QUARTERLY 2 No 45
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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 -
Ryman Healthcare Full Year Result - 31 March 2018 Full Year Highlights
Ryman Healthcare Full year result - 31 March 2018 Full year highlights . Underlying profit up 14.2% to $203.5 million . Reported profit up 8.8% to $388.2 million . Full year dividend 20.4 cents per share; up 14.6% . $5.8 billion of total assets . 16 new villages in the pipeline Kevin Hickman myRyman Four year certification 70% 60% 60% 50% 39% 40% 35% 32% 33% 30% 27% 20% 15% 13% 10% 0% Note: Percent of villages with 4 year certification. Includes aged care providers with 15 or more villages. Data as at 23 April 2018 Aberfeldie Melbourne Nellie Melba Wheelers Hill, Melbourne Coburg Melbourne Burwood East Melbourne Geelong Victoria Mount Eliza Mornington Peninsula, Melbourne Mount Martha Mornington Peninsula, Melbourne Victoria Logan Campbell Greenlane, Auckland Devonport Lynfield Auckland Auckland Karori Havelock North Wellington, New Zealand Hawkes Bay, New Zealand $100m $150m $200m $250m 16 years of underlying profit growth underlyingprofit 16 years of $50m $0m 2002 2003 2004 2005 2006 2007 2008 2009 2010 2011 2012 2013 2014 2015 2016 2017 2018 $100m $200m $300m $400m $500m Reported profit growth profit Reported $0m 2007 2008 2009 2010 2011 2012 2013 2014 2015 2016 2017 2018 FY18 investing cash flows $600m $500m $44 $35 $45 $27 $400m $300m $350 $296 $200m $100m $97 $111 $0m Mar-17 Mar-18 Purchase of land New villages Projects Village upgrades $0bn $1bn $2bn $3bn $4bn $5bn $6bn $7bn Total assets Total 2007 2008 2009 2010 2011 2012 2013 2014 2015 2016 2017 2018 Bank facilities $700m $600m $500m $400m $300m $200m $100m $0m 1 Year 2 years 3 years 4 years 5 years Gearing Mar-18 Mar-17 (millions) (millions) Net debt $1,060 $838 Net assets $1,941 $1,652 Gearing ratio * 35% 34% * Gearing ratio calculated as net debt / net debt plus equity Development margin 30% Target range 20% 10% 0% 2012 2013 2014 2015 2016 2017 2018 Group development margin Margin excluding Bob Scott Note: 2018 margin restated to exclude Bob Scott. -
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 -
Outside the Square: a Considered Approach to the Treatment of a Three-Dimensional Paper Object
Outside the square: A considered approach to the treatment of a three-dimensional paper object Ute Larsen and Camilla Baskcomb ABSTRACT Three-dimensional paper objects can cause quandaries for paper conservators who are accustomed to dealing with two- dimensional works, their structural aspect often requiring the collaboration of conservators and museum professionals from other disciplines. This paper describes the process of conserving a rare inflatable terrestrial paper globe and explores possible methods of displaying such an object. The early 19th-century globe is part of the Voyager New Zealand Maritime Museum’s (VNZMM) collection. Preliminary research has revealed that none of the few remaining examples of this type of globe held in international collections have been conserved to date. The unusual functional nature of this three-dimensional object and how this challenges the conservators’ conventional working methods will be explored. KEYWORDS globe, inflatable, paper, Pocock INTRODUCTION In 2001, during an impromptu tidy-up in the paper conservation studio at the Auckland Art Gallery Toi o Tãmaki (AAG), a box labelled ‘Handle like raw eggs’ came to light and sparked our interest. What was this folded, crumpled and torn work made from ultrathin tissue? After carefully unpacking it, we knew that we were looking at a map of the world in a rather unusual format and in a very poor state (see Figure 1). 2010 almost detached bamboo ring and several loose pieces. All components had been kept in an old cardboard box (see Figure 2). AI CC M B OO Figure 2 The bamboo ring and the South Pole before treatment. -
About People
