DOCSLIB.ORG

Max Meldrum and the Australian

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Max Meldrum and the Australian Diploma Lecture Series 2011 Art and Australia ll: European Preludes and Parallels Misty moderns: Max Meldrum and the Australian Tonalists Tracey Lock-Weir 2 / 3 March 2011 Introduction: This lecture will focus on the distinctive school of Australian tonalism, which flourished during the twentieth-century interwar period. It will outline the beginnings of this painting movement from when it was first pioneered in 1915 by the controversial artist, teacher and art theorist, Max Meldrum (1875-1955). Despite being widely condemned, Max Meldrum had an impact on the development of a young generation of Australian artists. Several of these artists became leading figures of the modern art movement in Melbourne and Sydney. Some of Meldrum’s other followers became known as the Meldrumites. Working in opposition to established tastes, these artists produced some of the most abbreviated and abstractly well-designed landscapes in Australian art. During the 1950s Meldrum’s ideas also had an enduring influence on a second generation of young Australian artists. Aspects of these influences will be demonstrated and discussed. Slide List 1. Max Meldrum, Portrait of Ida , 1910, oil on canvas, AGSA 2. Photograph of Max Meldrum 3. Margaret Preston, The tea urn , c.1909, oil on canvas, AGSA 4. Arnold Shore, Blue hydrangeas , 1921, oil on canvas, AGWA 5. Photograph of Meldrum’s painting technique from The Science of Appearances , 1950 6. Percy Leason , At the campfire , San Remo , c1934, oil on canvas, QAG 7. John Farmer, Peking , 1921, oil on board, CAGHM 8. Photograph of Studio Group, 1896 9. Photograph of Max Meldrum in his Paris studio, c.1901 * 10. Max Meldrum, Picherit’s Farm , c.1910, oil on canvas, NGV 11. Max Meldrum, Frosted poplars , Pacé , Brittany , c.1910, UQ 12. Max Meldrum, The little farm (Sketch , Eltham) , 1917, oil on board, PC 13. Arnold Shore, Blue hydrangeas , 1921, oil on canvas, AGWA 14. Colin Colahan, King Island , 1920, oil on board, PC 15. A.E. Newbury, Morning light , 1919, oil on cardboard, PC 16. (left) Max Meldrum, Portrait , 1910, oil on canvas, Kerry Stokes collection (right) Max Meldrum, Portrait of Ida , 1910, oil on canvas, AGSA * 17. Clarice Beckett, Summer fields , 1926, oil on board, PC 18. Napier Waller, The Pastoral Pursuits of Australia , 1927, oil on canvas, AGSA 19. Clarice Beckett, Hawthorn Tea Gardens , c.1933, oil on canvas, AGSA 20. Photograph of The Meldrum Group exhibition, 1920 * 21. Max Meldrum, The three trees , c.1917, oil on board, PC 22. Max Meldrum, Eltham bush , 1925, oil on canvas, AGSA 23. (left) Max Meldrum, The three trees , c.1917, oil on board, PC (right) Hans Heysen, The three gums , 1915-20, oil on canvas, AGB 24. Roland Wakelin, Self-portrait, 1920, oil on paperboard, AGNSW 25. Grace Cossington Smith (detail) Rushing , c.1922, oil on canvas, AGNSW 26. Grace Cossington Smith, Rushing , c.1922, oil on canvas, AGNSW * 27. Roy de Maistre, Berry ’s Bay , c1920, oil on board, AGSA 28. Roy de Maistre, Berry ’s Bay , Sydney Harbour, 1920, oil on board, AGSA 29. (left) Roy de Maistre, Berry ’s Bay , Sydney Harbour, 1920, oil on board, AGSA (right) Roy de Maistre, Berry ’s Bay , c1920, oil on board, AGSA 30. Roy de Maistre, Still life , c.1922, oil on paper on paperboard, AGNSW 31. Lloyd Rees, Morning at Parramatta River , c.1922, oil on canvas, PC * 32. Lloyd Rees, Boy on a bridge , c.1922, oil on canvas, AGSA 33. (left) Percy Leason, Self-portrait , 1922, oil on cardboard, AGNSW (centre) Percy Leason, Portrait of Basil Burdett , c.1935-38, oil on canvas, QAG (right) Arnold Shore, Self-portrait , c.1921, oil on cardboard, CAGHM 34. Photograph of The Meldrum Group exhibition, 1920 35. (left) Percy Leason, Two of the artist’s children , c.1922, oil on canvas, CAGHM (right) James McNeill Whistler, Harmony in grey and green: Miss Cicely Alexander , 1872-4, oil on canvas, Tate Gallery 36. (left) Clarice Beckett, Hawthorn Tea Gardens , c.1933, oil on canvas, AGSA (right) Hiroshige III, Famous places of Tokyo , 1869, colour woodcut on paper, AGSA 37. (left) Justus Jorgensen, The shopping centre (Brighton) , 1933, oil on cardboard, PC (centre) Hiroshige , Dyers’s Street, Kanda , 1857, colour woodcut on paper, AGSA (right) Colin Colahan, Cumberland rooftops, Lorne , 1928, oil on board, Xavier College 38. Colin Colahan, Tarczynski on the beach , 1930s, oil on board, Xavier College 39. Colin Colahan, Cumberland rooftops, Lorne , 1928, oil on board, Xavier College 40. Percy Leason, Caravan, Eltham Park , c.1930, oil on canvas, AGSA 41. Percy Leason, Campsite study , San Remo , c1934, oil on board, AGSA 42. Colin Colahan, Winter landscape , c.1935, oil on canvas, AGSA 43. Clarice Beckett Wet night, Brighton , 1930, oil on board, PC 44. Clarice Beckett, Taxi rank , c.1931, oil on canvas, Kerry Stokes collection 45. Polly Hurry, Still life , c.1940, oil on canvas, MCG+SP 46. Max Meldrum, Iris in the mirror , c.1945, oil on board, NGA * 47. Colin Colahan, Ballet of wind and rain , 1945, oil on canvas, AWM 48. Hayward Veal, Harbour scene , Sydney , 1946, oil on board, MCG+SP 49. Fred Williams, Figure in a landscape , c.1958-59, oil on board, AGSA 50. (left) Max Meldrum, The three trees , c.1917, oil on board, PC (right) Fred Williams, Figure in a landscape , c.1958-59, oil on board, AGSA 51. Photograph front cover Max Meldrum’s book, The Science of Appearances , 1950 52. Photograph of Max Meldrum’s Colour Diagram in The Science of Appearances . 53. Ian Burn, Left to Right Painting , 1965, synthetic polymer paint on canvas, PC 54. Percy Leason, Two of the artist’s children , c.1922, oil on canvas, CAGHM AGB Art Gallery of Ballarat; AGSA Art Gallery of South Australia; AGNSW Art Gallery of New South Wales; AGWA Art Gallery of Western Australia; AWM Australian War Memorial; CAGHM Castlemaine Art Gallery & Historical Museum; NGA National Gallery of Australia; NGV National Gallery of Victoria; MCG+SP McClelland Gallery + Sculpture Park; PC Private collection; QAG Queensland Art Gallery; UQ University of Queensland collection Bibliography Colahan, C., (ed) Max Meldrum: His Art and Views , Melbourne: A. McCubbin, 1919. Foreman, R.R. (ed) The Science of Appearances as Formulated and Taught by Max Meldrum , Sydney: The Shepherd Press, 1950. Hollinrake, R., Clarice Beckett: Politically Incorrect , Melbourne: The Ian Potter Museum of Art, University of Melbourne, 1999. Lock-Weir, T., Misty Moderns: Australian Tonalists 1915-1950 , Adelaide: Art Gallery of South Australia, 2008. Perry, P. & J., Max Meldrum & Associates: Their Art , Lives and Influences , Victoria: Castlemaine Art Gallery & Historical Museum, 1996. Rees, L., Peaks & Valleys: Lloyd Rees. An Autobiography , Sydney: HarperCollins, 1985. Rees, L., The Small Treasures of a Lifetime , Sydney: HarperCollins, 1995. First edition Ure Smith Ltd 1969. Stephen, A., On Looking At Looking: The Art and Politics of Ian Burn, Melbourne: The Miegunyah Press, 2006. Max Meldrum, Picherit’s Farm , c.1910, oil on canvas, NGV Clarice Beckett, Summer fields , 1926, oil on board, PC Max Meldrum, The three trees , c.1917, oil on board, PC Roy de Maistre, Berry ’s Bay , c1920, oil on board, AGSA Lloyd Rees, Boy on a bridge , c.1922, oil on canvas, AGSA Colin Colahan, Ballet of wind and rain , 1945, oil on canvas, AWM .
