established in 1854 in Elizabeth St known as ‘Deans the Paint People’. Located stocked paint, glass and art materials. As the they in the city, Collins St., branches opened in Little Deans business grew, Fitzroy and Spencer St. beginning Export Agreements dating from the The company’s of the 20th Century give reference to three Australian importers If you are selling paper you owe it to them [artists] that 40 years to them [artists] that 40 paper you owe it If you are selling not going to find their work had fallen to down the track they’re pieces.

10 11 3 4 5 6 7 8 9 ENDN 1 2 paper. The concept of archival quality paper was very quality paper of archival The concept much part paper. in this the suppliers discussed consciousness of of the collective in the shop was played out This sense of responsibility overview. of about the importance they would educate artists front where of Faye test of time. In the words that would stand the using paper Brown (2007) a conservation it is fortunate from perspective Needless to say, art papers introduced over the period that the vast majority of and low lignin content, two of the most of study had a high rag the manufacture of durable, permanent important elements in makers and suppliers Indeed, the legacy of the paper paper. diverse works of art produced by discussed lives on in the most included some of Melbourne’s which their customer-base celebrated artists. ( ( 15 ( (see 11 9?*&*;#"9?%2 ( :+,&#"41" ( 61&E#*-' ( J"9%#, ( 8&#%%& ( IA L .";5"51 ( (R Jones 2008, pers. comm., 20 February). Figure 5: The original shopfront *G 8!1&? in 2008 While the Magnani paper mill in Pescia has undergone several changes of ownership, the paper quality has been largely unaffected and at the beginning of the 21st century, Jones was one of their largest customers, being responsible for 70% of their export market RA AUST

S ER N P IO I PA N A N NCLUS several editions and my friends saw it and said ‘where can I several editions and my I’ll get some’. So I ordered a whole get some’. So I said ‘well a letter from Magnani Mills saying pallet of it and then I got before but we’re interested never supplied to Australia ‘We’ve anyone in opening up our market there, can you recommend myself and I’ve to be our agent?’ So I modestly recommended been their agent since January 1980 (ibid.). So I wrote to the Mill and by an extraordinarySo I wrote to the Mill and coincidence they that I had moved back to Adelaide had heard about me and So I got a letter from them as and set up a print workshop. I was them to supply me with paper. well asking if I would like So I ordered some paper for amazed! That was in 1979. AG Figure 5). the relatively small-scale works of Modernism to the larger scale contemporary to works of the 1980s; a change intrinsically linked paper supply. The founders of the Melbourne art materials industry contributed immeasurably to the creative output of Melbourne artists by giving them access to some of the highest quality local and imported a direct impact on the papers available to artists and a certain In the following decades, amount of improvisation was necessary. Melbourne artists began to experience the luxury as of choice the art paper supplied to them expanded from a small selection of European watercolour and drawing papers to a veritable smorgasbord of papers designed for various artistic end-uses. mirrors a shift from The period of time covered by this overview, CO paper shortages in Australia had Years, Throughout the War market was dedicated to Arches papers thanks to the dogged market was dedicated to Arches papers thanks operated his determination of Graeme Brown. Jones initially enterprise, selling business from Adelaide purely as a mail-order Although it would have most of his product to artists in Sydney. he moved to Sydney, seemed logical to simply move his business his retail outlet to Melbourne for personal reasons and established 2009. in Smith St, Fitzroy where it remained until June Once Jones became Magnani’s Australian agent he toured Australian agent Once Jones became Magnani’s artists’ studios and Melbourne and Sydney to visit art schools and Interestingly Magnani supply them with samples of paper to try. Melbourne paper was embraced by Sydney artists but the The Beehive Shirt and Pyjama Company building in Woden and building in Woden Shirt and Pyjama Company The Beehive Jones 2008, pers. comm., The Beehive Press (R established vision for the business was to print 12 December). The initial artists and he hoped to source Magnani lithographs for Australian paper to print on. M became Papers Australia first Director of Magnani Robert Jones, Italy printmaking in Urbino, Magnani whilst studying familiar with bought to Adelaide and In 1979 he returned in the mid 1970s.

An 830)6,2'19$/20):9,5/10) , 15 July, p. 5. , 15 July, , 22 October, p. 9. , 22 October, NTS , p.25. LS AI The Argus GEME T The Argus S E D , Newsletter of Papermakers of Australia, , Newsletter of Papermakers E has a BA majoring in Art History from La Trobe has a BA majoring in Art History from La Trobe E D

, The Humanities Research Centre, The Australian , The Humanities Research Centre, The Australian PHY NC WL CT O A ERE NT F E CO Email: [email protected] of Canberra. Louise undertook a post-graduate internship in Book of Canberra. Louise undertook a post-graduate and Paper Conservation at the State Library of Victoria from 1997- 1998. She was Paper Conservator at The Conservation Centre in Melbourne from 1998-2002 and the Centre for Cultural Materials Conservation, University of Melbourne from 2002-2006. Louise has been Conservator of Paper at the National Gallery of Victoria since 2006. Paper at the National Gallery of Victoria for being so supportive of this research. BIOGRA Louise Wilson University and a B. App. Sc. in the Conservation of Cultural Materials, specialising in Paper Conservation from the University ACKN Robert Jones, I am indebted to John R. Neeson, Margie Burnet, Faye and Scott Brown, Barbara Allen, Bob Senior, David Keys Snr, Davidson, Rod Pamela Fitz-Gibbon, Margherita Biordi, Sydney Garth McLean, Boag, Ruth Faerber, Allen, Yvonne Barbara Beer, Ian Armstrong. I’d Gareth Sansom and the late Nora Heysen and particularly like to thank Ruth Shervington, Senior Conservator of of the Experimental Painting Techniques used by Australian used of the Experimental Painting Techniques and 1960’s’in Modernists of the 1950’s -'/$%;90&)%()#/'(2'(;&)<02=00()1%(&0,>/2%,&?)19,/2%,&)/(-) art historians National University and the National Gallery of Australia Canberra, pp.141-159. Lawrence, T1986, ‘A whitebait and a bloody scone...’, Lawrence, T1986, ‘A whitebait /(01-%2/$)3'&2%,4)%5)6..7 Ivor Hele, dated 5 December’‘Letter addressed to Capt. 1944, Files, Art Section, Australian War located in the Artist Materials Memorial, Canberra. and ‘Dulux’: A Study J 1996 ‘Memories of ‘Masonite’ Zimmer, Catalogue’ in possession of author. Catalogue’ 1940, Collins, N.T.F in Australia’ in Brief historyFenton-Huie S 1986 ‘A of Paper-Making +%,-&)%()./#0, no. 11, p. 3. R 1942, Adamson, R Supplies ‘Melbourne Etching 1974, Wallace Burnet and

2010 AICCM BOOK, PAPER AND PHOTOGRAPHIC MATERIALS SYMPOSIUM 82