DOCSLIB.ORG

Joseph Brown Chris Mcauliffe

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Joseph Brown Chris Mcauliffe Joseph Brown Chris McAuliffe The late Dr Joseph Brown AO, OBE (1918–2009) migrated to Australia from his native Poland in 1933. After training and practising as a sculptor and painter,1 serving in World War II and working in the fashion industry, he became one of Australia’s leading art dealers, collectors and consultants, whose research and connoisseurship led to the rediscovery of many under-appreciated or forgotten Australian artists and the mentoring of many others. He was a remarkably generous donor to many museums and galleries, culminating in 2004 with the gift of the major part of his collection of Australian art to the National Gallery of Victoria. The University of Melbourne awarded Dr Brown an honorary Doctor of Laws Melbourne, and that he had his own At this time, the University was in 1986. Dr Chris McAuliffe reflects particular vision of what form both beginning to make greater efforts to here on the nature of Dr Brown’s should take. display its art collection. Discussion substantial contribution to the Something of this is evident in his of an art gallery was incorporated into University of Melbourne Art Collection. first gift to the University, a modest the design development of the John Over a period of 39 years, Dr 19th century depiction of the original Medley Building and, in February Joseph Brown gave 75 works of art to Gothic revival buildings at the centre 1972, the inaugural exhibition of the the University of Melbourne Art of the campus, by H.N.E Cook. The University Art Gallery was staged in Collection, making him one of the gift was made in 1969, in gratitude the overpass lounge of the new most significant donors to the for the University’s loan of works by building. Among the selections from collection. The story of Dr Brown’s Norman Lindsay for display at the University Art Collection on generosity is shaped by his personality; Brown’s new gallery. Aside from display was Dr Brown’s second gift: a it is challenging, committed and reflecting Dr Brown’s old-world major double portrait by Roy de occasionally a little eccentric. Looking manners, the donation also Maistre, Lord and Lady Ashbourne at back over those 39 years, it becomes demonstrates his understanding that Compiegne, 1924. The gift was, as the clear that Dr Brown was determined the University’s art collection ought University’s then Vice-Principal, Ray to support the presence of art and an to reflect the history and values of the Marginson, noted at the time, ‘the act art museum at the University of institution itself. of a major patron’.2 It arrived when 36 University of Melbourne Collections, Issue 6, June 2010 Opposite: John Peter Russell, Inlet of Goulphar, Belle-Ile, 1907, watercolour on cardboard, 31.3 x 44.4 cm (sheet). Reg. no. 1980.0012, gift of Dr Joseph Brown, 1980, University of Melbourne Art Collection. the University was seeking to bring Collection can be seen also in the way police recovered the works, Dr Brown new energy to its collection and in which a donation galvanised donated a selection to Melbourne offered concrete evidence that major attention on individual artists. Two universities, with the suggestion that collectors, such as Dr Brown, would gifts of works by Danila Vassilieff, in Fate was owed something in return support such a move. 1973 and 1977, prompted the later for his good fortune.8 In his activities as a collector and purchase by the University of three If Dr Brown’s manner of donation art dealer, Dr Brown always showed a additional works by the artist.4 With was a little eccentric, it was always strong engagement with Australian a further donation by Dr and Mrs purposeful. I recall a phone call from art history, often leading the field in Eric Stock in 1997,5 the University’s Dr Brown in 2001. (I should note the rediscovery of neglected and holdings of Vassilieff had grown from here that there is very little by way of undervalued artists of the 19th and zero to six in 25 years. It is this correspondence with Dr Brown in the early 20th centuries. This historical combination of the ‘significant Potter’s records. He preferred to consciousness is something that I moment’ with a subsequent operate on his own terms—in person, think he expected from the University momentum of steady accumulation or in conversation—rather than in a Art Gallery too. His donations strike that is the pulse of the collection. bureaucratic manner.) He advised me me as challenging the museum staff Elsewhere, Dr Brown’s gifts that he had a number of works that and academics to undertake research observe