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Important Australian and Aboriginal
IMPORTANT AUSTRALIAN AND ABORIGINAL ART including The Hobbs Collection and The Croft Zemaitis Collection Wednesday 20 June 2018 Sydney INSIDE FRONT COVER IMPORTANT AUSTRALIAN AND ABORIGINAL ART including the Collection of the Late Michael Hobbs OAM the Collection of Bonita Croft and the Late Gene Zemaitis Wednesday 20 June 6:00pm NCJWA Hall, Sydney MELBOURNE VIEWING BIDS ENQUIRIES PHYSICAL CONDITION Tasma Terrace Online bidding will be available Merryn Schriever OF LOTS IN THIS AUCTION 6 Parliament Place, for the auction. For further Director PLEASE NOTE THAT THERE East Melbourne VIC 3002 information please visit: +61 (0) 414 846 493 mob IS NO REFERENCE IN THIS www.bonhams.com [email protected] CATALOGUE TO THE PHYSICAL Friday 1 – Sunday 3 June CONDITION OF ANY LOT. 10am – 5pm All bidders are advised to Alex Clark INTENDING BIDDERS MUST read the important information Australian and International Art SATISFY THEMSELVES AS SYDNEY VIEWING on the following pages relating Specialist TO THE CONDITION OF ANY NCJWA Hall to bidding, payment, collection, +61 (0) 413 283 326 mob LOT AS SPECIFIED IN CLAUSE 111 Queen Street and storage of any purchases. [email protected] 14 OF THE NOTICE TO Woollahra NSW 2025 BIDDERS CONTAINED AT THE IMPORTANT INFORMATION Francesca Cavazzini END OF THIS CATALOGUE. Friday 14 – Tuesday 19 June The United States Government Aboriginal and International Art 10am – 5pm has banned the import of ivory Art Specialist As a courtesy to intending into the USA. Lots containing +61 (0) 416 022 822 mob bidders, Bonhams will provide a SALE NUMBER ivory are indicated by the symbol francesca.cavazzini@bonhams. -
Ii: Mary Alice Evatt, Modern Art and the National Art Gallery of New South Wales
Cultivating the Arts Page 394 CHAPTER 9 - WAGING WAR ON THE ESTABLISHMENT? II: MARY ALICE EVATT, MODERN ART AND THE NATIONAL ART GALLERY OF NEW SOUTH WALES The basic details concerning Mary Alice Evatt's patronage of modern art have been documented. While she was the first woman appointed as a member of the board of trustees of the National Art Gallery of New South Wales, the rest of her story does not immediately suggest continuity between her cultural interests and those of women who displayed neither modernist nor radical inclinations; who, for example, manned charity- style committees in the name of music or the theatre. The wife of the prominent judge and Labor politician, Bert Evatt, Mary Alice studied at the modernist Sydney Crowley-Fizelle and Melbourne Bell-Shore schools during the 1930s. Later, she studied in Paris under Andre Lhote. Her husband shared her interest in art, particularly modern art, and opened the first exhibition of the Contemporary Art Society in Melbourne 1939, and an exhibition in Sydney in the same year. His brother, Clive Evatt, as the New South Wales Minister for Education, appointed Mary Alice to the Board of Trustees in 1943. As a trustee she played a role in the selection of Dobell's portrait of Joshua Smith for the 1943 Archibald Prize. Two stories thus merge to obscure further analysis of Mary Alice Evatt's contribution to the artistic life of the two cities: the artistic confrontation between modernist and anti- modernist forces; and the political career of her husband, particularly knowledge of his later role as leader of the Labor opposition to Robert Menzies' Liberal Party. -
Annual Report 2011–12 Annual Report 2011–12 the National Gallery of Australia Is a Commonwealth (Cover) Authority Established Under the National Gallery Act 1975
ANNUAL REPORT 2011–12 ANNUAL REPORT 2011–12 The National Gallery of Australia is a Commonwealth (cover) authority established under the National Gallery Act 1975. Henri Matisse Oceania, the sea (Océanie, la mer) 1946 The vision of the National Gallery of Australia is the screenprint on linen cultural enrichment of all Australians through access 172 x 385.4 cm to their national art gallery, the quality of the national National Gallery of Australia, Canberra collection, the exceptional displays, exhibitions and gift of Tim Fairfax AM, 2012 programs, and the professionalism of our staff. The Gallery’s governing body, the Council of the National Gallery of Australia, has expertise in arts administration, corporate governance, administration and financial and business management. In 2011–12, the National Gallery of Australia received an appropriation from the Australian Government totalling $48.828 million (including an equity injection of $16.219 million for development