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The Philanthropic Contract : Building Social Capital Through Corporate Social Investment
Please do not remove this page The philanthropic contract : building social capital through corporate social investment Cooke, David https://researchportal.scu.edu.au/discovery/delivery/61SCU_INST:ResearchRepository/1267103790002368?l#1367367920002368 Cooke, D. (2008). The philanthropic contract: building social capital through corporate social investment [Southern Cross University]. https://researchportal.scu.edu.au/discovery/fulldisplay/alma991012821497002368/61SCU_INST:Research Repository Southern Cross University Research Portal: https://researchportal.scu.edu.au/discovery/search?vid=61SCU_INST:ResearchRepository [email protected] Open Downloaded On 2021/10/02 09:19:11 +1000 Please do not remove this page The Philanthropic Contract: Building Social Capital Through Corporate Social Investment ii The Philanthropic Contract: Building Social Capital Through Corporate Social Investment A Dissertation Presented by David Cooke Submitted to Southern Cross University, Australia, Graduate College of Management for the degree of Doctor of Business Administration Submission Date: June 2008 iii iv Dedication To my beautiful daughters Beth and Nina and wonderful grandson Lucky. Thank you for the inspiration which you provide me with each day. v Acknowledgements Firstly I would like to thank my Doctoral Supervisor, Professor Alexander Kouzmin. When first approaching him he announced that he only took on students who ‘had a twitch in their eye’ indicating a passion for their subject. I am pleased he saw the twitch and then persevered with me over the ensuing months. He continually sought to stretch my boundaries and direct me toward the work of esteemed authors, whose earlier writings would inform my work. He never hesitated to take my calls or promptly return emails and in fact on many occasions hosted me on the verandah of his home to listen to the latest musings of a novice student. -
Art Collectors in Colonial Victoria 1854 - 1892
ART COLLECTORS IN COLONIAL VICTORIA 1854 - 1892 : AN ANALYSIS OF TASTE AND PATRONAGE. Gerard Vaughan B.A. Honours Thesis 1976 Volume I. TABLE OF CONTENTS VOLUME 1 Introduction i - v Chapter 1 The Loan Exhibitions before 1880 1- 8 Chapter 11 The Taste for Prints 9 - 11 Chapter 111 The Collectors 12-47 Chapter 1V Collectors and the International 48 - 51 Exhibitions - A Resume Chapter V The Interest in Foreign Art 52-62 Chapter V1 The Dealers 63 - 78 Conclusion 79 - 82 VOLUME 11 Footnotes - Introduction Chapter 1 1- 4 Chapter 11 5- 7 Chapter 111 8-24 Chapter 1V 25-26 Chapter V 27 - 30 Chapter Vi and conclusion 31-37 Appendix A Holdings of Major Art Collections 38-59 Appendix B Furniture and Sculpture 60-62 Appendix C List of Illustrations 63 - 66 Appendix D A Note on Picture Galleries 67 Appendix E Patrons of Melbourne Artists in 68 - 86 the 1880s VOLUME 111 Illustrations ART.COLLECTORS IN COLONIAL VICTORIA 1854-1892; an analysis of taste and patronage. INTRODUCTION My examination of the holdings of private art collections in Victoria before 1892 is confined to British and European art. It was to Britain that taste was oriented, and the emerging group of Australian painters made little impact upon those patrons and collectors recognized as being the cultural leaders of the community. It would have been difficult to incorporate my research on collectors of Australian art in an essay of this length. I have therefore confined myself to a number of general observations set out in Appendix E. These may be useful in better understanding a part of the background against which British and European art was collected. -
State Library of Victoria 328 Swanston Street, Melbourne Conservation
