University of Melbourne Issue 5, November 2009 COLLECTIONS University of Melbourne Collections Issue 5, November 2009
University of Melbourne Collections succeeds University of Melbourne Library Journal, published from 1993 to December 2005.
University of Melbourne Collections is produced by the Cultural Collections Group and the Publications Team, University of Melbourne Library.
Editor: Dr Belinda Nemec Assistant editor: Stephanie Jaehrling Design concept: 3 Deep Design Design implementation: Jacqueline Barnett
Advisory committee: Shane Cahill, Dr Alison Inglis, Robyn Krause-Hale, Jock Murphy, Associate Professor Robyn Sloggett
Published by the University Library University of Melbourne Victoria 3010 Australia Telephone (03) 8344 0269 Email [email protected]
© The University of Melbourne 2009
ISSN 1835-6028 (Print) ISSN 1836-0408 (Online)
All material appearing in this publication is copyright and cannot be reproduced without the written permission of the publisher and the relevant author.
The views expressed herein are those of individuals and not necessarily those of the University of Melbourne.
Note to contributors: Contributions relating to one or more of the cultural collections of the University of Melbourne are welcome. Please contact the editor, Belinda Nemec, on (03) 8344 0269 or [email protected]. For more information on the cultural collections see www.unimelb.edu.au/culturalcollections.
Additional copies of University of Melbourne Collections are available for $20 plus postage and handling. Please contact the editor.
Subscription to University of Melbourne Collections is one of the many benefits of membership of the Friends of the Baillieu Library, Grainger Museum Members and Members of the Ian Potter Museum of Art. See www.unimelb.edu.au/culturalcollections/ links/friends.html
Front cover: A selection from the books recently donated to Special Collections, Baillieu Library, by members of the Thorn and Sutherland families. See story p. 49. Photography by Lee McRae, Digital Media Services, University of Melbourne. Back cover: Artist unknown [Umbria, probably Perugia, late 14th century], leaf from a Gradual (Pentecost), ink, coloured pigments and gold leaf on vellum, 52.6 x 38.8 cm. Purchased 2008, Special Collections, Baillieu Library, University of Melbourne. See story pp. 9–11. CONTENTS
Page 2 Introduction Alex Chernov
Page 3 Intelligentsia: Louis Kahan’s portraits of writers Vivien Gaston
Page 9 Two Gradual leaves Gwen Quirk
Page 12 ‘High drama and … comedy’: Developing the cultural collections of the University of Melbourne Ray Marginson, interviewed by Robyn Sloggett
Page 22 Conservation of a Cypriot vessel Carmela Lonetti
Page 24 The Barlow file: Another adventure in building Derham Groves
Page 34 A case for photographs Jason Benjamin
Page 41 The R.F. Price Collection Bick-har Yeung
Page 44 Introducing Percy Grainger: Musician, designer, innovator Monica Syrette
Page 47 Acquisitions Evelyn Portek, Chris McAuliffe, Kerrianne Stone, Belinda Nemec
Page 50 News from the collections
University of Melbourne Collections, Issue 5, November 2009 1 Introduction Alex Chernov
Cultural collections are essentially facility as a portraitist. The mores must surely have been about people. Although made up of drawings themselves shed new affected in various ways by this inanimate substances such as paper, light on the personalities of the type of literature. leather, clay, canvas, dried plants, illustrious literary, academic and photographic film and the like, artistic individuals whom Kahan • The Grainger Museum is perhaps collections embody the thoughts, depicted with such perspicacity. the most literal representation of a memories, personalities, biographies person in a collection. This auto- and relationships of human beings • Meanwhile, the archives of biographical museum is unique in past and present. This issue of Melbourne architect Arthur Australia and, in many aspects, University of Melbourne Collections Purnell now reveal, through the internationally. Its re-opening in vividly illustrates the point. Take investigations of Dr Derham 2010 will include a very engaging these examples: Groves, the fluctuating computer-based interactive professional and personal fortunes research tool, generously funded by • Dr Ray Marginson’s recollections of one of Purnell’s most loyal the Hugh Williamson Foundation of the forming of the University’s clients, the colourful but ultimately and discussed here by Ms Monica collections tell us so much about tragic Alec Barlow—car dealer, Syrette. the author’s career as Vice- racehorse owner, property Principal, his active support for the developer, entrepreneur and Just as collections connect us to preservation of our visual and speculator. people from our past and present, architectural heritage, and his they are preserved for the education appreciation of their importance in • The substantial gift of Chinese and enjoyment of other people of the life of students, staff and the children’s books and educational the present and future. It is therefore wider community. His article also texts recently received by the East particularly pleasing to see the provides glimpses into the Asian Collection in the Baillieu University’s cultural collections being motivations of benefactors and the Library reflects more than the used so actively to these ends. idiosyncrasies of some artists, and professional achievements and demonstrates how the vision and personal interests of its generous determination of individuals and donor, Dr R.F. Price. Many of
small teams can bring about major these titles were published by the The Hon. Alex Chernov AO QC is the 20th and lasting improvements. tens or even hundreds of thousands Chancellor of the University of Melbourne, where and were compulsory reading for he originally graduated in law and commerce. He has had a distinguished career as a barrister • From Dr Vivien Gaston’s young people in China during the and judge, while also playing a significant role in discussion of portraits by the late tumultuous years of the Cultural the leadership of the legal profession and legal Louis Kahan, we learn about the Revolution. As these children grew education. Alex and his wife Elizabeth Chernov— also a law graduate of the University of artist himself and how his eventful into adults, their political and Melbourne—have three children, all Melbourne life contributed to his skill and ideological leanings and social alumni.
2 University of Melbourne Collections, Issue 5, November 2009 Intelligentsia Louis Kahan’s portraits of writers Vivien Gaston
A recent exhibition at the Ian Potter Museum of Art provided the opportunity to view a remarkable group of drawings by the renowned portrait artist Louis Kahan AO (1905– 2002), now in the Special Collections of the Baillieu Library, University of Melbourne.1 Depicting notable writers, the 129 portraits were gifted by Kahan over four years from 1979 to 1983, a benefaction arranged by the then Vice-Principal of the University of Melbourne, Ray Marginson. On 5 November 1981, at the University of Melbourne Gallery, Marginson launched a handsome book illustrating a selection of the created for the journal Meanjin. They Trained as a tailor in his works with an adroit estimation of provide a rich microcosm of birthplace Vienna, Kahan worked for the artist’s career: Australian intellectual life from 1955 the couturier Paul Poiret, and as a to 1974, depicting many of the key theatre set designer in Paris in the How can one say anything more thinkers of the day who opened up 1920s where he encountered first about a man who has served in for local Australian culture the hand the work of Picasso, Matisse the French Foreign Legion, contemporary international world of and the School of Paris. With the worked for thirty years at the ideas. Kahan’s inclusive vision was outbreak of war he joined the French heart of the Australian Literary ideally suited to interpreting this Foreign Legion and, after and Artistic establishment, and extraordinary array of talent and demobilisation, began his life as an not only survived both, but intellect, which spanned writers from artist in Oran, Algeria. After travel in emerged universally loved and the right and left of politics, early the United States, he moved to Perth unscarred.2 female authors, edgy cultural in 1947 where he was reunited with commentators, novelists, speculative his family, had his first solo exhibition Intelligentsia: Louis Kahan’s portraits of poets, and scholars of subjects and began to gain recognition from writers ran at the Potter from 22 obscure, refined and pioneering. the art world. In 1950 he moved to January to 19 April 2009 and brought Through his uncanny ability to Melbourne where his talent for together an array of portraits capture likeness, this exhibition portraiture was recognised by the depicting poets, essayists, recreated the intensity and verve that Melbourne Herald art critic Alan philosophers and political writers animated these minds. McCulloch, who introduced him to
University of Melbourne Collections, Issue 5, November 2009 3 Previous page: Installation view, Intelligentsia: Louis Kahan’s portraits of writers, exhibition at the Ian Potter Museum of Art, University of Melbourne, 2009, photographed by Viki Petherbridge.
Below: Louis Kahan, Clement B. Christesen, 1960, pen and ink on paper, sheet: 56.9 x 37.8 cm. Reg. no. 1980.2044, gift of the artist, 1980, Special Collections, Baillieu Library, University of Melbourne. © Louis Kahan (estate)/Licensed by VISCOPY, Sydney 2008.
Clem Christesen, editor of Meanjin. for innovative ideas and a forum for The exhibition Intelligentsia On a return trip to Perth in 1953 he debate at a time when the media in demonstrated how the creative met and married Lily Isaac. His Australia were at a rudimentary stage. interaction of literature and the visual contribution to Australian cultural life Meanjin exerted considerable power; arts was integral to Meanjin’s broad was recognised when he was made an at its 21st anniversary dinner Arthur cultural purpose. While Kahan’s Officer of the Order of Australia in Calwell, leader of the opposition drawings gave a distinctive graphic 1993. Louis Kahan died in Labor Party, gave a speech and Prime quality to the journal for nearly 20 Melbourne in 2002, aged 97. Minister Robert Menzies sent a years, other innovative work was also Kahan’s prodigious capacity for telegram. Contributors to Meanjin featured, including sketches, prints swift summation of the human face represent a who’s who of Australian and paintings by Aboriginal artists was honed in an unusual training writing. Since 1945 the journal has (usually unnamed) and artists and ground: the hospitals for wounded been supported by the University of designers such as Arthur Boyd, Roger soldiers in Oran, Algeria, where he Melbourne and in 2008 it became an Kemp and Douglas Annand. Kahan’s donated his time and talent to the imprint of Melbourne University portraits, however, played a special Red Cross, producing over 2,000 Publishing. role. Featured next to the subject’s portraits of soldiers which the men writing or a review of their work, they sent back to their families. With this provided an unabashed tribute to experience he was able to produce their subjects and their intellectual portraits with a sense of spontaneity and creative achievements. While under almost any conditions. The postmodern critics, whose theories majority of the Meanjin portraits diminish the importance of the were drawn directly from life, author, might disparage this elevation sometimes in the subject’s home or of individual identity, the effect of workplace, often in Kahan’s own these portraits is to illustrate the home studio. Occasionally however personal engagement involved in he was compelled to work from keeping such an independently photographs or even from television, minded journal alive. The exhibition grasping the essentials of a face with paid homage to this spirit of free minimum input. speech that has motivated and guided The portraits in this collection the journal. In his foreword to the were commissioned for the first issue of Meanjin (Christmas provocative literary and cultural 1940), Clem Christesen wrote: journal Meanjin by its founding editor Clem Christesen. Meanjin provided a … at a time of war and transition, ready network for writers and a we still strive to ‘talk poetry.’ … platform for new writing, a resource Literature and art, poetry and
4 University of Melbourne Collections, Issue 5, November 2009 Left: Louis Kahan, A.D. Hope, (c.1962), Below: Louis Kahan, Dame Mary Gilmore, 1960, pen and ink on paper, sheet: pen and ink on paper, sheet: 54.0 x 37.7 cm. 46.5 x 35.5 cm. Reg. no. 1979.2076, Reg. no. 1979.2068, gift of the artist, 1979, gift of the artist, 1980, Special Collections, Special Collections, Baillieu Library, Baillieu Library, University of Melbourne. University of Melbourne. © Louis Kahan (estate)/Licensed by VISCOPY, © Louis Kahan (estate)/Licensed by VISCOPY, Sydney 2009. First published with A.D. Hope, Sydney 2009. First published with ‘The young girl at the ball’, ‘A Blason’, ‘On an Robert D. Fitzgerald, ‘Mary Gilmore: Poet and early photograph of my mother’ and ‘Letter from great Australian’, Meanjin, vol. 19, no. 4, the line’, Meanjin Quarterly, vol. 21, no. 2, June December 1960, and subsequently with 1962. W.H. Wilde, ‘Mary Gilmore: The hidden years’, Meanjin Quarterly, vol. 32, no. 4, December 1973.
drama do not spring into being at through the crowd recording the Augustan’ and was a scathing critic the word of command. Their life lively interactions of guests such as of unstructured modernism. With is a continuous process growing professor of English Ian Maxwell, T. Inglis Moore he introduced the within itself, and its suppression eminent art historian Dr Ursula Hoff, first degree course in Australian is death.3 Labor leader Arthur Calwell and literature as professor of English at writer Frank Dalby Davison. In the Australian National University. Kahan’s portrait of his patron, Clem another, Christesen darts a glance at Kahan was equally insightful in Christesen (illustrated opposite), head Overland editor Stephen Murray- his depiction of the legendary Dame resting on his hand with cigarette, Smith, with literary historian H.M. Mary Gilmore (illustrated below). book and glasses, is both determined Green in the background.5 Kahan Her highly popular poetry was bound and contemplative, almost relished the aesthetic possibilities of up with her activism, her concern melancholy. It makes a remarkable the occasion’s collegiality, commenting: with urban poverty, the rights of comparison with van Gogh’s wistful ‘A chance group—so often its women, children and indigenous portrait of his physician Dr Gachet members complement minds while Australians and her patriotism. Her (1890, now in the Musée d’Orsay). By their bodies compose a study for the politics were radical; she was the first contrast, Meanjin’s second editor, Jim artist.’6 woman member of the Australian Davidson, who took over in 1974, is Kahan’s forte was to depict the Workers Union and worked as editor portrayed as gently benevolent. This creative mind at work. This is of the Australian Worker. In 1937 she group of drawings also includes some especially apparent in his portraits of was appointed Dame Commander of of the wider field of experts who the poets—established, mid-career the British Empire for her contributed to Meanjin: Asian studies and upcoming—who chose to publish expert C.P. Fitzgerald; politician, in Meanjin. Instead of a static record diplomat and academic Neal Blewett; of facial features, his pen and ink lines agricultural chemist Geoffrey Leeper; fly and coalesce around nodal points and geographer, geologist and writer in the face correlating with the Marcel Aurousseau.4 workings of the active mind within; As editor of Meanjin, Clem the poet’s synthesis of free, disparate Christesen was supported by his wife thoughts at high velocity. In his Nina who founded the Department depiction of A.D. Hope (illustrated of Russian Language Studies at the above), a long prophet-like face University of Melbourne. Kahan’s conjures up the oracular cadence of portrait of Nina, depicted next to his poetry with its mythic themes Professor R. Douglas (Pansy) Wright, and, for the 1950s, provocative is one of several group portraits sensuality. Described by Clive James drawn at Meanjin’s 21st anniversary as ‘the leading poet of his day’, Hope dinner in 1961, when the artist wove was also known as ‘the antipodean
University of Melbourne Collections, Issue 5, November 2009 5 Left: Louis Kahan, Patrick White, (1960), pen and ink on paper, sheet: 36.0 x 28.4 cm. Reg. no. 1980.2042, gift of the artist, 1980, Special Collections, Baillieu Library, University of Melbourne. © Louis Kahan (estate)/Licensed by VISCOPY, Sydney 2008. First published with Peter Wood, ‘Moral complexity in Patrick White’s novels’, Meanjin Quarterly, vol. 21, no. 1, March 1962.
Below: Louis Kahan, Katharine Susannah Prichard, (c.1961), reed pen and ink on paper, sheet: 57.0 x 38.5 cm. Reg. no. 1980.2052, gift of the artist, 1980, Special Collections, Baillieu Library, University of Melbourne. © Louis Kahan (estate)/Licensed by VISCOPY, Sydney 2009. First published with Katharine Susannah Prichard, ‘The grey horse’, Meanjin Quarterly, vol. 20, no. 4, December 1961.
contributions to literature and in 1993 sitters as well as contributing to their expressions’ that indicate personality. she was depicted on the Australian mythic stature. The face with its numerous working ten-dollar note. Kahan emphasised His frontal depiction of the muscles is a complex arena of forces. the active life of his subjects. His novelist Patrick White (illustrated Rather than expressing one emotion empathetic depiction of Gilmore above) floats like an icon on the page or attitude at a time, there can be evinces her vital determination with with a mesmerising stare and several. His depiction of Kylie eyes fixed on a vision beyond, despite ruminating mouth, aptly illustrating Tennant, for example, whose novels the age apparent in her stiffly folded Kahan’s response to ‘those portray life in the Great Depression, hands. The drawing can be compared unforgettable, unforgetting seer’s eyes, combines judiciously narrowed eyes, with the theatricality of William looking through you, and beyond …’9 empathetic smile, and assertively Dobell’s portrait of Gilmore of 1957 This sketch laid the basis for his clasped hands.11 His unusual skills in (entered in the Archibald Prize) and depiction of the writer that won the creating a convincing likeness out of with Kahan’s own more reflective Archibald Prize in 1962, a work that scant information was especially painted portrait of 1960. intensifies the emphasis on prophetic useful for providing Meanjin with Later in his career Kahan was to vision, a ‘behind-the-scenes Voss’ as representations of international depict the poet Fay Zwicky. She Alan McCulloch put it,10 surrounding writers, whose work was published or responded with an evocation of the head with a turbulent sky and reviewed in the journal. The Kahan’s method of working: desolate landscape. depictions of James Joyce and Equally powerful is his semi- Alexander Solzhenitsyn, based on to sit abstract depiction of Katharine photographs, hold their own in and let the master work his miracle, Susannah Prichard (illustrated right), humming away over black pots whose evocative novels of Australian and nibs, country working life attracted the sunny room, the light, the national and international harmless ease of it. recognition. Active as a journalist, she Portrait (Louis Kahan, 1992)7 helped found the Communist Party of Western Australia in the 1920s and Zwicky’s words indicate Kahan’s remained committed to her political unusual rapport with his sitters. causes, campaigning for the peace Besides the poets, these included movement and social justice. Kahan many other luminaries of Australian captures her steadfastness in a face of literature, including Patrick White, monumental structure, the eye socket Christina Stead, Miles Franklin and a bony crevice, the hands a supportive Alan Marshall.8 Avoiding simple plinth for the head. idealisation, Kahan created images Kahan’s depictions anticipate that reveal the psychology of his recent analysis of the facial ‘micro-
6 University of Melbourne Collections, Issue 5, November 2009 Left: Louis Kahan, Manning Clark, 1973, reed pen, ink and felt-tip pen on paper, sheet: 57.1 x 38.5 cm. Reg. no. 1980.2037, gift of the artist, 1980, Special Collections, Baillieu Library, University of Melbourne. © Louis Kahan (estate)/Licensed by VISCOPY, Sydney 2008. First published with Manning Clark, ‘The years of unleavened bread: December 1949 to December 1972’, Meanjin Quarterly, vol. 32, no. 3, September 1973.