Load more

Recommended publications
  • The Mccubbin Times15 August 2009
    THE McCUBBIN TIMES, 15 AUGUST 2009 THE McCUBBIN TIMES, 15 AUGUST 2009 ART NOTES ART NOTES MELBOURNE CELEBRATES FEDERATION Stature Still Increasing McCUBBIN SHOW 15 AUGUST 2009 in Centenary Year INSPIRING National HEN posterity has cast its vote the artistic RETROSPECTIVE exhibition of paintings by Wstature of the late Frederick McCubbin is the late Frederick McCubbin at the Latrobe Gallery of likely to increase, and in inverse ratio the later Gallery,A National Gallery, fulfills expectations. work of Sir Arthur Streeton may lose some of It is the major artistic event of the year. its present day popularity. Australia uring his youth to 1910. Within this period OMPRISED of 56 ART SHOW Streeton was the artist painted some of works drawn from showcases D C EARLY AUSTRALIAN undoubtedly the greater his finest work. private collections, and The McCubbin Times artist. Consciously or By State and provincial gall- IMPRESSIONIST Frederick unconsciously, he fell a Special eries, it has been brought victim to the charms of Correspondent together to mark the Twenty-four canvasses by Frederick McCubbin, one of McCubbin success and the poet made in London centenary of the artist’s the originators of the school of An exhibition of 76 works way for the businessman. birth and to do honour to a landscape painting, which with McCubbin’s art, on the His former broad state- of art created by Frederick great landscape painter. modifications, still dominates McCubbin during the last other hand evolved steadily ment of tone had been re- Australian art, are showing at Subject of comment in eleven years of his life, and towards the end of placed by the broken colour this column (25/10/55), the Sedon Gallery, Elizabeth Street.
    [Show full text]
  • Art Monthly 1 L S TR II, I I
    --L/ f -~ ..... .I \ I ( I !' I ' \ I .I Denis Freney Memorial Scholarships Up to $10,000 AUSTRALIAN Applicatio ns are in vited from people currentl y engaged BOOK REVIEW in (or about to commence) a research, writing or cultural project whi ch is judged to make a contributio n to the labour and progressive moveme nts in Australi a. MAY: The SEARC H Foundation wi ll award scho larships to assist wi th the costs o f such a project. Priority will be An essay by Terry Collits g iven to pro jects which have good prospects of pu blicati on or othe r public use of th e results, but A double review of Germaine Greer's whi ch do not have access to other funding. The Whole Woman by S EA RC H is an inde pendent, non-pro fit fo undati on Jenna Mead and Peter Craven established to assist acti vities whi ch pro mote social j usti ce and the development of a more democrati c and Dorothy Hewett on Jm·die Albiston's egalitari an society. Deta il s of its aim s and objecti ves are avail able on request. The Hanging ofJean Lee Suitabl y qualified applicants should contact SEA RCH Susan Lever on David Foster's essays for deta il ed applicati o n g uidelines. Applications must be received by July 20, 1999 and his new novel, Social Education and Research In the New Country Concerning Humanity (SEARCH) Foundation Rm 610,3 Smail Street, BROADWAY NSW 2007 Andrew Riemer on Ph : (02) 921 I 4164; Fax: (02) 921 I 1407 James Bradley's The Deep Field SEARCH FOUNDATION New Subscribers $55 for ten issues plus a free book ACN 050 096 976 Ph (03) 9429 6700 or Fax (03) 9429 2288 in the footsteps of Dam Gregory Murray, Joseph Gelineau SJ and Richard Connolly MUSIC FOR SUNG MASS GREGORIAN CHANT New rhythmic edition with organ accompaniment Introduction: 'Looking towards 21st century Gregorian Chant' Short Mass (Advent, Lent), Gloria XV, Mass VIII (de Angelis), Credo III $25 WORKS FOR THE ENGLISH LITURGY (including Mass settings approved by the National Liturgical Commission) 1.