State Library of Victoria 328 Swanston Street, Melbourne Conservation Management Plan – Volume 1 State Library of Victoria Complex 328 Swanston Street, Melbourne Conservation Management Plan Volume 1: Conservation Analysis and Policy Prepared for the State Library of Victoria February 2011 Date Document status Prepared by April 2009 Final draft Lovell Chen October 2010 Wheeler Centre component Lovell Chen update issued February 2011 Final report Lovell Chen TABLE OF CONTENTS TABLE OF CONTENTS i LIST OF FIGURES iii LIST OF TABLES vii CONSULTANTS viii ACKNOWLEDGEMENTS ix 1.0 INTRODUCTION 1 1.1 Background and Brief 1 1.2 Report Structure and Format 1 1.3 Location 2 1.4 Heritage Listings and Statutory Controls 4 1.5 Terminology 5 2.0 HISTORY 7 2.1 Introduction 7 2.2 The Public Library 7 2.3 The Intercolonial Exhibition 21 2.4 The National Gallery 27 2.5 The Industrial and Technological Museum 33 2.6 The Natural History Museum 37 2.7 Relocation of the Museum and the State Library Master Plan 41 3.0 PHYSICAL DEVELOPMENT AND ANALYSIS 45 3.1 Introduction 45 3.2 Stages of Construction 46 3.3 Construction types and detailing 72 3.4 Survey of Building Fabric and Room Data Sheets 77 3.5 Services 82 4.0 INVESTIGATION OF DECORATIVE FINISHES 83 4.1 Methodology 83 4.2 Review Comment 83 4.3 1985 Investigation Results 83 4.4 The Decorative Schemes 93 5.0 FURNITURE SURVEY 95 5.1 Introduction and Overview 95 5.2 Summary of 1985 Survey Results 95 5.3 Current Furniture Holdings 96 6.0 ANALYSIS AND ASSESSMENT OF SIGNIFICANCE 99 6.1 Introduction and Overview -
Art Gallery of NSW 5 September – 29 November 2009
ART Art Gallery of NSW GALLERY NSW 5 September – 29 November 2009 TACKLING THE FIELD 2 Tackling The Field Natalie Wilson The Event It was billed as the gala occasion of 1968, if not the decade. The lavish and much anticipated opening of the magnificently re-sited National Gallery of Victoria was held on the brisk winter evening of Tuesday, 20 August that year. The new building on St Kilda Road – the first phase of the $20 million Victorian Arts Centre complex – boasted a collection valued over $25 million, with its most valuable paintings, including works by Rembrandt, Tiepolo and Cézanne, acquired through the magnanimous bequest of industrialist Alfred Felton. In the towering Great Hall, intended for State receptions and banquets, the multi- hued glass ceiling by the Melbourne artist Leonard French – one of the world’s largest pieces of suspended stained glass – shimmered with radiant flashes of brilliant colour. As Evan Williams reported in the Sydney Morning Herald the following day, ‘with a candle-lit banquet, special exhibitions and seminars, a symphony concert, a trumpet fanfare composed for the occasion, it is some 1 opening’. The Field, National Gallery of Victoria, 1968 Left to right: on floor, Nigel Lendon Slab construction 11; Eric Shirley Encore; Tony However, it was the unveiling of the new temporary McGillick Polaris; Vernon Treweeke Ultrascope 5; Col Jordan Daedalus series 6 and on exhibition gallery a night later, on 21 August, which really floor Knossus II; Dick Watkins October; Robert Rooney Kind-hearted kitchen-garden IV. AGNSW Archives: image from The Bulletin, 12 Oct 1968 set the hearts of the art world racing. -
Chapter 4. Australian Art at Auction: the 1960S Market
Pedigree and Panache a history of the art auction in australia Pedigree and Panache a history of the art auction in australia Shireen huda Published by ANU E Press The Australian National University Canberra ACT 0200, Australia Email: [email protected] This title is also available online at: http://epress.anu.edu.au/pedigree_citation.html National Library of Australia Cataloguing-in-Publication entry National Library of Australia Cataloguing-in-Publication entry: Author: Huda, Shireen Amber. Title: Pedigree and panache : a history of the art auction in Australia / Shireen Huda. ISBN: 9781921313714 (pbk.) 9781921313721 (web) Notes: Includes index. Bibliography. Subjects: Art auctions--Australia--History. Art--Collectors and collecting--Australia. Art--Prices--Australia. Dewey Number: 702.994 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying or otherwise, without the prior permission of the publisher. Cover design by Teresa Prowse Cover image: John Webber, A Portrait of Captain James Cook RN, 1782, oil on canvas, 114.3 x 89.7 cm, Collection: National Portrait Gallery, Canberra. Purchased by the Commonwealth Government with the generous assistance of Robert Oatley and John Schaeffer 2000. Printed by University Printing Services, ANU This edition © 2008 ANU E Press Table of Contents Preface ..................................................................................................... ix Acknowledgements -