Right: Louis Kahan, Professor Geoffrey Blainey, (1967), pencil on paper, sheet: 49.0 x 35.1 cm. Reg. no. 1981.2024, gift of the artist, 1981, Special Collections, Baillieu Library, University of Melbourne. © Louis Kahan (estate)/Licensed by VISCOPY, Sydney 2008. First published with Geoffrey Blainey, ‘Godzone 7: The new Australia: A legend of the lake’, Meanjin Quarterly, vol. 26, no. 4, December 1967. sparkle and liveliness against those smoking. T. Inglis Moore, writer, School of Biochemistry 1943–1968; made from first-hand experience of literary historian and indefatigable and Warwick Eunson, Principal of their subjects.12 advocate for Australian literature, and Melbourne Teachers’ College until The subjects of Kahan’s portraits Ian Maxwell, professor of English 1972.16 for Meanjin also include some of the and expert in Old Norse, clutch their Kahan’s portraits continue to play most significant, vocal and controversial pipes as essential aids to thinking. a crucial role by documenting the of Australian intellectuals and reflect The scholar of French literature, diversity of the intellectuals who have the editor’s commitment to diversity A.R. Chisholm, nervously gestures been embraced by Meanjin. Lively of opinion. Manning Clark (illustrated with a cigarette in hand, while a wild and seemingly spontaneous, his above left) was the controversial flurry of lines around his head evokes depictions usually occupy a full page author of the epic six-volume general a frenetic intellectual force.14 Yet, and are positioned next to the text, History of Australia published between despite his remarkable ability to bringing the speaking voice and its 1962 and 1987, criticised by capture the distinct individuality of ideas to life. With Kahan’s inspired conservatives for its declamatory his subjects, Kahan’s portraits never contributions over 25 years, Meanjin rhetoric. In Kahan’s memorable verged on caricature. He always became, in Geoffrey Blainey’s words, portrayal he is aloof and enigmatic. moderated his feel for expressive ‘an illuminating mirror of Australian Clark addresses the viewer with forms with observation of subtle cultural life’.17 sombre deliberation, the lines in his detail. Commenting on the striking forehead converging on the furrow appearance of A.A. Phillips, critic and Dr Vivien Gaston is an Honorary Research Fellow in the School of Culture and Communi- between the eyebrows, a sign of inventor of the phrase ‘cultural cation, University of Melbourne. A widely concentrated thought since ancient cringe’, Kahan wrote: ‘A crowded published art historian and critic in the fields of portraiture. By contrast, the face of literary party; here there is this 19th century, Renaissance and contemporary art, her special research interest is portraits and self- maverick historian Geoffrey Blainey remarkable profile, nose and chin portraits. Currently she is curator of forthcoming (illustrated above right), author of the trying to meet. My pen couldn’t resist exhibitions for the National Gallery of Victoria influential Tyranny of distance: How them.’15 and Mornington Peninsula Regional Gallery and most recently curated Intelligentsia: Louis Kahan’s distance shaped Australia’s history, is The exhibition also included four portraits of writers for the Ian Potter Museum of open, engaged and curious. Modelled of Kahan’s painted portraits of Art, University of Melbourne. with incisive angular lines, the academics, revealing another drawing demonstrates Kahan’s dimension of his contribution to the Notes incubation in the quasi-abstraction of cultural life of the University of post-cubist artistic circles. Blainey Melbourne. His use of vigorous 1 For their generous assistance in researching Kahan’s portraits I want to thank Ray mused after sitting for Kahan: ‘When brushwork and rich colour are evident Marginson, Chris Wallace-Crabbe, Lily I left I had a slight feeling that I had in depictions of George W. Paton, Kahan, Belinda Nemec, Chen Chen, Bala been X-rayed.’13 Vice-Chancellor 1951–1968; Zelman Starr and Joanna Bosse. 2 Ray Marginson, Speech notes for the launch of Typically for the time, three of the Cowen, Dean of Law 1951–1966; Louis Kahan’s book Australian writers: The face academics portrayed by Kahan are Victor M. Trikojus, Head of the of literature, held on 5 November 1981 in the
University of Melbourne Collections, Issue 5, November 2009 7 Installation view, Intelligentsia: Louis Kahan’s portraits of writers, exhibition at the Ian Potter Museum of Art, University of Melbourne, 2009, photographed by Viki Petherbridge. Visible are photographs of Kahan in his studio at Kew by Henry Talbot (1984) and an unknown photographer. In the showcases are copies of Meanjin from Special Collections, Baillieu Library, while a video plays of the ABC television program Panorama (episode on Meanjin, originally broadcast 8 December 1960).
University of Melbourne Gallery. Copy held on office file in Special Collections, Baillieu Library, University of Melbourne. 3 C.B.C. [Clement B. Christesen], ‘Foreword’, Meanjin Papers, vol. 1, no. 1, Christmas 1940, facing p. 1. 4 Louis Kahan, Jim Davidson, 1972, felt-tip pen on paper, sheet: 55.7 x 38.0 cm. Reg. no. 1980.2065, gift of the artist, 1980; Prof. C.P. Fitzgerald, (n.d.), felt-tip pen and ink on paper, sheet: 38.7 x 57.5 cm. Reg. no. 1980.2063, gift of the artist, 1980; Dr Neal Blewett, 1973, felt- tip pen on paper, sheet: 55.8 x 38.1 cm. Reg. no. 1981.2035, gift of the artist, 1981; Prof. Geoffrey W. Leeper, 1971, felt-tip pen on paper, sheet: 56.2 x 37.9 cm. Reg. no. 1981.2029, gift of the artist, 1981; Marcel Aurousseau, (n.d.), pencil on paper, folded sheet: 51.2 x 35.0 cm. Reg. no. 1981.2033, gift of the artist, 1981. Special Collections, Baillieu Library, University of Melbourne. 5 Louis Kahan, Nina Christesen, Prof. R. Douglas sheet: 55.9 x 38.0 cm. Reg. no. 1980.2047, gift 1979; T. Inglis Moore, (n.d.), felt-tip pen and Wright, Dr E. Macwhite, Col. Aubrey Gibson, of the artist, 1980. Special Collections, Baillieu ink on paper, sheet: 55.8 x 38.1 cm. Reg. no. (n.d.), pen and ink on paper, overall sheet: 38.0 Library, University of Melbourne. 1980.2071, gift of the artist, 1980; I.R. x 56.2 cm. Reg. no. 1980.2079.00A.00C, gift 9 Kahan, Australian writers, no. 38. Maxwell, (n.d.), felt-tip pen on paper, sheet: of the artist, 1980; Prof. I.R. Maxwell, Dr 10 Alan McCulloch, ‘Every(lay)man’s simplified 50.6 x 37.8 cm. Reg. no. 1979.2077, gift of the Ursula Hoff, Arthur Calwell, Frank Dalby guide to the Archibald’, Meanjin Quarterly, vol. artist, 1979; Professor A.R. Chisholm, (n.d.), pen Davison, (n.d.), pen and ink on paper, sheet: 22, no. 1, March 1963, p. 111. and ink on paper, sheet: 55.0 x 38.0 cm. Reg. 28.2 x 38.3 cm. Reg. no. 1979.2081, gift of the 11 Louis Kahan, Kylie Tennant, (n.d.), pen and no. 1980. 2045, gift of the artist, 1980. Special artist, 1979; H.M. Green, C.B. Christesen and S. ink on paper, sheet: 53.9 x 38.0 cm. Reg. no. Collections, Baillieu Library, University of Murray-Smith, (n.d.), pen and ink on paper, 1980.2043, gift of the artist, 1980, Special Melbourne. sheet: 38.9 x 29.3 cm. Reg. no. 1980.2051, gift Collections, Baillieu Library, University of 15 Kahan, Australian writers, no. 30. of the artist, 1980. Special Collections, Baillieu Melbourne. 16 Louis Kahan, Sir George W. Paton, 1968, oil on Library, University of Melbourne. 12 Louis Kahan, James Joyce, (n.d.), conté on paper, board, 116.8 x 88.9 cm. Reg. no. 1968.0003, 6 Louis Kahan, Australian writers: The face of sheet: 38.3 x 38.5 cm. Reg. no. 1981.2054, gift commissioned 1968; Professor Zelman Cowen literature, Carlton: Melbourne University of the artist, 1981; Alexander Solzhenitsyn, CMG, 1968, oil on composition board, 122.0 x Press, 1981, no. 40. (n.d.), felt-tip pen on paper, sheet: 56.0 x 38.1 91.5 cm. Reg. no. 1968.0004, commissioned by 7 Fay Zwicky, The gatekeeper’s wife, Rose Bay, cm. Reg. no. 1982.2078, gift of the artist, Maurice Cohen on behalf of friends of the NSW: Brandl and Schlesinger, 1997, p. 29. 1982; Alexander Solzhenitsyn, (n.d.), felt-tip Professor, 1968; Professor Victor M. Trikojus, 8 Louis Kahan, Christina Stead, 1973, felt-tip pen on paper, sheet: 56.0 x 38.4 cm. Reg. no. 1968, oil on board, sight: 120.6 x 90.2 cm. pen on paper, sheet: 45.5 x 38.4 cm. Reg. no. 1982.2081, gift of the artist, 1982. Special Reg. no. 1968.0005, commissioned by 1979.2067, gift of the artist, 1979; Miles Collections, Baillieu Library, University of colleagues and friends of the School of Franklin, (n.d.), felt-tip pen on paper, sheet: Melbourne. Chemistry, 1968; Warwick Eunson, 1972, oil on 55.8 x 37.5 cm. Reg. no. 1979.2073, gift of the 13 Geoffrey Blainey, ‘Introduction’, in Kahan, canvas, 89.7 x 67.2 cm. Reg. no. 1972.0091, artist, 1979; Alan Marshall, (n.d.), felt-tip pen Australian writers, p. ix. commissioned by Melbourne Teachers’ on paper, sheet: 49.2 x 38.9 cm. Reg. no. 14 Louis Kahan: Prof. T. Inglis Moore, (n.d.), felt- College, 1972. The University of Melbourne 1979.2075, gift of the artist, 1979; Alan tip pen and ink on paper, sheet: 50.7 x 35.5 Art Collection. Marshall, (n.d.), felt-tip pen and ink on paper, cm. Reg. no. 1979.2069, gift of the artist, 17 Blainey, ‘Introduction’, p. viii.
8 University of Melbourne Collections, Issue 5, November 2009 Two Gradual leaves Gwen Quirk
The Baillieu Library in 2008 the feast of Saints Peter and Paul on illuminated at all. The answer lies purchased two illuminated parchment 29 June. The vellum leaves, decorated largely in the evolution of written leaves from a late 14th century in ink, coloured pigments and gold forms of music. Before music was Umbrian Gradual. A Gradual leaf, come from what must have been written down, the chants of the Mass contains the chants for the celebration a splendidly illuminated choir book of were taught and learned by rote, of the Mass, and takes its name from large dimensions (the leaves now resulting in widely divergent regional the practice of singing the chant of measure 52.6 x 38.8 cm and 53.0 x practices. After Guido of Arezzo’s the same name on the steps of the 38.7 cm respectively). The identity of invention of precise music notation in ambo, or gradus, before the reading of the illuminator is not known, but the the 11th century it became possible to the Gospel. The sequence of choral standardise liturgical chant chants in the Gradual matches their throughout the west, and the religious order in the Missal, in which the orders of the 13th and 14th centuries complete text of the Mass is set out helped to expedite this process by according to the arrangement of the producing large numbers of chant liturgical year. Two distinct series of books in their scriptoria and parallel annual celebrations co-exist in encouraging their use. Feasts were the calendar of the Catholic Church. added to the liturgy, and chants The Temporal cycle is divided into became longer and more complex. seasons beginning with Advent and Consequently a larger and more Christmas and culminating in demanding repertoire required Paschaltide. These celebrate the increased performance skills, and coming of Christ, his saving life, groups of professional cantors were death, resurrection and ascension, and engaged who read from a single choir the coming of the Holy Spirit at book propped on a lectern before Pentecost which signals the them. This occasioned the continuation of Christ’s mission in enlargement of books, and often the the life of the Church. The Sanctoral need for several volumes, inviting cycle commemorates the feasts of the book was probably produced in decoration of these now impressive saints. Perugia, an important artistic centre and valuable choral books. One of the Baillieu Library’s in the 14th century, and may come Illumination appears to have served newly acquired leaves contains the from the circle associated with both a practical and devotional music and words for the Introit (or Matteo di Ser Cambio, a panel purpose. A hierarchy of initials not entrance chant) for the feast of painter and illuminator active in only reflected a feast’s importance in a Pentecost in the Temporal cycle. The Perugia between 1356 and 1424.1 carefully graded ranking system, but other leaf is from the Sanctoral cycle We may well ask why a book for also possibly operated as a signpost of the same Gradual and celebrates the sole use of choristers was for both cantor and choir, functioning
University of Melbourne Collections, Issue 5, November 2009 9 Previous page: Artist unknown [Umbria, probably Perugia, late 14th century], leaf from a Gradual (Pentecost), ink, coloured pigments and gold leaf on vellum, 52.6 x 38.8 cm (detail). Purchased 2008, Special Collections, Baillieu Library, University of Melbourne. The full leaf is illustrated on the back cover of this magazine.
as a mnemonic association for the A large historiated initial (illustrated Introit for the Mass, Nunc scio vere, recall of both melody and text. As on page 9) occupying the height of quia misit Dominus Angelum suum: et well as signalling major feasts, two music staves illustrates the initial eripuit me de manu Herodis, et de omni historiated (illustrated) initials opening the Introit for Pentecost, exspectatione plebes Judæorum (Acts probably also acted as a devotional aid Spiritus Domini replevit orbem 12:11, ‘Now I know in very deed, that whereby the theme of the feast could terrarum ... (Wisdom 1:7, ‘The Spirit the Lord hath sent His Angel, and be evoked immediately, its theological of the Lord fills the whole world …’). hath delivered me out of the hand of intent recollected and possibly In the upper section of the letter ‘S’ Herod, and from all the expectation communicated more effectively by the the dove of the Holy Spirit plunges of the people of the Jews’). This text singers. earthwards from a fire-rimmed blue refers to Peter’s imprisonment by That these books also attracted heaven containing an eight-pointed Herod for preaching the Gospel, and large-scale illumination such as star—the number of perfection his miraculous release by an angel. decorated initials and elaborate frequently associated with God’s The initial celebrates the dual borders appears to indicate that, along creation of the world—perhaps a leadership in the Church of the two with liturgical vessels, vestments and symbol here of the birth of the Apostles, who are identified by their older liturgical books, they were Church at Pentecost. The bird’s halo characteristic attributes. Saint Paul considered sacred items. The major incorporates a wide green cross which holds a sword, symbol of his feasts invited the most elaborate represents the salvation offered by the martyrdom by beheading. This was chants and the largest and most crucifixion of Christ, and from its considered the most merciful method beautiful illustrations. This mouth issue the red flames symbolic of execution, and was an option open phenomenon is particularly noticeable of the power of the Spirit. The heads only to Roman citizens. Saint Peter in Italy, where sets of choir books, of the 12 apostles, haloed in gold and displays the keys, the mark of the often illuminated by the most gifted outlined in black, appear in the lower authority conferred on him by Christ.2 artists of the day, became a source of half of the initial. Some members of Distinctive in the composition is the ecclesiastical and civic pride, and were the group look towards the source of way in which these saints gaze at each placed on public display. divine grace while others appear to other and firmly grasp hands, while In the Gradual, the Introit (or exchange glances, and several raise the Lord, holding a scroll, blesses entrance chant) for the most their hands in prayer. Faces and hands them from above. significant feasts was singled out for are lit by the radiating divine flames, The burnished gold grounds of the most generous illustration and and spatial depth is subtly implied by both historiated initials are pounced decoration. The feasts of Pentecost in the curve of the ‘S’ which intercepts with a variety of designs and the the Temporal cycle and of Saints the fiery rays and creates the illusion haloes of the figures are also incised Peter and Paul in the Sanctoral cycle that the scene is occurring behind the with distinctive patterns. These are both major feasts. In the Baillieu initial. impressions serve not only as leaves they are introduced by A large historiated initial ‘N’ decoration, but function in a manner illumination of the highest quality. (illustrated above) introduces the analogous to mosaic tesserae; their
10 University of Melbourne Collections, Issue 5, November 2009 Opposite and below: Artist unknown [Umbria, probably Perugia, late 14th century], leaf from a Gradual (St Peter and St Paul), ink, coloured pigments and gold leaf on vellum, 53.0 x 38.7 cm. Purchased 2008, Special Collections, Baillieu Library, University of Melbourne.
placement at varying angles tends to refer to the universal mission of the relate to the bestiary interpretation of intensify the reflection of light from Apostles received at Pentecost. the ant as an exemplar of industry and the gold surfaces. Use of this tooling A connection has also been discerned communal co-operation.5 technique over an entire gilded area is between Saint Luke as the writer of In addition to functioning as a unusual in manuscript illumination at the account of Pentecost in the Acts mnemonic marker, the illustrations in this time, and may indicate that the of the Apostles and the head of the ox medieval choir books added a further artist was also experienced in panel placed at the top of the border level of exegesis to the texts and their painting. adjacent to the frame of this initial.4 chants. In Italy particularly, the The elegant, restrained border The evangelists were traditionally illumination of the choir book decoration with its fine decorative associated with the four winged reached impressive heights, with scrollwork is characteristic of beasts around the throne of God in paintings executed by major artists, Perugian illumination, in contrast to the Apocalypse, and of these the ox is and these books were valued as the more freely meandering foliate identified with Saint Luke whose church treasure far beyond the sprays found in much Tuscan and Gospel emphasised the sacrificial function they fulfilled for the choir. northern Italian manuscripts of this aspect of the life of Christ. Both The Baillieu Library’s Gradual leaves period. This is particularly apparent folios also have small bas-de-page are splendid examples of the fine on the page depicting Saints Peter illustrations. The Pentecost leaf painting lavished on these books. and Paul, where the acanthus leaves depicts a pair of butting rams, while are strictly disciplined into a formal on the other folio the ants carrying Gwen Quirk completed a Bachelor of Music in 1964, followed by a Diploma and Graduate geometric design ending in individual seeds—now partially erased—may Diploma in education. In 2007 she completed a finials (illustrated right). Postgraduate Diploma in art history. She is a Entwined around the lower edge member of the Friends of the Baillieu Library. of the border on the Pentecost folio Notes (illustrated on back cover) is an elegantly drawn stork whose feathers 1 Sotheby’s, Western manuscripts and miniatures, (catalogue for auction held in London on and underlying body are rendered in 8 July 2008), London: Sotheby’s, 2008. fine long black brushstrokes over a 2 Matthew 16:19, ‘I will give you the keys of the mid-brown base. This may be a late kingdom of heaven, and whatever you bind on earth shall be bound in heaven, and whatever Gothic grotesque, together with the you loose on earth shall be loosed in heaven.’ two facing crows and disembodied 3 Stephen A. Barney and others (eds and bovine head which also inhabit the translators), The etymologies of Isidore of Seville, Cambridge: Cambridge University Press, border. On the other hand, medieval 2006, p. 264, Book XII.vii.16. bestiaries link storks with crows 4 Sotheby’s, Western manuscripts and miniatures. which supposedly guided them in 5 Sotheby’s, Western manuscripts and miniatures. See also The Medieval bestiary, their migratory flights across the http://bestiary.ca/beasts/beast218.htm, oceans to Asia,3 so they therefore may accessed 30 November 2008.
