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Appendices 2011–12
Art GAllery of New South wAleS appendices 2011–12 Sponsorship 73 Philanthropy and bequests received 73 Art prizes, grants and scholarships 75 Gallery publications for sale 75 Visitor numbers 76 Exhibitions listing 77 Aged and disability access programs and services 78 Aboriginal and Torres Strait Islander programs and services 79 Multicultural policies and services plan 80 Electronic service delivery 81 Overseas travel 82 Collection – purchases 83 Collection – gifts 85 Collection – loans 88 Staff, volunteers and interns 94 Staff publications, presentations and related activities 96 Customer service delivery 101 Compliance reporting 101 Image details and credits 102 masterpieces from the Musée Grants received SPONSORSHIP National Picasso, Paris During 2011–12 the following funding was received: UBS Contemporary galleries program partner entity Project $ amount VisAsia Council of the Art Sponsors Gallery of New South Wales Nelson Meers foundation Barry Pearce curator emeritus project 75,000 as at 30 June 2012 Asian exhibition program partner CAf America Conservation work The flood in 44,292 the Darling 1890 by wC Piguenit ANZ Principal sponsor: Archibald, Japan foundation Contemporary Asia 2,273 wynne and Sulman Prizes 2012 President’s Council TOTAL 121,565 Avant Card Support sponsor: general Members of the President’s Council as at 30 June 2012 Bank of America Merill Lynch Conservation support for The flood Steven lowy AM, Westfield PHILANTHROPY AC; Kenneth r reed; Charles in the Darling 1890 by wC Piguenit Holdings, President & Denyse -
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Heritage Newsletter of the Blue Mountains Association of Cultural Heritage Organisations Inc March-April 2016 ISSUE 43 ISSN 2203-4366 Photographers – through their eyes There is a particular group of people to whom we, as people/organisations interested in our history, owe a huge dept. That is - the photographer. Be it the official or professional or private photographer, they provide us with pictures of both ourselves and our nation, at specific points in time. Their work is a historical record, showing the meaning and intensity of life at the time, and the current social dynamics that accompany them. The Macquarie Dictionary (1995) defines a photographer as a person who carries out “the art of producing images of objects on sensitized surfaces by the chemical action of light or of other forms of radiant energy, as x-rays, gamma rays, cosmic rays etc”. Obviously today in a more modern definition, this would be expanded to include digital experiences. However, for the recording of historical subjects, this former definition would ring true. Many photographers in the 19th and 20th centuries sought to celebrate the communities of people who work to lay the foundations of the country, to record specific events, covering both individual stories, and town and rural life. Incline, Kembla Coal, King Katoomba clouds, Phillips Chinese wool wasking, Kerry When we look at a photo, what are we looking at? Many photos bring us back again and again, and we see something different every time. The photographer may have sought to depict a particular event, person, but inadvertently has recorded a variety of other material, such as fashions and tools, landscapes and buildings, cultures and social customs, techniques and trades. -
Gestural Abstraction in Australian Art 1947 – 1963: Repositioning the Work of Albert Tucker