that informal principle of he wished to donate to various and to redraw the narrative of complementarity that is so important university collections. What followed Australian art in greater detail. Early to university collections. In 1985, his was a combination of ‘pop quiz’ and gifts of work by artists such as Horace donation of a study drawing for interview. As Dr Brown mentioned Brodzky, Danila Vassilieff and Adrian Bernard Hall’s enigmatic painting, the names of artists, it was my task to Lawlor were made when such Despair, brought together an initial both discuss their merits and to pioneers of Australian modernism figure study with the finished suggest how they might relate to our were given little attention. The painting already held by the existing holdings. John Passmore, challenge was to rediscover their University in the Samuel Arthur what did we have of his art? Would a meaning and achievement. It is no Ewing collection.6 A pairing such as non-objective work be relevant? You coincidence, I think, that the later gift this is invaluable support for study have a Ralph Balson, don’t you? How of a John Peter Russell watercolour, and teaching. would you see an abstract Passmore Inlet of Goulphar, Belle-Ile, 1907, Others of Dr Brown’s gifts arrived relating to it? came at the time when Dr Ann in far more personal circumstances. I must have passed the interview Galbally, then an academic in the The donation of Leonard French’s because the Potter’s van was soon Fine Arts department, had recently The trial was described by Dr Brown dispatched to Dr Brown’s Prahran published her pioneering study of as a thanksgiving gift.7 In January home to make a pick-up. And there Australia’s ‘forgotten Impressionist’.3 1979, thieves had stolen 80 paintings we encountered something more of The momentum that Dr Brown’s from his famous gallery-home in his personal touch. As two small gifts gave the University Art Caroline Street, South Yarra. When works by Passmore and Meadmore University of Melbourne Collections, Issue 6, June 2010 37 Bernard Hall, Study for Despair, c.1918, charcoal on brown paper, 91.5 x 64.3 (sheet). Reg. no. 1985.0004, gift of Dr Joseph Brown, 1985, University of Melbourne Art Collection. were being loaded into the van, 3 Ann Galbally, The art of John Peter Russell, Percy Leason (1889–1959) South Melbourne: Sun Books, 1977. Untitled (Old gum, Eltham Park), (1930) Dr Brown handed over another work, 4 Danila Vassilieff: Woronora, 1936, oil on canvas oil on canvas on board, 38.0 x 45.5 cm (sight) saying, ‘You might as well take this on board, sight: 54.0 x 59.2 cm. Reg. no. reg. no. 1972.0074 one, too’. The added extra turned out 1977.0041, purchased 1977; Nazareth Karagheusian, (c.1940s), oil on composition A.H. Fullwood (1863–1930) to be a Margaret Preston linocut, board, 41.0 x 30.0 cm. Reg. no. 1982.0033, Sydney Harbour, 1921 Hollyhocks.9 Not only a fine work, but purchased 1983; Time for lunch, 1942, etching, 17.6 x 32.5 cm (plate), reg. no. 1973.0504 a significant addition to our small watercolour, 29.8 x 22.6 cm. Reg. no. 1982.0047, purchased 1982, University of A.H. Fullwood (1863–1930) holding of her art. I wonder whether Melbourne Art Collection. Sand modeller. NSW, 1924 the ‘bonus’ gift was a reward for 5 Danila Vassilieff, Portrait of Betty, (c.1940), oil etching, 20.8 x 16.0 cm (plate), reg. no. 1973.0505 performing well in the telephone quiz, on composition board, 48.5 x 41.5 cm. Reg. no. 1997.0031, gift of Dr and Mrs Eric Stock, Danila Vassilieff (1897–1958) or whether Fate had again intervened. 1997, University of Melbourne Art Collection. Sunday Ebbott, (c.1938) Perhaps the most prominent 6 Bernard Hall, Despair, (c.1916–1918), oil on oil on canvas, 50.0 x 45.0 cm (sight) example of Dr Brown’s support of the canvas, sight: 100.0 x 75.0 cm. Reg. no. reg. no. 1973.0528 1938.0007, gift of Dr Samuel Arthur Ewing, University Art Collection was not the 1938, University of Melbourne Art Collection. Horace Brodzky (1885–1969) gift of an artwork itself. Dr Brown 7 ‘Painting donated as thanksgiving’, Staff News Untitled (Head study (1)), 1935 supported the restoration of Napier [University of Melbourne], vol. 7, no. 8, pen and ink on paper, 38.3 x 28.0 cm (sheet) October 1979, p. 101. reg. no. 1977.0005 Waller’s Leckie window, allowing the 8 The gift of The trial and some other donations University to pursue its plan to by Dr Brown are discussed in Robyn Sloggett’s Horace Brodzky (1885–1969) reinstall the window in a prominent interview of Ray Marginson: ‘High drama and Untitled (Head study of John Brodzky, son of the … comedy: Developing the cultural collections artist, aged ten), 1934 new building.