University of Melbourne Collections, Issue 5, November 2009 11 ‘High drama and … comedy’ Developing the cultural collections of the University of Melbourne
The second in a series of interviews significant elements in the building The placing of this significant of Ray Marginson, speaking with of our collection; the first was the work in the new conference room, Robyn Sloggett continued generosity and careful with its splendid full-length red selection of works by the late drapes that can cover the large sash- Robyn Sloggett: Ray, I feel we have Dr Joseph Brown, the other, the hung windows, its red carpet and its only begun to touch on the ‘high wealth of Australian material specially designed 32-person table drama and comedy’ of your included in the bequest of Sir Russell and chairs, was not without irony. involvement with the development of and Mab, Lady Grimwade. The room was provided to give the the University cultural collections.1 Joseph Brown was a major University what it did not have up to I remember the period when you were supporter of our gallery initiative, and then (apart from the council Vice-Principal as one of very active a frequent and considered donor, who chamber), a meeting room capable of support for the University’s cultural knew weaknesses in our collection accommodating the extremely large development, and this was a broad and, whenever possible, filled them. professorial selection committees. support. You were interested not just In 1982 we gave him a special The trial indeed. for the gallery,2 although I think this exhibition of the 33 works he had Of all Dr Brown’s gifts I think my may have been your special passion, given us to that date. I have many favourite is the beautiful small version but of course the development of the memories of the unexpected of Bertram Mackennal’s Salome grounds and the more general sense appearance of many of his gifts; none (illustrated opposite, above). of the cultural identity of the more memorable than the telephone University. In our last talk you call that said, ‘Ray, I have a painting I can see you can go on indefinitely about indicated that there were other for you, it is Leonard French’s the gallery, but I would like at this point aspects of the gallery development The trial from his 1960 Campion to draw you back to a focus on the you would like to cover. paintings’ (illustrated opposite). grounds and buildings, and enhancing My involuntary reply was ‘I didn’t the overall quality of the site. There are a Ray Marginson: Yes, Robyn, there is think you owned it.’ His reply was, ‘I large number of probably apocryphal much to recall over the two decades bought it this week.’ The explanation stories about your role in protecting and plus of my involvement. The problem was that the police had just returned developing the heritage architecture on is the work in the grounds and the several works from his collection that campus. What were the most successful gallery interwove quite a bit, so you had been stolen. This was his celebra- battles you undertook on this front? might have to bear with me if I slip tory gift. Later, when Daryl Jackson The answer here relates to the much from one to the other. and his interior designer Jan Faulkner wider topic I have already mentioned, On the gallery itself, from early on asked what colour should be used in the then state of the grounds. I had a we received many significant gifts. I the new conference room in Old completely different view from that have already mentioned Sir Joseph Physics, my answer was ‘coagulated which I heard at Cambridge later, Burke and Colonel Aubrey Gibson. blood’, the predominant note in The that said it didn’t matter how broken However, there were two most trial, which would hang there. down or inconvenient the building
12 University of Melbourne Collections, Issue 5, November 2009 Left: Bertram MacKennal, Salome, (c.1900), bronze, height: 27.0 cm (excluding base). Reg. no. 1980.0010, gift of Dr Joseph Brown, 1980, University of Melbourne Art Collection.
Below: Leonard French, The trial, (1962), enamel on hessian on hardboard with spackle and plastic flowers, 228.5 x 183.5 cm. Reg. no. 1979.0043, gift of Dr Joseph Brown, 1979, University of Melbourne Art Collection. © Leonard French, 1962. Licensed by VISCOPY, Sydney 2009.
was in which you worked, it was the work that was central. The reference here, I think, is to the tin sheds, which were Rutherford’s laboratories, where the fundamental experiments that were part of the work that ended in nuclear fission, were carried out. I could not have disagreed more. The state of our grounds was abysmal and depressing and buildings were haphazardly located without a coherent plan and many were run- down. There had been many attempts to plan but all, in the end, were frustrated by individual interest and advocacy about the placing of particular buildings. I felt that something must be done to demolish the war-time fibro huts and other ‘temporary’ buildings that were all over the site (including a two-storey one north of Wilson Hall that housed the accounts branch and other administrative functions); also to get rid of the asphalt which was everywhere, the swamp that existed in winter (on the site of the old lake) between the Union and Old Commerce, the uncontrolled car parking and speeding traffic. Further, that everything was to be gained by creating a pleasant working environment for staff and students and by restoring and improving the many older architectural treasures on the campus. Somehow we had to get
University of Melbourne Collections, Issue 5, November 2009 13 Michael Meszaros, Pair of commemorative plaques, 1975 and 1977, bronze, each plaque height: 45.3 cm. Reg. no. 1979.0097.002, commissioned 1976, University of Melbourne Art Collection.
quality back in the grounds and make home. The newly appointed Vice- historic buildings, the appalling state it a pleasant place in which to work Chancellor, Sir David Derham, fully of the grounds, and dangerous car and learn. I was not the only one who supported my visit. It was then our traffic in the parking-choked felt like this and many who did so, further great good fortune to have, in roadways. like Professor Carrick Chambers in the first person to occupy the co- So I feel compelled to talk of all Botany, Professor Max Hargreaves, ordinating role of Controller this as comprising a single objective; Hume Dow, John Anwyl and others, (Buildings) that I established to draw that is, to get our University up to were later to play a vital role in together the physical side, the late Bill scratch in all these areas. I must changing things dramatically. It was a Curlewis, a highly experienced ex- emphasise however that all of this was time (1969 to 1972) when capital army engineer. Whilst I was away he to a substantial extent subordinate to funds, on the advice of the Australian busily straightened out and structured the major financial problems facing Universities’ Commission and his area, with the help of Maurie the University. The history, in following the Murray Report, were Pawsey, later himself Controller, and a particular, of the critical years 1968 to being allocated by the Common- key figure in the implementation of 1975, of the addressing of the dire wealth on a reasonably generous basis all the site and buildings work that budgetary problems, and the to universities. This made it a feasible followed. fundamental role of Sir David plan. It was a period of major Again a long-winded preamble, Derham assisted by the Deputy Vice- building construction and planning of but again a necessary one, to Chancellor David Caro, is covered siting was clearly essential. understand where I was at the end of fully in Poynter and Rasmussen’s I had been fortunate to be 1968. My thinking had firmed on the A place apart.3 The tackling of the nominated as the Australian Fellow need to draw together, protect and problems I am talking about was for the Eisenhower Fellowship to the improve the physical assets of the achieved in many ways: by USA in 1968. This was an extra- University, its grounds, buildings and Commonwealth capital grants, by ordinarily generous scheme where the of course the substantial holdings in borrowing (e.g. for the south lawn recipient is fully financially supported the cultural area. As I said in our first and underground carpark); and by and ensured access to any areas in interview, it was at the end of 1968 generous gifts and support from North America in your field of when I returned from the Eisenhower individuals and foundations. interest. At the end of the first two Fellowship that we appointed our first So, when I returned we speedily years in my role, and having dealt curator for the gallery. moved to appoint the master planner, with some of the urgent financial I find it difficult to separate the Bryce Mortlock, a Sydney architect. problems and the initial elements that drove my thinking at Thus came, in 1970, the Master Plan reorganisation of the administration, that time. The cultural holdings to me Report that told us, among other I was able to spend seven months were important; to establish a gallery recommendations: to enclose spaces, looking at old and new universities in to show them was important; equally close off the central area to traffic and the USA and Canada, with a quick important were the state of the fabric introduce controlled and coherent three weeks in the UK on my way and the decay of the stonework on the planting. Finally, and most
14 University of Melbourne Collections, Issue 5, November 2009 Brian Dunlop, The Old Physics Building, (1980), oil on canvas, 213.5 cm x 427.5 cm (triptych). Reg. no. 1980.0029.000.A.000.C, purchased from the artist, 1980, following his term as artist-in-residence, University of Melbourne Art Collection. © Brian Dunlop, 1980. Licensed by VISCOPY, Sydney 2009.
importantly, the master plan did not those who made the gallery section of was a dream come true. Structurally it give us a rigid blueprint, but firmly the work possible, by generous gifts, had its problems. The upper floor had showed where we should not build were the Myer Foundation, the estate a load limit of 150 people and the buildings. of John F. Hughes, the Ian Potter basement had a depth of water, but Foundation, Middletons, the Edward we were finally in a position to Perhaps here we should get back to the Wilson Trust, North Broken Hill and undertake the major exhibitions that gallery? the Australian Government. As is the curator Betty Clarke and the In the early 1970s we extensively clear we were getting better by 1975 Works of Art Committee had in renovated the Old Physics Building, in attracting funding. At this stage we mind. In the east entrance to the old funded with the assistance of also had funding support on an physics gallery are placed two donations, to the design of Daryl annual basis from the Australia splendid half-moon shaped bronzes Jackson. It was to here we moved Council’s Visual Arts Board and the by Michael Meszaros (illustrated from our gallery in the John Medley State Ministry for the Arts. opposite, above). These celebrate the Building in 1975. It was opened by The gallery with its three gift by Norman and May Macgeorge Sir John Rothenstein CBE. Among exhibition spaces and offices and store of their Desbrowe Annear designed
University of Melbourne Collections, Issue 5, November 2009 15 Arts and Crafts style house family, and to work in a studio on the work of that very week. Of his giving ‘Ballangeich’ at the junction of the campus. The first appointment of this us a suite of coloured etchings, five Yarra River and Darebin Creek in very successful venture was William abstract compositions and two Ivanhoe. In addition to a capital sum Delafield Cook. He became available paintings; also selling us five coloured to maintain the house, we also to be visited in his studio in Old etchings for a risible price; the arrival received a significant collection of Physics (at this stage in an back in Australia from New York at Norman’s and other artists’ works.4 unrenovated old laboratory) by all and our invitation of the impeccably Patrick McCaughey, then fellow in sundry on Wednesdays. Bill was a stylish Robert Jacks to commence his fine arts, and his brave family were slow painter and after one visit to him substantial middle period the first occupants of the house before a month or so after he started I saw contribution, also in the abstract field it was renovated—a process much him one third of the way through a (illustrated opposite). Each artist-in- drawn out, as we had to accumulate typical work of meticulously painted residence brought their own particular income from the bequest before leaves. The next week he was standing and special contribution to the tackling vital restoration. Generously in front of a blank canvas. ‘It wasn’t University and to the increasing Norman had given his copper roof to working’ was his comment. sophistication of our whole operation the war effort and the external fabric, I learnt much from the successive and exhibitions. the domestic facilities and the artists; from Brian Dunlop whose Old The program continues today as grounds needed much work. Professor Physics Building (illustrated on page the Macgeorge Fellowship, although Carrick Chambers worked with 15) won the Sulman Prize and which without Commonwealth or State Maurie Pawsey and the staff to we were able to acquire (reasonably); support. It was a major and restore the garden, which was also from Christine O’Loughlin significant element in the success and originally designed by Blamire whose Cultural rubble adorns the reputation of the gallery over Young.5 Swanston Street façade of our Ian succeeding years. An outstanding and As a result of this major bequest Potter Museum of Art.6 Christine personally satisfying feature of my and the terms the Council established took off for the Forestry Department retirement year was that Frances to carry out its intention, we were at Creswick shortly after her arrival Lindsay mounted a superb exhibition able to commence a program for and sweet-talked the department into showing works of the 13 artists-in- appointing artists-in-residence. delivering her a large eucalypt trunk residence up to 1988.7 Through contact with the Australia for installation in her first exhibition/ Council (principally through Jean installation. Too many memories for You also oversaw some substantial Battersby, the then General Manager) this short piece: of John Hoyland the additions to the art in the grounds. and by Maudie Palmer (the latter had great British abstract painter, with Yes, one significant feature of Deakin joined the gallery staff in 1975) we every art student in Melbourne Court is the ceramic mural by John obtained an annual grant of $10,000 packing out the lecture theatre when Olsen, Eastern world.8 Tom Sanders, (later increased to $12,000) to sustain he gave a two-hour review illustrating who had already produced the tiles, an artist to live in the house, with the whole of his oeuvre up to the accepted the commission to make
16 University of Melbourne Collections, Issue 5, November 2009 Robert Jacks, Past unfolded 5, 1987, oil on canvas, 167.7 x 251.0 cm. Reg. no. 1987.0022, purchased 1987, University of Melbourne Art Collection. © Robert Jacks, 1987. Licensed by VISCOPY, Sydney 2009.
several rows of sympathetic tiles to fill help seeing it as she passed in and out. named for Jim Potter, my colleague as the vertical space. It was an intensive Frances Lindsay later embellished former Registrar. and strange exercise for me, fixing the the court by acquiring two of Bruce price in a three-way negotiation with Armstrong’s monumental red gum We could perhaps come back to the John, the wily Rudy Komon and carvings.10 The ambience was added grounds and buildings later. However, Tom, who was not an easy personality. to by Daryl Jackson saving finials you have referred to two significant The collection still houses the scrap from the apex of the gables on the sources of gifts to the gallery and outlined of paper on which John sketched out demolished sections of the building. the late Dr Joseph Brown’s generosity. the original design.9 The final twist to We mounted them on a stone Would you like to say something about the project was the culmination of the platform to carry the naming plate of the Grimwade bequest? considerable antagonism that Deakin Court. Their installation I have already written elsewhere developed between Betty Clarke and immediately resulted in the students about two earlier substantial gifts of Tom Sanders. Tom had the last word dubbing the area ‘Prick Court’. works to the University, that of Dr by making a tile with his signature As to Old Physics, we eventually, Samuel Ewing and of Norman (the second on the work) located with University funds, renovated the Lindsay.11 I was not able at that time, conspicuously by the entrance to rest and created the fine major within the brief period of my talk at Betty’s office, where she could not conference room already mentioned, the Felton Centenary Symposium in November 2004, to give a similar account of the extraordinary generosity of Sir Russell and his wife Mab, of their home ‘Miegunyah’ in Orrong Road, Toorak, and its artworks and library including the important collections of Australian material. For that I am extremely sorry. However, this interview may be a means of making some amends. The problem posed by the house was squarely on me as the officer responsible for advising the University Council on its property. Our early problem with the gift of the house was the nature of the governing wills. Sir Russell had been a great benefactor to the University and the School of Biochemistry (now
University of Melbourne Collections, Issue 5, November 2009 17 demolished) bore his name. He had security for it and its valuable the new wing, indicating the wide interests in the eucalypt, of contents. We then proceeded to try demolition area of the external rear of which he had a flourishing grove in and find a use for the property the house. With what I recall now as his grounds, in wood generally (with consistent with the Grimwades’ real embarrassment he turned to me close connection to the CSIRO), in intentions. Some formal entertaining and said a family discussion had photography, in carpentry (in which took place there and other minor uses resulted in them not wishing to he was very skilled), as well as in were developed. Finally I conceived of proceed further, that there were too collecting Australian art and classic the idea of proposing to Joseph many difficulties, the site was too far glassware. His Australian book Brown that he might consider from the city, etc. It was a great collection was significant, particularly housing his great historical Australian disappointment but the essential in the area of exploration. With all of art collection there in a professionally thing is that a solution was later this he set out in his bequest to staffed art museum. There had been found by Dr Gerard Vaughan and the achieve certain ends, some of which several proposals considered by Dr trustees of the NGV. The collection is were difficult to implement. The most Brown for his collection, including, I now housed at Federation Square and difficult was that the house was to be think, some from interstate. Through is available for the public to appreciate. a residence either for the professor of talks with the Ian Potter Foundation One almost successful concept fine arts, then Sir Joseph Burke, or with the help of its CEO Pat Feilman was that the Commonwealth the manager of the Melbourne (a significant figure in supporting the Government would lease the property University Press, then Peter Ryan. University’s gallery) it was thought a as a Melbourne residence for the The difficulties involved were substantial capital sum might be Governor-General. Sir John Kerr substantial. Tax laws meant a heavy found to carry out the necessary even hosted a party to celebrate this. penalty for anyone enjoying residence, alteration, security and other works, The Whitlam Government was and the suggestion that the MUP together with the construction on the ousted the day before the agreement should establish a printery in Sir Orrong Road frontage of a new was signed. Russell’s (remarkably equipped) building to house the contemporary Despite effort, no other use could workshop was not one to works. Patrick McCaughey at the be found for ‘Miegunyah’ and I had contemplate. I did not relish making National Gallery of Victoria (NGV) to quit stalling and agree with David an application to the then Prahran thought it was possible that his Derham that it had to be sold. We council to establish a light industry in trustees could enter into a joint had to go to the Supreme Court to Toorak. All this meant interim venture. They had recently closed a obtain a ruling confirming that a arrangements were necessary whilst branch at Heidelberg, ‘Banyule’, and substantial number of Sir Russell and the situation was sorted out. My some staff could perhaps be found. A Lady Grimwade’s wishes could not be colleague Professor Carrick solution seemed almost possible. One met. Further, that we could sell the Chambers and his family generously Saturday morning I walked around property to implement some of their occupied the house with some the site with my good friend Joe intentions regarding the University discomfort for some time, ensuring Brown, pacing out the dimensions of Press, the library, the art collection
18 University of Melbourne Collections, Issue 5, November 2009 George Lambert, Untitled (The Tirranna picnic race meeting), 1929, oil on canvas, sight: 74.8 x 151.0 cm. Reg. no. 1973.0036, gift of the Russell and Mab Grimwade Bequest, 1973, University of Melbourne Art Collection.
and the School of Biochemistry. As flower and leaf for eucalypt specimens wood-working facility meant that he you would expect, the auction was a he used to illustrate his beautiful work would purchase old black oak board gala day in Toorak and the property An anthography of the eucalypts and, in his workshop, construct a was bought by the Holmes à Court (illustrated on page 20). He also piece for the house. With the help of family, minus the four blocks on crafted the fine cabinet to hold experts we sorted out the originals Selborne Road which had already eucalypt specimens, still in possession from the constructs. Some pieces been subdivided. After the death of of the University.12 We then went to the gallery, some to Robert Holmes à Court it was later commenced the major task of University House. Lesser pieces on-sold. removing the artworks to the (nonetheless handsome) went to The blocks to the north meant the University Gallery, transferring the Medley Hall and to International 2.1 acres were reduced and the rose large 18th and 19th century glass House. A fine piece is in the walk- garden, the small pool, the silver birch collection to the Ernst Matthaei through of Old Physics from Deakin wood and the flowering gum wood Memorial Collection of Early Glass, Court to Cussonia Court. The library were lost. The gum wood was where in the care of University House, and was culled over by the Baillieu Sir Russell had photographed and identifying which of the furniture was Library staff and the balance, with later developed prints showing a nut, historically important. Russell’s great unwanted furniture, sold. The
University of Melbourne Collections, Issue 5, November 2009 19 Russell Grimwade, An anthography of the eucalypts, Sydney: Angus & Robertson, 1930, plate 16. Sir Russell’s own copy is now held in Special Collections in the Baillieu Library, as part of the book collection that he and Lady Mab bequeathed to the University.
