SA Australiana Study Group 57Th Meeting, 3 September 2020
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Our Cultural Collections a Guide to the Treasures Held by South Australia’S Collecting Institutions Art Gallery of South Australia
Our Cultural Collections A guide to the treasures held by South Australia’s collecting institutions Art Gallery of South Australia. South Australian Museum. State Library of South Australia. Car- rick Hill. History SA. Art Gallery of South Aus- tralia. South Australian Museum. State Library of South Australia. Carrick Hill. History SA. Art Gallery of South Australia. South Australian Museum. State Library of South Australia. Car- rick Hill. History SA. Art Gallery of South Aus- Published by Contents Arts South Australia Street Address: Our Cultural Collections: 30 Wakefield Street, A guide to the treasures held by Adelaide South Australia’s collecting institutions 3 Postal address: GPO Box 2308, South Australia’s Cultural Institutions 5 Adelaide SA 5001, AUSTRALIA Art Gallery of South Australia 6 Tel: +61 8 8463 5444 Fax: +61 8 8463 5420 South Australian Museum 11 [email protected] www.arts.sa.gov.au State Library of South Australia 17 Carrick Hill 23 History SA 27 Artlab Australia 43 Our Cultural Collections A guide to the treasures held by South Australia’s collecting institutions The South Australian Government, through Arts South Our Cultural Collections aims to Australia, oversees internationally significant cultural heritage ignite curiosity and awe about these collections comprising millions of items. The scope of these collections is substantial – spanning geological collections, which have been maintained, samples, locally significant artefacts, internationally interpreted and documented for the important art objects and much more. interest, enjoyment and education of These highly valuable collections are owned by the people all South Australians. of South Australia and held in trust for them by the State’s public institutions. -
Annual Report
ANNUAL REPORT of the ART GALLERY OF SOUTH AUSTRALIA for the year 1 July 2004 – 30 June 2005 North Terrace ADELAIDE SA 5000 ISSN 0728-7925 The Hon. Mike Rann MP, Minister for the Arts Sir, I have the honour to present the sixty-fourth Annual Report of the Art Gallery Board of South Australia for the Gallery’s 124th year, ended 30 June 2005. Michael Abbott QC, Chairman Art Gallery Board 2004–05 Chairman Michael Abbott QC Members Ms Virginia Hickey Mrs Sue Tweddell Mr Adam Wynn Mr Philip Speakman Mr Andrew Gwinnett Mr Peter Ward Ms Louise LeCornu 2 TABLE OF CONTENTS Principal Objectives 5 Major Achievements 2004-05 6 Major Issues Facing the Gallery 8 Major Objectives 2005–06 9 Resources and Administration 10 Collections 22 3 APPENDICES Appendix A Charter and Goals of the Art Gallery of South Australia 29 Appendix B1 Art Gallery Board 31 Appendix B2 Members of the Art Gallery of South Australia Foundation Council 31 and Friends of the Art Gallery of South Australia Committee Appendix B3 Art Gallery Organisational Chart 32 Appendix B4 Art Gallery Staff and Volunteers 33 Appendix C Staff Public Commitments 36 Appendix D Conservation 39 Appendix E Donors, Funds, Sponsorships 40 Appendix F Acquisitions 42 Appendix G Inward Loans 60 Appendix H Outward Loans 62 Appendix I Exhibitions and Public Programs 66 Appendix J Schools Support Services 73 Appendix K Gallery Guide Tour Services 73 Appendix L Gallery Publications 74 Appendix M Annual Attendances 75 Appendix N Information Statement 76 Appendix O Financial Statements 77 4 PRINCIPAL OBJECTIVES The Art Gallery of South Australia’s objectives and functions are effectively prescribed by the Art Gallery Act, 1939 and can be described as follows: • To collect heritage and contemporary works of art of aesthetic excellence and art historical or regional significance. -
19. Liberty Square
