Immunity from Seizure
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Art Gallery of Ballarat Annual Report 10-11 Annual Report
Art Gallery of Ballarat Annual Report 10-11 Annual Report 2010-11 ISSN 0726-5530 Chair’s Report .................................................................................................4 Art Gallery of Ballarat ACN: 145 246 224 Director’s Report .........................................................................................6 ABN: 28 145 246 224 Association Report .....................................................................................8 40 Lydiard Street North Ballarat Victoria 3350 Women’s Association Report ............................................................10 T 03 5320 5858 F 03 5320 5791 Gallery Guides Report ...........................................................................11 [email protected] Acquisitions ...................................................................................................13 www.artgalleryofballarat.com.au Outward Loan ..............................................................................................27 Exhibitions ......................................................................................................31 Public Programs ........................................................................................35 Education Visits and Programs ..........................................................37 Adopt an Artwork ......................................................................................40 Donations, Gifts and Bequests .........................................................41 Gallery Staff and Volunteers -
Appendices 2011–12
Art GAllery of New South wAleS appendices 2011–12 Sponsorship 73 Philanthropy and bequests received 73 Art prizes, grants and scholarships 75 Gallery publications for sale 75 Visitor numbers 76 Exhibitions listing 77 Aged and disability access programs and services 78 Aboriginal and Torres Strait Islander programs and services 79 Multicultural policies and services plan 80 Electronic service delivery 81 Overseas travel 82 Collection – purchases 83 Collection – gifts 85 Collection – loans 88 Staff, volunteers and interns 94 Staff publications, presentations and related activities 96 Customer service delivery 101 Compliance reporting 101 Image details and credits 102 masterpieces from the Musée Grants received SPONSORSHIP National Picasso, Paris During 2011–12 the following funding was received: UBS Contemporary galleries program partner entity Project $ amount VisAsia Council of the Art Sponsors Gallery of New South Wales Nelson Meers foundation Barry Pearce curator emeritus project 75,000 as at 30 June 2012 Asian exhibition program partner CAf America Conservation work The flood in 44,292 the Darling 1890 by wC Piguenit ANZ Principal sponsor: Archibald, Japan foundation Contemporary Asia 2,273 wynne and Sulman Prizes 2012 President’s Council TOTAL 121,565 Avant Card Support sponsor: general Members of the President’s Council as at 30 June 2012 Bank of America Merill Lynch Conservation support for The flood Steven lowy AM, Westfield PHILANTHROPY AC; Kenneth r reed; Charles in the Darling 1890 by wC Piguenit Holdings, President & Denyse -
Danks News Final
Artworks where Resale Royalty is not applicable Artworks under $1,000 and so exempt from Resale Royalty Collectible Australian artists in this category include: consider works on paper including prints, smaller works, works by less mainstream or emerging artists, decorative arts Robert Clinch 1957 - Black and White 2008 suite of eight lithographs 19 x 20.5 cm each, edition of 40 These lithographs are available individually or in matching numbered sets. Troy Pieta Alice Ali Trudy Raggett Kemarr 1980 - Arrkerr 2007 synthetic polymer on carved wood height: 40 cm David and Goliath Empire Trudy Raggett Kemarr 1980 - Arrkerr 2007 synthetic polymer on carved wood height: 40 cm Richard III Alien Artworks where Resale Royalty is not applicable Deceased Artists who have been deceased for more than 70 years Collectible Australian artists in this category include: Clarice Beckett, Merric Boyd, Penleigh Boyd, Henry Burn, Abram Louis Buvelot, Nicholas Chevalier, Charles Conder, David Davies, John Glover, William Buelow Gould, Elioth Gruner, Haughton Forrest, Emmanuel Phillips Fox, A.H. Fullwood, Henry Gritten, Bernard Hall, J.J. Hilder, Tom Humphrey, Bertram Mackennal, John Mather, Frederick McCubbin, G.P. Nerli, W.C. Piguenit, John Skinner Prout, Hugh Ramsay, Charles Douglas Richardson, Tom Roberts, John Peter Russell, J.A. Turner, William Strutt, Eugene Von Guerard, Isaac Whitehead, Walter Withers Bernard Hall 1859 - 1935 Model with Globe oil on canvas 67x 49 cm William Buelow Gould 1803 - 1853 Still Life of Flowers c.1850 oil on canvas 41 x 50 cm -
THE HARVEST of a QUIET EYE.Pdf