    [Show full text]
  • Percy Leason (1889-1959)
    PERCY LEASON (1889-1959) Percy Alexander Leason was an Australian artist who was a major figure in the Australian tonalist movement. Percy was born on 23 February 1889 in rural Victoria, from a large family of famers, he was expected to carry on the family tradition of wheat farming or saddlery making, however, in his early adolescent years he demonstrated an interest in drawing. After attending art school at Nhill, Percy was apprenticed to Sands & McDougall in Melbourne as a lithographic artist in 1906. He soon transferred to the art department where he did illustrations for jam tin labels and department store advertisements. His first major illustration was a poster for Carlton Brewery in Melbourne of Sam Griffin, an itinerant miner, standing at a bar with a full pint, the caption of the poster “I allus has wan at Eleven”, became a famous trademark for Foster beer. During these years he studied at the National Gallery of Victoria Art School under the tutelage of Bernard Hall and Frederick McCubbin, upon completing his apprenticeship he began a somewhat bohemian lifestyle. Leason commenced his illustration career in 1914, later serving on the staff of the Sydney Bulletin as political cartoonist, at this time his career as a commercial painter was expanding as well, with artworks of Gallipoli and the Sturt expedition being bought by the War Memorial Museum in Canberra, and the National Library of Australia in Canberra respectively. He joined the Sydney Society of Artists and the Painters and Etchers Society, in 1918 his paintings and etchings were purchased by The Art Gallery of New South Wales, Sydney, and at that time he was the highest paid commercial artist in Australia.
    [Show full text]
  • Drusilla Modjeska Novelist, Writer and More. Clarice Beckett: at the Edge
    Drusilla Modjeska Novelist, Writer andmore. Clarice Beckett: At theEdge Catalogue Essay: Clarice Beckett, Niagara Galleries, Melbourne, April 2014 Clarice Beckett liked to paint along the edge of the shore: sand and water, boat and jetty, cliff and bay. She painted early in the morning and again in the evening, at the edge of the day when shadows were long and the light diffuse. There were practical, domestic reasons for both these choices, rehearsed in every telling of Clarice Beckett, the artist who lived with her parents in the Melbourne beach suburb of Beaumaris. As the unmarried daughter, domestic care of her aging parents fell to her, limiting the work of her art to the time and the place of her circumstances. It wasn’t until she was 27 that her father allowed her, in 1914, to attend the Victorian National Gallery School, and even then she was to be chaperoned by her sister Hilda. The freedoms of travel and study in Europe that opened for other women painting in the years between the wars were not for Clarice Beckett. She never travelled beyond Victoria; she did not even have her own studio. Her father had ruled that ‘the kitchen table would do’. But for an artist as serious as Clarice Beckett it did not do, which is why, early each morning and again in the evening, before and after the duties of the day, she set out for the streets and beaches within walking distance of the house, pulling behind her a small cart for her paints, with a lid that served as an easel for her smaller paintings.
    [Show full text]
  • Drusilla Modjeska Novelist, Writer and More. Framing Clarice Beckett
    Drusilla Modjeska Novelist, Writer andmore. Framing Clarice Beckett Published in the Australian’s Review of Books, March 1999; Drusilla Modjeska, Timepieces, Sydney, Picador, 2002 Clarice Beckett was very particular about her frames. She didn’t like ornate, heavy, decorated frames. The ones she used had a double moulded ridge, characteristic of the 1920’s; they were either gilded or whitewashed, but the only decoration she allowed was a little strap or ribbon, running diagonally along the seam in each corner, or a leaf, or occasionally a scallop. One of the pleasures of the exhibition that toured Australia in 1999 was that most of the paintings were still in the frames she gave them. This might seem a minor point, directing our eye outside the painting, but frames – which we usually don’t ‘see’ unless they intrude in some way and demand our attention – hold the picture in so that it exists on its own terms, not as a description of the world outside, but as an image, or a metaphor, or a reverie. The conventional wisdom is that the content of a painting should not extend into the frame in case it forms a little bridge into that disturbing external reality and breaks the autonomy of the image. In Clarice Beckett’s painting a lot tends to happen on the edge, right up against the frame. Roads and lines of trees or telegraph poles take our eye to the frame as if we could break free of its constraints. People walk off the edges of the paintings; cars are cut by the frame as they sink out of sight.