19. Liberty Square Liberty Square was named by the Darwin Town Council in June 1919 to commemorate the ‘Darwin Rebellion’ of 17 December 1918. That rebellion, which culminated in a protest directed at Government House by hundreds of workers on this site, and the unrest leading to it, resulted in a 1919 Royal Commission into the Administration of the Northern Territory conducted by Justice Norman Kirkwood Ewing (1870-1928). On the western side of Liberty Square is a memorial cairn at the place where the sub-sea cable from Banjowangie (Banyuwangi) Indonesia was joined with the Overland Telegraph Line to revolutionise communications in Australia on 20 November 1871. Towards the eastern side is a plinth and plaque commemorating the scientific achievement of Pietro ‘Commendatore’ Baracchi who, in collaboration with colleagues in Singapore and Banjowangie, established true longitude of Port Darwin and other Australian colonial and New Zealand capital cities in 1883 in the grounds of the Port Darwin Post Office and Telegraphic Station (now Parliament House). On the eastern side near the Supreme Court is a Banyan tree, which is valued by the community as a remnant of the original Darwin foreshore vegetation. It is over 200 years old and was the congregation point for Larrakia youths prior to ceremonies that took place under the nearby Tamarind tree. Liberty Square was the site for the original Darwin Cenotaph, which is now located on the old Darwin Oval on the Esplanade. History Sub-sea Telegraph Cables From the 1850s telegraph technology was very quickly taken up by the Australian colonies, building networks across their own territories, and then soon connecting to each other. -
Hordern House Rare Books • Manuscripts • Paintings • Prints
HORDERN HOUSE RARE BOOKS • MANUSCRIPTS • PAINTINGS • PRINTS A second selection of fine books, maps & graphic material chiefly from THE COLLECTION OF ROBERT EDWARDS AO VOLUME II With a particular focus on inland and coastal exploration in the nineteenth century 77 VICTORIA STREET • POTTS POINT • SYDNEY NSW 2011 • AUSTRALIA TELEPHONE (02) 9356 4411 • FAX (02) 9357 3635 www.hordern.com • [email protected] AN AUSTRALIAN JOURNEY A second volume of Australian books from the collection of Robert Edwards AO n the first large catalogue of books from the library This second volume describes 242 books, almost all of Robert Edwards, published in 2012, we included 19th-century, with just five earlier titles and a handful of a foreword which gave some biographical details of 20th-century books. The subject of the catalogue might IRobert as a significant and influential figure in Australia’s loosely be called Australian Life: the range of subjects modern cultural history. is wide, encompassing politics and policy, exploration, the Australian Aborigines, emigration, convicts and We also tried to provide a picture of him as a collector transportation, the British Parliament and colonial policy, who over many decades assembled an exceptionally wide- with material relating to all the Australian states and ranging and beautiful library with knowledge as well as territories. A choice selection of view books adds to those instinct, and with an unerring taste for condition and which were described in the earlier catalogue with fine importance. In the early years he blazed his own trail with examples of work by Angas, Gill, Westmacott and familiar this sort of collecting, and contributed to the noticeable names such as Leichhardt and Franklin rubbing shoulders shift in biblio-connoisseurship which has marked modern with all manner of explorers, surgeons, historians and other collecting. -
Australian Photography and Transnationalism
Australian Photography and Transnationalism ANNE MAXWELL UNIVERSITY OF MELBOURNE Transnationalism is a theoretical concept which today is widely used to describe the relations that have formed, and continue to form, across state boundaries (Howard 3). Used initially by scholars in the early 2000s to refer to the flow of goods and scientific knowledge between nations that ‘has increased significantly in modern times beginning with trade and empires in 1500’ (Howard 4), it has in recent years come to include the category of culture, a development that has in turn sparked a flood of publications aimed at interrogating nationalist histories. Among the first of these publications in Australia was Ann Curthoys and Marilyn Lake’s ground-breaking work Connected Worlds (2005), which radically transformed our conception of Australia’s past by repositioning Australian history ‘on the outer rim of Pacific and Indian Ocean studies, as a nodal point in British imperial studies and connected, or cast in a comparative light, with other settler colonial nations’ (Simmonds, Rees and Clark 1). Less than two years later in 2007, David Carter invoked what has come to be called the ‘transnational turn’ when he challenged scholars of Australian literature to focus on ‘the circulation of cultures beneath and beyond the level of the nation’ (Carter 114–19). His call, like that of Curthoys and Lake, was in response to several decades of scholarship emphasising the cultural nationalism which as Robert Dixon, in his compelling study of the photographic and cinematographic works of Frank Hurley observes, ‘began in the 1960s’ and ‘peak[ed] probably in the decade from 1977 to 1987’ (Dixon xxv). -