of the national collection), raised $13.811 million, and employed 250 full-time equivalent staff. © National Gallery of Australia 2012 ISSN 1323 5192 All rights reserved. No part of this publication can be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording or any information storage and retrieval system, without permission in writing from the publisher. Produced by the Publishing Department of the National Gallery of Australia Edited by Eric Meredith Designed by Susannah Luddy Printed by New Millennium National Gallery of Australia GPO Box 1150 Canberra ACT 2601 nga.gov.au/AboutUs/Reports 30 September 2012 The Hon Simon Crean MP Minister for the Arts Parliament House CANBERRA ACT 2600 Dear Minister On behalf of the Council of the National Gallery of Australia, I have pleasure in submitting to you, for presentation to each House of Parliament, the National Gallery of Australia’s Annual Report covering the period 1 July 2011 to 30 June 2012. -
A Study of the Art Gallery of New South Wales and Australian
A Study of the Art Gallery of New South Wales and Australian Aboriginal Art: Aboriginal Perspectives and Representations in State Art Galleries Vanessa Russ Bachelor of Fine Art (Honours), College of Fine Arts, UNSW This thesis is presented for the degree of Doctor of Philosophy of the University of Western Australia School of Architecture, Landscape and Visual Arts May 2013 i Vanessa Russ: Dissertation Abstract This study of the Art Gallery of New South Wales explores the role that Australian Aboriginal art has had in one important state institution. It also provides the groundwork for furthering our understanding of how state art galleries manage their discourses of Australian and Aboriginal identities. The search by Aboriginal people, for belonging and trust in national representations, continues to challenge state art galleries. If as art historian Amelia Jones suggests the notion of art, art history and art institutions are inventions, then such inventions should make room for new art and new art theory (Jones 23). While state art galleries are currently working to generate new displays of Australian art that include Australian Aboriginal art, there remains no complete study of how any state art gallery has managed its Aboriginal collections. This study of the role of Australian Aboriginal art within the Art Gallery of New South Wales provides evidence of personal advocacy as the driving force behind its achievements. Here personal advocacy and by extension, cultural subjectivity, is the key to the creation of an art gallery. ii Vanessa Russ: Dissertation Table of Content 1. Abstract page ii 2. Table of Content page iii 3. -
Important Australian Art from the Estate of John Cuningham
IMPORTANT AUSTRALIAN ART FROM THE ESTATE OF JOHN CUNINGHAM IMPORTANT AUSTRALIAN ART FROM THE ESTATE OF JOHN CUNINGHAM FROM THE ESTATE AUSTRALIAN ART IMPORTANT Tuesday 22 November at 6:30pm NCJWA Hall, Sydney | Sydney, 22 November 2016 22 November 2016 Sydney, 23536 INSIDE FRONT COVER IMPORTANT AUSTRALIAN ART FROM THE ESTATE OF JOHN CUNINGHAM Tuesday 22 November at 6:30pm NCJWA Hall, Sydney MELBOURNE VIEWING BIDS ENQUIRIES PRESS ENQUIRIES Como House Online bidding will be available Mark Fraser Emma Miller Como Avenue for the auction. For further Chairman +61 (0) 401 642 535 South Yarra VIC 3141 information please visit: +61 (0) 430 098 802 mob [email protected] www.bonhams.com [email protected] Friday 4 – Sunday 6 November PHYSICAL CONDITION 10am – 5pm All bidders are advised to Alex Clark OF LOTS IN THIS AUCTION read the important information Australian and International PLEASE NOTE THAT THERE SYDNEY VIEWING on the following pages relating Art Specialist IS NO REFERENCE IN THIS NCJWA Hall to bidding, payment, collection, +61 (0) 413 283 326 mob CATALOGUE TO THE PHYSICAL 111 Queen Street and storage of any purchases. [email protected] CONDITION OF ANY LOT. Woollahra NSW 2025 INTENDING BIDDERS MUST IMPORTANT INFORMATION Merryn Schriever SATISFY THEMSELVES AS Bonhams The United States Government Australian and International TO THE CONDITION OF ANY 97-99 Queen Street has banned the import of ivory Art Specialist LOT AS SPECIFIED IN CLAUSE Woollahra NSW 2025 into the USA. Lots containing +61 (0) 414 846 493 mob 14 OF THE NOTICE TO ivory are indicated by the symbol [email protected] BIDDERS CONTAINED AT THE Friday 18 – Monday 21 November Ф printed beside the lot number END OF THIS CATALOGUE. -
Appendices 08–09