All about people RYMAN HEALTHCARE ANNUAL REPORT 2019 We see it as a privilege to look after older people. RYMAN HEALTHCARE 2 ANNUAL REPORT 2019 04 Chair’s report 12 Chief executive’s report 18 Our directors 20 Our senior executives 23 How we create value over time 35 Enhancing the resident experience 47 Our people are our greatest resource 55 Serving our communities 65 The long-term opportunities are significant 75 We are in a strong financial position 123 We value strong corporate governance 3 RYMAN HEALTHCARE CHAIR’S REPORT We continue to create value 4 ANNUAL REPORT 2019 RYMAN HEALTHCARE CHAIR Dr David Kerr Ryman has been a care company since it started 35 years ago. As we continue to grow, we continue to create value for our residents and their families, our staff, and our shareholders by putting care at the heart of everything we do. We’re a company with a purpose – to look after older people. We know that if we get our care and resident experience right, and have happy staff, the financial results take care of themselves. I believe purpose and profitability are comfortable companions. Integrating the two supports us in creating value over time. This year, we continue to use the Integrated Reporting <IR> Framework* to share the wider story of how we create that value. *For more information on the <IR> Framework, visit integratedreporting.org 5 RYMAN HEALTHCARE “I believe purpose As a company we’re very focused on growth, but we will not compromise our core value of and profitability are putting our residents first. -
Here She Had Left Off, Although Her Limited Finances Kept Her Away from Paris
FIGURE 2.10 lead the society into closer relationship with avant-garde developments centring Alfred Wallis, The Steamer, c. 1930 on Paris. That same year, 1926, his wife, Winifred Nicholson (1893–1981), gained FIGURE 2.11 membership and it is she who first helped the society generate a more pronounced Christopher Wood, The Sloop Inn, St Ives, 1926 character. In her wake Cedric Morris and Christopher Wood (1901–1930) arrived at the Seven & Five in 1927, and David Jones (1895–1974) the following year. By 1929, when Frances Hodgkins achieved membership after being proposed by Morris, the society had become associated with a painterly lyricism, rooted in a combination of the romantic and the real. The desire for directness and simplicity encouraged a faux-naïve ingredient which, in the case of Ben Nicholson and Christopher Wood, had been partly encouraged by their discovery in St Ives of Alfred Wallis (1855–1942), a self-taught painter and former fisherman. In 1927 Ben Nicholson had asked the Tate Gallery curator H. S. (Jim) Ede, with whom he shared certain aesthetic interests, to write an introduction which would identify the new freedom which Seven & Five art promoted. Ede wrote: The line of the Seven and Five is, I think, to break quite clearly from the representa- tional in its photographic sense though not like the cubists to abandon known shapes. It is to use everyday objects, but with such a swing and flow that they become living things, they fall into rhythm in the same sort of way that music does, but their vitality comes through colour and form instead of sound and time. -
Grace Joel Däremot På- Disk Impressionist
LITTERATUR ◆ TEATER ◆ FILM ◆ pANOPTIK Porträtt av en impressionist svälta i kyffiga ateljéer i Chelsea och vindskupor i Paris. Den nästan jämn- The Red Lion Brewery startade i Dunedin på Nya åriga Frances Hodgkins Zeelands Sydö för drygt hundrafemtio år sedan och som var född 1869 men släckte många utflyttade skottars törst. En tid ägdes levde längre, hon dog det av Joseph Woolf som var invandrad från Melbour- 1947, hade det tidvis be- ne. Han hade föga framgång i affärerna. Det gick så svärligare. Man kan ana illa att han svalde en överdos stryknin för att komma att även om de hade samma studiegång och var kol- från dem. Svågern Maurice som tog över lyckades leger så var vänskapen dem emellan sval. bättre. Han var mångsidig, blev en samhällets stöt- Frances Hodgkins blev sin generations mest kän- tepelare och framträdande i stadens judiska försam- da konstnär på Nya Zeeland. Hon kom att förnya sitt ling. Hans barn var begåvade, dottern Blanche blev konstnärskap genom att abstrahera impressionismen, konsertpianist, och Grace konstnär, en tidig antipo- inte olikt Helene Schjerfbeck. Grace Joel däremot på- disk impressionist. minner om Renoir, särskilt i sina blomsterstilleben. Grace Joel var född 1865 och dog i cancer 1924. Hon lärde sig mycket av den tidvis utvandrade italie- Även om hon deltog i mängder av utställningar un- naren G. P. Nerli men tog också intryck av Jozef Israël der sin livstid och var flitigt engagerad som porträtt- som förde vidare traditionen från 1600-talets holländ- målare bland samhällstopparna har spåren efter hen- ska genremåleri. Frances Hodgkins lämnade efter sig ne varit sparsamma i konsthistorien. -
Whatever Happened to Poor Mr Yate?
