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Movers and Shakers: John and Sunday Reed at Heide

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Movers and Shakers: John and Sunday Reed at Heide Art Appreciation Lecture Series 2016 Collectors & Collections: classical to contemporary Lecture title: Movers and Shakers: John and Sunday Reed at Heide Lecturer: Kendrah Morgan 20/21 July 2016 Lecture summary: This lecture focuses on Melbourne art benefactors and collectors John and Sunday Reed, champions of modernism in all its forms and catalysing figures for successive generations of Australian artists and writers. Both rebels against privileged backgrounds, the Reeds led unconventional and complex lives. Their home, Heide, was an important creative gathering point for many progressive artists who went on to lead stellar careers. Today the Reeds are widely recognised for the influential role they played in the development of Australian art and intellectual culture from the 1930s until the early 1980s. Slide list: Joshua Reynolds, 1. (Title image) Albert Tucker Sunday and John Reed, c.1943, gelatin silver photograph, 40.4 x 30.6 cm, Heide Museum of Modern Art, Melbourne, gift of Barbara Tucker, 2001. 2. (Clockwise from left) John Harford Reed c.1910; Mount Pleasant, the Reed family home near Launceston, Tasmania c.1928; John Reed with friends at Chenonceau, France c.1923. Photographers unknown. 3. (Clockwise from left) Sunday Baillieu and her brother Everard c.1913; Sunday Baillieu c.1923; Sunday at her Court presentation, London 1924; Sunday’s first husband Leonard Quinn, Cambridge, England 1928. Photographers unknown. 4. (Left) Agnes Goodsir, Portrait of Sunday Baillieu Quinn 1929, oil on canvas, 61 x 50.5 cm, Heide Museum of Modern Art, gift of Dr Joseph Brown AO OBE through the Heide Foundation, 2006; (Right) Sunday Baillieu at her portrait sitting in Agnes Goodsir’s studio, Paris 1929, photographer unknown. 5. (Left) John Reed and Sunday Baillieu on their wedding day, 13 January 1932; (Right) Heide c.1949. Photographers unknown. 6. (Clockwise from top left) Clarice Zander at the exhibition of British Contemporary Art, Sydney 1933, photographer unknown; Herbert Vere Evatt c.1925, photograph: The Swiss Studios, Sydney, Cynthia Reed c.1925, photographer: Ruth Hollick. 7. Jacob Epstein, Sunita 1924–31, watercolour and pencil, 44.0 x 56.0 cm,, National Gallery of Victoria, Melbourne, bequest of Sunday Reed, 1986. 8. (Left) Sam Atyeo c.1934, photographer unknown; (Right) Sam Atyeo Wyperfeld National Park 1933, oil on canvas on composition board, 60 x 51.5 cm, Heide Museum of Modern Art, purchased from John and Sunday Reed, 1980. Proudly sponsored by 9. (Left) Sam Atyeo, Organised line to yellow c.1933, oil on canvas, 68 x 54.2 cm, National Gallery of Australia, Canberra, purchased 1970; (Right) Sam Atyeo, The dancer 1936, oil on canvas, 59 x 54.5 cm, Heide Museum of Modern Art, bequest of John and Sunday Reed, 1982. 10. (Left) Moya Dyring in her studio c.1936; (Right) Moya Dyring Melanctha 1937, oil on canvas on plywood, 30 x 22 cm, Heide Museum of Modern Art, bequest of John and Sunday Reed, 1982. 11. (Left) Adrian Lawlor, Still life c.1938, oil on cardboard, 43.2 x 55.6 cm, Heide Museum of Modern Art, bequest of John and Sunday Reed, 1982; (Right) Adrian Lawlor, John reading c.1938, oil on canvas, 64.5 x 63 cm, Heide Museum of Modern Art, gift of Barrett Reid, 1990. 12. (Left) Yosl Bergner, Princes Hill, Melbourne 1938, oil on composition board, 44.8 x 41.5 cm Heide Museum of Modern Art, purchased from John and Sunday Reed, 1980; (Right) Noel Counihan Pregnant woman 1941, oil on composition board, 85.5 x 60 cm, Heide Museum of Modern Art, purchased from John and Sunday Reed, 1980. 13. (Left) Albert Tucker, Danila Vassilieff building Stonygrad 1944, gelatin silver photograph, 40.5 x 30.5 cm, Heide Museum of Modern Art, gift of Barbara Tucker, 2001; (Right) Danila Vassilieff, Valerie and Betty 1937, oil on plywood, 44.9 x 53.5 cm, Heide Museum of Modern Art, purchased from John and Sunday Reed, 1980. 14. (Left) Albert Tucker, Self portrait 1940, gelatin silver photograph, 40.2 x 30.4 cm, Heide Museum of Modern Art, gift of Barbara Tucker, 2001; (Right) Albert Tucker, Futile City 1940, oil on cardboard, 44 x 54.5 cm, Heide Museum of Modern Art, purchased from John and Sunday Reed, 1980. 15. Albert Tucker, The Vaudevillian 1946, oil on muslin on cardboard, 67 x 78.5 cm, Heide Museum of Modern Art, bequest of John and Sunday Reed, 1982. 16. (Left) Albert Tucker, Portrait of Joy Hester c.1943, gelatin silver photograph, 30.5 x 40.6 cm, Heide Museum of Modern Art, gift of Barbara Tucker, 2001; (Right) Joy Hester, Gethsemane c.1946, ink and gouache on paper, 25.3 x 31.2 cm, Heide Museum of Modern Art, bequest of John and Sunday Reed, 1982. 