Art Gallery of NSW Appendices 08–09 Sponsorship and philanthropy 74 Art prizes, grants and scholarships 75 AGNSW publications for sale 76 Visitor numbers 77 Exhibitions listing 78 Aged and disability access programs and services 79 Aboriginal and Torres Strait Islander programs and services 80 Ethnic affairs priorities statement 80 Electronic service delivery 82 Overseas travel 83 Collection – purchases 84 Collection – gifts 86 Collection – loans 90 Staff, volunteers and interns listing 98 Staff publications, presentation and related activities 101 Customer response 106 Compliance reporting 107 ART GALLERY OF NSW APPENDICES 08–09 73 President’s Council of the Art Longes; David Lowy; John & Jane KPMG; John C Conde AO, MBF SPONSORSHIP Gallery of NSW: Major exhibitions Morschel; Roslyn Packer AO; Australia; Bill Wavish, Myer; Paul AND program partner Bridget Pirrie & Stephen Grant; O’Sullivan, Optus; Mark Johnson, PHILANTHROPY Qantas: Principal sponsor: Steven & Lisa Pongrass; John L PricewaterhouseCoopers; Alan Yiribana Gallery; Official airline: Sharpe; Brian Sherman AM; Joyce, Qantas; Greg Bartlet, The lost Buddhas, Monet and the Dr Gene Sherman; Geoffrey St.George Bank; Justin Miller, Impressionists Susskind; Michael & Eleonora Sotheby’s; Luca Belgiorno- Sponsors Triguboff; Malcolm & Lucy Turnbull; Nettis, Transfield Holdings; Philip at 30 June 2009 Sofitel Sydney Wentworth: Official and Phillip Wolanski AM. Coleman, UBS AG Australia; and hotel partner and support sponsor: Sally Herman, Westpac Banking Avant Card: Support sponsor: Archibald, Wynne and Sulman Corporation. general Prizes 2009, Monet and the Masterpiece Fund City of Sydney: Support sponsor: Impressionists Patrons of the Masterpiece Fund as at 30 June 2009: VisAsia Council Archibald Prize 08, Monet and the The Sydney Morning Herald: Members of the VisAsia Council as Impressionists Media sponsor: The lost Buddhas, Art Gallery of NSW Foundation; at 30 June 2009: Clayton Utz: Disability access Monet and the Impressionists Art Gallery Society of NSW; and Margaret Olley AC. -
New Century Antiquarian Books Catalogue 74 Late Spring 2013
new century antiquarian books catalogue 74 late spring 2013 [1] BOSTOCK, Cecil W. Cameragraphs of the Year 1924. A Souvenir of the First Exhibition of the Australian Salon of Photography. Sydney, Harringtons, n.d. but 1924. Quarto, pp. 48 (chiefly photographic plates) + tipped-in frontispiece; an excellent copy in the original cloth. $185 EDITION LIMITED TO 1000 COPIES. The Sydney Camera Circle was behind the formation of the annual Australian Photography Salon in 1924 and 1926. Bostock, a leading figure in photography circles, designed the catalogues for both exhibitions, both of which also included lengthy critical reviews by Harold Cazneaux. Only the 1924 and 1926 salons were afforded substantial catalogues; it was not until the 1940s and 1950s that elaborate publications drawn from the Australian Photography Salon of 1947 and 1957 were produced, this time by the ubiquitous Oswald Ziegler. [2] BOSTOCK, Cecil W. Cameragraphs 1926. Selections from the Second Exhibition of the Australian Salon of Photography. Sydney, Harringtons, n.d. but 1926. Quarto, tipped-in frontispiece and 48 pages of photographic plates; a trace of silverfishing on the endpapers and marks of ownership (see below) but a very good copy overall in original cloth. $185 Extremely scarce: unlike the first selection of 1924, the second is without edition statement and was probably issued in larger numbers than the first volume. The present copy is, however, ONE OF THE RARE COPIES IN ORIGINAL CLOTH – most appear to have been issued in wrappers. This is also an appealing association copy with the label of the Melbourne Camera Club and their small an inoffensive stamp on the endpapers and in the margins of a few text leaves. -
Foreign Influences in Australian Photography 1930-80
FOREIGN INFLUENCES IN AUSTRALIAN PHOTOGRAPHY 1930-80 A lecture delivered at APSCON, Canberra Robert Deane, Honorary Researcher Department of Photography National Gallery of Australia 10TH OCTOBER 2000 Given the time at our disposal it is possible only to skim the surface of this challenging topic, looking at a selected range of areas and trying to assess their impact on Australian photography at its widest ambit. Film, photographic publications, exhibitions, photographers both immigrant and emigrant, and world politics all have their part to play in this examination. It is perhaps useful to set out some caveats before commencing on this topic. As an undergraduate student of Cypriot archaeology many years ago, I learned, through the none- too quiet insistence of Professor James Stewart, that the