Load more

Recommended publications
  • Australian Painting from One of the World's Greatest Collectors Offered
    Press Release For Immediate Release Melbourne 3 May 2016 John Keats 03 9508 9900 [email protected] Australian Painting from One of the World’s Greatest Collectors Offered for Auction Important Australian & International Art | Auction in Sydney 11 May 2016 Roy de Maistre 1894-1968, The Studio Table 1928. Estimate $60,000-80,000 A painting from the collection of one of world’s most renowned art collectors and patrons will be auctioned by Sotheby’s Australia on 11 May at the InterContinental Sydney. Roy de Maistre’s The Studio Table 1928 was owned by Samuel Courtauld founder of The Courtauld Institute of Art and The Courtauld Gallery, and donor of acquisition funds for the Tate, London and National Gallery, London. De Maistre was one of Australia’s early pioneers of modern art and The Studio Table (estimate $60,000-80,000, lot 127, pictured) provides a unique insight into the studio environment of one of Anglo-Australia’s greatest artists. 1 | Sotheby’s Australia is a trade mark used under licence from Sotheby's. Second East Auction Holdings Pty Ltd is independent of the Sotheby's Group. The Sotheby's Group is not responsible for the acts or omissions of Second East Auction Holdings Pty Ltd Geoffrey Smith, Chairman of Sotheby’s Australia commented: ‘Sotheby’s Australia is honoured to be entrusted with this significant painting by Roy de Maistre from The Samuel Courtauld Collection. De Maistre’s works are complex in origins and intricate in construction. Mentor to the young Francis Bacon, De Maistre remains one of Australia’s most influential and enigmatic artists, whose unique contribution to the development of modern art in Australia and Great Britain is still to be fully understood and appreciated.’ A leading exponent of Modernism and Abstraction in Australia, The Studio Table was the highlight of Roy de Maistre’s solo exhibition in Sydney in 1928.
    [Show full text]
  • 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.
    [Show full text]
  • The Fairfax Women and the Arts and Crafts Movement, 1899-1914
    CHAPTER 2 - FROM NEEDLEWORK TO WOODCARVING: THE FAIRFAX WOMEN AND THE ARTS AND CRAFTS MOVEMENT, 1899-1914 By the beginning of the twentieth century, the various campaigns of the women's movement had begun to affect the lives of non-campaigners. As seen in the previous chapter activists directly encouraged individual women who would profit from and aid the acquisition of new opportunities for women. Yet a broader mass of women had already experienced an increase in educational and professional freedom, had acquired constitutional acknowledgment of the right to national womanhood suffrage, and in some cases had actually obtained state suffrage. While these in the end were qualified victories, they did have an impact on the activities and lifestyles of middle-class Australian women. Some women laid claim to an increased level of cultural agency. The arts appeared to fall into that twilight zone where mid-Victorian stereotypes of feminine behaviour were maintained in some respects, while the boundaries of professionalism and leadership, and the hierarchy of artistic genres were interrogated by women. Many women had absorbed the cultural values taken to denote middle-class respectability in Britain, and sought to create a sense of refinement within their own homes. Both the 'new woman' and the conservative matriarch moved beyond a passive appreciation and domestic application of those arts, to a more active role as public promoters or creators of culture. Where Miles Franklin fell between the two stools of nationalism and feminism, the women at the forefront of the arts and crafts movement in Sydney merged national and imperial influences with Victorian and Edwardian conceptions of womanhood.