Whatever Happened to Poor Mr Yate? AN EXERCISE IN VOYEURISM FROM the beginning there were those who were prepared to state openly that the missionary William Yate was the victim of a conspiracy 'black as hell'.1 Since then, the ambiguities surrounding Yate's dismissal in 1837 from the Church Missionary Society have continued to capture the imagination of some of New Zealand's major writers and recently pro- voked some spurious sword play in the pages of Landfall.2 The absence of decisive material in the CMS archives, combined with the problem that Yate, like Oscar Wilde, was accused of a crime considered hardly best suited for drawing-room conversation, contributed to the continuing uncertainty about the whole matter. It was complicated by the fact that Yate himself waged a long and unsuccessful campaign in England to have the allegations against him formally investigated. The CMS refused to. reopen his case, thereby adding to a rapidly swelling list of sympathizers with Yate. His friends believed him innocent and even those with no preconceived views thought that he had been unjustly deprived of an inquiry to which he was entitled. Moreover, he had been cast as yet another victim of Samuel Marsden's inflexible vindictiveness: 'I had no doubt of his Guilt from the first moment I was informed of his Conduct — and no one could Change my mind'.3 Because of the allegations, Yate found himself in an intolerable position: he was not faced with any legal charges, but was for many years prohibited by the Bishop of London from practising in a permanent capacity as a clergyman.4 It was not until 1846, under powerful patronage, that he was able to take up employment as a chaplain to an abandoned chapel for The portrait of the Reverend William Yate (opposite) was painted by C. -
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. -
Portrait of a Collector: Dr Samuel Arthur
Portrait of a collector Dr Samuel Arthur Ewing and the Ewing Collection Cathleen Rosier A portrait of significance to the history of art collections at the University of Melbourne is that of Dr Samuel Arthur Ewing (1864– 1941) by John Longstaff (pictured right).1 Painted in 1922, this portrait features Longstaff ’s characteristic dark palette to tell the tale of one of Melbourne’s prominent surgeons- cum-art-collectors of the time. The sparing use of white first spotlights the face, highlighting the discerning yet shadowed eyes of a collector. The viewer’s gaze is then drawn downwards along the white scarf to rest on Ewing’s hand, the most important tool of a surgeon. Best known during his life as an ear, nose and throat surgeon, Ewing was also considered one of the leading collectors of Australian art of his day. But today the narrative has changed, and the portrait tells the story of Ewing the art philanthropist. In 1938 Ewing donated this painting and 55 other works of art to the University of Melbourne for the newly opened Student Union. The Ewing Collection became one of the founding collections of what is now known as the University of Melbourne Art Collection, which is managed by the Ian Potter Museum of Art.2 By understanding Ewing through the art and artists of his collection, his tale transforms even Cathleen Rosier, ‘Portrait of a collector’ 21 Previous page: John Longstaff, Dr Samuel Arthur Ewing MRCS DPH FRACS, c. 1922, oil on canvas, 88.9 × 68.9 cm. 1938.0012, gift of Dr Samuel Arthur Ewing 1938, University of Melbourne Art Collection. -
Donald Loveridge (2006) the “Littlewood Treaty”
TREATY RESEARCH SERIES TREATY OF WAITANGI RESEARCH UNIT Donald Loveridge (2006) The “Littlewood Treaty”: An Appraisal of Texts and Interpretations Introduction This appraisal by Dr Donald Loveridge constitutes a review of publications by Dr Phil Parkinson and Mr Martin Doutré. It was originally commissioned by the then Treaty of Waitangi Information Unit in the State Services Commission, and was posted on the Unit’s Treaty of Waitangi website. Material from that site was later incorporated into the New Zealand history website (www.nzhistory.net.nz) of the Ministry for Culture and Heritage. As a result of this exercise, Dr Loveridge’s paper was no longer available to the public, leaving a hiatus in the ongoing debate about the Treaty of Waitangi and its meaning. The Treaty of Waitangi Research Unit (TOWRU) at the Stout Research Centre for New Zealand Studies encourages public debate on Treaty matters. Although TOWRU does not host web debates, it decided to reproduce Dr Loveridge’s contribution to Treaty discourse, and posted it as a one-off online supplement to its hard-copy publications series. It gained the permission of Dr Loveridge, and that of the Ministry for Culture and Heritage, to do so. It noted that the views and opinions expressed in the appraisal, and the conclusions drawn, were entirely those of Dr Loveridge, and did not necessarily reflect the opinions of the Treaty of Waitangi Information Unit, the Ministry for Culture and Heritage, the Treaty of Waitangi Research Unit, or any other institution or person. Dr Loveridge’s appraisal has been much cited, and the editors of TOWRU’s Treaty Research online publications series, established in 2013, have decided to include it in the new series. -
David Ezekiel Benjamin, Later Known As David Edward Theomin, Was Born in Bristol, Gloucestershire, England, on 25 April 1852. Hi
David Ezekiel Benjamin, later known as David Edward Theomin, was born in Bristol, Gloucestershire, England, on 25 April 1852. His father, Joseph Benjamin, a Jewish minister, had emigrated from Prussia earlier in the nineteenth century and discontinued the name of Theomin. His mother, Esther Braham, was Joseph's second wife, and he had two half-brothers, one half-sister, and one sister. David was educated at Wharton's School in Queen's Square and then, from January 1862 to December 1864, at Bristol Grammar School. After serving an apprenticeship in the hardware trade, he worked for three years for Platnauer Brothers, merchants. In 1874 he sailed for Melbourne, Australia, where his half-brother, Abraham Benjamin, lived. There he worked for P. Falkand Company, wholesale jewellers. David Benjamin first visited New Zealand in 1878. On 29 November he was shipwrecked near Tauranga on the steamer Taranaki , but no lives were lost. By 1879 he was back in Melbourne, and on 21 January he married Mary Ann (known as Marie) Michaelis, eldest daughter of the successful businessman Moritz Michaelis. The couple were to have two children, Edward and Dorothy. On his return to Dunedin David Benjamin helped his father-in-law to develop a tannery business in Sawyers Bay. The firm Michaelis, Hallenstein and Farquhar (later incorporated as Glendermid Limited) was established in Dunedin in 1879. By 1880 the firm of D. Benjamin and Company had opened for business in Princes Street as wholesalers and general importers, and by 1881 David Benjamin owned a house in Royal Terrace. In 1885 David Ezekiel Benjamin resumed the surname his father had used in Prussia and by deed poll became known as David Edward Theomin.