A Century in Focus Teachers Resource.Indd
NTURY IN FO A CE CUS Education Resource 1840s–1940s So hy uth grap Australian Photo Art Gallery of South Australia North Terrace, Adelaide, 5000 9 November 2007 - 28 January 2008 Image: H H Tilbrook, 1848-1937, Corset Rock, 1898, gelatin-silver photograph, R. J. Noye Collection, Gift of Douglas and Barbara Mullins 2004, Art Gallery of South Australia This exhibition provides opportunities for students to explore how the art of photography coincided with the settlement of the state, displaying a continuous record of its development through portraiture, scenic views, landmark buildings, and major events from the 1840s to 1940s. Major photographers of the period include Townsend, Duryea, Samuel Sweet, George Freeman, H. H. Tilbrook, Frederick Joyner and John Kauffman. In South Australia, the fi rst photographs were made in 1845, nine years after European settlement, and only six years after the fi rst daguerreotypes were produced in France. Early South Australian pioneer photographers used large cameras, tripods with blackout hoods and heavy, fragile glass plates to create negatives. They often used a tent as a darkroom and would process their fi lms on the spot, using poisonous and infl ammable chemicals such as bromicides and nitrates on fragile papers. Unlike contemporary photographers, they did not shoot multiple photographs to capture these historic works, but after painstaking preparation and careful composition took only one or two shots! In the early stages of the colony, every new camera was seen as a newsworthy event. Photography was praised for it’s truthfulness, accuracy and ability to record fi ne detail. During the mid-1850s there was a growing number of amateur photogrpahers in Adelaide. -
Captain Sweet's Colonial Imagination
Captain Sweet’s Colonial Imagination: The Ideals of Modernity in South Australian Views Photography 1866 - 1886 Karen Magee Thesis submitted for the degree of Doctor of Philosophy in Art History School of History and Politics University of Adelaide October 2014 DECLARATION I certify that this work contains no material which has been accepted for the award of any other degree or diploma in any university or other tertiary institution and, to the best of my knowledge and belief, contains no material previously published or written by another person, except where due reference has been made in the text. In addition, I certify that no part of this work will, in the future, be used in a submission for any other degree or diploma in any university or other tertiary institution without the prior approval of the University of Adelaide and where applicable, any partner institution responsible for the joint-award of this degree. I give consent to this copy of my thesis, when deposited in the University Library, being made available for loan and photocopying, subject to the provisions of the Copyright Act 1968. I also give permission for the digital version of my thesis to be made available on the web, via the University’s digital research repository, the Library catalogue and also through web search engines, unless permission has been granted by the University to restrict access for a period of time. SIGNED:______________________________________ DATE: ______________ i ii TABLE OF CONTENTS VOLUME 1 TITLE PAGE DECLARATION .................................................................................................................................... -
July 2019 We Recommend Readers to the Australiana Society Website and Encourage Membership