charming statue of Amanda out on the background to the acquisition museum have changed over the years. Upon its establishment in the early 1970s it was referred Grimwade as a young girl, which of some of the sculptural works in the to as the University Gallery, University Art stood in the lily pond, was copied for grounds and buildings. Gallery or University of Melbourne Art the interior court of Old Arts,13 the I would very much like to do so. At a Gallery, and was housed on the fourth floor of the east tower of the then new John Medley original remaining with the family. later stage I would also like to pay Building. In 1975 it was relocated to the Old The marble bench and the 15th tribute to the successive members of Physics Building, south of the Union Building. century wellhead from the garden the Works of Art Committee over the In 1988 additional accommodation was found in the former Physics Annexe on Swanston went to the west garden of University two decades of my time with the Street. At this point the overall institution House. gallery, and to the significant role of became known as the University of Melbourne The library collection of course my deputy, the Controller (Buildings) Museum of Art, with the Swanston Street space accommodating the Ian Potter Gallery enriched the Baillieu Library and the Maurie Pawsey. and Art Conservation Centre, while the benefit to the University Art University Gallery continued to operate in Old Collection was substantial. A number Dr Ray Marginson AM graduated with a Bachelor Physics. The Physics Annexe was incorporated of Commerce from the University of Melbourne into the new Ian Potter Museum of Art, of exhibitions of the Grimwade in 1946. After working for the Commonwealth designed by architect Nonda Katsalidis, which collection have been mounted. All Public Service, in 1965 he was appointed Vice- opened in 1998 to house the entire museum have borne this out. The William Principal of the University of Melbourne, with and conservation facilities. Some of this responsibility for financial policy, accounting earliest history is explained in the first of this Strutt Bushrangers in St Kilda Road is systems, budgets, building, maintenance, grounds series of interviews. an icon,14 as is The Tirrana picnic race and property, until his retirement in 1988. His 3 John Poynter and Carolyn Rasmussen, A place meeting of 1929 by George Lambert many other roles have included Chairman of the apart: The University of Melbourne: Decades of Melbourne and Metropolitan Board of Works challenge, Carlton: Melbourne University Press, (illustrated on page 19) and the small, (Melbourne Water), President of the Museum of 1996. delightful Tom Roberts A road at Victoria, a director of Geotrack International, 4 For more about the collection see John Pigot, Sherbrooke of 1920 (illustrated Vice-Chairman of the Melbourne Theatre Norman Macgeorge: Man of art (exhibition Company, member of the Howard Florey Institute catalogue), Melbourne: Ian Potter Museum of opposite), but of course the benefit to and founding President of the Victorian Jazz Archive. Art, University of Melbourne, 2001. the University does not stop there. 5 One of Young’s original plans for the garden is The funds from the sale and the rest Associate Professor Robyn Sloggett is Director of held in the University of Melbourne Archives: the Centre for Cultural Materials Conservation at Blamire Young, Garden plan for ‘Fairy Hills’, of the bequest monies now reside the University of Melbourne. The Centre provides 1911. Accession no. 75/111, Norman within the University trust funds and conservation services to the cultural collections of Macgeorge Collection, University of the use of the substantial income is the University and to the public, manages an Melbourne Archives. internationally renowned research program and 6 Christine O’Loughlin, Cultural rubble, 1993, administered on the advice of a delivers the only comprehensive postgraduate reinforced polyester resin, in four panels, representative committee, on which conservation training program in the Australasian- overall: 149.5 x 319.5 cm. Reg. no. we are fortunate to have Sir Andrew Pacific region. 1993.0019.000.A.000.D, commissioned by the University of Melbourne with funds provided Grimwade. Notes by the Ian Potter Foundation, 1993, University of Melbourne Art Collection. We have covered a great deal of ground 1 The first of this series of interviews appeared 7 The University of Melbourne artists-in-residence, in issue 3 (December 2008) of University of 1975–1988 (exhibition catalogue), Parkville: in this interview. I hope at a later date Melbourne Collections. University Gallery, University of Melbourne, we can continue and perhaps draw you 2 The name and location of the University’s art 1988.
20 University of Melbourne Collections, Issue 5, November 2009 Tom Roberts, A road at Sherbrooke, 1920, oil on canvas on wood panel, 28.2 x 19.3 cm. Reg. no. 1973.0062, gift of the Russell and Mab Grimwade Bequest, 1973, University of Melbourne Art Collection.
8 John Olsen (designer); Tom Sanders (ceramicist), Eastern world, 1971 and 1975, glazed ceramic tile mural, 325.0 x 915.8 cm and 595.0 x 559.2 cm. Reg. no. 1975.0050, purchased with assistance from the National Bank of Australasia Ltd, the Visual Arts Board of the Australia Council, the Myer Trust and the Charles Duplan Lloyd Trust, 1975, University of Melbourne Art Collection. 9 John Olsen, First sketch for ‘Eastern world’, (1975), watercolour and pencil on paper, sheet: 56.0 x 76.3 cm. Reg. no. 1985.0006, gift of Tom Sanders, 1985, University of Melbourne Art Collection. 10 Bruce Armstrong, So its come to this, 1986, red gum, 90.5 x 80.5 x 163.5 cm. Reg. no. 1986.0283, on loan from the artist, 1986; and Bruce Armstrong, She would like to be left with it, 1986, red gum, 101.7 x 98.0 x 122.6 cm. Reg. no. 1986.0182, purchased 1986, University of Melbourne Art Collection. 11 Ray Marginson, ‘One hundred and fifty years of gifts to the University of Melbourne’, in Andrew Grimwade and Gerard Vaughan (eds), Great philanthropists on trial, Melbourne: The Miegunyah Press and the National Gallery of Victoria, 2006, pp. 101–112. 12 Sir Russell and Lady (Mab) Grimwade, Timber eucalypt specimen cabinet, (c.1919– 1920), eucalypt timber with brass handles, 85.0 x 72.3 x 53.0 cm. Reg. no. 1973.0755, gift of the Russell and Mab Grimwade Bequest, 1973, University of Melbourne Art Collection. 13 Sculptor unknown (re-cast by Michael Meszaros), Gosh says Amanda, 1930, re-cast 1973, bronze, overall height: 84.0 cm. Reg. no. 1973.0764.000.A.000.B, gift of the Russell and Mab Grimwade Bequest, 1973, University of Melbourne Art Collection. 14 William Strutt, Bushrangers, Victoria, Australia 1852, (1887), oil on canvas, 75.7 x 156.6 cm. Reg. no. 1973.0038, gift of the Russell and Mab Grimwade Bequest, 1973, University of Melbourne Art Collection.
University of Melbourne Collections, Issue 5, November 2009 21 Conservation of a Cypriot vessel Carmela Lonetti
Provenance and materials This incomplete Cypriot vessel, accession number 1987.0157, dates from the Early Bronze Age (2500– 2000 BCE). Comprising the neck and upper body of an ear-lug pot, the vessel is a low-fired, pink buff clay body with a burnished red oxide slip.1 It was excavated in 1937–1938 by Professor James R. Stewart of the University of Sydney, from the Vounous site, a series of underground burial chambers in the foothills of the to its low-fired nature.4 Some The adhesive on the tape had Kyrenia Mountains in northern fragments were poorly aligned, partly yellowed, shrunk and embrittled. Cyprus. The vessel came into the due to loss of original material from The tape had deposited adhesive Classics and Archaeology Collection break edges. accretions on the interior surface and in 1987, one of 240 artefacts caused extensive staining and purchased that year by the University Previous adhesive repairs delamination of the ceramic surface. of Melbourne from the Australian Fourier Transform Infrared (FTIR) Institute of Archaeology.2 analysis confirmed that the adhesive The conservation treatment previously used for reconstruction was The tape was removed by solubilising Condition cellulose nitrate. This result is the adhesive with acetone. Accretions Although examination revealed consistent with the historical and were softened with acetone- degradation associated with the widespread use of cellulose nitrate for dampened cotton wads placed directly ceramic fabric and slip, the stability of the repair of archaeological pottery.5 onto the surface. The softened the vessel was most at risk from the The adhesive was severely discolored adhesive was removed with a scalpel unintended effects of previous repairs. (an opaque dark yellow) and and some staining was reduced. Salt Chemical testing confirmed that embrittled; failure of at least one join deposits were mechanically removed white salt deposits distributed had resulted in loss of a fragment. with picking and brush-vacuuming. unevenly on its surface were calcium Delamination at the break edges, Excess adhesive in the joins was carbonate.3 The slip was weakly caused by the adhesive pulling the also softened with acetone-dampened adhered, powdering and in some areas ceramic fabric away from the main cotton swabs, then lifted using a displaying regular fine scratches body as it degrades, was evident at the scalpel and pulled from the break characteristic of objects that have failed join. Chemical spot testing of edges using tweezers. Removal of been brushed to remove burial soil. the sellotape using diphenylamine excess adhesive from the exterior of The fabric was soft and crumbly due was positive for cellulose nitrate.6 the join allowed greater access to the
22 University of Melbourne Collections, Issue 5, November 2009 Cyprus, Early Bronze Age (2500–2000 BCE), ear-lug pot (neck, rim and handles), pink buff clay body with a burnished red oxide slip, height: 33.0 cm. Accession no. 1987.0157, purchased from the Australian Institute of Archaeology, 1987, Classics and Archaeology Collection, Ian Potter Museum of Art, University of Melbourne.
Opposite, left: Front view, before treatment. All photography by Carmela Lonetti.
Opposite, right: Front view, after treatment.
Left: Interior view from below, before treatment.
Right: Interior view from below, after treatment.
interior of the join. Joins were Consolidation of whole sherds Notes loosened by applying acetone with a was considered unnecessary as the 1 Sally Salter, A catalogue of Cypriot antiquities at syringe and then gently pulling apart strength of the sherds appeared the University of Melbourne and in the Ian Potter the fragments. This process caused sufficient to withstand stresses at the Museum of Art, Melbourne: Macmillan Art Publishing, 2008, pp. 251 and 253. some minimal damage to break edges, joins and the vessel was to be returned 2 Salter, Cypriot antiquities, p. 215. and some slip in areas surrounding to a controlled museum environment.8 3 Soluble salts more commonly associated with salt break edges was dislodged. Further, although the slip is unstable, efflorescence are chloride, nitrates and phos- phates (S. Buys and V. Oakley, The conservation The adhesive remaining on sherd consolidation would stain the porous and restoration of ceramics, Oxford and Boston: edges was removed by applying fabric and possibly produce gloss. A Butterworth-Heinemann, 1993, p. 24). acetone to the surface with a medium recommendation for minimal handling 4 Cypriot Bronze Age vessels were baked in coal-heated pits reaching temperatures of hard bristled brush, to soften and of the vessel will protect the delicate probably less than 600oC, insufficient to remove some of the adhesive from the slip. oxidise all the elements in the clay and pores. The softened adhesive was resulting in low-fired earthenware (Salter, Cypriot antiquities, p. 20.) mechanically removed by scalpel and Ethical considerations 5 Early archaeological conservation manuals— picking, but the highly porous nature Removal of the degrading adhesive such as H.J. Plenderleith, The conservation of of the ceramic meant that it was resulted in the loss of some original antiquities and works of art: Treatment, repair and restoration, London: Oxford University impossible to remove all the adhesive. material and slight damage to the slip Press, 1956 (2nd edition 1971)— recommended Consolidation of sherd edges with in some areas. The after treatment cellulose nitrate for the reconstruction and ten per cent weight/weight Rhom & images illustrate the significant consolidation of archaeological ceramics. Such materials are no longer recommended, due to Haas Paraloid® B-72 in acetone was improvement to the aesthetic value of undesirable consequences such as those undertaken to avoid the new adhesive the object, in particular the reduction described here. from being sucked into the of adhesive staining. The benefit of 6 Nancy Odegaard, Scott Carroll and Werner S. Zimmit, Material characterization tests for surrounding porous fabric, which the treatment—stabilisation of the objects of art and archaeology, London: would result in a weak bond.7 This object—outweighed the resulting Archetype Publications, 2000, p. 164. consolidant was applied with a small minor damage and slight loss of 7 Stephen P. Koob, ‘The use of Paraloid B-72 as 9 an adhesive: Its application for archaeological brush to within 2 mm of the sherd original material. Stabilisation of the ceramics and other materials’, Studies in edge to avoid ‘ghosting’ on the object ensures its longevity and Conservation, vol. 31, no. 1, February 1986, extremely porous fabric. contributes to the preservation of the pp. 7–14. 8 Buys and Oakley, The conservation and The sherds were re-adhered using collection as a whole, which has been restoration of ceramics, p. 102. 40 per cent weight/weight Rhom & developed primarily as a teaching and 9 Barbara Applebaum, Conservation treatment Haas Paraloid ®B-72 in acetone. The research resource.10 methodology, Oxford: Butterworth- Heinemann, 2007, pp. 362–367. adhesive was delivered using a plastic Carmela Lonetti undertook this treatment as part of 10 Peter Yule, ‘Classics, Cypriot and Middle syringe with a large-gauge needle to her Master of Arts (Cultural Materials Conservation) Eastern Collections’, in P. Yule and C. McAuliffe maximise working properties by at the University of Melbourne, which she will (eds), Treasures: Highlights of the Cultural complete by the end of 2009. She is presently Collections of the University of Melbourne, reducing solvent evaporation and by employed by the Centre for Cultural Materials Melbourne: The Miegunyah Press, University providing good control of application. Conservation objects conservation laboratory. of Melbourne Publishing, 2003, p. 17.
University of Melbourne Collections, Issue 5, November 2009 23 The Barlow file Another adventure in building Derham Groves
Between 1900 and 1910 Arthur architectural practice with lively William Purnell (1878–1964), an presentment of the adventures Australian architect from Geelong, that await them, a picture in lived and worked in China. In 1904 which men and women rather he and Charles Souders Paget (1874– than architects and builders 1933), an American civil engineer occupy the canvas, and which is from Bethlehem, Pennsylvania, more concerned with the fabric of established the architectural and life than with the fabric of engineering firm Purnell & Paget in houses, will perhaps amuse those Guangzhou (Canton). Purnell who have fallen under the spell of designed many impressive buildings bricks and mortar or who are in Guangzhou, including the curious of the unexplored.5 Arnhold-Karberg & Company building on the tiny island of The same can be said for the Shamian (spelt ‘Shameen’ in his day), University’s Arthur Purnell which was one of the earliest Collection. One difference is that reinforced concrete buildings in Spinlove’s architectural practice was China;1 the competition-winning made up, whereas Purnell’s was real. Imperial Customs House also on designed hundreds of buildings, And I seriously doubt whether Shamian; and the South China ranging in size from the Olympic Creswell—talented writer that he Cement Factory in Haizhu District, stand at the Melbourne Cricket was—could have invented a client which was later requisitioned by the Ground to a ticket box. The quite like Alexander George (‘Alec’) revered political leader Sun Yat-Sen University of Melbourne Archives is Barlow (1880–1937), a trailblazing— for his headquarters.2 At least a dozen now the custodian of thousands of albeit shady—Melbourne car dealer. of Purnell’s buildings still exist in Purnell’s architectural drawings that However, just as Spinlove and Brash China, including the three mentioned span this eventful period of come to life through their letters in above. However, only recently has Melbourne’s history.4 In the preface The Honeywood file, so the Purnell been ‘rediscovered’ by the to The Honeywood file: An adventure in personalities of Purnell and Barlow Chinese and acclaimed as a major building (1929), a fictional account of emerge from Purnell’s drawings in the architect there.3 correspondence between an architect, Arthur Purnell Collection. Purnell returned to Australia in James Spinlove, and his client, In 1915 Isidor George Beaver 1910 and maintained a busy Sir Leslie Brash, the book’s author (1859–1934), a Melbourne architect architectural practice in Melbourne— H.B. Creswell wrote: originally from Manchester in both on his own and in partnership England, and Purnell established the with others—until he retired in the Although The Honeywood File is architectural firm Beaver & Purnell in late 1950s. Over this time he designed to engage aspirants to Melbourne. Despite being the junior
24 University of Melbourne Collections, Issue 5, November 2009 Opposite: Arthur Purnell and his wife Jane at home in Guangzhou. Photograph courtesy of Jan Parkinson.
Below: Arthur W. Purnell, Proposed alterations to motor showroom at premises La Trobe St: For Messrs Barlow Motors Pty Ltd (construction drawing), 17 September 1926. Arthur Purnell Collection, University of Melbourne Archives.
partner in the practice, Purnell seems to have taken the lead concerning design. In 1923 Beaver & Purnell designed ‘Proposed additions to residence [at 378] St. Kilda St. Brighton for Mrs. Barlow’, which involved enlarging the lounge room and the verandah and adding a loggia and a pergola.6 Purnell seems never to have refused architectural work, regardless of how fiddly or insignificant it was, and in this case— as in so many others throughout his long career—one small job led to several much bigger ones: Mrs Barlow’s son Alec turned out to be one of Purnell’s best and most colourful clients. In 1922 Alec Barlow rented 20–28 La Trobe Street in Melbourne (previously occupied by the Howitzer Battery Co.) and opened Barlow Motors Pty Ltd. While the company sold new and used cars, the majority of its business consisted of servicing and garaging privately owned vehicles. Barlow Motors claimed to run ‘the most modern and up-to-date garage in Melbourne—as near fireproof as possible. This is the garage to place your cars for safety and cleanliness. Filtered petrol. Filtered oil. Free air. Cars washed and polished lowest rates.’7 Barlow Motors got off to a flying start: soon after the company opened, all but 18 of its 150 on-site
University of Melbourne Collections, Issue 5, November 2009 25 Arthur W. Purnell, Residence at Punt Road South Yarra for A.G. Barlow esq. (construction drawing), 28 November 1924. Arthur Purnell Collection, University of Melbourne Archives.
car parking spaces had been leased by Purnell designed a number of bathroom, and a second bathroom the public.8 cosmetic changes to 20–28 La Trobe located in an undercroft that was In February 1924 Barlow bought Street over the next few years, accessible only from outside the the La Trobe Street building for including putting large display house. A separate garage with an £16,000,9 and hired his mother’s windows in the car showroom in attached laundry faced Gordon Grove architects to redesign the premises. In September 1926 (illustrated on page and was connected to the house by a April Beaver & Purnell began work 25). But despite trying to modernise wooden trellis. Soon after the house by drawing plans and elevations of the first floor façade several times, he was finished however, Barlow sold it the existing two-storey Victorian- only succeeded in having the archaic to Purnell and went to live in his style building. On the ground floor Greek-style urns removed from the mother’s house in Brighton. When I were a new car showroom, five offices parapet. discovered this unexpected turn of and a workshop equipped with a car ‘Overwells’, a 30-room mansion events my first thought was there pit, car wash and petrol pump. A car on a large parcel of land at Punt Hill must have been something wrong ramp led to the first floor where an in South Yarra, was subdivided and with the Punt Road house. office, paint shop, trimming shop and sold in March 1920.10 Barlow (Architects have been known to buy toilets were located. An undated purchased the vacant block on the their ‘mistakes’ before.) But if this drawing of alterations to the building corner of Punt Road and Gordon was the case then why did Barlow apparently done early in 1924 shows Grove. In November 1924 Purnell continue to hire Purnell for many that on the ground floor the offices (now ‘Late of Beaver & Purnell’) years to come? One possible were demolished and the car designed for Barlow a one-storey explanation that certainly fits the showroom was extended, while on the house at 488 (the number later personalities of the two men is that first floor the paint shop and changed to 492) Punt Road Barlow needed cash quickly and trimming shop were demolished and (illustrated above). With cream Purnell was happy to assist his client six offices, a waiting room, phone roughcast exterior walls, stained and friend and get a bargain at the room, storeroom and lunchroom were timber louvered shutters on the same time. Purnell evidently liked the constructed. These changes reflected windows, twisted ‘barley sugar’ locality, because he was already living Barlow Motors’ shift from mainly columns around the front door, and a nearby at 520 Punt Road.12 caring for cars to primarily selling hipped red ‘Cordova’ tile roof, the In June 1925 Purnell extensively cars. The company sold Clyno, Stutz house was an early example of renovated Barlow’s ‘old’ house for and Vauxhall cars, White trucks, and Spanish mission-style architecture in himself, adding a bedroom, dressing Bean cars and trucks. Melbourne.11 Compared to some room, sunroom, laundry and Beaver and Purnell parted ways houses in South Yarra, a fashionable incinerator room; enlarging the late in 1924. Barlow followed Purnell inner suburb, Barlow’s was modest in lounge room, dining room, main and for the rest of the car dealer’s life size with a living room, dining room, bedroom, bathroom and porch; they had a remarkably close and den, main bedroom, spare bedroom, relocating the den; and landscaping cordial client-architect relationship. maid’s bedroom, kitchen, main the garden (illustrated opposite,
26 University of Melbourne Collections, Issue 5, November 2009 Left: Arthur W. Purnell, Proposed brick residence corner Punt Road & Gordon Grove South Yarra for A.W. Purnell esq. (renovations to ‘Shan Teng’), 15 June 1925. Arthur Purnell Collection, University of Melbourne Archives.