    [Show full text]
  • Art Trail Booklet
    COASTAL TRAILS ART Bayside Coastal Art Trail map overleaf 76 Royal Avenue, Sandringham PO Box 27 Sandringham VIC 3191 T (03) 9599 4444 [email protected] www.bayside.vic.gov.au Get the Bayside Walks & Trails App Bayside Coastal Trail Network Bayside City Council has developed four affiliated trails stretching across the 17 kilometers of the coastline adjacent to Beach Road between Brighton and Beaumaris. The Bayside Coastal Art Trail The Bayside Coastal Art Trail signs celebrate the lives and artworks of notable Australian artists who painted the bayside coast in years past and feature more than 50 artworks on signs along the 17km of coastline. For more information about these art works and the artists, visit www.bayside.vic.gov.au/trails Thomas Clark Red Bluff, c1860s 01 Collection: Port Phillip City Collection In this painting, we see Point Ormond, also known at that time as ‘Little Red Bluff’ as a cliff of ironstone. This oil on canvas was painted c1860s. Today Point Ormond is a much less prominent topographical feature; a grassy hill, reduced in size, that still has a navigation beacon at the summit. Sheep grazing on the flat grassy summit, the depiction of the navigation beacon at the summit and the figures attending to a wooden sailing boat on the Elwood beach, in the foreground, add to the charm of this painting. Oil on canvas 43.0 x 68.0 cm pp1996.18.245 Charles Douglas (C.D.) Richardson 02 Playthings of the Wind, Middle Brighton Beach Private Collection: Courtesy Lauraine Diggins Fine Art This watercolour was painted by local artist and sculptor Charles Douglas (C.D.) Richardson in 1911.
    [Show full text]
  • Curbing the Wrath of a Tropical Storm
    MONASH REPORTER AMAGAZINE FOR THE UNIVERSITY Registered by Australia Post - publication No. VBG0435 NUMBER 2·86 APRIL 4, 1986 Curbing the wrath of a tropical storm About 40 per cent of Australia's export earnings come from a huge but lillie-studied part of the country, the tropics, which is subject to dry spells, severe storms and long periods of heavy rain. The most important tropical indus­ Gulf of Carpentaria from late Septem­ tries - mining, off-shore oil and gas, ber to Decem ber. fishing, agriculture and tourism - are The Monash research group have put highly weather-dependent. up the idea that it is caused when While the threat of cyclones is ever­ easterly on-shore winds blowing off the present, sudden storms or extreme wet Pacific Ocean at the base of Cape York seasons can also cause significant Peninsula develop a front which in the economic and social disruption. early morning collides almost head-on So the Bureau of Meteorology with a corresponding front developed by Research Centre has organised the Aus­ the westerly on-shore breezes as they tralian Monsoon Experiment, the most move inland from the Gulf. extensive study of Australian tropical What would then occur is similar to' weather ever mounted. two waves meeting at the seaside travel­ And slaff and postgraduate students ling in opposite directions. Where they rrom the Applied Section or the Monash meet. water is pushed up and settles • A male ii Mathematics department are playing a back either side or the join. Cold air Monash University'S growth and development - how sculptor, Matcham Skipper, of Montsalvat, saw the image of the University's first 25 years.