Fletcher's of Collins Street: Melbourne's Leading Nineteenth-Century Art Dealer, Alexander Fletcher
“Fletcher’s of Collins Street” : Melbourne’s Leading Nineteenth-Century Art Dealer, Alexander Fletcher (1837– 1914) “Fletcher’s of Collins Street”: Melbourne’s Leading Nineteenth-Century Art Dealer, Alexander Fletcher Collins Street in the 1880s was the hub of the art trade in Melbourne, with an ever-expanding population of art galleries and artists’ studios. What Pickersgill’s Victorian Railways Tourist’s Guide of 1885 calls “the most fashionable thoroughfare in the city” extended for a mile up the hill from Spencer Street Railway Station in the west to Treasury in Spring Street to the east. The heart of the fashionable retail trade in Collins Street in the 1880s, as it still is today, was in the middle section formerly known as “The Block”, between Swanston and Elizabeth Streets. Here shoppers once browsed the fancy window displays of drapers, milliners, coiffeurs, tailors and music dealers, and beyond them, those of several art dealers. As a journalist from the Melbourne periodical Bohemia remarked in late 1890 “one can generally find a picture in the Collins Street windows worth looking at.”[1] In the late 1880s and early 1890s, Collins Street east (that is, east of the General Post Office), stretching from The Block to the genteel doctors’ quarter of upper Collins Street, was where many leading artists had their studios. Among them were the purpose-built 1887 studios in Grosvenor Chambers occupied by Tom Roberts, Fred McCubbin, and others (the building may still be seen but the studios were thoughtlessly destroyed in the 1970s).[2] In May 1888, eighteen, or just under one- third of the artists in the Victorian Artists’ Society had studio addresses in Collins Street east. -
1 We Can Imagine the Books We'd Like to Read, Even If They Have Not Yet
1 We can imagine the books we'd like to read, even if they have not yet been written, and we can imagine libraries full of books we would like to possess, even if they are well beyond our reach, because we enjoy dreaming up a library that reflects every one of our interests and every one of our foibles - a library that, in its variety and complexity, fully reflects the reader we are. It is therefore not unreasonable to suppose that, in a similar fashion, the identity of a society, or a national identity, can be mirrored by a library, by an assembly of titles that, practically and symbolically, serves as our collective definition.1 The collections and services of libraries and related agencies, such as museums and archives, are important components of social and institutional memory. They are both physical places of intellectual work and highly symbolic places. They represent national and cultural identity and aspirations.2 What a nation thinks, that it is. And what a nation thinks is for the most part what it reads. Investigations into social and political conditions are a mark of the time; they are many and elaborate but social and political conditions are largely determined by what is taking place in the imaginative life of the community.3 1 A Manguel, The library at night, Toronto, 2006, p. 294. 2 WB Rayward and C Jenkins, 'Libraries in times of war, revolution, and social change', Library Trends, vol. 55, no. 3, 2007, p. 361. 3 LS Jast, Libraries and living: essays and addresses of a public librarian, [s.l.], 1932, p. -
View the Exhibition Catalogue