Gestural Abstraction in Australian Art 1947 – 1963: Repositioning the Work of Albert Tucker Volume One Carol Ann Gilchrist A thesis submitted for the degree of Doctor of Philosophy Department of Art History School of Humanities Faculty of Arts University of Adelaide South Australia October 2015 Thesis Declaration I certify that this work contains no material which has been accepted for the award of any other degree or diploma in my name, 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 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 Search and also through web search engines, unless permission has been granted by the University to restrict access for a period of time. __________________________ __________________________ Abstract Gestural abstraction in the work of Australian painters was little understood and often ignored or misconstrued in the local Australian context during the tendency‟s international high point from 1947-1963. -
Important Australian and Aboriginal
IMPORTANT AUSTRALIAN AND ABORIGINAL ART including The Hobbs Collection and The Croft Zemaitis Collection Wednesday 20 June 2018 Sydney INSIDE FRONT COVER IMPORTANT AUSTRALIAN AND ABORIGINAL ART including the Collection of the Late Michael Hobbs OAM the Collection of Bonita Croft and the Late Gene Zemaitis Wednesday 20 June 6:00pm NCJWA Hall, Sydney MELBOURNE VIEWING BIDS ENQUIRIES PHYSICAL CONDITION Tasma Terrace Online bidding will be available Merryn Schriever OF LOTS IN THIS AUCTION 6 Parliament Place, for the auction. For further Director PLEASE NOTE THAT THERE East Melbourne VIC 3002 information please visit: +61 (0) 414 846 493 mob IS NO REFERENCE IN THIS www.bonhams.com [email protected] CATALOGUE TO THE PHYSICAL Friday 1 – Sunday 3 June CONDITION OF ANY LOT. 10am – 5pm All bidders are advised to Alex Clark INTENDING BIDDERS MUST read the important information Australian and International Art SATISFY THEMSELVES AS SYDNEY VIEWING on the following pages relating Specialist TO THE CONDITION OF ANY NCJWA Hall to bidding, payment, collection, +61 (0) 413 283 326 mob LOT AS SPECIFIED IN CLAUSE 111 Queen Street and storage of any purchases. [email protected] 14 OF THE NOTICE TO Woollahra NSW 2025 BIDDERS CONTAINED AT THE IMPORTANT INFORMATION Francesca Cavazzini END OF THIS CATALOGUE. Friday 14 – Tuesday 19 June The United States Government Aboriginal and International Art 10am – 5pm has banned the import of ivory Art Specialist As a courtesy to intending into the USA. Lots containing +61 (0) 416 022 822 mob bidders, Bonhams will provide a SALE NUMBER ivory are indicated by the symbol francesca.cavazzini@bonhams. -
Diploma Lecture Series 2011 Art and Australia Ll: European Preludes and Parallels Cubism and Australian Art from 1940 Lesley
Diploma Lecture Series 2011 Art and Australia ll: European Preludes and Parallels Cubism and Australian art from 1940 Lesley Harding 8 / 9 June 2011 Lecture summary: This lecture will consider the impact of the revolutionary and transformative movement of Cubism on Australian art from the 1940s to the present day. Described in 1912 by French poet and commentator Guillaume Apollinaire as ‘not an art of imitation, but one of conception’, Cubism irreversibly altered art’s relationship to visual reality. ‘I paint things as I think them, not as see them’, Picasso said. By its very nature, Cubism is characterised by variation and change. Although there was no cubist movement in Australia per se, its appearance in Australian art parallels its uptake and re-interpretation by artists internationally. By viewing Cubism as a set of stylistic and conceptual discoveries, rather than as a style defined by a particular period, we can trace the adaptation and evolution of cubist ideas and influences over successive decades and uncover its ongoing relevance to Australian art. In the early years, an interest in Cubism signaled a desire to be modern, a vanguard position taken against the parochial predominance of landscape painting in Australia at that time. While early Cubism broke down the pictorial subject, resulting in fragmentary images with multiple viewpoints and overlapping planes, the later inclusion of collage elements such as newsprint and wallpaper into paintings (often referred to as Synthetic Cubism) was the beginning of the idea that real objects could be incorporated into artworks, which opened up new possibilities for the treatment of reality in art. -