Below: Arthur W. Purnell, Proposed timber & iron racing stables at Mentone for A.G. Barlow esq. (construction drawing), (1925). Arthur Purnell Collection, University of Melbourne Archives.
above). Purnell’s wife Jane (née roof that he designed. Surprisingly ‘Shameen’, after the island where he Farrell) was a keen gardener, so she the roof’s curved ridge appears to had lived in Guangzhou, but since may have asked for the circular, oval have been an afterthought, because two of his previous houses had also and eight-pointed-star-shaped Purnell only sketched it in pencil on been called that,13 he finally settled on flowerbeds dotted around the garden. the completed drawing of the ‘Shan Teng’ (Mountain Vines). However, what completely renovations to the house. He also Purnell’s only child Joan Margaret transformed the house and made it designed oriental-style chimneys, gate Dickson (1918–2002) grew up in the uniquely Purnell’s was the new and pergola to match the roof. house and remembered the family ‘Chinese temple-style’ hipped tile Initially Purnell named his new house having Chinese servants who were
University of Melbourne Collections, Issue 5, November 2009 27 Right: A.G. Barlow’s former ‘brick factory’ at 353 Exhibition Street in 2009. Photography by Derham Groves.
Below: Arthur W. Purnell, Proposed brick factory premises 353 Exhibition St City for A.G. Barlow esq. (construction drawing), 14 April 1926. Arthur Purnell Collection, University of Melbourne Archives.
indentured through an American Furthermore, he would sometimes bet windows. There was also a long, ship’s captain. She also recalled that hundreds of pounds at a time on his narrow, one-storey weatherboard and about the same time her father drove horses.18 In 1925 Purnell designed corrugated-iron building where the a glamorous Stutz Bearcat car, which new racing stables for Barlow in horse strappers stayed, which she described as ‘very Hollywood’.14 Mentone, an outer-Melbourne comprised three bedrooms, a Since Barlow Motors sold Stutz cars, seaside suburb (illustrated on page bathroom and a ‘boiling down room’ Purnell most likely bought it from 27). The two-storey weatherboard (i.e. a laundry). Barlow ominously there. ‘Shan Teng’ still exists as a building with a gabled, corrugated- sold all of his racehorses in March private residence. iron roof was on the corner of Lower 1927,19 but he held onto the stables Barlow was a big spender who Dandenong Road and Levanto and leased them out. enjoyed the high life. During the Street. There were eight horseboxes By the end of 1925 Barlow 1920s he owned a string of promising and four rooms for chaff, feed, oats Motors needed more space. In racehorses, including Preposterer, and horse tackle on the ground floor, January 1926 Purnell designed a plain winner of the 1925 Sandown Plate,15 and a large hayloft on the first floor. one-storey ‘brick store’ for the Poetaster, winner of the 1927 The latter was reached via a ladder, company at 353 Exhibition Street in Aspendale Plate,16 and Ambassador, while the hay was pulled up with a Melbourne, which had vehicle access winner of the 1927 Ormond Stakes.17 rope through a pair of dormer at the front and rear and backed onto the east side of 20–28 La Trobe Street. In March Purnell’s favourite builder Henry Eilenberg agreed to construct the building, but shortly afterwards Barlow had second thoughts about it. In April Purnell designed a three-storey ‘brick factory’ for Barlow on the same site (illustrated left), which had neither wide entrances nor car ramps between floors. Barlow later sold the building to George A. Bond & Co., the iconic Australian manufacturer of socks and underwear. It still exists and is currently a travel agency (illustrated above). Barlow may have changed his mind because he had his eye on another building: also in April Purnell did a ‘Rough plotting of premises nos.
28 University of Melbourne Collections, Issue 5, November 2009 A.W. Purnell, Clifton Springs Seaside Golf House and Hotel, (poster, c.1926). Arthur Purnell Collection, University of Melbourne Archives.
[blank] Clarendon Street, South their adventures in the papers. For Melbourne for Barlow Motors Pty. example, The Argus reported: Ltd.’, however nothing further came As the Bean racing car was passing of it. through North Goulburn flames During the busy month of April were seen by residents to be leaping 1926 Purnell also designed Barlow up from the rear of the car to a Motors’ stand at the International height of 20 feet. Mr. Barlow was Motor Show in the Royal Melbourne asleep, and Mr. Birtles was driving, Exhibition Building. However, the but did not know of the danger till show’s stringent design guidelines people in the street yelled and stopped Purnell from doing very pointed. He was travelling about 30 much. On his copy of the ‘Rules miles an hour at the time. When he governing the general conduct of the jammed on the brakes Mr. Barlow Show’ he underlined (perhaps with a woke up. At once he grasped the sense of frustration): ‘No exhibitor fire extinguisher, jumped out of the shall erect any sign, stand, wall or car before it had stopped, and obstruction which exceeds a height of quickly put the fire out. ‘I have three feet six inches [one metre]’.20 never before had such a bad scare,’ Barlow Motors’ stand was 24.5 he said. The pipes from the petrol metres long and nine metres wide, tank were burned and 50 gallons which was large enough to display [227 litres] of petrol were spurting eight cars: two Beans, two Clynos and the renowned Australian adventurer out into the flames. When the fire four Vauxhalls. On the floor was Francis Edwin Birtles (1881–1941) to had been put out the car was driven brown carpet with a grey felt drive a modified Bean car from to a service station, where repairs stencilled border; around the edge of Darwin to Melbourne in world record were affected. ‘If it had not been for the carpet was a rope fence; and on time. Barlow Jnr and Birtles started the fire extinguisher we would have top of each square fence post was a their 5,438 kilometre journey on 23 both been blown up,’ Mr. Barlow spherical light fitting with ‘Bean’ October and finished eight days and remarked as he was making repairs, written on it. Barlow Motors’ stand 13 hours later.22 They were followed ‘but fortunately we have escaped was in one of the best locations, ‘right all the way by a support crew in a with very little loss.’25 under the dome’ of the historic Royal Bean truck.23 During the trip Barlow Melbourne Exhibition Building.21 Motors ran a series of wonderfully Barlow Motors received some great In 1926 Barlow Motors sponsored over-the-top full-page newspaper publicity from the trip. The Bean car Barlow’s son Alexander Arthur (also advertisements to inform the public driven by Barlow Jnr and Birtles is called ‘Alec’) Barlow (1907–1972), a of the intrepid motorists’ progress.24 now on display at the National car salesman with the company, and There were also periodic accounts of Museum of Australia in Canberra.
University of Melbourne Collections, Issue 5, November 2009 29 A.G. Barlow’s former house at 146 Beach Road in 2009. Photography by Derham Groves.
In May 1926 Purnell designed the tired people to the relaxation of house was similar to that of some ‘Clifton Springs Seaside Golf House Clifton Springs, far removed as it houses designed in America by and Hotel’ at Clifton Springs on the is in quiet beauty from the grime Purnell’s favourite architect, Frank Bellarine Peninsula near his and bustle of the cities, and with Lloyd Wright. Barlow Motors was hometown Geelong. Purnell and Alec natural attractions so plentifully also expanding. In August 1927 the Barlow Snr were both directors of the bestowed.27 company opened a used car company that built and managed the showroom at 442–448 Elizabeth golf house and the 40-room hotel.26 In July 1927 Purnell designed a two- Street in Melbourne (previously Since Purnell was the motivating storey house overlooking Port Philip occupied by Cudlipp Motors Pty force behind the ambitious project, he Bay for Barlow on the corner of St Ltd). Barlow was on top of the was probably responsible for getting Kilda and Wellington Streets, Middle world—or so it seemed. Barlow involved. There was however Brighton. (Actually the house was at On 9 August 1928 at 3 o’clock in more to it than simply their 146 Beach Road, which was the the morning Barlow’s wife Frances friendship, because the commercial extension of St Kilda Street— May (née Hancock) disturbed an viability of the new holiday resort Barlow’s mother’s street—in the intruder inside the couple’s Middle depended heavily on the car. neighbouring suburb.) Barlow’s new Brighton house. A report of the Consequently the wellbeing of drivers house had roughcast walls and a incident next day in The Argus and vehicles was a high priority for hipped tile roof (illustrated above). provided a peek inside the house, as the resort’s management: ‘Motorists At the end of the driveway was a well as revealing another aspect of have but two hours’ comfortable porte-cochere to shelter people Barlow’s character: driving over the perfect Geelong and moving from their car to the front Clifton Springs Roads, and will find door of the house. On the ground The man was first seen by on arrival at the Golf House a floor were a lounge, smoke room, Mrs. Barlow. She heard one of commodious garage which houses 25 dining room, kitchen, maid’s the stairs creak, and at once cars in separate lock-up garages,’ bedroom, maid’s dining alcove, switched on the light at a announced the Prospectus of Clifton laundry-cum-maid’s bathroom, cloak landing. The intruder, who had Springs Seaside Golf House (Limited.): room, store room, telephone booth been ascending the stairs, turned under the stairs, fuel room, two and ran. Mrs. Barlow’s cry for Petrol, oil and other necessities toilets, and a garage with a drained help brought Mr. Barlow from for the car will be available, and area in front for washing cars. The his bedroom with an automatic eventually a Bowser petrol tank lounge and the smoke room opened pistol. He ran downstairs, and will be installed, while efficient onto a common veranda. Upstairs went towards the back door, attendance for washing, greasing, were three bedrooms, a sleep-out and believing that the stranger had oiling, etc., will be provided … a bathroom. Likewise the two front escaped that way. The door was Like the Genii of the Lamp, bedrooms opened onto a common shut, however, and on making a modern transport will whisk away balcony. The massing of Barlow’s new search Mr. Barlow found that the
30 University of Melbourne Collections, Issue 5, November 2009 Arthur W. Purnell, Elevation to La Trobe Street: Proposed alteration to premises at 20 La Trobe Str. Melbourne for Goodyear Tyre & Rubber Co. of Australia Pty Ltd, (mid-1930s) (elevation, detail). Arthur Purnell Collection, University of Melbourne Archives.
side door was ajar. A flowerbed rendered walls with areas of green Qantas’ far eastern division.33 nearby had apparently been glazed and vermilion unglazed tiles; After Wall Street crashed in trampled on. As there were no lemon yellow enamelled metal October 1929 the bottom fell out of marks on the door it is thought window frames with warm sepia the new car market around the world. that the intruder gained entrance heads and sills; and signs using (The parallels between then and now with a skeleton key. Mr. Barlow vermilion enamelled raised metal are chilling.) Barlow Motors communicated with the police, letters and warm sepia cement letters. continued trading until November and in response to a wireless However, none of these changes was 1930 when it was officially wound up message the night patrol … ever made to the building. with debts of £96,472.34 But Barlow arrived from Moonee Ponds in In October 1929 Barlow Motors was undaunted. Miniature golf was less than 10 minutes.28 spent £800 on a Gypsy Moth bi- the newest craze sweeping Australia plane that was supposedly for and in December he leased the lower Barlow later wrote to the editor of business, but was really for the Melbourne Town Hall for £43 per The Argus commending the police for amusement of Alec Barlow Jnr. He week and controversially35 set up a their swift action.29 and his friend Hugh Hughes flew the miniature golf course inside the By the beginning of 1929 Barlow plane for the first time to Portsea, a building.36 Typical of this sort of fly- Motors was in financial trouble. coastal town 97 kilometres southwest by-night enterprise, the outlays were The company closed 20–28 La Trobe of Melbourne, to meet some friends low and the hopes of striking it rich Street in March and then traded at the Nepean Hotel. Barlow Jnr were high. However, Barlow’s solely from its Elizabeth Street landed the plane safely in a paddock, miniature golf course closed after only premises. The La Trobe Street but taking off after drinking at the 20 weeks, losing the hapless building was next occupied by Temple pub was not so easy; the plane scraped businessman a further £798.37 While Motors Pty Ltd and then later on by a wire fence, knocked a telephone I have found no evidence so far to the Goodyear Tyre & Rubber Co. of pole and hit a cypress tree before indicate that Purnell designed the Australia, which commissioned crashing into the veranda of Stringer’s miniature golf course, he might very Purnell to design a third storey for store. Miraculously nobody was well have done so; in January 1930 the building. He had done similar seriously hurt—let alone killed—but Purnell (now in partnership with two work in China,30 and proposed using the plane was a write-off.31 A of his former ‘star’ employees Eric the same technique here, which fortnight after the accident Barlow Hazel Round and William Alfred involved raising the existing roof en- Motors purchased another Gypsy Graham) designed an outdoor masse and reusing it on the new Moth for Barlow Jnr to play with.32 miniature golf course at Queens addition. He also designed an Art No wonder the business was in Wharf next to the Yarra River in Deco-style façade for the old- difficulty. Remarkably the Melbourne. Unfortunately it fared no fashioned building (illustrated above). barnstorming pilot went on to fly better than Barlow’s.38 This bright new streamlined façade professionally for several commercial Following Barlow Motors’ had pale yellow-ochre cement- airlines and ended up as manager of liquidation the company seems to
University of Melbourne Collections, Issue 5, November 2009 31 Barlow Motors designed by University of Melbourne architecture student Samuel Liew. Image courtesy of Samuel Liew.
have transmogrified into Franklin the University of Melbourne Archives Used Cars Pty Ltd, which also traded not only provides a unique view of from 442–448 Elizabeth Street. architecture and life in Melbourne However, this business struggled as during the first half of the 20th well and to keep it afloat Barlow—in century, but is also a valuable resource cahoots with his bank manager for contemporary designers. In first Maurice John Kelly—defrauded semester 2009 I asked 80 third-year £164,000 from Edmund Harold architecture students from the Faculty Hunter, a wealthy retired merchant.39 of Architecture, Building and When Hunter’s money finally ran Planning at the University of out, Barlow shot himself at his Beach Melbourne, where I teach, to pretend Road house. According to a report of that Alec Barlow was alive today and the subsequent court case: had commissioned them to design a new building for Barlow Motors at At the end of March or early 20–28 La Trobe Street, consisting of a April 1937, the snowball was car showroom, car service centre, car getting bigger and bigger, and park for 350 cars, bachelor’s [Hunter] had told Barlow that he apartment for Alec Barlow Jnr and a could not go on any longer. miniature golf course with a car When Barlow could not get any theme. Most students responded more cheques from [Hunter] the enthusiastically to the adventurous balloon burst. [Hunter] had been and flamboyant personalities of the notified by his bank that some of minded, Mrs Barlow commissioned Barlows. Many supposed that Barlow the promissory notes had not Purnell to convert the large Beach Motors sold luxury cars, such as been met. He saw Barlow at his Road house into a pair of self- Aston Martins, Bugattis, Porsches home and asked him what was contained flats. It still exists as two and Morgans. Because the Barlows the trouble. Barlow replied that apartments (illustrated on page 30). were trendsetters, several students two banks had turned him down, Ironically the ‘Barlow file’ opened used the most up-to-date technology, and he had not had any sleep for with alterations to Mrs Barlow’s like robotic car parking systems. A 48 hours. He told [Hunter] to house (i.e. Barlow’s mother’s house) few wove a pathway through their come back, as he had to have and closed with alterations to Mrs buildings to commemorate the dash some sleep. When [Hunter] Barlow’s house (i.e. Barlow’s widow’s from Darwin to Melbourne by Alec returned about 5 o’clock Barlow house). Purnell’s architecture marked Barlow Jnr and Francis Birtles in was dead.40 nearly every stage of the ill-fated car 1926. A number of students assumed dealer’s amazing rise and tragic fall. that Barlow Jnr was a playboy and a Being widowed and practically The Arthur Purnell Collection at womaniser and designed his
32 University of Melbourne Collections, Issue 5, November 2009 Barlow Motors designed by University of Melbourne architecture student Rivkah Stanton. Image courtesy of Rivkah Stanton.