17. (Left) Albert Tucker John and Sunday Reed with Sweeney at Murrumbeena 1947, gelatin silver photograph, 40.5 x 30.7 cm, Heide Museum of Modern Art, gift of Barbara Tucker, 2001; (Right) Joy Hester Face VI c.1947, Heide Museum of Modern Art, bequest of John and Sunday Reed, 1982. 18. Albert Tucker In the Library: John Reed, Sidney Nolan and Sunday Reed c.1942, gelatin silver photograph, 30.4 x 40.2 cm, Heide Museum of Modern Art, gift of Barbara Tucker, 2001. 19. (Clockwise from left) Albert Tucker, Arthur Boyd and John Perceval 1943, gelatin silver photograph, 30.3 x 40.3 cm, Heide Museum of Modern Art, gift of Barbara Tucker, 2001; Arthur Boyd The cripples 1943; oil on muslin on cardboard, 51 x 66.6 cm, Heide Museum of Modern Art, purchased from John and Sunday Reed, 1980; Arthur Boyd The lovers (The good shepherd) 1944, oil on muslin on cardboard, 53.6 x 72.5 cm, Heide Museum of Modern Art, purchased from John and Sunday Reed, 1980. 20. (Left) John Perceval, Performing dogs 1943, oil on muslin on cardboard, 37.6 x 67.8 cm, Heide Museum of Modern Art, purchased from John and Sunday Reed, 1980; (Right) John Perceval Dogs c.1942, brush and ink on paper, 40.6 x 50.7 cm, Heide Museum of Modern Art, bequest of John and Sunday Reed, 1982. For access to all past lecture notes visit: http://www.artgallery.nsw.gov.au/members/current-members/member-events/collectors/ 21. (Clockwise from top left) Albert Tucker, Sidney Nolan in his Parkville studio 1945, gelatin silver photograph, 30.5 x 40.5 cm, Heide Museum of Modern Art, gift of Barbara Tucker, 2001; Albert Tucker, Arvo Tea: Sidney Nolan, Sunday Reed and Joy Hester 1945, gelatin silver photograph, 30.4 x 40.3 cm, Heide Museum of Modern Art, gift of Barbara Tucker, 2001; Sidney Nolan, Head of Rimbaud 1938-39, oil, boot polish and pencil on cardboard, 34.3 x 26.9 cm, Heide Museum of Modern Art, purchased from John and Sunday Reed, 1980. 22. (Left to right) Sidney Nolan Boy and the Moon 1939-40, oil on canvas on composition board, 73.3 x 88.2 cm, National Gallery of Australia, Canberra, purchased 1976; Boy and the Moon on display in the annual Contemporary Art Society exhibition, David Jones Gallery, Sydney 1940, photographer unknown; Narelle Jubelin, Softsun (re-creation of Boy and the Moon at Heide) 2012, photographer: Fred Kroh. 23. (Clockwise from top left) Sidney Nolan, Wimmera landscape 1943, ripolin enamel on composition board, 60.8 x 91.4 cm, Heide Museum of Modern Art, purchased from John and Sunday Reed, 1980; Sidney Nolan, Farmer’s wife, Dimboola 1942, enamel on composition board, 91 x 61.2 cm, Heide Museum of Modern Art, bequest of John and Sunday Reed, 1982; Sidney Nolan, Bathers 1943, ripolin enamel on composition board, 64 x 76.5 cm, Heide Museum of Modern Art, bequest of John and Sunday Reed, 1982. 24. (Left) Sidney Nolan, Arabian Tree 1943, enamel on plywood, 91.8 x 61 cm, Heide Museum of Modern Art, bequest of John and Sunday Reed, 1982; (Right) Marc Chagall, Lovers in the lilacs 1930, oil on canvas, 87 x 128 cm, private collection. 25. (Left) Max Harris at Heide with Sidney Nolan, Sunday and John Reed, and John Sinclair c.1945, photographer unknown; (Right) Angry Penguins Autumn 1944 issue, cover design by Sidney Nolan. 26. (Clockwise from left) Sidney Nolan, Kelly at the Mine 1946–7, enamel on composition board, 89.4 x 121 cm, Heide Museum of Modern Art, purchased from John and Sunday Reed, 1980; Sidney Nolan Ned Kelly 1946, enamel on composition board, 90.8 x 121.5 cm, National Gallery of Australia, Canberra, gift of Sunday Reed, 1977; Sidney Nolan, The Trial 1947, enamel on composition board, 90.7 x 121.2 cm, National Gallery of Australia, Canberra, gift of Sunday Reed, 1977. 27. (Left) Charles Blackman c.1953, photographer unknown; (Right) Charles Blackman, The shadow 1953, tempera on cardboard, 59 x 75 cm, Heide Museum of Modern Art, purchased from John and Sunday Reed, 1980. 28. Charles Blackman, Alice 1956, tempera, oil and enamel on composition board, 189.9 x 133 cm, Heide Museum of Modern Art, bequest of John and Sunday Reed, 1982. 29. (Left) Mirka Mora c.1955, photographer: Athol Shmith; (Right) Mirka Mora, Angel 1958, oil on composition board, 91.2 x 61.8 cm, Heide Museum of Modern Art, purchased from John and Sunday, 1980. 30. (Above) Gallery of Contemporary Art, Melbourne, with Peter Burns exhibition 1958, photographer unknown; (Below) John Reed at the Museum of Modern Art and Design of Australia c.1964, photographer unknown. 31. (Left) Annandale Imitation Realists exhibition at the Museum of Modern Art of Australia, 1962, photographer: Gordon de Lisle; (Right) Mike Brown, Lullaby in the twilight zone 1965, synthetic polymer paint on composition board, 122 x 92 cm, Heide Museum of Modern Art, purchased from John and Sunday, 1980.
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