    [Show full text]
  • The Mccubbin Times15 August 2009
    THE McCUBBIN TIMES, 15 AUGUST 2009 THE McCUBBIN TIMES, 15 AUGUST 2009 ART NOTES ART NOTES MELBOURNE CELEBRATES FEDERATION Stature Still Increasing McCUBBIN SHOW 15 AUGUST 2009 in Centenary Year INSPIRING National HEN posterity has cast its vote the artistic RETROSPECTIVE exhibition of paintings by Wstature of the late Frederick McCubbin is the late Frederick McCubbin at the Latrobe Gallery of likely to increase, and in inverse ratio the later Gallery,A National Gallery, fulfills expectations. work of Sir Arthur Streeton may lose some of It is the major artistic event of the year. its present day popularity. Australia uring his youth to 1910. Within this period OMPRISED of 56 ART SHOW Streeton was the artist painted some of works drawn from showcases D C EARLY AUSTRALIAN undoubtedly the greater his finest work. private collections, and The McCubbin Times artist. Consciously or By State and provincial gall- IMPRESSIONIST Frederick unconsciously, he fell a Special eries, it has been brought victim to the charms of Correspondent together to mark the Twenty-four canvasses by Frederick McCubbin, one of McCubbin success and the poet made in London centenary of the artist’s the originators of the school of An exhibition of 76 works way for the businessman. birth and to do honour to a landscape painting, which with McCubbin’s art, on the His former broad state- of art created by Frederick great landscape painter. modifications, still dominates McCubbin during the last other hand evolved steadily ment of tone had been re- Australian art, are showing at Subject of comment in eleven years of his life, and towards the end of placed by the broken colour this column (25/10/55), the Sedon Gallery, Elizabeth Street.
    [Show full text]
  • Sidney Nolan's Ned Kelly
    Sidney Nolan's Ned Kelly The Ned Kelly paintings in the National Gallery of Australia With essays by Murray Bail and Andrew Sayers City Gallery_JWELLINGTON australia Te \Vliare Toi ■ national gallery of 7 © National Gallery of Australia 2002 Cataloguing-in-publication data This publication accompanies the exhibition Copyright of texts remains SIDNEY NOLAN'S NED KELLY SERIES with the authors Nolan, Sidney, Sir, 1917-1992. City Gallery Wellington, New Zealand Sidney Nolan's Ned Kelly: the Ned Kelly 22 February-19 May 2002 All rights reserved. No part of this publication paintings in the National Gallery of Australia. Part of the New Zealand Festival 2002 may be reproduced or transmitted in any form or by any means, electronic or Bibliography. mechanical, including photocopying, ISBN O 642 54195 7. Presented by recording or any information storage and retrieval system, without permission 1. Kelly, Ned, 1855-1880 - Portraits - Exhibitions. in writing from the publisher. 2. Nolan, Sidney, Sir, 1917-1992 - Exhibitions. EllERNST & YOUNG 3. National Gallery of Australia - Exhibitions. Co-published by the 4. Painting, Modern - 20th century - National Gallery of Australia, Canberra Australia - Exhibitions. 5. Painting, RUSSELL M�VEAGH and City Gallery Wellington, New Zealand Australian - 20th century - Exhibitions. I. Bail, Murray, 1941- . II. Sayers, Andrew. Produced by the Publications Department III. National Gallery of Australia. IV. Title. of the National Gallery of Australia Tele�erm NEW ZEALAND Designer Kirsty Morrison 759.994 Editor Karen
    [Show full text]
  • 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.