    [Show full text]
  • AGS Lecture Series 2011 Slide Test Revision List [REVISED 1 NOV 2011] Numbers Preceding Slides Refer to Their Listing in Lecture Handouts
    AGS lecture series 2011 slide test revision list [REVISED 1 NOV 2011] Numbers preceding slides refer to their listing in lecture handouts. Modernism, liberation and a new way of seeing Barry Pearce 2/3 February 2011 44. Robert Delauney, The red tower, 1911-12, oil on canvas. Guggenheim Museum, New York 53. Grace Cossington Smith, 1892-1984, The curve of the bridge, 1928-29, oil on cardboard. AGNSW Colour in art: revisiting 1919 Deborah Edwards 9/10 February 2011 1. Roy de Maistre, Rhythmic composition in yellow green minor 1919, oil, AGNSW 7. [x 2] Roland Wakelin, Synchromy in orange major 1919, oil, AGNSW ; Roy de Maistre Syncromy Berry’s Bay 1919, oil, NGV Love and Friendship: George Lambert and Thea Proctor Christopher Allen 16/17 February 2011 10. George Lambert. Miss Thea Proctor, 1903. Oil on canvas, 91.5 x 71 cm. Sydney, AGNSW. 42. Thea Proctor, Siesta, 1913. Watercolour, 31 x 51.4 cm. Canberra, NGA. Sydney Style Craig Judd 23 / 24 February 2011 1. D.H. Souter (1862–1935). Untitled (Butterflies or Moths) c.1928. Pen and ink. National Gallery of Australia 6. Margaret Preston (1875–1963). Flapper 1925. Oil on canvas. National Gallery of Australia Misty moderns: Max Meldrum and the Australian Tonalists Tracey Lock-Weir 2 / 3 March 2011 10. Max Meldrum, Picherit’s Farm, c.1910, oil on canvas, NGV 17. Clarice Beckett, Summer fields, 1926, oil on board, PC The French Connection: Cubism & Australian Art in the 1920 & 1930s Ann Stephen 9 / 10 March 2011 13. Roy de Maistre, Seated Figure, 1933, AGNSW 21.
    [Show full text]
  • PAINTING AWARD Front Cover Image: E Phillips Fox (1865–1915), Bathing Hour, C.1909, Oil on Canvas, 180 × 112 Cm, T C Stewart Bequest Fund 1952, Acc
    2019 LEN FOX PAINTING AWARD Front cover image: E Phillips Fox (1865–1915), Bathing Hour, c.1909, oil on canvas, 180 × 112 cm, T C Stewart Bequest Fund 1952, Acc. No. 318. First Published in 2019 by Castlemaine Art Museum 14 Lyttleton Street (PO Box 248) Castlemaine, Victoria 3450, Australia www.castlemainegallery.com Published as a digital catalogue for the exhibition Len Fox 2019 Painting Award 8 June – 1 September 2019, presented at the Castlemaine Art Museum. Exhibition Management: Lauren Matthews and Elizabeth Retallick Catalogue Editor: Lauren Matthews with assistance from Peter Struthers and Rosemary Jane Howarth. Director CAM Renewal: Naomi Cass Catalogue and wall text Design: Adrian Saunders We acknowledge and thank Geoffrey Smith, Director of Sotheby’s Australia, for judging the Len Fox Painting Award. CAM thanks the The Len Fox Bequest and the Castlemaine Art Gallery and Historical Museum Trustees for their financial support in enabling this Award and exhibition to flourish. Acknowledgement of Country Castlemaine Art Museum acknowledges the Dja Dja Wurrung as the Traditional Owners of the land on which we work and are located and their continuing connection to the land, waters and culture. The CAM Board, Members, Staff and Volunteers pay respects to all Aboriginal and Torres Strait Islander people and their Elders past, present and emerging. LEN FOX PAINTING AWARD In celebration of the life and work of Emanuel Phillips Fox (1865–1915), the Len Fox Painting Award is a biennial exhibition and acquisitive prize awarded to a living Australian artist. Finalists are selected for their ability to successfully engage with the ideas, techniques and sensibilities in the work of E.P.