apartment accordingly; one woman 5 H.B. Creswell (1929), The Honeywood file: An (n.d.), p. 3. Arthur Purnell Collection, adventure in building, London: Faber and University of Melbourne Archives. for example based its shape on the Faber, 1972. 27 Prospectus of Clifton Springs, pp. 5 & 7. Hope Diamond. Others created top- 6 All architectural drawings referred to in this 28 ‘Intruder in house. Escapes from pursuer. Early heavy structures to reflect the article are from the Arthur Purnell Collection, morning incident’, The Argus, 10 August 1928, University of Melbourne Archives. p. 11. precarious state of Barlow’s business. 7 The Argus, 3 October 1922, p. 4. 29 Alec G. Barlow, ‘To the Editor of The Argus’, I feel that Purnell and the Barlows 8 The Argus, 12 September 1922, p. 4. The Argus, 10 August 1928, p. 13. would have appreciated the students’ 9 ‘Property Sales’, The Argus, 1 February 1924, 30 This was for the Carlowitz & Company p. 8. building on Shamian (see Groves, From designs, because I suspect they 10 The Argus, 28 February 1920, p. 4. Canton Club to Melbourne Cricket Club, p. 17). understood better than most that 11 Peter Cuffley, Australian houses of the ’20s & 31 ‘Aeroplane crash. Light machine wrecked. architecture is sometimes another ’30s, Fitzroy: Five Mile Press, 1989, p. 96. Occupants amazing escape. Sensational 12 A.W. Purnell, ‘State taxation. To the Editor of mishap at Portsea’, The Argus, 21 October form of biography. The Argus’, The Argus, 8 December 1924, p. 13. 1929, p. 7. 13 ‘Shameen’, 17 Munro Street, Armadale (1914) 32 ‘Golden Quest the VH-UMR’, Dr Derham Groves is a Senior Lecturer in and ‘Shameen’ on the corner of Huntingtower www.lasseteria.com/CYCLOPEDIA/110.htm, Architecture in the Faculty of Architecture, and Malvern Roads, Malvern (1916). accessed 20 June 2009. Building and Planning at the University of 14 Joan Dickson, interviewed by Andrew Ward, 33 Malcolm Fredman, ‘Brighton Beach and the Melbourne. Earlier this year Ramble House architectural historian, 10 July 1992. Cutty Sark’, The Journal of the Aviation published his latest book, a collection of essays and 15 ‘Racing at Sandown Park’, The Argus, 18 May Historical Society of Australia Inc., vol. 35, no. 2, images titled Victims and villains: Barbie and Ken 1925, p. 9. June 2004, p. 75. meet Sherlock Holmes. He is currently working on a 16 ‘Winner of Aspendale Plate’, The Argus, 34 ‘Barlow Motors Pty. Ltd. Deficiency of book about Arthur Purnell. He would love to hear 10 January 1927, p. 9. £96,472’, The Argus, 22 November 1930, p. 18. from any relatives of Alec Barlow. 17 ‘Ambassador case. Explanation accepted. 35 ‘Deceiving the unemployed’, The Argus, Owner reprimanded’, The Argus, 19 November 3 December 1930, p. 6. 1927, p. 19. 36 ‘Midget golf in Town Hall. Leasing offer 18 ‘Ambassador case’. accepted. Rental of £43 a week’, The Argus, Notes 19 ‘Mr. A.G. Barlow’s horses for sale’, The Argus, 2 December 1930, p. 6. 23 February 1927, p. 17. 37 ‘Midget golf course. £798 lost on Town Hall 1 Jeffrey W. Cody, Exporting American 20 ‘Rules governing the general conduct of the venture’, The Argus, 19 May 1931, p. 7. architecture 1870–2000, London: Routledge, Show’, typescript, 1926, in the Arthur Purnell 38 ‘Miniature golf. Queen’s Wharf Company. 2003, p. 41. Collection, University of Melbourne Archives. Court makes winding-up order’, The Argus, 2 Derham Groves, From Canton Club to 21 The Argus, 15 May 1926, p. 17. 3 February 1931, p. 5. Melbourne Cricket Club: The architecture of 22 ‘Bean “brings home the bacon”. Birtles & 39 ‘A.G. Barlow’s seven bank accounts. Counsel’s Arthur Purnell (catalogue of exhibition held in Barlow smash the record! Darwin to story in £50,000 claim’, The Argus, 3 March the Baillieu Library), Melbourne: University of Melbourne’, The Argus, 1 November 1926, p. 5. 1945, p. 7. Melbourne, 2006. 23 ‘Transcontinental test. Bean truck and car’, The 40 ‘A.G. Barlow’s seven bank accounts’. 3 Li Sumei (ed.) The architectural arts of A.W. Argus, 17 September 1926, p. 27. Purnell and the modern society of Lingnan, 24 ‘Across Australia! Off to Darwin’, The Argus, Guangzhou: Guangdong People’s Publishing 18 September 1926, p. 25. ‘Southward Ho!’, House, 2008. The Argus, 23 October 1926, p. 15. ‘The Bean 4 I wish to thank the staff of the University of romps into Sydney burning up the miles from Melbourne Archives, especially Denise Driver Darwin’, The Argus, 29 October 1926, p. 5. and Sophie Garrett, for their assistance and 25 ‘Car in flames. Excitement at Goulburn’, patience. Also the Sidney Myer Fund, which The Argus, 30 October 1926, p. 35. in 2007 generously funded the conservation of 26 Prospectus of Clifton Springs Seaside Golf House architectural drawings in the collection. (Limited), Melbourne: Keating-Wood Pty Ltd,
University of Melbourne Collections, Issue 5, November 2009 33 A case for photographs Jason Benjamin
The photographic collections held by the University of Melbourne are a rich resource for those interested in the history of photography in Victoria. Notable collections include those of the Grainger Museum, the Ian Potter Museum of Art and the University of Melbourne Archives (UMA), all of which contain works by some of Victoria’s best-known photographers.1 Of particular significance, however, is UMA’s small but important collection of daguerreotypes and ambrotypes,2 the first photographic processes widely practised in Victoria. Often referred to as cased photographs, for the small protective boxes in which they were presented, these processes were in popular use in Victoria from 1845 until the mid- elements of the work of art that the influences of the international 1860s, when albumen print deserve attention in their own right. photographic trade on early cartes-de-visite began to dominate the The UMA selection, although photography in Victoria. photographic trade. relatively small (three daguerreotypes UMA’s largest single collection of One aspect of daguerreotypes and and 22 ambrotypes), includes cased images comes from the papers ambrotypes of particular interest is representative examples of the various of the Armytage family, wealthy the materials and techniques used in case designs and sealing techniques pastoralists who had established the sealing and casing of the images. used during the 1850s and 1860s, themselves in Victoria from the 1830s Often demonstrating a high level of thus providing a good overview of the after moving from van Diemen’s finish and design, the casing and development of this art form. For the Land. They are best known today as sealing components form an examples with a known Victorian the former owners of the historic important part of the overall object: a provenance, these casing elements can house ‘Como’ in South Yarra. cased photograph.3 Although it is also reveal important information on Consisting of two daguerreotypes and usually the image contained within the origins of the photographic 16 ambrotypes (a number of which the case that is the primary focus, the supplies being used locally. This in were separated from their cases prior case and the sealing components are turn provides us with an insight into to deposit at UMA), this collection is
34 University of Melbourne Collections, Issue 5, November 2009 Photographer unknown, Armytage family group, Below: Interior view, illustrating the casing including Charles and Caroline Armytage and components including mat, protector and their eldest child, Charles Norman Armytage, at embossed velvet pad. The leather hinge can also be ‘Fulham’ near Balmoral, c.1858–1859, seen as well as the more ornate nature of this quarter-plate daguerreotype, housed in a wooden- example in comparison with the Strathfieldsaye based, leather-covered case, manufactured Estate daguerreotype. The colour effects on c.1857–1858, 8.1 x 9.3 x 1.5 cm. Armytage Family daguerreotypes were achieved by applying Collection, University of Melbourne Archives. dry pigment combined with gum arabic with a fine brush and then using heat and moisture Opposite: The embossed combination floral and generated by breathing on the image geometric external case design is more intricate to adhere it to the surface. and dominates more of the case surface than the Strathfieldsaye Estate daguerreotype case of the early 1850s illustrated on p. 37. The use of gold borders, which became popular during the 1850s, further adds to the busy effect.
significant for the many images, predominantly portraits, known to have been taken in Victoria. A smaller collection of five cased images is held in the Strathfieldsaye Estate papers which chronicle the Disher family of Stratford in Gippsland. Among this collection is the oldest example of a daguerreotype held by UMA. Of particular note is a rare half-plate landscape ambrotype from the James Stewart Johnston papers, which depicts the National Trust and Victorian Heritage Register listed ‘Glenara’ homestead at Bulla.4 The daguerreotype was the first photographic process practised in Victoria and was introduced to the then Port Phillip District of New South Wales in August 1845 by George Baron Goodman (d.1851), Australia’s first professional photographer. Perfected in 1839 by Louis-Jacques-Mandé Daguerre (1787–1851), who built upon the work of earlier pioneers, the daguerreotype was the first practical photographic process to be widely used by professional photographers. Popular until the late 1850s, the daguerreotype image was formed on a highly polished silver-coated copper plate. The mirror finish made the image difficult to see at particular angles. As this process did not utilise a negative, the image created was
University of Melbourne Collections, Issue 5, November 2009 35 unique and could not be duplicated the displaying of images on walls.6 In cases were manufactured in five without re-photographing it. Britain and North America, however, standard sizes,9 and were the Although it is unclear who first the most common practice was the predominant style used introduced the ambrotype process to adoption of small cases that had internationally. Except for minor Victoria, the first advertisement for originally been designed for the structural changes, these standard the process by a professional housing of miniature portraits painted wooden cases were consistent in basic photographer appeared in 1854.5 The on ivory.7 In conjunction with these construction throughout their period basic ambrotype process was first cases, protective sealing methods of use. The skeleton structure of the made public in 1851 by its inventor, utilising mats, glass, tapes and earlier cases consisted of ten pieces of Frederick Scott Archer (1813–1857), preservers—a thin metal wraparound shaped wood, five pieces each for the and quickly gained popularity. The frame—were developed. base and lid. This structure was made ambrotype is an under-exposed The art of case making and the up of a rectangular base of solid wood negative on glass that is made positive manufacturing of sealing accessories with four rails glued to the edges to by covering the reverse of the glass for these formats reached its height in form the side rim. In America from with an opaque coating, usually a North America, where between the the early 1850s a design consisting of black lacquer. Once the reverse is 1840s and 1860s millions of cases seven pieces of wood for each half of coated the end result is a soft and were manufactured annually for the the case was introduced, to prevent pearly positive image without the photographic trade. As well as the warping that was common with reflective surface of the daguerreotype. supplying the domestic market, the the earlier design. The additional two As with the daguerreotype this cases and sealing components were pieces of wood were used as cross- process also produces a unique image. also exported. Advertisements for grain reinforcing of the two The image surfaces of both the local photographic suppliers firmly baseboards. The most common type daguerreotype and ambrotype are establish that Victoria was a part of of wood used was a soft North highly sensitive to mechanical and this trade.8 Although in many American native pine.10 environmental damage, which meant instances the origins of the cases and It is rare to be able to see the that protective sealing and housing sealing components are unclear, a underlying structure of these cases methods were required for number of examples held by UMA but a detached pad from the lid of an preservation. Depending on the confirm that America was the source Armytage family quarter-plate region, certain protective conventions for some of the cases being used in daguerreotype affords us an developed that, in concept, changed Victoria. opportunity to do so. This particular little throughout the period during The most common form of case example demonstrates the seven-piece which these types of images were represented in the UMA collection is construction introduced in America produced. In continental Europe the that of a shallow base and lid during the early 1850s, with the most common practice was to adapt constructed from wood. Usually of a cross-grain reinforcing plainly visible. conventional picture framing methods combined depth of several The daguerreotype housed in this using mats under glass that favoured centimetres, these wooden-based case (illustrated on pages 34–35) is
36 University of Melbourne Collections, Issue 5, November 2009 Photographer unknown, Portrait of an unknown woman, c.1850–1855, daguerreotype, housed in a wooden-based, leather-covered case, manufactured c.1850–1855, 7.5 x 6.1 x 1.6 cm. Bequest of Dr Harold Clive Disher, 1976, Strathfieldsaye Estate Collection, University of Melbourne Archives.
Left: The case features a relatively simple combination floral and geometric embossed design. Note the visible joins in the leather along the case’s edge which, in contrast with the Armytage family daguerreotype case, are quite obvious.
Below: Interior view revealing plain mat, lack of preserver and simple embossing of velvet pad.
also of particular interest as it is a rare surviving example of an external view. This group portrait, which includes Charles and Caroline Armytage and their eldest child, Charles Norman, standing in front of their homestead at ‘Fulham’, the family’s property near Balmoral in Victoria’s Western District, would have been taken in about 1858–1859 and is one of the later daguerreotypes produced. The greatest change to the cases during their period of use concerned the design elements employed on the external surfaces. Earlier cases were generally plain with only a simple geometric design on the lid, but by the 1850s more intricate designs were favoured and usually appeared on contrasts with later embossing cut with raised design features. The both sides of the case. Geometric and designs which are far more intricate embossed layer, slightly larger than floral designs were the most popular and dominate more of the case the case surface, was placed upon the and all the examples held by UMA surface. Gold borders—which further already glued wooden surfaces of the fall into these two categories.11 The added to the busy appearance of many top and base of the case, then Strathfieldsaye Estate daguerreotype designs—also became popular during repeatedly brushed with a blunt illustrated above is a good example of the 1850s. rubber stick until the glue set. This the early use of the intricate floral and The exterior finish of cases process was mechanised in 1854 by geometric designs that became commonly consisted of leather the use of a press which was able to increasingly favoured. Dating from (usually a paper-thin sheepskin), glue embossed surfaces on to six cases the early 1850s, this sixth-ninth plate paper or cloth. The majority of the at a time.12 brown leather case is embossed with a UMA’s cases with a Victorian The next step in the finishing central motif of flowers and fruit provenance are finished with leather, process involved attaching a single surrounded by a combination of suggesting that this was the preferred strip of thin, high quality leather to geometric and foliate borders. style locally. From the early 1850s the the front rail, two side rails and Although combining both common finish was usually embossed prior to partially to the back rail. The quality design elements, the overall effect is being glued to the case. This was of the craftsmanship in paring and one of relative simplicity, which achieved using a brass cylinder die, feathering the leather margins
University of Melbourne Collections, Issue 5, November 2009 37 Below: Thomas S. Glaister, Portrait of an Right: Photographer unknown, Portrait of an unknown woman, c.1854, uncased ambrotype, 8.4 unknown man, c.1850–1859, daguerreotype, x 7.2 cm. Armytage Family Collection, University housed in a wooden-based, leather-covered case, of Melbourne Archives. The Armytage Family manufactured c.1850–1859, 11.8 x 9.3 x 2.0 cm. Collection was gifted to the University in 1968 by Armytage Family Collection, University of Mrs Constance Fitzpatrick (née Armytage) and Melbourne Archives. the estate of Miss Leila Armytage. This case features a rare green velvet pad and The brass mat and protector and the cover glass heavily embossed mat. have been separated from the case, which has been lost. The portrait demonstrates the use of black lacquer to produce a positive image. This photograph is significant as one of few of the period to be identified with a photographer’s name.
resulted in almost imperceptible joins greater level of stylistic and technical in the different pieces of leather once change. The earliest known sealing they were glued down.13 The high technique used in Victoria was the quality craftsmanship in forming Wharton frame which was in these joins is evident in many of the currency until at least 1847.15 Named UMA’s examples, although not in all. after its designer Thomas Wharton, a The rather obvious joins in the Birmingham brass founder, this frame Strathfieldsaye Estate daguerreotype consisted of a solid brass plate that case illustrated on page 37 suggest was indented with a well to fit the that a more rudimentary approach daguerreotype plate and four edge was taken in these earlier examples. flaps that were bent around the The hinge joining the two halves daguerreotype, mat and glass to seal of the case was generally the unit together before being fitted manufactured from a single piece of into the case. heavier leather and was commonly The Wharton case seems not to called the ‘inside-outside back’. It was have been used later than 1847 and attached to both the inside and the until the introduction of preservers in outside portion of the rear rails, the Armytage Family collection also the early 1850s only a thin tape was concealing the exposed wood not has rare examples of purple and green used to seal the image. This method covered by the rail strip.14 Later (illustrated above right). A velvet- had been standard convention in American cases also used cloth to covered strip of cardboard, usually the America since the early 1840s, and form this hinge and at least one same colour as the pad, was used to involved sealing the daguerreotype, example of this can be found in the line the inside rails of the base to along with the mat and cover glass, Armytage Family collection. form a tight border to hold the image with tape manufactured from a heavy The pad used inside the lid was in place. The Strathfieldsaye Estate tissue or writing paper spread with designed to further protect the image daguerreotype pad on page 37 is a gum Arabic.16 These tapes continued and generally consist of a cardboard good example of the simpler designs to be used after the introduction of mat, cotton wool wadding and, most favoured in earlier years, with its preservers and can often be seen commonly, a silk or velvet fabric single flower motive surrounded by a around the edges in less well-finished which was folded over the cardboard plain geometric border. examples. A quarter-plate ambrotype and glued in place. In earlier cases the As noted above, the general depicting Caroline Armytage, covering fabric was plain but from the structure of cases did not change without a preserver or case, affords us late 1840s onwards the velvet was significantly and it was largely the an opportunity to view this taping usually embossed with ornate designs. style of the decorative elements that system in some detail, with its fine The most common colours were reds, altered. The sealing components used quality, lightly embossed sealing paper pinks, rust and burgundy, although for the image, however, experienced a (illustrated opposite).
38 University of Melbourne Collections, Issue 5, November 2009 Photographer unknown, Portrait of Caroline Armytage, c.1860, quarter-plate ambrotype, mounted but without a case, 18.0 x 14.6 cm. Armytage Family Collection, University of Melbourne Archives.
Embossed paper has been used as sealing tape. The border is of gilt card rather than the more typical brass mat. Also unusual is the use of white painted cover glass to perform the visual function of a mat.
Preservers were used in America agents, which allowed for much as early as 1847 but were not bolder bas-relief designs than those common until about 1850,17 and not possible with embossing. Designs in Victoria until after 1851. The depicting historical events, people, preserver was designed to hold the animals and places became popular, as image unit together in the same did an expanding range of the floral manner as the tape but with the and geometric designs used with the added advantage of providing an embossed wooden cases. aesthetic frame. Preservers were America was the primary manufactured from paper-thin, manufacturer of the Union case, with pliable sheet brass, cut to a the first patent for a specific rectangular shape with malleable flaps manufacturing process being granted that were wrapped around the image to Samuel Peck of New Haven, plate, mat and glass. The preservers Connecticut, in October 1854.18 were generally embossed, at first with There was one known English simple designs, but later, especially manufacturer, John Smith of during the 1860s, with quite ornate Birmingham, who filed a elements that could encroach upon common material used in Victoria, thermoplastic case patent in 1859,19 both mat and image. This evolution although there are two examples of but most examples found in Australia in design is evident in the UMA gilt card used with ambrotypes in the were probably imported from collections with later images Armytage collection. As with America. This is supported by the demonstrating a tendency towards the preservers, the later mats were usually Union case held by UMA (illustrated more ornate, visible in a number of more ornate and increasingly utilised on page 40) which is identical to the Strathfieldsaye Estate embossing as a design element, which published images of American-made ambrotypes. again is evident in the Strathfieldsaye examples.20 The Strathfieldsaye Mats have been a consistent part Estate ambrotypes. Estate example consists of a quarter- of the sealing process for cased Although the covered wooden plate metal hinged black case with a photographs since the early 1840s cases were the predominant format ‘C’ scroll border and central Maltese and are present in all intact examples used in Victoria, an example of an cross design on both lid and base. held by UMA. The early mats were ambrotype housed in a thermoplastic Although the portrait of the relatively plain with ellipse, double Union case in the Strathfieldsaye unidentified gentleman is undated, ellipse, oval and octagon being the Estate collection confirms that this his style of dress suggests the late shapes favoured for the viewing format was also in local use. Union 1850s to mid-1860s. This date range window. They were usually made of cases were manufactured from an is further supported by the presence sheet brass or gilt card. Sheet brass early type of moulded plastic made of embedded hinges, which were appears to have been the most from shellac, wood fibres and tinting introduced in 1856.21
University of Melbourne Collections, Issue 5, November 2009 39 Photographer unknown, Portrait of an unknown man, ambrotype, c.1856–1866, housed in a moulded thermoplastic Union case manufactured in North America, 12.6 x 10.5 x 2.3 cm. Bequest of Dr Harold Clive Disher, 1976, Strathfieldsaye Estate Collection, University of Melbourne Archives.
This example of a Union case was manufactured in America after 1856 and demonstrates the use of embedded hinges.