AUSTRALIAN COLONIAL Good Hardback Copy in Illustrated Boards
SAINSBURY’S BOOKS PTY LTD Architecture 12. GEHL, Jan and GEMZOE, Lars. NEW CITY SPACES. The Danish Architectural Press, Copenhagen. 2000. Landscape 4to, 263pp. With colour illustrations. A very good hardback copy in like dust jacket. Inscription to title page. $100 13. GREENE & GREENE: BOSLEY, Edward R. and MALLEK, Anne E. (Edited by) A NEW AND NATIVE BEAUTY. The Art and Craft of Greene & Greene. Merrell Publishers, London. 2008. 4to. 265pp, black and white and colour illustrations. A near fine hardback copy in like dust jacket. $50 14. GRIFFIN, Walter Burley: JOHNSON, Donald Leslie. THE ARCHITECTURE OF WALTER BURLEY GRIFFIN. Macmillan, 1977. Oblong 8vo., 163pp, Black and white and colour illustrations. A very good hardback copy in like dustjacket. $30 15. GRIMSHAW AND PARTNERS. GRIMSHAW: ARCHITECTURE: 1. BELL, Michael and BUCKLEY, Craig (editors). PERMANENT THE FIRST 30 YEARS. Prestel, Munich. 2011. Large 4to. Illustrated in CHANGE: PLASTICS IN ARCHITECTURE AND ENGINEERING. colour. A near fine hardback copy in like dust jacket. $30 Princeton Architectural Press. 2014. 4to, 271pp, with colour illustrations. A near fine hardback copy in illustrated boards. $30 16. HELLIWELL & SMITH: BODDY, Trevor. (Edited by) BLUE SKY LIVING. The Architecture of Helliwell & Smith. Images Publishing. 2013. 2. BLUEPRINTS FOR MODERN LIVING. History and Legacy of the 4to. 148pp. colour illustrations. A near fine hardback copy in like dust jacket. Case Study Houses. MIT, Cambridge. 1989. Landscape 4to, 256pp. With $15 black & white and colour illustrations. A very good hardback copy in like dust jacket. With previous owner's unsigned bookplate. $120 17. IMAGINE ARCHITECTURE. Artistic Visions of the Urban Realm. -
Australian and International Photography
Australian and International Photography Collectors’ List No. 151, 2011 Josef Lebovic Gallery 103a Anzac Parade (cnr Duke Street) Kensington (Sydney) NSW Ph: (02) 9663 4848; Fax: (02) 9663 4447 Email: [email protected] Web: joseflebovicgallery.com JOSEF LEBOVIC GALLERY 19th to Early 20th Century Established 1977 103a Anzac Parade, Kensington (Sydney), NSW Postal: PO Box 93, Kensington NSW 2033, Australia Tel: (02) 9663 4848 • Fax: (02) 9663 4447 • Intl: (+61-2) Email: [email protected] • Web: joseflebovicgallery.com Open: Wed to Fri 1-6pm, Sat 12-5pm, or by appointment • ABN 15 800 737 094 Member of • Association of International Photography Art Dealers Inc. International Fine Print Dealers Assoc. • Australian Art & Antique Dealers Assoc. COLLECTORS’ LIST No. 151, 2011 Australian & International Photography Compiled by Josef & Jeanne Lebovic, Lenka Miklos, Mariela Brozky On exhibition from Wednesday, 29 June to Saturday, 13 August and on our website from 2 July. All items have been illustrated in this catalogue. Prices are in Australian dollars and include GST. Exch. rates as at time of printing: AUD $1.00 = USD $1.05¢; UK £0.65p 1. The 35th Royal Sussex Regiment (Album Compiled by J.J. Twining), c1861-1865. Leather-bound album containing 59 albumen paper photographs and an ink © Licence by VISCOPY AUSTRALIA 2011 LRN 5523 drawing of the Regiment’s coat of arms, most images captioned in ink or pencil on album page, album inscribed and dated in ink on opening pages by owner, J.J. Twining, 7.6 x 7.5cm to 16.7 x 20.7cm (images), 23.5 x 20cm (album). -
Inge King Eulogy