SA Australiana Study Group 45th Meeting, 4th July 2019 We recommend readers to the Australiana Society website https://www.australiana.org.au/ and encourage membership. Attendance: 11 Portrait of a Woman in Victorian Dress (self-portrait?), Mildred Louisa Hobkirk (1869- 1926), watercolour, early 20thC. 35 x 25 cm. 1 Mildred was the youngest daughter of the ten children of John Hobkirk and his wife Charlotte (nee Atkinson) of Launceston, Tasmania. A first prize for pencil drawing awarded to a Miss Hobkirk at the 1883 Arts and Industry Exhibition in Launceston may be evidence of youthful skill. She later entered a pencil sketch and a charcoal and crayon study in the Annual Exhibition of the Launceston Arts Society in 1898, then commenced formal training at the Launceston Technical School of Arts and Sciences in 1902. The following year her Firsts in Anatomy, Design, Freehand Drawing and Memory Drawing awarded for the South Kensington Art Examinations confirmed her talent. After a decade of activity within the artistic community of Northern Tasmania, and more widely as secretary of the Australian Exhibition of Women’s Work (held Melbourne 1907), as well as winning exhibition prizes for embossed leather, pyrography and other arts and crafts works, Hobkirk moved to Hobart. There she attempted to establish herself giving art classes in the historic house Hamlyn, but by January 1914 had decided to move to Melbourne to further her artistic career. This was noted in the Melbourne paper Table Talk, which noted her arrival there and mentioned that “She has been particularly successful as a painter of portraits.” Hobkirk exhibited oil and watercolour paintings, but her main living in Melbourne seems to have been as a teacher at Lauriston Girls’ School in Armadale, not far from where she was living in South Yarra. -
ISSN: 1936-296X Volume 14 Numbers 1&2 Journal of Varanid Biology and Husbandry
BIAWAK Journal of Varanid Biology and Husbandry Volume 14 Numbers 1&2 ISSN: 1936-296X On the Cover: Varanus salvadorii The copulating Varanus salvadorii depicted on the cover and inset of this issue were photographed at Singapore Zoo by Borja Reh on 22 March 2019. The animals were kept together for three weeks during which courtship and copulation were observed on sev- eral occasions. The female laid eggs on 6 May, which resulted in a second captive-bred generation of V. salva- dorii that hatched on 21 November 2019. This event marked the culmina- tion of a breeding project that began in 2016 with the design of Reptopia, a new reptile facility at Singapore Zoo. The project intended to highlight the best practices and essential require- ments for keeping V. salvadorii in a captive zoo environment. BIAWAK Journal of Varanid Biology and Husbandry Editor Editorial Review ROBERT W. MENDYK BERND EIDENMÜLLER Department of Herpetology Frankfurt, DE Smithsonian National Zoological Park [email protected] 3001 Connecticut Avenue NW Washington, DC 20008, US RUston W. HArtdegen [email protected] Department of Herpetology Dallas Zoo, US Department of Herpetology [email protected] Audubon Zoo 6500 Magazine Street TIM JESSOP New Orleans, LA 70118, US Department of Zoology [email protected] University of Melbourne, AU [email protected] Associate Editors DAVID S. KIRSHNER Sydney Zoo, AU MICHAEL COTA [email protected] Natural History Museum National Science Museum, Thailand JEFFREY M. LEMM Technopolis, Khlong 5, Khlong Luang San Diego Zoo Institute for Conservation Research Pathum Thani 12120, TH Zoological Society of San Diego, US [email protected] [email protected] Institute for Research and Development LAURENCE PAUL Suan Sunandha Rajabhat University San Antonio, TX, US 1 U-thong Nok Road [email protected] Dusit, Bangkok 10300, TH [email protected] SAMUEL S. -
4. Goyder Park
4. Goyder Park Goyder Park is all that remains of Goyder’s Camp and is significant as the first European settlement in Palmerston from which would grow the modern city of Darwin. George Woodroffe Goyder, Surveyor General of South Australia, landed at an area between Fort Hill and the Darwin escarpment on 5 February 1869. From this location Goyder’s party surveyed the city that would become Darwin and eight other townships along Northern Territory waterways between February and September. Following Goyder’s departure in September 1869, the camp was occupied for many years during the early settlement and expansion of Darwin. The area is significant as the landing point for the submarine telegraph cable between Java and Darwin that linked Australia to rest of the world in 1871 arising from construction of the overland telegraph line. It is also significant because of its connection, both physical and visual via Hughes Avenue, to buildings on the escarpment above. History1 Discovery of Darwin – Stokes and the Beagle In the absence of any definitive evidence to suggest any previous European discovery or discoveries of Darwin and its harbour, it is generally accepted that John Lort Stokes and the men of HMS Beagle were the first Europeans to sail on its waters and land on its shores. The Beagle was under the command of Commodore John Clements Wickham and Lieutenant John Lort Stokes. Their instructions included the finalisation of a survey of both Bass and Torres Straits, and the completion of an examination of the north-western coast that might lead to navigable inland waterways. -