The silent wilderness 19th century Australian landscapes Foreword The silent wilderness 19th century Australian landscapes All swirling mists, frosty light and of a weird, At the present moment … there is European history from the journey of Captain Cook Chevalier, and later Louis Buvelot, for example, almost primordial aspect, William Charles cultivation and enterprise contrasted along the east coast of the continent in 1770, in their depictions of this scene. In Clark’s Piguenit’s A mountain top, Tasmania, with the silent wilderness, and the untrodden accompanied by artist Sydney Parkinson. version, the viewer is placed beneath the deep c. 1886—seen, in detail, on the cover of this solitude of the distant hills. In The silent wilderness, early precedents alcove that effectively frames the composition publication—epitomises that genre of 19th George French Angas, 1847i to the works of Chevalier and von Guérard like a proscenium arch, while the waterfall century Australian art that is the subject of include Conrad Martens’ Fall of the Quarrooilli, at left drops into a deep pool, beside which this exhibition. This is the genre of wilderness In the late-1850s, depictions of spectacular 1838 (CAT. NO. 16) which merges his similarly we see a small group of indigenous figures. landscape, the representation as conceived wilderness scenes were in great demand scientific approach to topography and interest This inclusion suggests the site is one unseen by the trained western eye of spectacular within the wider field of Australian landscape in climatic conditions—honed after two years by European eyes despite this being an antipodean scenery: remote, geographically painting. -
Time Booksellers August 2021 Latest Acquisitions
Time Booksellers August 2021 Latest Acquisitions Uploaded on our website on August 1st some 420 titles. To view a Larger image click on the actual image then the back arrow. To order a book, click on 'Click here to ORDER' and then the ORDER button. If you wish to continue viewing books, click the back arrow. You will return to the list of books you were viewing. To continue adding books to your order simply repeat on the next book you want. When you have finished viewing or searching click on 'View shopping cart'. Your list of books will be shown. To remove any unwanted books from the shopping cart simply click 'Remove the item'. When satisfied with your order click "Proceed with order" follow the prompts, this takes you to the Books and Collectibles secure ordering page. To search our entire database of books (over 30000 titles), go to our website. www.timebookseller.com.au 91857 ACKLAND, MICHAEL. Henry Kendall. The Man and the Myths. First Edition; Med. 8vo; pp. xiv, 351; 20 pages of b/w plates, notes, select bibliography, index, bound in original purple cloth, title lettered in silver on spine, dustjacket, a fine copy. (Carlton); The Miegunyah Press; (1995). Click here to Order AUD$26 114826 ACKROYD, PETER. Albion: The Origins of the English Imagination. First Edition; Thick Med. 8vo; pp. xxii, 516; illustrated endpapers, 16 pages of coloured photographic plates, numerous b/w. text illustrations, chronology, notes, bibliography, index, bound in original maroon cloth, title lettered in gilt on spine, dustjacket, fine copy. London; Chatto & Windus; 2002. -
Rupert Bunny Artist in Paris
Rupert Bunny artist in Paris EDUCATION KIT ART GALLERY OF NEW SOUTH WALES, SYDNEY 21 NOVEMBER 2009 – 21 FEBRUARY 2010 THE IAN POTTER CENTRE: NGV AUSTRALIA AT FEDERATION SQUARE, MELBOURNE ART 26 MARCH – 4 JULY 2010 GALLERY ART GALLERY OF SOUTH AUSTRALIA, ADELAIDE NSW 23 JULY – 4 OCTOBER 2010 He is … a brilliant and spirited artist who knows how to evoke the poetry of an evening … and at the same time is able to express the radiant joy of a beautiful day, a delicate flesh blossoming in the light. The artist … is, at one and the same time, a realist and a visionary, an observer of truth and a poet of the world of dreams. Gustave Geffroy in Exposition Rupert CW Bunny, Galeries Georges Petit, Paris 1917 Nobody can have any idea … unless they have lived in Paris and in Paris art circles of the intense vitality of art there. Out here [in Australia] … art is not the living breathing thing that it is in Paris … Here art is an entity; there an atmosphere … Bunny quoted