Inge King Memorial Service NGV Great Hall, Monday 9 May 2016, 10:30 am I’m deeply honoured to be speaking today about Inge’s extraordinary career. I’m conscious of there being many others eminently qualified to speak, including Professors Judith Trimble and Sasha Grishin, each of whom have published eloquent monographs on Inge, and Professors Margaret Plant and Jenny Zimmer, who have both written informed, extended essays for two of Inge’s earliest survey exhibitions. In addition the NGV’s curator of Australian art, David Hurlston, and former NGV curator and recently retired director of the Geelong Gallery, Geoffrey Edwards, have both worked closely with Inge in the sensitive presentation of two retrospectives held here at the gallery, in 1992 and 2014. In the presence of such a wealth of knowledge and experience, I’m frankly humbled to have been asked to speak. I’d like to briefly mention how I came to know Inge, if only to contextualise my appearance here. Inge was arguably the best-known member of the Centre Five group, which forms the subject of my PhD thesis. I began reading about her work in 2008, while still living in Ireland and planning a return to Australia after a nine-year absence. The reading prompted faint memories of seeing her work at the Queensland Art Gallery while still a student in Brisbane. The following year, six months after embarking on doctoral studies at Melbourne University, I finally met my appointed supervisor, Professor Charles Green, who had until then been on sabbatical. One of the first things he said to me at that meeting was: ‘Now, you do know I’m Inge King’s godson, don’t you?’ Well, no, I didn’t. -
228 Paddington: a History
228 Paddington: A history Paddington_Chapter9_Final.indd 228 23/9/18 2:37 pm Chapter 9 Creative Paddington Peter McNeil 22 9 229 Paddington_Chapter9_Final.indd 229 23/9/18 2:37 pm Margaret Olley, one of Australia’s favourite artists, The creatives of Paddington today are more likely died in July 2011. She had become synonymous to run an art space, architecture or design firm, with the suburb of Paddington. As if to celebrate engage in public relations and media, trade her art and personal energy, her estate left the commodities, or be retired doctors or lawyers. downstairs lights of her home blazing, revealing the In the Paddington–Moore Park area today, nearly bright walls as well as her own artworks, including 20 per cent of employees work in legal and rooms she made famous by including them as financial services.3 subjects. Olley loved the suburb of Paddington. But why have so many culturally influential She could paint, garden and, entertain there from people lived in Paddington? Located conveniently her large corner terrace in Duxford Street. She close to the central business district which could liked the art crowd as well as the young people be reached by bus, tram and later the train link working in shops and the working-class people at Edgecliff station, its mixture of terraced who still lived there. She recalled that, as art houses, small factories, workshops and students at the old Darlinghurst Gaol in the early warehouses, provided cultural producers – 1940s, ‘Paddington beckoned … we knew there was whether they be artists or advertising executives something across beyond the Cutler Footway, but – a range of multi-functional spaces and initially we dared not go there’.1 Within a generation interpersonal networks. -
Teacher Lesson Plan Surrealism – an Introductory Study of Australian Artists
Teacher Lesson Plan Surrealism – An introductory study of Australian artists Lesson Title: Surrealism – An introductory study of Australian artists Stage: Year 10 - Stage 5 Year Group: 15-16 years old Resources/Props: Work books and writing materials, or digital device equivalents National Gallery of Australia website information page: Twentieth Century Australian Art - James Gleeson The Citadel 1945 National Gallery of Australia website link: Australian art: Surrealism National Gallery of Australia website link: Dada and Surrealism Downloadable worksheets: Surrealism-Australian artist study Acrylic paints and their choice of cardboard, canvas or composition board Language/vocabulary: Reality, unrealistic, depiction, landscape, minimal, movement, Surrealism, citadel, subversion