Although daguerreotype and can be found in the Armytage Family 14 Rinhart, American miniature case art, p. 20. Collection held by the University of 15 Although no examples of George Baron ambrotype photographs were Melbourne Archives. Measuring 4.7 x 4.3 x Goodman’s Victorian photographs have been produced in their thousands by 1.2 cm, this leather-covered case was designed identified, his surviving photographs produced professional photographers, their to fit a sixteenth-plate daguerreotype or during the mid-1840s in New South Wales ambrotype but has been used to house a are in Wharton frames. Victoria’s second fragile nature has resulted in relatively trimmed albumen print portrait of a young photographer, Douglas Kilburn, is known to few making their way into public woman. have used Wharton frames for images collections.22 The University of 4 Photographer unknown, View of ‘Glenara’ produced in Melbourne during 1847. homestead at Bulla, c.1857–1860, half-plate 16 Barger and White, The daguerreotype, p. 203. Melbourne Archives’ three ambrotype, housed in a wooden-based, 17 A. Kenny, Photographic cases: Victorian design daguerreotypes and 22 ambrotypes leather-covered case, manufactured c.1857– sources 1840–1870, Atglen, PA: Schiffer, 2001, dating from the 1850s and 1860s are 1860, 13.3 x 18.4 x 2.5 cm. James Stewart p. 152. Johnston Collection, University of Melbourne 18 C. Krainik, Union cases: A collector’s guide to the therefore valuable resources in the Archives. art of America’s first plastics, Grantsburg: study of this period of photography. 5 Alan Davies and Peter Stanbury, The Centennial Photo Service, 1988, p. 5. mechanical eye in Australia: Photography 1841– 19 J. Hannavy, ‘John Smith and England’s Union Jason Benjamin is Coordinator of Conservation 1900, Melbourne: Oxford University Press, cases’, The Daguerreian Annual: Official Programs with the Cultural Collections Group, 1986, p. 24. Yearbook of the Daguerreian Society, Eureka, University of Melbourne. Prior to this he was 6 F. and M. Rinhart, American miniature case art, CA: The Daguerreian Society, 1997, p. 47. Coordinator of Reference Services at the New Jersey: A.S. Barnes & Co., 1969, p. 17. 20 See Kenny, Photographic cases, p. 102. University of Melbourne Archives. He has recently 7 M. Susan Barger and William B. White, 21 The embedded hinge system, as demonstrated completed a graduate certificate in photographic The daguerreotype: Nineteenth-century technology by this Union case, was patented by Samuel materials conservation at the University’s Centre and modern science, Washington: Smithsonian Peck in 1856. Peck’s design resolved the for Cultural Materials Conservation. Institution Press, 1991, p. 202. problem of cases breaking during the hinging 8 The Batchelder and O’Neill Daguerreotype process (which up to this point involved and Photographic Portrait Studio was one of drilling a hole through the case) by embedding the main suppliers of photographic equipment the metal supports of the hinge into the and materials in Victoria from as early as 1857. thermoplastic while still in a plastic state. Notes The company’s advertisement in the 1859 22 In addition to the fragility of these formats, Sands & Kenny’s commercial and general the fact that many were sent ‘home’ to family 1 Spanning more than 150 years, these Melbourne directory lists both England and and friends by a largely immigrant population collections include works by Thomas S. America as the sources of their goods. has also greatly contributed to their scarcity in 1 Glaister, Charles Nettleton, Mina Moore, Jack 9 The standard sizes were whole plate at 9 /8 x 7 Australian public collections. Helen Ennis 7 Cato and Wolfgang Sievers, to name a few. inches, half-plate at 6 x 4 /8 inches, quarter- muses that future histories of early Australian 3 3 2 During their period of production in Australia, plate at 4 /4 x 3 /4 inches, sixth-ninth plate at photography may in fact be written in Britain 7 3 ambrotypes were commonly referred to as 2 /8 x 2 /8 inches and sixteenth-plate at 2 x 1¾ rather than Australia (Helen Ennis, collodion positives or positives on glass. inches. Photography and Australia, London: Reaktion The term ambrotype (derived from the ancient 10 Rinhart, American miniature case art, p. 18. Books, 2007, p. 14). Greek word for imperishable and first used to 11 Cases decorated with historical scenes and describe the process by its American patent portraits were popular in America, but the holder, James Cutting) has subsequently general lack of examples in Victorian become the widely accepted term for this collections suggests that they were primarily process. manufactured for the local market rather than 3 Although predominantly used for for export. daguerreotypes and ambrotypes, cases were 12 For a more detailed description of this process also used to house tintypes and early albumen see Rinhart, American miniature case art, p. 18. prints. An example of a cased albumen print 13 Rinhart, American miniature case art, p. 19.
40 University of Melbourne Collections, Issue 5, November 2009 The R.F. Price Collection Bick-har Yeung
The R.F. Price Collection, held in the Shaoqi and Deng Xiaoping, and later East Asian Library Rare Books with Zhou Enlai and Lin Biao, and Collection at the University of was only ended by the arrest of the Melbourne, comprises Chinese Gang of Four. Red guards were educational and children’s books formed by Mao to smash the ‘Four published from the 1960s to the Olds’ (old ideas, old culture, old 1980s and is unique among western habits and old customs). library holdings. It includes a During the ten chaotic years of comprehensive collection of primary the Cultural Revolution, China and secondary school textbooks; suffered from a severe shortage of books on a variety of educational books.2 Publications during this disciplines such as educational theory, period had a strong emphasis on administration, systems, and politics: the propagation of Marxism- educational history; biographies of Leninism and Mao Zedong Thought. educators; directories of educational The R.F. Price Collection has a good institutions in China; and a rich coverage of this type of political collection of children’s books, which a post in the School of Education at publication. One of the most are rarely found in Australian La Trobe University, where he taught important and popular works during libraries. The collection, comprising until his retirement in 1991. Some of the Cultural Revolution was the over 1,000 titles, was donated to the the materials donated to the East Little Red Book or Quotations of University by Dr Ronald Francis Asian Collection were purchased by Chairman Mao, 毛主席语录.3 Price in July 2007. Dr Price during his stay in Beijing, Produced in pocket size with a red Dr Price is a scholar of others on subsequent visits to China, plastic jacket, more than one billion comparative education. He has including periods spent teaching copies were printed for the Chinese written widely on education in China, summer schools at the Xi’an Normal people to study in schools and at including the book Education in University (Xi’an Shifan Daxue) or in workplaces and to carry at all times. Communist China,1 first published in Hong Kong. Mao’s quotations were cited in the World Education Series edited by In 1966, during Dr Price’s first boldface or in red in most editions. Professor Brian Holmes of the period of teaching in China, Mao Other popular works were Mao’s London Institute of Education. Born Zedong launched the Great Selected works 毛泽东选集,4 and in the UK, Dr Price taught there, in Proletarian Cultural Revolution, Mao’s Poems 毛泽东诗词.5 From Bulgaria, and in Ghana. In 1965 he which led to ten years of chaos in 1966 to 1969, nearly all schools in went to teach English at the Second China, with widespread suffering and China were closed due to political Foreign Languages Institute in loss of life. The Cultural Revolution instability. The schools gradually Beijing, returning to the UK in the was a struggle for power within the began to function again from late summer of 1967. In 1971 he took up Communist Party between Mao, Liu 1968, a process discussed by Dr Price
University of Melbourne Collections, Issue 5, November 2009 41 Previous page: Chu chu you Lei Feng / hui zhe Guan Jingyu deng (处处有雷锋 / 绘者关景宇等), Beijing: Ren min mei shu, 1973. Gift of Dr R.F. Price, 2007, East Asian Rare Book Collection, University of Melbourne. Image courtesy of the artist, Mr Jingyu Guan (图 片由绘者关景宇授权引用).
Right: R.F. Price with summer school students at Xi’an Normal University (Xi’an Shifan Daxue), 1983. Private collection.
Below: Pi Lin pi Kong meng kai pao: Shanghai hong xiao bing er ge xuan / Ben she bian (批林批孔猛开 炮: 上海红小兵儿歌选 /本社编), Shanghai: Shanghai ren min chu ban she, 1975. Gift of Dr R.F. Price, 2007, East Asian Rare Book Collection, University of Melbourne. Image courtesy of the Shanghai Renmin Chubanshe (图片由上海人民出版社授权引用). in his book Education in modern from Mao. The school textbooks children’s books. Critics considered China.6 collection is of great value for The sparking red star 闪闪的红星 by The collection is particularly researching curriculum design and the Li Xintian, published by Beijing strong in textbooks used in primary personality cult during the Mao and Renmin chubanshe in 1972, to be an and secondary schools in the years post-Mao eras. excellent work.11 During the Cultural concerned. There are several hundred In addition to the textbooks, the Revolution there was very little of these volumes covering a variety of R.F. Price Collection includes 250 literature for children. What was subjects such as history, geography, volumes of children’s books. Young published was compiled under the politics, arts, moral education, music, children in Mao’s time did not escape political dictates of class struggle.12 Chinese language, English language, the Mao cult and communist However, Dr Price’s collection of biology, chemistry, physics, ideology. Ranging from nursery children’s books offers a rare insight mathematics, calculus, geometry, rhymes to story-telling, children’s into social and political trends in hygiene and women’s health. There books were used as propaganda to children’s literature for researchers are texts and basic reference works for brainwash children into loving the studying the Cultural Revolution and vocational groups such as the Communist Party and Chairman post-Cultural Revolution eras. ‘barefoot doctors’, workers and Mao, thus promoting Mao’s peasants. Examination of the school ideological campaigns. The children’s textbooks shows the prevalence of the book collection includes picture books cult of Mao. For example, in lesson 30 and children’s literature. There is a of Chinese language, v. 1 for primary good coverage of books on anti- schools, the text includes ‘Chairman Confucianism and the anti-Lin Biao Mao loves us. Chairman Mao asks us campaign of 1973–1974, books about to study hard … We need to listen to revolutionary heroes such as Lei Feng Chairman Mao and be the (1940–1962), the Little Red Guards Chairman’s good Children.’7 In and anti-USA imperialism. lesson 1 of English, v. 1, ‘Learn to As well as this propaganda speak’, the first and only sentence for material, Dr Price collected a good the students to learn was ‘We love sample of juvenile science literature. Chairman Mao. 我们热爱毛主席’.8 This aims to promote young In many secondary school textbooks, children’s exploration of scientific Mao’s quotations are printed in black knowledge. The 100 thousand whys 十 boldface, not only in the book’s 万个为什么 series,9 and the We love preface, but also in the content of the science 我们爱科学 series,10 both lessons. Even science textbooks, on published by Shaonian ertong subjects such as physics, chemistry chubanshe in Shanghai in the 1960s and mathematics, include quotations and 1970s, were very popular
42 University of Melbourne Collections, Issue 5, November 2009 Gan Xiao, Kong lao er zui e de yi sheng / bian wen Xiao Gan; hui hua Gu Bingxin, He Youyi (孔老二罪 恶的一生 / 编写萧甘; 绘画顾炳鑫, 贺友宜), Shanghai: Ren min chu ban she, 1974. Gift of Dr R.F. Price, 2007, East Asian Rare Book Collection, University of Melbourne. Image courtesy of the Shanghai Renmin Chubanshe (图片由上海人民出版社授权引用).
The R.F. Price Collection is held in the East Asian Rare Books Collection in the Baillieu Library. Cataloguing of the collection was made possible by the generous support of the Russell and Mab Grimwade Miegunyah Fund and a cultural collections grant funded by the University’s Annual Appeal. Bibliographic information on the books can be searched from the University of Melbourne library catalogue http://cat.lib.unimelb.edu.au/. Because of their rarity, the books are not available for loan, but may be used in the Cultural Collections Reading Room on the 3rd floor of the Baillieu Library. Material can be ordered at the East Asian Information Desk or by calling (03) 8344 5365, or by email to Bick-har Yeung on [email protected].
Bick-har Yeung is the East Asian Librarian at the University of Melbourne Library.
Notes
1 R.F. Price, Education in Communist China, London: Routledge & K. Paul, 1970. Second edition published as: Ronald Francis Price, Education in modern China, London and Boston: Routledge & K. Paul, 1979. 2 Geremie Barmé, ‘Notes on publishing in China 1976 to 1979’, The Australian Journal of 6 Price, Education in modern China. Dr R.F. Price, 2007, East Asian Rare Book Chinese Affairs, no. 4, July 1980, pp. 167–174. 7 Ren min jiao yu chu ban she. Xiao xue yu wen Collection, University of Melbourne. 3 For example: Zedong Mao, Mao zhu xi yu lu bian ji shi, Yuwen 语文, Beijing: Ren min jiao 11 Xintian Li, Shan shan de hong xing 闪闪的红 毛主席语录, Beijing: Zhongguo ren min jie yu chu ban she, 1963: Shandong ren min chu 星, Beijing: Ren min wen xue chu ban she, fang jun zong zheng zhi bu: Shanghai shi yin ban she, (1964 printing), p. 65. Gift of Dr R.F. 1972. Gift of Dr R.F. Price, 2007, East Asian shua san chang yin shua, 1966. Gift of Dr R.F. Price, 2007, East Asian Rare Book Collection, Rare Book Collection, University of Price, 2007, East Asian Rare Book Collection, University of Melbourne. Melbourne. University of Melbourne. 8 Ying yu. Di 1 ce. 英语, [Xi’an: s.n., 197–?]. Gift 12 Mary Ann Farquhar, Children’s literature in 4 Zedong Mao, Mao Zedong Xuan Ji 毛泽东选 of Dr R.F. Price, 2007, East Asian Rare Book China: From Lu Xun to Mao Zedong, Armonk, 集, 1964 nian 4 yue di 1 ban, Beijing: Collection, University of Melbourne. N.Y.: M.E. Sharpe, 1999, p. 295. Zhongguo renmin jiefangjun zhanshi 9 Shi wan ge wei shen me 十万个为什么, chubanshe, 1966. Gift of Dr R.F. Price, 2007, Shanghai: Shao nian er tong chu ban she, East Asian Rare Book Collection, University 1965. Gift of Dr R.F. Price, 2007, East Asian of Melbourne. Rare Book Collection, University of 5 Zedong Mao, Mao Zhu Xi Shi Ci 毛主席詩詞, Melbourne. Beijing: Renmin wenxue chubanshe, 1966. 10 Zhongguo shao nian er tong chu ban she, Wo Gift of Dr R.F. Price, 2007, East Asian Rare men ai ke xue 我們愛科学, Beijing: [Zhongguo Book Collection, University of Melbourne. shao nian er tong chu ban she], 1960. Gift of
University of Melbourne Collections, Issue 5, November 2009 43 Introducing Percy Grainger Musician, designer, innovator Monica Syrette
In June 2007 the Grainger Museum certain aspects of his unorthodox Megafun proposed an interactive received generous funding from the private life. The interactive would design that would echo the Hugh Williamson Foundation to seek to redress this imbalance by architectural footprint of the museum support the creation of a computer- weaving together the many strands of with six main screens corresponding based interactive research tool to Grainger’s life as composer, arranger, to the galleries in the art deco promote Percy Grainger and his pianist, folk-music collector, artist, building. The cabinet housing the multi-faceted life. The interactive designer, teacher, inventor and social interactive in the museum was would serve two purposes: provide an commentator. Rather than presenting designed by Deep in the Woods, a ‘add-on’ multimedia experience for Grainger’s life along strict Melbourne furniture design and visitors and scholars at the museum, chronological lines, the themes, custom building company, to and in its DVD format, cater to those narrative and content of the resemble a 1930s radiogram. It unable to visit in person, or preparing interactive would reflect those aspects incorporates timbers appropriate to to visit the museum (especially of his personality that defined him: that era—Tasmanian blackwood and secondary school students). his honesty and openness, a collecting Queensland walnut—into the design. To get the project under way, an and archiving nature, his curiosity and The radio theme is extended to the extensive briefing document was experimentalism, and his charisma navigation style with the user ‘tuning’ compiled. This was used in the tender and popularity. into the screens by turning a radio dial. process to assist in selecting a consultant for the technical development of the interactive. The award-winning multimedia company Megafun was selected to work with the University team on the project. Grainger Museum curator Astrid Krautschneider and I, with input from curatorial assistant Jennifer Hill, met with Megafun general manager Ros Porter in 2008 to begin the complex process of shaping an interactive biography. Initial discussions centred on the public perception of Percy Grainger and how his wide-ranging interests and activities had been almost eclipsed by the popularity of his best-known arrangement, Country gardens, and
44 University of Melbourne Collections, Issue 5, November 2009 Opposite: The first screen of the interactive Introducing Percy Grainger: Musician, designer, innovator allows the viewer to follow either a loose chronological narrative or select by thematic interest.
Left: Percy Grainger, Sketch of Grainger Museum, 1938, ink on photographic paper, 8.5 x 14.2 cm. Grainger Museum Collection, University of Melbourne. The design of the interactive was based on the Museum’s floor plan.
Below: Percy and Ella Grainger at the Grainger Museum, 1938, photographic print, 10.8 x 8.2 cm. Grainger Museum Collection, University of Melbourne.
Selecting content was a silent, so we looked instead to his protracted process as hundreds of diaries, reviews, scrapbooks, programs, images were needed. Museum staff publicity photos, correspondence, combed through the archive and advertisements and audio recordings storage site for appropriate objects to to tell the story. accompany the milestones of Whilst the selection of objects was Grainger’s life and illustrate the still in progress it was necessary to chosen themes. This exhaustive begin photographing them. Boxes process yielded both fresh containing everything from fragile perspectives into the collection and folksong collecting maps to long exciting discoveries of significant items plaits of hair regularly made their way that had not previously been on to photographer Lee McRae’s door. display. An array of objects was also chosen to There were also challenges in the be viewable on screen in three selection process. For example, there dimensions. To achieve this, Megafun was much discussion amongst the director Keith Tucker organised for team about how best to present selected objects to be photographed Grainger’s theories, which were wide- on a turntable 36 times in ten-degree ranging and often interconnected. increments, a relatively simple Although he could contradict himself approach, but one that produced at times, Grainger displayed a lifelong and I found ourselves labouring over remarkable results. commitment to his theories and fine- the editing, re-checking facts and The digital image archive tuned them over many years in tweaking sentences. generated by the project has boosted diaries, notebooks, correspondence, Another challenge we faced was the existing Grainger Museum digital lectures and essays. Whilst there was how to capture the intangible element image holdings significantly. This will a wealth of material to choose from, of Grainger’s career—his performances? assist staff in future when providing there were space limitations imposed We wished to illustrate how devoted reference services both in Australia by the interactive design. Thus in and enthusiastic Grainger’s audience and overseas, and lessen the handling some instances a complex theory had was, as this had such a strong impact of fragile objects by staff and to be represented by a single page. In on his life. He was highly ambivalent researchers, thus assisting in their these cases the text accompanying the about his popularity, expressing preservation. image needed to be crafted with great bitterness about lost creative The audio used in the interactive care. Text revisions were a major opportunities whilst pursuing contributes to an understanding of aspect of the project for the entire commercial success on the touring Grainger by building up a partial Grainger Museum team and even in circuit. The collection holds only one sound profile of his life, from music the final stages curator Brian Allison film of Grainger playing and it is favoured by his parents to works that
University of Melbourne Collections, Issue 5, November 2009 45 Right: The interactive cabinet, designed to resemble a 1930s radiogram. It will be housed in the Grainger Museum, reopening in 2010.