    [Show full text]
  • To View Asset
    Library Board of Victoria Annual Report 2005-06 Published by the State Library of Victoria 328 Swanston Street Melbourne, Victoria 3000 Also published on slv.vic.gov.au ©State Library of Victoria 2006 This publication is copyright. No part may be reproduced by any process except in accordance with the provisions of the Copyright Act 1968. Authorised by the Victorian Government 328 Swanston Street Melbourne, Victoria 3000 Photography Erica Lauthier, Peter Mappin and Emilee Seymour, Image Resources Group, State Library of Victoria; Adam Cleave; and Ross Bird Design and art direction 3 Deep Design Editor Sally Van Es Printing Bambra Press President’s Report 04 CEO’s Year in Review 06 Financial Summary 08 Key Performance Indicators 09 Highlights of the Year 10 The Collection 14 Stewardship 14 Development 14 Acquisitions 15 Significant Additions to the Collection 16 Information and Access 18 Information Services 18 Digital Initiatives 20 Digital Partnerships 21 Public Programs 22 Learning Services 25 Community Information and Cooperation 30 Vicnet 30 Services to Public Libraries 31 Planning and Resources 41 Financial Management 41 Human Resources and Executive 41 Marketing and Communications 42 Business Initiatives 43 Building Redevelopment Program 43 Library Organisation 44 Library Board and Corporate Governance 45 Library Executive 50 Organisational Structure 51 Reconciliation of Executive Officers 52 State Library of Victoria Foundation 54 National and International Activities 58 Staff Fellowship Program 59 Occupational Health and Safety
    [Show full text]
  • Australasiana
    Collectors’ List No. 169, 2014 Australasiana Josef Lebovic Gallery 103a Anzac Parade (cnr Duke Street) Kensington (Sydney) NSW Ph: (02) 9663 4848; Fax: (02) 9663 4447 Email: [email protected] Web: joseflebovicgallery.com 1. Sir Joseph Banks Letter With Silhou­ JOSEF LEBOVIC GALLERY ette, c1779. Woodcut and letter laid down on Established 1977 paper, letter dated “Feb. 24, 1779” and signed by 103a Anzac Parade, Kensington (Sydney) NSW Joseph Banks in ink, annotated in an unknown hand on backing below letter, 7.3 x 3.6cm Post: PO Box 93, Kensington NSW 2033, Australia (silhouette), 29.4 x 22.5cm (sheet). Offsetting and Tel: (02) 9663 4848 • Fax: (02) 9663 4447 • Intl: (+61-2) discolouration, old folds. $4,500 Email: [email protected] • Web: joseflebovicgallery.com Letter reads “Soho Square, Feb. 24, 1779. Dear Sir, many thanks for your [favour], we are not in so great a Open: Wed to Fri 1-6pm, Sat 12-5pm, or by appointment • ABN 15 800 737 094 hurry as to want anything for the next Thursday, but Member of • Association of International Photography Art Dealers Inc. could you furnish us on the succeeding, viz the 4th of March. I shall be obliged. Yours faithfully, Joseph Banks.” International Fine Print Dealers Assoc. • Australian Art & Antique Dealers Assoc. Annotation reads “Sir Joseph Banks. president, R.S. and circumnavigator.” Several other autographs are laid down on the backing verso, including George Staunton, COLLECTORS’ LIST No. 169, 2014 Sir John Fenn and William Melmoth. 2. After Robert Cleveley (British, 1738-1814). A View Of Botany Bay, 1789.
    [Show full text]
  • AGSA Acquires Significant Clarice
    MEDIA RELEASE For release Saturday 30 May 2020 Art Gallery of South Australia acquires significant Clarice Beckett collection Adelaide, Australia: The Art Gallery of South Australia today announces the acquisition of an exceptional private collection of works by twentieth-century Australian painter Clarice Beckett (1887-1935). Comprising 21 oil paintings, it is among the most significant single acquisitions of works by a woman artist to be made by an Australian art museum. Made possible due to the generosity of Alastair Hunter OAM, the acquisitions build upon our commitment to promoting important women artists. The paintings come from the personal collection of Clarice Beckett scholar Dr Rosalind Hollinrake, who assembled this collection over a fifty-year period. Clarice Beckett was a modern artist whose identity was lost to art history for decades. Following a chance encounter with Beckett’s sister in the 1960s, Dr Rosalind Hollinrake salvaged hundreds of the artist’s neglected canvases and held an exhibition of these paintings, which restored the artist’s reputation. Today, Beckett is celebrated for her atmospheric abstractions of the commonplace. AGSA Director Rhana Devenport ONZM says, ‘This is a major acquisition and milestone for the Art Gallery of South Australia. The donation is a remarkable story of shared passions and expertise bound by a tremendous act of generosity by the Hunter Family. To celebrate this momentous acquisition, AGSA will mount a comprehensive Clarice Beckett exhibition in early 2021.’ Philanthropist, Alastair Hunter said, ‘The story of Clarice Beckett and the work of Dr Hollinrake to protect and promote that story immediately appealed to me.
    [Show full text]