    [Show full text]
  • Affairs of the Art Inside Heide, the Creative Crucible That Transformed Australia’S Cultural Landscape
    Weekend Australian Saturday 9/04/2016 Page: 1 Section: Review Region: Australia, AU Circulation: 225206 Type: National Size: 2,416.00 sq.cms. press clip APRIL 9-10 2016 Affairs of the art Inside Heide, the creative crucible that transformed Australia’s cultural landscape DESTINATION EUROPE WINE DINING GLORIA STEINEM TOP CHATEAUS, BEST MAX ALLEN ON THE FEMINISM, POLITICS AND VILLAGES, SUPER DEALS NEW BREED OF BAR A LIFE ON THE ROAD TRAVEL & INDULGENCE LIFE REVIEW V1 - AUSE01Z01AR Copyright Agency Limited (CAL) licenced copy Page 1 of 6 AUS: 1300 1 SLICE NZ: 0800 1 SLICE [email protected] Ref: 573001374 Weekend Australian Saturday 9/04/2016 Page: 1 Section: Review Region: Australia, AU Circulation: 225206 Type: National Size: 2,416.00 sq.cms. press clip THE ROARING 40S support and collect. After the Angry Penguins Art historian Richard Haese, whose 1981 study of Heide was seminal in establishing their put down their fertile intellectual and personal relationships in the public imagination — his book’s title, Rebels and roots in staid, stolid Precursors, was taken from a 1962 Heide group exhibition of the same name at the National Melbourne, the art world Gallery of Victoria — says their influence has been profound. “They’re immensely import- in Australia would never ant,” he says. “The Angry Penguin artists have retained a central position in Australian art and be quite the same again, our perception of Australian art is based on these artists. it FionaFi G rub er Haese points out how their work forms part writes of a broader grouping: “Alongside the artists you have the supporters and champions, writ- ow you experience Heide depends ers, poets and jazz musicians.” There have been on where you park.
    [Show full text]
  • Ii: Mary Alice Evatt, Modern Art and the National Art Gallery of New South Wales
    Cultivating the Arts Page 394 CHAPTER 9 - WAGING WAR ON THE ESTABLISHMENT? II: MARY ALICE EVATT, MODERN ART AND THE NATIONAL ART GALLERY OF NEW SOUTH WALES The basic details concerning Mary Alice Evatt's patronage of modern art have been documented. While she was the first woman appointed as a member of the board of trustees of the National Art Gallery of New South Wales, the rest of her story does not immediately suggest continuity between her cultural interests and those of women who displayed neither modernist nor radical inclinations; who, for example, manned charity- style committees in the name of music or the theatre. The wife of the prominent judge and Labor politician, Bert Evatt, Mary Alice studied at the modernist Sydney Crowley-Fizelle and Melbourne Bell-Shore schools during the 1930s. Later, she studied in Paris under Andre Lhote. Her husband shared her interest in art, particularly modern art, and opened the first exhibition of the Contemporary Art Society in Melbourne 1939, and an exhibition in Sydney in the same year. His brother, Clive Evatt, as the New South Wales Minister for Education, appointed Mary Alice to the Board of Trustees in 1943. As a trustee she played a role in the selection of Dobell's portrait of Joshua Smith for the 1943 Archibald Prize. Two stories thus merge to obscure further analysis of Mary Alice Evatt's contribution to the artistic life of the two cities: the artistic confrontation between modernist and anti- modernist forces; and the political career of her husband, particularly knowledge of his later role as leader of the Labor opposition to Robert Menzies' Liberal Party.
    [Show full text]
  • European Influences in the Fine Arts: Melbourne 1940-1960
    INTERSECTING CULTURES European Influences in the Fine Arts: Melbourne 1940-1960 Sheridan Palmer Bull Submitted in total fulfilment of the requirements of the degree ofDoctor ofPhilosophy December 2004 School of Art History, Cinema, Classics and Archaeology and The Australian Centre The University ofMelbourne Produced on acid-free paper. Abstract The development of modern European scholarship and art, more marked.in Austria and Germany, had produced by the early part of the twentieth century challenging innovations in art and the principles of art historical scholarship. Art history, in its quest to explicate the connections between art and mind, time and place, became a discipline that combined or connected various fields of enquiry to other historical moments. Hitler's accession to power in 1933 resulted in a major diaspora of Europeans, mostly German Jews, and one of the most critical dispersions of intellectuals ever recorded. Their relocation to many western countries, including Australia, resulted in major intellectual and cultural developments within those societies. By investigating selected case studies, this research illuminates the important contributions made by these individuals to the academic and cultural studies in Melbourne. Dr Ursula Hoff, a German art scholar, exiled from Hamburg, arrived in Melbourne via London in December 1939. After a brief period as a secretary at the Women's College at the University of Melbourne, she became the first qualified art historian to work within an Australian state gallery as well as one of the foundation lecturers at the School of Fine Arts at the University of Melbourne. While her legacy at the National Gallery of Victoria rests mostly on an internationally recognised Department of Prints and Drawings, her concern and dedication extended to the Gallery as a whole.