purpose, influential, prominent, Surrealist, international, dada, collage, photographs, sculpture, influenced, critical, analysis, stimulus, characteristics, expressionistic, juxtaposition, distorted, exaggerated, symbolism, imagery, fantasy, inspiration, elements, primary, secondary, society, culture, exquisite corpse, horror, hallucination, satire, anarchy, subconscious, incongruous, mimetic, biomorphism Lesson Overview: In this lesson, students will be introduced to the international Surrealist art movement of the 1920’s and its influence on a number of Australian artists who adopted it to convey their strong feelings about war, politics and philosophy in the early 20th century. Students will be able to identify the differences between conventional and Surrealist -
Photography from Real to Surreal
Australian and International Photography From Real to Surreal Collectors’ List No. 159, 2012 Josef Lebovic Gallery 103a Anzac Parade (cnr Duke Street) Kensington (Sydney) NSW Ph: (02) 9663 4848; Fax: (02) 9663 4447 Email: [email protected] Web: joseflebovicgallery.com JOSEF LEBOVIC GALLERY 19th Century Established 1977 1. Attrib. Matthew Fortesque Moresby 103a Anzac Parade, Kensington (Sydney) NSW (Brit./Aust., 18281919). [HMS “Iris”], c1859 Post: PO Box 93, Kensington NSW 2033, Australia 1861. Albumen paper photograph, titled in ink on slip on backing upper right, 14.7 x 16.8cm. Tel: (02) 9663 4848 • Fax: (02) 9663 4447 • Intl: (+61-2) Fading and minor foxing overall, laid down on original backing. Email: [email protected] • Web: joseflebovicgallery.com $5,500 Open: Wed to Fri 1-6pm, Sat 12-5pm, or by appointment • ABN 15 800 737 094 Erroneously titled “Isis” on slip. Illustrated in Gillett, Australia’s Navy, p8. Member of • Association of International Photography Art Dealers Inc. The HMS Iris, commanded by Captain William International Fine Print Dealers Assoc. • Australian Art & Antique Dealers Assoc. Loring, was the flagship of the first British squadron in Australia in 1859, due to concerns of a Russian presence in the Pacific. The Iris returned to England in 1861, to be replaced by HMS Pelorus. Two photographs of HMS Iris attributed to M.F. Moresby, COLLECTORS’ LIST No. 159, 2012 paymaster of the ship, appear in an album compiled by William Macarthur. This photograph may have been taken by Moresby, or possibly Lt. Arthur Onslow RN, who was also on tour of duty with HMS Iris. -
PACIFIC MANUSCRIPTS BUREAU Catalogue of South Seas
PACIFIC MANUSCRIPTS BUREAU Room 4201, Coombs Building College of Asia and the Pacific The Australian National University, Canberra, ACT 0200 Australia Telephone: (612) 6125 2521 Fax: (612) 6125 0198 E-mail: [email protected] Web site: http://rspas.anu.edu.au/pambu Catalogue of South Seas Photograph Collections Chronologically arranged, including provenance (photographer or collector), title of record group, location of materials and sources of information. Amended 18, 30 June, 26 Jul 2006, 7 Aug 2007, 11 Mar, 21 Apr, 21 May, 8 Jul, 7, 12 Aug 2008, 8, 20 Jan 2009, 23 Feb 2009, 19 & 26 Mar 2009, 23 Sep 2009, 19 Oct, 26, 30 Nov, 7 Dec 2009, 26 May 2010, 7 Jul 2010; 30 Mar, 15 Apr, 3, 28 May, 2 & 14 Jun 2011, 17 Jan 2012. Date Provenance Region Record Group & Location &/or Source Range Description 1848 J. W. Newland Tahiti Daguerreotypes of natives in Location unknown. Possibly in South America and the South the Historic Photograph Sea Islands, including Queen Collection at the University of Pomare and her subjects. Ref Sydney. (Willis, 1988, p.33; SMH, 14 Mar.1848. and Davies & Stanbury, 1985, p.11). 1857- Matthew New Guinea; Macarthur family albums, Original albums in the 1866, Fortescue Vanuatu; collected by Sir William possession of Mr Macarthur- 1879 Moresby Solomon Macarthur. Stanham. Microfilm copies, Islands Mitchell Library, PXA4358-1. 1858- Paul Fonbonne Vanuatu; New 334 glass negatives and some Mitchell Library, Orig. Neg. Set 1933 Caledonia, prints. 33. Noumea, Isle of Pines c.1850s- Presbyterian Vanuatu Photograph albums - Mitchell Library, ML 1890s Church of missions.