li1 c ) 1;: \l} i e\ \. \ .\ The University of Sydney Copyright in relation to this thesis* Unde r the Copyright Act 1968 (several provision of which are referred to below), this thesis must be used only under the normal conditions of scholarly fair dealing for the purposes of research, criticism or review. In particular no results or conclusions should be extracted (rom it, nor should it be copied or closely paraphrased in whole or in part without the written consent of the author. Proper written acknowledgement should be made for any assistance obtained from this thesis. Under Section 35(2) of the Copyright Act 1968 'the .uthor of a literary, dramatic. musical or artistic work is the owner of any copyright subsisting in the work', By virtUe of Section 32( I) copyright 'subsists in an original literary, dramatic. musical or artistic work that is unpublished' and of which the author was an Australian citizen, an Australian protected person or a person resident in Australia. The Act. by Section 36( I) provides: 'Subject to this Act. the copyright in a literary, dramatic, musical or artistic work is infringed by a person who. not being the owner of the copyright and without the licence of the owner of the copyright, does in Australia, or authorises the doing in Australia of, any act comprised in the copyright'. Section 31 (I )(.)(i) provides thot copyright includes the exclusive right to'reproduce the work. in a material form'.Thus, copyright is infringed by a person who, not being the owner of the copyright, reproduces or authorises the reproduction of a work., or of more than a reasonable part of the work, in a material form, unless the reproduction is a 'fair dealing' with the work 'for the purpose of research or swdy' as further defined in Sections 40 and . -
Tom Roberts's Masterpiece Emerges for Public Sale
Melbourne | +61 (0)3 9508 9900 | Thomas Austin | [email protected] TOM ROBERTS’S MASTERPIECE EMERGES FOR PUBLIC SALE FOR THE FIRST TIME SINCE THE 9 BY 5 IMPRESSION EXHIBITION IN 1889 She-Oak in Sun-Light Makes Auction Debut After Over a Century in the Sir Walter Baldwin Spencer Collection An Enduring Symbol of Roberts’s Vision to Create a Distinct & ‘National’ Visual Vocabulary for Australian Landscape Painting TOM ROBERTS 1856-1931 She-Oak and Sun-Light (1889) oil on wood, 30.5 x 30 cm Estimate $220,000–280,000 MELBOURNE, 30 October 2019 – On 20 November 2019, Tom Roberts’s celebrated Impressionist masterpiece, She-Oak and Sun-Light (1889), will go under the hammer at Sotheby’s Australia’s auction of Important Australian Art. The work was first seen by the public during the iconic The 9 by 5 Impression Exhibition in Melbourne in 1889 before being acquired by one of Australia’s first great art patrons Sir Walter Baldwin Spencer (1860-1929). The panel has been cherished by Spencer’s descendants since that time and will make its auction debut at Sotheby’s Australia this November. Sotheby’s Australia is a trade mark used under licence from Sotheby's. Second East Auction Holdings Pty Ltd is independent of the Sotheby's Group. The Sotheby's Group is not responsible for the acts or omissions of Second East Auction Holdings Pty Ltd Melbourne | +61 (0)3 9508 9900 | Thomas Austin | [email protected] THE MOST CELEBRATED WORK FROM AUSTRALIA’S FIRST IMPRESSIONIST EXHIBITION Over the past century, beginning with Frank Gibson, R.H. -
PRIMARY Education Resource
A break away! painted at Corowa, New South Wales, and Melbourne, 1891 oil on canvas 137.3 x 167.8 cm Art Gallery of South Australia, Adelaide, Elder Bequest Fund, 1899 PRIMARY Education resource Primary Education Resource 1 For teachers How to use this learning resource for primary students Tom Roberts is a major INTRODUCTION exhibition of works from the National Gallery of Australia’s ‘All Australian paintings are in some way a homage to Tom Roberts.’ Arthur Boyd collection as well as private and Tom Roberts (1856–1931) is arguably one of Australia’s public collections from around best-known and most loved artists, standing high among his talented associates at a vital moment in local painting. Australia. His output was broad-ranging, and includes landscapes, figures in the landscape, industrial landscapes and This extraordinary exhibition brings together Roberts’ cityscapes. He was also Australia’s leading portrait most famous paintings loved by all Australians. Paintings painter of the late nineteenth and early twentieth such as Shearing the rams 1888–90 and A break away! centuries. In addition he made a small number of etchings 1891 are among the nation’s best-known works of art. and sculptures and in his later years he painted a few nudes and still lifes. This primary school resource for the Tom Roberts exhibition explores the themes of the 9 by 5 Impression Roberts was born in Dorchester, Dorset, in the south of exhibition, Australia and the landscape, Portraiture, England and spent his first 12 years there. However he Making a nation, and Working abroad. -
SECONDARY Education Resource