Bridging the DISTANCE Bridging the DISTANCE
Bridging the DISTANCE Bridging the DISTANCE National Library of Australia Canberra 2008 This catalogue was published on the occasion of the exhibition of Bridging the Distance, which was on display at the National Library of Australia from 6 March to 15 June 2008. The National Library of Australia gratefully acknowledges the generous support of Exhibition Sponsor Published by the National Library of Australia Canberra ACT 2600 © National Library of Australia 2008 National Library of Australia Cataloguing-in-Publication entry Bridging the distance. ISBN: 9780642276612 (pbk). Bibliography. National Library of Australia—Exhibitions. Telecommunication—Australia—Exhibitions. Rural transportation—Australia—Exhibitions. Transportation—Australia—Exhibitions. Library exhibits—Australian Capital Territory—Canberra. National Library of Australia. 388 Curator: Margaret Dent Curatorial Assistant: Irene Turpie Catalogue text: John Clark and Margaret Dent Editor: Paige Amor Designer: Kathy Jakupec Printed by Nexus Print Solutions Cover image and detail on pages 8 and 9: Frank Hurley (1885–1962) Dirt Road Bordered by Saltbush, Grey Chevrolet in Foreground, Central Australia [between 1955 and 1962] digital print from 35 mm colour transparency, printed 2007 Reproduced courtesy of the Hurley family Contents Foreword v Jan Fullerton The Question of Distance 1 Selected Items from the Exhibition Eugene von Guérard’s Natives Chasing Game 10 S.T. Gill, Watercolourist 12 Ancestor Track Map 15 William John Wills, Explorer 16 Ernest Giles, Explorer 18 Edward John Eyre, Explorer 21 Brother Edward Kempe’s Album 22 The First Inland Settlement: Bathurst, New South Wales 24 Harry Sandeman, ‘Gone Out to Australia’ 26 Cobb and Co. 28 Swaggies 31 Camels, the ‘Ships of the Desert’ 32 George French Angas, Naturalist and Artist 34 Riverboats 36 Samuel Sweet, Photographer 39 Building a Railway 40 The Car in Australia 42 Roads and Highways 45 The Royal Flying Doctor Service 46 Balarinji Jets for Qantas 48 Exhibition Checklist 51 Select Bibliography 60 M. -
A Modern Vision Charles Bayliss, Photographer, 1850–1897
A MODERN VISION Charles Bayliss, Photographer, 1850–1897 Helen Ennis National Library of Australia 2008 This catalogue was published on the occasion of the exhibition of A Modern Vision: Charles Bayliss, Photographer, 1850–1897, curated by guest curator Helen Ennis, ANU School of Art. The exhibition was on display at the National Library of Australia from 11 July to 26 October 2008. The exhibition was presented as part of VIVID: National Photography Festival, which was held in Canberra from 11 July to 12 October 2008. Members of Aboriginal and Torres Strait Islander communities are advised that this book contains images and names of deceased persons. Published by the National Library of Australia Canberra ACT 2600 © Helen Ennis and the National Library of Australia, 2008 National Library of Australia Cataloguing-in-Publication entry: Author: Ennis, Helen. Title: A modern vision : Charles Bayliss, photographer, 1850–1897 / Helen Ennis. ISBN: 9780642276674 (pbk.) Notes: Bibliography. Subjects: Bayliss, Charles, 1850–1897 --Exhibitions. Other Authors/Contributors: Bayliss, Charles, 1850–1897. National Library of Australia. Dewey Number: 770.92 Project manager: Kathryn Favelle Publisher’s editors: Jan Borrie and Paige Amor Designer: Kathy Jakupec Printed by Lamb Print, Western Australia Cover: Charles Bayliss (1850–1897) Looking South from Dunlop Range, Overlooking Louth, Darling River 1886 albumen print; 21.2 x 28.9 cm nla.pic-vn3968207 CONTENTS Foreword v Jan Fullerton, AO The Space of Modernity 1 Helen Ennis Selected Images from the Exhibition 20 Exhibition Checklist 56 Further Reading 61 Acknowledgments 62 iii Nettle Cave Showing Devil’s Coach House 1880s albumen print 23.3 x 28.3 cm nla.pic-vn4218346 FOREWORD The National Library of Australia has one of the largest and most important photography collections in the country.