    [Show full text]
  • Annual Report 2011–12 Annual Report 2011–12 the National Gallery of Australia Is a Commonwealth (Cover) Authority Established Under the National Gallery Act 1975
    ANNUAL REPORT 2011–12 ANNUAL REPORT 2011–12 The National Gallery of Australia is a Commonwealth (cover) authority established under the National Gallery Act 1975. Henri Matisse Oceania, the sea (Océanie, la mer) 1946 The vision of the National Gallery of Australia is the screenprint on linen cultural enrichment of all Australians through access 172 x 385.4 cm to their national art gallery, the quality of the national National Gallery of Australia, Canberra collection, the exceptional displays, exhibitions and gift of Tim Fairfax AM, 2012 programs, and the professionalism of our staff. The Gallery’s governing body, the Council of the National Gallery of Australia, has expertise in arts administration, corporate governance, administration and financial and business management. In 2011–12, the National Gallery of Australia received an appropriation from the Australian Government totalling $48.828 million (including an equity injection of $16.219 million for development of the national collection), raised $13.811 million, and employed 250 full-time equivalent staff. © National Gallery of Australia 2012 ISSN 1323 5192 All rights reserved. No part of this publication can be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording or any information storage and retrieval system, without permission in writing from the publisher. Produced by the Publishing Department of the National Gallery of Australia Edited by Eric Meredith Designed by Susannah Luddy Printed by New Millennium National Gallery of Australia GPO Box 1150 Canberra ACT 2601 nga.gov.au/AboutUs/Reports 30 September 2012 The Hon Simon Crean MP Minister for the Arts Parliament House CANBERRA ACT 2600 Dear Minister On behalf of the Council of the National Gallery of Australia, I have pleasure in submitting to you, for presentation to each House of Parliament, the National Gallery of Australia’s Annual Report covering the period 1 July 2011 to 30 June 2012.
    [Show full text]
  • The Drunken Buddha
    Ian Fairweather: The Drunken Buddha 1 The Drunken Buddha, Ian Fairweather’s illustrated translation of a popular Chinese tale, published by University of Queensland Press (UQP) in 1965, is a rare example of a serious book-length translation from Chinese to English by an established artist. It is one of a number of translations from Chinese undertaken by Fairweather, evidence of an unusual pastime that arose from his fascination with the Chinese language. For Fairweather the publication of The Drunken Buddha was the culmination of years of work and making up for various frustrated earlier efforts to see it into print. The book was greeted by critics as a curiosity, something to add to the list of bizarre events associated with the life of the Scottish-born artist who since 1953 had lived on his own terms in a self-made hut on Bribie Island and in 1962 was declared ‘Australia’s greatest living artist.’1 Writing in 1995, Sinologist Pierre Ryckmans [Simon Leys] lamented that what should be regarded as one of UQP’s ‘proudest productions’ had been long out of print and questioned why no-one had ever asked Fairweather, while he was alive, what had motivated him to do it. ‘No sensitive and reflective artist can approach China without being profoundly affected by that experience. Fairweather’ he wrote, ‘ was certainly no exception to this rule and, for all his reticence and elusiveness, he left convincing evidence that China played an important role in his artistic and spiritual development.’2 Twenty years later, in 2015, a 50th anniversary edition of The Drunken Buddha was published by UQP to celebrate ‘Fairweather’s creative legacy.
    [Show full text]
  • 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.
    [Show full text]