Shearing the rams painted at Brocklesby station, Corowa, New South Wales, and Melbourne, 1888–90 oil on canvas mounted on board 121.9 x 182.6 cm National Gallery of Victoria, Melbourne, Felton Bequest Fund, 1932 SECONDARY Education resource Secondary Education Resource 1 For teachers How to use this secondary student learning resource This extraordinary exhibition CURRICULUM ALIGNMENT brings together Tom Roberts’ most famous paintings loved by All the themes in the Tom Roberts exhibition can be used with visual arts students from Year 7–10 and beyond. all Australians. Paintings such as Some may be more relevant to specific years given connections to other learning areas such as History and Shearing the rams 1888–90 and Civics and Citizenship at the same level as outlined under A break away! 1891 are among each theme that follows. the nation’s best-known works The Arts – Visual Arts: Year 7 and 8 of art. • Experiment with visual arts conventions and techniques (ACAVAM118) Tom Roberts is a major exhibition of works from the • Develop ways to enhance their intentions as artists national collection as well as private and public collections through exploration of how artists use materials, from around Australia. techniques, technologies and processes (ACAVAM119) • Develop planning skills for art-making by exploring The secondary student learning resource for the Tom techniques and processes used by different artists Roberts exhibition highlights the relevance of Roberts’ (ACAVAM120) oeuvre to today’s contemporary world. Themes explored include Australian life, landscape, portraiture, Federation • Practise techniques and processes to enhance and making a nation, Aboriginal and Torres Strait Islander representation of ideas in their art-making (ACAVAM121) histories, immigration and the influences of other artists. -
Chapter 4. Australian Art at Auction: the 1960S Market
Pedigree and Panache a history of the art auction in australia Pedigree and Panache a history of the art auction in australia Shireen huda Published by ANU E Press The Australian National University Canberra ACT 0200, Australia Email: [email protected] This title is also available online at: http://epress.anu.edu.au/pedigree_citation.html National Library of Australia Cataloguing-in-Publication entry National Library of Australia Cataloguing-in-Publication entry: Author: Huda, Shireen Amber. Title: Pedigree and panache : a history of the art auction in Australia / Shireen Huda. ISBN: 9781921313714 (pbk.) 9781921313721 (web) Notes: Includes index. Bibliography. Subjects: Art auctions--Australia--History. Art--Collectors and collecting--Australia. Art--Prices--Australia. Dewey Number: 702.994 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying or otherwise, without the prior permission of the publisher. Cover design by Teresa Prowse Cover image: John Webber, A Portrait of Captain James Cook RN, 1782, oil on canvas, 114.3 x 89.7 cm, Collection: National Portrait Gallery, Canberra. Purchased by the Commonwealth Government with the generous assistance of Robert Oatley and John Schaeffer 2000. Printed by University Printing Services, ANU This edition © 2008 ANU E Press Table of Contents Preface ..................................................................................................... ix Acknowledgements -
1 Ia Magical Place
iA magical place - the art of Meg Benwell An essay by Joe Pascoe For me she is a unique colourist. Colour is the heartbeat of these paintings and for Meg, colour is her way of expressing her joy in life, Stephen Benwell.1 To know Meg Benwell and, and to perhaps share an Alpine cigarette and a glass of Chablis, was to be in conversation with someone who was a true aesthete. She was an antidote to suburban banality and an invitation to her house for dinner was to be treasured. Meg Benwell’s paintings, from her early pieces such as Positano (1952) to her last works like Golden Forest (2007), formed a pathway that led toward a symbolic depiction of nature and a playful cosmology that embraced the viewer with its gentle revelations. Meg was never famous, but her work was lovingly collected and admired. 1 Stephen Benwell, speech notes for the opening of ‘Meg Benwell – a retrospective exhibition presented by the Shepparton Art Gallery’, Caulfield Arts Complex, 8/5/1993. 1 Meg Benwell Positano 1952 Meg Benwell Golden Forest 2005 Viewed most broadly, she extends the linage implied by lining up Australian artists Margaret Preston, John Brack and Ian Fairweather, whose influences can all be glimpsed in Meg Benwell’s earlier work – influences backlit by such Europeans as Raoul Dufy and Georgio de Chirico. Like her famous contemporary, Fred Williams, Meg Benwell soon made the trees her protagonist, more than the horizon line. Though her colour patches and lines became her signature strokes - as opposed to the paint knurls and floating varnishes used by Fred Williams. -
Fletcher's of Collins Street: Melbourne's Leading Nineteenth-Century Art Dealer, Alexander Fletcher