Below: Trustees for the Hugh Williamson Foundation at the presentation of the completed interactive. From left to right: Denis Tricks, Martin Carlson, Harry Carrodus and David Ward. Photography by Fiona Willan.
influenced him, folksongs he collected and his own compositions and experiments. Many factors had to be taken into consideration when selecting the audio component, including the quality of the recordings, file size and copyright. A project of this magnitude demands a comprehensive and efficient tracking system. Ros Porter devised a numbering system for the interactive layout that proved indispensable, whilst I created a colour-coded spreadsheet to list the objects; this ended up stretching to 63 pages. Project coordinator Georgina Binns (Music, Visual and Performing Arts Librarian) ensured the project ran smoothly and to schedule by liaising between Grainger Museum staff, Megafun and the Hugh creating the interactive has fed work and the depth and richness of Williamson Foundation. directly into exhibition planning for his achievements. Once the interactive was the newly refurbished building, due to completed Brian Allison and I gave it re-open in 2010. The DVD-ROM a thorough road testing. We have will be available free of charge to For more information about Introducing Percy Grainger: Musician, designer, innovator please endeavoured to achieve the highest music departments in schools contact the Grainger Museum at possible level of accuracy and throughout Victoria, and will also be [email protected]. attention to detail. We went through available for purchase. The stand- each screen minutely, making note of alone interactive will be located in the all necessary changes, as Keith Tucker Grainger Museum, with the capacity Monica Syrette is Assistant Curator at the can wearily attest. to act as a guide through both the Grainger Museum, University of Melbourne. She holds a Bachelor of Arts from Canberra Institute The project has been both exhibition space and Grainger’s life. of the Arts and a Post Graduate Diploma in challenging and rewarding in equal Introducing Percy Grainger: Musician, animation and interactive media from RMIT. measure. Everyone on the team is designer, innovator captures the Monica was Archivist at Arts Project Australia from 2004 to 2008 and is currently undertaking a delighted with the final product. For intense curiosity and creative energy PhD in the history and practices of art studios for Grainger Museum staff the process of that Grainger brought to his life and people with intellectual disabilities.
46 University of Melbourne Collections, Issue 5, November 2009 Acquisitions
Barry Tuckwell Collection conductor, Tuckwell was chief for Tuckwell by Gunther Schuller, Evelyn Portek conductor of the Tasmanian Alun Hoddinott, Don Banks, Thea The Louise Hanson-Dyer Music Symphony Orchestra for four years, Musgrave, Oliver Knussen and Library has recently acquired a and founding conductor and music Richard Rodney Bennett. Unique substantial collection from the director of the Maryland Symphony items include scores and parts in eminent French horn player and Orchestra for 16. He has made more manuscript, often heavily annotated conductor Barry Tuckwell AC OBE. than 50 commercial recordings as a by Tuckwell, and accompanied by Tuckwell is widely recognised both as soloist and conductor and has correspondence with the composer the foremost horn player of his received three Grammy nominations. which serves to illuminate the process generation and for extending the He continues to have an active of composition. Other documents instrument’s technical possibilities. international career. chart Tuckwell’s study of horn The collection was acquired with the Tuckwell is a Professorial Fellow repertoire by Mozart and Richard generous assistance of a grant from at the University of Melbourne and Strauss in particular. the Ian Potter Foundation, one of Honorary Patron of the Melbourne The concert programs span Australia’s leading private philanthropic International Festival of Brass. His Tuckwell’s career from the mid-1940s organisations, to support the linking many awards include Honorary until his retirement as a performer. of education and the arts. Doctor of Music from the University Many feature performing groups with Barry Tuckwell’s career spans of Sydney, Fellow of the Royal which he was associated, such as the more than 60 years. During this time College of Music, Fellow of the Royal LSO, the Tuckwell Wind Quintet he has performed throughout the Society of Arts, the George Peabody and the Jones, Tuckwell and Langbein world as soloist, chamber musician Medal for outstanding contributions Trio. Tuckwell’s solo career is also and conductor; he is also a highly to music in America and the Andrew fully documented. regarded teacher. Born in Melbourne White Medal from Loyola College. As the collection is being in 1931, he joined the Melbourne He is also an honorary member of the catalogued and listed, conservation Symphony Orchestra at 15 and the Royal Academy of Music and the measures are being taken to improve Sydney Symphony Orchestra a year Guildhall School of Music in its physical condition and ensure its later before leaving for England at 19. London. longevity. The Barry Tuckwell After playing with the Hallé, Scottish The Barry Tuckwell Collection Collection is a significant and National and Bournemouth includes his own library of music comprehensive resource for research Symphony orchestras, Tuckwell was scores, concert programs, press into any aspect of Tuckwell’s principal horn with the London reviews, sound recordings, professional career and 20th-century Symphony Orchestra for 13 years. He promotional posters and photographs, horn repertoire or performance was elected to the board of directors engagement diaries and some practice. and was chairman for six years. business papers and personal Resigning from the LSO in 1968 correspondence. Notable amongst the Evelyn Portek is Music Librarian, Louise Hanson- to pursue a career as soloist and scores are works composed especially Dyer Music Library, University of Melbourne.
University of Melbourne Collections, Issue 5, November 2009 47 Previous page: Advertising poster, Israel Philharmonic Orchestra, 1974. Barry Tuckwell Collection, Louise Hanson-Dyer Music Library Rare Collections, University of Melbourne.
Left: Jon Cattapan, Sister, 1984, oil on canvas, 155.0 x 217.0 cm. Reg. no. 2008.0084, gift of Jon Cattapan, 2008, University of Melbourne Art Collection. © Copyright the artist.
Jon Cattapan’s Sister and months after my sister’s death Seeing the ‘topsy-turvy space’ of The sister drawings over a period of three weeks … these works, Cattapan later noted, Chris McAuliffe I began to realise I was ‘I’ve come to understand this as a In 2008, Associate Professor Jon inventing a cast of characters representation of my sister’s Cattapan (Faculty of VCA and that would stand for my schizophrenia.’2 Music) donated 19 important works family. My interest in Dr Chris McAuliffe is Director, Ian Potter to the University under the Cultural primitivism and animism Museum of Art, University of Melbourne. Gifts Program. The works are of comes through fairly strongly. immense personal significance to the Although they are expressive Baillieu Library Print artist and have been kept in his there is a level of control. … Collection possession since they were made. And of course there’s the issue Kerrianne Stone They represent a pivotal moment in of the invention of the It is with great excitement that the his development, establishing imagery—that automatic Print Collection at the Baillieu interests that continue to shape his doodling that goes back to Library announces its first purchase art: the exploration of personal and surrealism.1 of prints in a decade. The first of emotional responses to trauma, Averaging a drawing a day for three these acquisitions was 16 engravings improvisation and the daily practice weeks, Cattapan couldn’t help but see by William Hogarth (1697–1764) of drawing, and responses to key that improvisation generated its own which were printed after the artist’s moments in modern art (such as kinds of regularity. Repeated motifs death, by James Heath in 1820. This surrealism and cubism). like the cross, the radiant head and group includes the series of 12 prints, In 1984, Cattapan’s sister, the mourning figure might emerge Industry and idleness, depicting the Adriana, was suddenly killed when a from the unconscious but they are fortunes of two apprentices. Also fire engine collided with her car. The shaped by an acquired knowledge of purchased was Hogarth’s last print, artist’s response was both immediate Christian iconography. The bathos. and reflective. Sister is a rawly painted In deferring his address to his The purchase of the Hogarth cry of anguish. The sister drawings are sister’s death, then attacking it as a prints was generously supported by more controlled, revealing Cattapan’s daily exercise, Cattapan discovered the Friends of the Baillieu Library, as tendency to use a daily process of something fundamental to his was the purchase of a contemporary drawings as a contemplative exercise. practice; time gave him the etching by Erik Desmazières Sketched in red pencil (for pain) opportunity to digest emotion and (b.1948), La Librairie Paul Jammes. and black (for sorrow), the drawings distil it into a sustained program of The acquisition of contemporary were the most thoughtful and imagery that was both cathartic and prints by artists like Desmazières, reflective works he had yet made. reflective. The drawings could achieve who are directly influenced by the I think there is a desire to set their premeditated role of mourning work of the Old Masters, is a means up a harmony in these works. and, after the fact, could surprise the of collecting with more vision and I made them about three artist with unintended resonances. reinvigorating the Baillieu Library
48 University of Melbourne Collections, Issue 5, November 2009 Right: Fred Miller after Dante Gabriel Rossetti, Beata Beatrix, published by Robert Dunthorne at The Rembrandt Head, 1892, photogravure, plate: 57.6 x 44.7 cm. Reg. no. 2009.0107, purchased 2009, Baillieu Library Print Collection, University of Melbourne.
Print Collection’s core collecting Books from the family have graduated with Bachelor area—Old Master prints from 1430 Thorn family library of Arts degrees from the University of to 1850. The gift of more than 200 Belinda Nemec Melbourne, starting with Frances Lionel Lindsay prints in 1964 by Dr Peter Sutherland (MD, Melbourne, Remington in 1898, who became very Mrs L.I. Wright demonstrated at 1964) and his family recently donated active in the Australian Federation of that time how well suited to the 90 books from the library of his University Women and other collection was the work of a forebears, the Thorn family. educational and civic organisations, contemporary Australian printmaker. Dr Sutherland’s grandparents, and also Catherine Remington in We are pleased to add another of William Thorn (1860–1933) and 1904, founder of the Associated Lindsay’s international prints, a Frances Elizabeth Mary Thorn (née Teacher Training Institute, later drypoint etching The Bassra Guard Remington, 1869–1954), purchased a known as Mercer House. Many of the (1929). house in Hawthorn in 1911. The men are also alumni, so the family felt The acquisition of Beata Beatrix house has remained in the family and that this was a fitting home for some (1892), a photogravure after Dante contains the extensive library of the of the books. The University Library Gabriel Rossetti’s 1863 painting Thorns and of Frances’ sister, is grateful to the Thorn and representing the figure of Beatrice Catherine Remington (1872–1944, a Sutherland families for their Portinari, relates to other collections schoolteacher), who lived with them generosity. in the Baillieu Library such as in the latter part of her life. The Some of the books donated are William Morris and his Kelmscott collection as a whole covered a wide pictured on the front cover of this Press books, while the recent range of subject matter, reflecting the magazine. acquisition of Lucian Pissarro’s extensive interests of the three. (1863–1944) drawing, Willows at Included were collections of essays Dr Belinda Nemec is editor of University of Melbourne Collections. This article draws on Eragny (c.1885) complements the and poetry, classics, novels, writings information kindly provided by Dr Peter Library’s holdings of the complete on philosophy, psychology, religion, Sutherland. titles from the Eragny Press. Another travel, biography, nature, geology, purchase resulted from this year’s architecture and school books. Many celebration of the Baillieu Library’s contain pencil comments in the 50th anniversary. Our future was ours margin indicating serious consideration (2005), a lightjet print by Melbourne of the contents. Among the 90 artist Darren Sylvester (b.1974) was volumes selected by Library staff for recently on exhibition and is now a inclusion in Special Collections are Notes proud addition to the Library’s works by H.G. Wells, George Special Collections. Meredith, Thomas Carlyle and Oliver 1 ‘A conversation between Jon Cattapan and Robert Nelson’, John Cattapan: Journal entries, Wendell Holmes. Melbourne: Australian Centre for Kerrianne Stone is Special Collections Officer Four successive generations of Contemporary Art, 1993, n.p. (Prints), Baillieu Library, University of Melbourne. women in the Thorn/Sutherland 2 ‘A conversation’.
University of Melbourne Collections, Issue 5, November 2009 49 News from the collections
Ian Potter Foundation Museum to exhibit specimens which This internship was established supports Tiegs Zoology have not been on general display for under the terms of Dr Hoff’s bequest, Museum the last 20 years, such as a lion in order to promote the study and The Ian Potter Foundation has skeleton and a mounted wedge-tailed promotion of prints held in the print generously provided a grant to the eagle. In this way these generous collections of the University of Tiegs Zoology Museum, which is donations of funds will bring about a Melbourne and the National Gallery part of the Department of Zoology in significant and lasting improvement of Victoria. Ms Bobele will research the Faculty of Science, to purchase in the quality of exhibits. For more prints made by the Bauhaus artist new, museum-quality display cases. information on the Tiegs Museum Ludwig Hirschfeld Mack (1893– Additional funds are being see www.zoology.unimelb.edu.au/tiegs/ 1965), many of which are held in the contributed by a private donor and by University of Melbourne Art the Zoology Department itself. Ursula Hoff Internship Collection at the Ian Potter Museum The Ian Potter Foundation, On 9 October 2009 the Ian Potter of Art. established in 1964, makes grants for Museum of Art announced the general charitable purposes in awarding of the inaugural Ursula Australia that advance knowledge and Hoff Internship, to Ms Stacie Bobele. benefit the community in the areas of Dr Ursula Hoff AO OBE was born the arts, community wellbeing, in London in 1909 and died in education, environment and Melbourne in 2005. Her conservation, health, medical research distinguished career encompassed art and science. It has generously history, curatorship and museum supported many of the University’s management, both at the University collections over the years, including of Melbourne and the National the Ian Potter Museum of Art, the Gallery of Victoria. From 1975 to University Library, the School of 1984 she was London advisor to the Physics Museum and now the Tiegs Felton Bequest. Educated in Zoology Museum. Hamburg, Munich and London, she When the Zoology Department was among the pivotal first moved from the Baldwin Spencer generation of European-trained art Building to its then-new building in historians who introduced the subject 1989, there was not enough space to to Australian universities. Her display all the interesting specimens significant legacy includes the in the Tiegs collection. Now development of the collection of additional space has been made prints and drawings at the National available, to accommodate new Gallery of Victoria, now one of the showcases and enable the Tiegs finest in the world.
50 University of Melbourne Collections, Issue 5, November 2009 Opposite: Norman Wodetzki, Queensberry Photography, Dr Ursula Hoff, on the occasion of being admitted to the degree of Doctor of Laws honoris causa at the University of Melbourne, on 10 December 1983. Photographic print, 18.5 x 14.5 cm. UMA/I/2310, University of Melbourne Archives.
Below: Mortar and pestle, Chinese, Qing Dynasty, c.1870s. Medical History Museum, University of Melbourne. This item was purchased by Professor Emeritus Sir Douglas Wright (1907–1990), former Dean of the Faculty of Medicine and Chancellor of the University of Melbourne, while travelling with his wife in China in 1971. It was donated to the Museum by Lady Wright in 1992. Although designed as a practical tool for the grinding of herbs, form and function have been marvellously combined to achieve great elegance of design.
New medical curator Following the retirement of Ms Ann Brothers, the Medical History Museum has appointed Susie Shears as curator. Ms Shears has over 25 years’ experience in museums and galleries, and comes to the University from the Victorian Tapestry Workshop where she was Director from 2004 to 2008. She has also worked at the National Gallery of Victoria, as Curator and then Director of the Geelong Art Gallery, as Manager of Design and Development in the Philatelic Group at Australia Post, and manager of the Australian Pavilion at the 1995 Venice Biennale. The temporary closure of the and botanical specimens. All the documents. In his address, Vice- Medical History Museum during exhibits are from University of Chancellor Professor Glyn Davis refurbishment of the Brownless Melbourne collections. highlighted many of the School’s Biomedical Library is providing the achievements, and warmly welcomed opportunity for an upgrade of the School of Physics Museum back many alumni and former staff collection database and other official launch and associates, including Miss Betty collection management and curatorial In April the School of Physics held Laby, whose father, Professor Thomas work which will result in a greater an official ‘opening’ for its museum. H. Laby (1880–1946), led Physics at emphasis on outreach and collection It may seem unusual to open Melbourne for nearly 30 years and access. Research inquiries will something that has been around for a whose sister, the late Dr Jean Laby, continue during the closure. The while, but the School felt that it was was also a physicist at Melbourne. Museum is scheduled to re-open in time to formally acknowledge the The Vice-Chancellor praised the March 2010 with an exhibition efforts of Associate Professor Ed work of Dr Muirhead who for some exploring the traditional tools of the Muirhead, former Chair of the 20 years supervised the cataloguing apothecary, including highly School of Physics, and others in and care of the collection. decorative apothecary jars, mortars preserving the School’s historic record Contributions from staff including and pestles, rare books illustrating through this unique collection of Nick Nicola and Phil Lyons were also medicinal herbs and their applications historical artefacts, photographs and acknowledged, as was the generous
University of Melbourne Collections, Issue 5, November 2009 51 Mrs Fiona Caro and Professor David Caro AO OBE (former Head of School of Physics, Dean of Science, and Vice-Chancellor 1982–1987) with other guests at the opening of the School of Physics Museum in April.
support provided over the years by the Library. In 1999 the Dhamma Communication, Faculty of Arts), Russell and Mab Grimwade Society began rendering the scriptures celebrates its 20th anniversary in Miegunyah Fund, the Ian Potter into Roman script. The project was 2010. Many of its students participate Foundation, the University’s Cultural completed in 2005, and the books are in the Cultural Collections Student Collections Committee and the now being ceremonially presented at Projects Program. Its alumni have Friends of the Physics Museum. various locations around the world, to gone on to work with museums, art assist and enhance studies of galleries and other collecting Tipitaka presented to Library Buddhist teachings. organisations across Australia and The University of Melbourne is the internationally. first institution in Australia to receive Cultural Connotations Art a Romanised edition of the Buddhist Curatorship Award The perfect Christmas gift Pali canon, or Tipitaka. A delegation The winner of the inaugural Cultural The cultural collections feature on the from the Dhamma Society, a Connotations Art Curatorship University’s desk calendar for 2010. charitable organisation with Thai Award, granted to the student who Fascinating artefacts, illustrations and Royal patronage, presented the 40 ranked first overall in the first year of artworks from the Grainger Museum, volumes in a colourful and formal the two-year Master of Art University Art Collection, Earth ceremony in the beautiful Gryphon Curatorship program, was announced Sciences Library Rare Book Gallery in the 1888 building on 21 recently. The winner, Ms Chelsea Collection, Classics and Archaeology October. The Chancellor, The Hon. Harris, commenced her course in Collection, Harry Brookes Allen Alex Chernov AO QC, accepted the 2007, and received an overall first Museum of Anatomy and Pathology, gift on behalf of the University. class average during the first year. She Rare and Historic Maps Collection, The Tipitaka is the earliest recently travelled in Europe, Baillieu Library Print Collection, surviving collection of scriptures in especially Poland, researching public University of Melbourne Archives the Theravada Buddhist tradition, programs in museums in preparation and the Medical History Museum which were committed to writing for her thesis in 2010. illustrate this handy CD-size from an oral tradition during the early The Director of Cultural calendar. It makes an excellent gift years of Buddhism (first century BCE) Connotations, Ms Annette Welkamp, which lasts until February 2011, in the Pali language in what is now presented the award in a ceremony at and is available from the Melbourne Sri Lanka. The scriptures were first the Ian Potter Museum of Art in July. University Bookshop for $16.00. printed in the 19th century and a Ms Welkamp is an alumna of the University staff can make bulk copy of that 1893 edition was University of Melbourne and her purchases of 20 units by emailing presented to the University in 1895 consultancy firm develops, [email protected]. by a representative of His Majesty implements and manages creative, King Chulalongkorn of Siam (now cultural and heritage projects. Thailand), and preserved in the The Master of Art Curatorship Special Collections of the Baillieu Program (School of Culture and
52 University of Melbourne Collections, Issue 5, November 2009