in ‘Art in Paris, Mr Bunny and the post-Impressionists: the future of art in Australia’, Sydney Morning Herald, 19 Sept 1911, p 9 Rupert Bunny: artist in Paris European trends. He quickly mastered ambitious figure compositions of mythological and biblical subjects Rupert Bunny (1864–1947) was one of the most successful favoured by Salon judges. Australian painters of his generation. In an era when artists were increasingly drawn to Europe, no other Australian Bunny’s first large-scale works were pastoral subjects, achieved the artistic accolades Bunny accumulated in Paris such as Tritons c1890, Sea idyll c1890 and Pastoral in the 1890s and early 1900s. -
BDFAS Website
BOOK REVIEW THE PAPER GARDEN Mrs Delany [Begins Her This book has a wonderful mixture of delights: visually it is engaging with the flower creations standing out as Life’s Work] at 72 they do against their black backgrounds; the narrative is very cleverly constructed around the images; the humanity of the story, with its central relationships By Molly Peacock between Mary and the Dean and Mary and her Duchess friend, are at times very moving and uplifting. Published by Bloomsbury Publishing PLC ISBN 978 1 4088 2938 7 Let me introduce you to Mrs Delany, a remarkable C18th lady, who at the age of seventy two invented a new way of creating botanical pictures from paper cut- outs. Over a period of ten years she created nearly a thousand ‘mosaicks’ and her skill was such that even today botanists refer to her collages for their accuracy. Molly Peacock, the author of ‘The Paper Garden’, is a Canadian poet who fell in love with Mrs Delany’s work on seeing an exhibition of her pictures as a student in 1986 in New York. She has brought her considerable writing skills to bear to tell an engaging tale of the C18th where Mary Delany rubs shoulders with Swift, Handel, Hogarth, and even Queen Charlotte and King Many pleasures await you should you decide to make George III. the acquaintance of Mary Delany! After a first forced unhappy marriage to an older man - Gloria Hammond who did the honourable thing and died - she went on to find deep love and companionship with Dean Since Gloria wrote this book review many members Patrick Delany, a Protestant Irish clergyman and friend will know that John, her husband, died of cancer on of Jonathan Swift. -
The Felton Bequest and the Transformation of the National Gallery of Victoria
Art Appreciation Lecture Series 2016 Collectors & Collections: classical to contemporary The Felton Bequest and the transformation of the National Gallery of Victoria Associate Professor Alison Inglis 8-9 June 2016 Lecture summary: The name of Alfred Felton has long been associated with the National Gallery of Victoria (NGV) – not as connoisseur who donated his collection of art, but as a philanthropist whose bequest in 1904 presented that institution with acquisition funds that were greater (at the time) than those of London’s National Gallery and the Tate Gallery combined. This lecture examines the background of Alfred Felton himself – who was this modest bachelor businessman and why did he make this magnificent gift to the NGV? It also considers the legacy of his benefaction – what works of art were obtained under the terms of the Bequest and who made the decisions? Lastly, this account asks: to what extent did ‘the bequest of the century’ transform the NGV? Slide list: 1. John Longstaff, Alfred Felton, c.1932, oil on canvas, NGV, Felton Bequest 1932. 2. Joshua Reynolds, Lady Frances Finch, 1781-1782 oil on canvas, NGV, Felton Bequest 1956 3. J. C. Waite, Alfred Felton, c.1905, oil on canvas, NGV, Felton Bequest 1905 4. ‘Felton, Grimwade and Co.’s Store, Bond Street, 1868’, Illustrated Australian News, 29 June 1868 5. ‘The New Premises of Messrs Felton and Grimwade & Co.’, Illustrated Australian News, 13 May 1878 6. ‘Messrs Felton and Grimwade Factories 1884’, Australasian Sketcher, 12 March 1884 7. Artist unknown, Laboratory and drugs mills and Leech aquarium, c.1884, watercolour, University of Melbourne Art Collection, Gift of John Poynter 8.