“Fletcher’s of Collins Street” : Melbourne’s Leading Nineteenth-Century Art Dealer, Alexander Fletcher (1837– 1914) “Fletcher’s of Collins Street”: Melbourne’s Leading Nineteenth-Century Art Dealer, Alexander Fletcher Collins Street in the 1880s was the hub of the art trade in Melbourne, with an ever-expanding population of art galleries and artists’ studios. What Pickersgill’s Victorian Railways Tourist’s Guide of 1885 calls “the most fashionable thoroughfare in the city” extended for a mile up the hill from Spencer Street Railway Station in the west to Treasury in Spring Street to the east. The heart of the fashionable retail trade in Collins Street in the 1880s, as it still is today, was in the middle section formerly known as “The Block”, between Swanston and Elizabeth Streets. Here shoppers once browsed the fancy window displays of drapers, milliners, coiffeurs, tailors and music dealers, and beyond them, those of several art dealers. As a journalist from the Melbourne periodical Bohemia remarked in late 1890 “one can generally find a picture in the Collins Street windows worth looking at.”[1] In the late 1880s and early 1890s, Collins Street east (that is, east of the General Post Office), stretching from The Block to the genteel doctors’ quarter of upper Collins Street, was where many leading artists had their studios. Among them were the purpose-built 1887 studios in Grosvenor Chambers occupied by Tom Roberts, Fred McCubbin, and others (the building may still be seen but the studios were thoughtlessly destroyed in the 1970s).[2] In May 1888, eighteen, or just under one- third of the artists in the Victorian Artists’ Society had studio addresses in Collins Street east. -
Arthur Streeton Teaching Resource
Land of the Golden Fleece— Arthur Streeton in the Western District Education resource Education sponsor Geelong Arthur Streeton Gallery Land of the Golden Fleece (detail) 1926 oil on canvas Little Malop Street National Gallery of Australia, Canberra Geelong 3220 The Oscar Paul Collection, Gift of Henriette von Dallwitz T +61 3 5229 3645 and of Richard Paul in honour of his father 1965 geelonggallery.org.au/education Land of the Golden Fleece— Arthur Streeton in the Western District Studio portrait of Lieutenant Arthur Ernest Streeton, Official War Artist c. 1918 Collection of the Australian War Memorial (P03451.001) Photographer unknown Introduction Learning areas Land of the Golden Fleece—Arthur Streeton in the The Arts (Visual arts): Western District brings together works by one of Australia’s Exploring and Responding, Creating and Making foremost and much-loved artists. The exhibition focuses Levels 2 to VCE on Arthur Streeton’s landscape paintings of Victoria’s English: Western District, and associated coastal vistas, executed Language, Literature and Literacy in the period 1920 to 1932. This education resource Levels 7 to 10 examines some of the key works of art in the exhibition and identifies the cultural, historical and geographical Humanities (History): significance of the works. Historical Knowledge and Understanding Levels 9 to 10 Students and educators are encouraged to use this resource to explore important themes and ideas of the exhibition Humanities (Geography): and to ask questions that generate in discussions in the Geographical Knowledge and Understanding classroom and the Gallery. The resource is mainly directed Levels 6 to 10 towards levels 9 to VCE in the curriculum. -
Brief History of YFP Time.Pages
Pre 1835 The Yarra River and its billabongs had clear water and plentiful aquatic life. The flats were treed with a fairly open grassy understory. A variety of shrubs were present. It was under the custodianship of our First Nations people 1835 -1837 Sheep Runs were established in the area (NB Melbourne was settled by white people in 1835) 1837 Chief Surveyor Hoddle divided up the Heidelberg area. Thomas Walker was “Crown Grantee” of 1040 acres abutting the Yarra south of Banksia St. 1838/39 David Charteris McArthur bought 84 acres which became the Charterisville Estate. [Covers the flats south of adjacent to ~ 429 The Boulevard]. Built Charterisville in 1840/41. It still stands at 77 Burke Rd North David Charteris McArthur established the first Melbourne branch of the Bank of Australasia which later became the ANZ bank. He was the first captain of the Melbourne Cricket Club. He was very wealthy and a great patron of the arts. Numerous famous artists stayed at Charterisville in the 1880’s-90’s including Heidelberg School artists and Norman Lindsay. Sylvester John Brown bought 313 acres to the north of Charterisville. This became the Hartlands Estate. Joseph Hawdon bought 363 acres south of Banksia St, which became known as Leighton Estate. Willian Darke bought 83 acres to the east of Burke Rd which became Waverley Estate. This was soon sold to Hartlands then eventually to Charterisville in 1853 1840’s The flats were cleared of trees. Crops were sown, orchards and vineyards established, vegetables grown and animals grazed. 1885 The Leighton Estate east of Lwr Heidelberg Rd down to the river was sold to Richard Greaves and became known as the Glenard Farm.