inhabitants of Cyprus did not go to bed one night in Early Bronze I and awake the next morning to find it was Early Bronze II. Indeed he insisted that, apart from the odd cataclysmic earthquake, artistic styles have never changed abruptly in either place or time anywhere. I was, and remain, a dutiful student and thus do not subscribe to any notion that there was any orderly progression in photography from Pre-Raphaelites through Pictorialists etc to whatever post-modern “ism” is the “in” thing with critics today. Photographers, it seems to me, are not only constantly seeking to break new ground in the way they perceive and present the world but they are constantly revisiting the styles, techniques and processes of the past to assist them in that challenge. If one sought a simple example for this, those of you who visit the National Gallery will be able to compare Dupain’s superb Madonna-like portrait from New Guinea made during the war with the great iconic Sunbather made some years earlier. -
Chapter 1: Epistemological Disjuncture Within the Literature on Geoffrey Powell
Forged under the Hammer and Sickle: The Case of Geoffrey Powell, 1945–1960 Author Hoehne, Craig John Published 2016 Thesis Type Thesis (Masters) School Queensland College of Art DOI https://doi.org/10.25904/1912/912 Copyright Statement The author owns the copyright in this thesis, unless stated otherwise. Downloaded from http://hdl.handle.net/10072/366519 Griffith Research Online https://research-repository.griffith.edu.au Forged under the Hammer and Sickle: The Case of Geoffrey Powell, 1945–1960 Mr Craig John Hoehne Griffith Film School Queensland College of Art Griffith University Submitted in fulfilment of the requirements of the degree of Master of Visual Arts <May 2016> Synopsis Forged under the Hammer and Sickle, The Case of Geoffrey Powell 1945– 1960 is a multimodal exhibition and exegesis that concerns the post-war production of photographer-turned-documentary-filmmaker Geoffrey Powell (1918–1989). It re- evaluates Powell's production through the prism of his socio-political evolution from reactionary to Marxist. Within the photo-historical literature, he is defined as a participant in the mainstream Post-War Documentary Movement in photography. However, my research has revealed that Powell belonged to a cross- disciplinary nexus of creative thought. He was a member of the Australian Communist Party and his photographic production was all but confined to Socialist Realist journals. This Marxist affiliation imposed strictures on the way in which he engaged with subjects as well as the aesthetics of his work. He was also an active participant on the progressive ‘Arts Front’. An interest in expository film by the progressive Left tweaked a curiosity in Powell, which ultimately encouraged his move into documentary filmmaking. -
Australian Dictionary of Biography Volume 19
AUSTRALIAN DICTIONARY OF BIOGRAPHY AUSTRALIAN DICTIONARY OF BIOGRAPHY VOLUME 19: 1991–1995 A–Z GENERAL EDITOR Melanie Nolan MANAGING EDITOR Malcolm Allbrook Published by ANU Press The Australian National University Acton ACT 2601, Australia Email: [email protected] Available to download for free at press.anu.edu.au ISBN (print): 9781760464127 ISBN (online): 9781760464134 WorldCat (print): 1232019838 WorldCat (online): 1232019992 DOI: 10.22459/ADB19 This title is published under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International (CC BY-NC-ND 4.0). The full licence terms are available at creativecommons.org/licenses/by-nc-nd/4.0/legalcode Cover design and layout by ANU Press Cover artwork: Dora Chapman, Australia, 1911–1995, Self portrait, c.1940, Adelaide, oil on canvas, 74.0 x 62.5 cm (sight), Bequest of the artist 1995, Art Gallery of South Australia, Adelaide, © Art Gallery of South Australia, 957P71 This edition © 2021 ANU Press PREFACE: REFITTING THE ADB 1 This volume of the Australian Dictionary of Biography (ADB), the largest and most successful cooperative research enterprise in the humanities and social sciences in Australia, represents the project’s continuing revision process. In 2013, Christine Fernon and I edited a history of the dictionary, The ADB’s Story, which covered its first six decades.2 The ADB going online in 2006 then seemed to be the major turning point. At the time, it was the book reproduced online with a search function. The pace of change has quickened, however, since Volume 18 was published in 2012. Above all, the ADB Online now leads the process, with the hardcopy volume being published in its wake, rather than the other way around.