Experimental gentlemen Making the past present in the Sir Russell and Lady Mab Grimwade Collection Henry Skerritt

There are both duties and heartfelt letter of two years earlier, dear: his noble and civilised duty obligations upon those of a in which he declared his intention to to preserve and record Australia’s civilized people who, for their bequeath his estate to the University history for future generations. own or their country’s advantage, of Melbourne: This duty was, in part, motivated enter a strange and almost empty by Grimwade’s affinity for a version land … Once a man is housed I have been one of the privileged of Australian nationalism to which against weather, has food in the and fortunate ones who has he felt a close familial link. This larder and can keep in touch had a long and happy life. The nationalism was not founded on with his neighbours, he has fact that we have not been images of swagmen, bushrangers won to a position where he can blessed with children makes and larrikins, but was a genteel begin to study his surroundings such a scheme possible, and it brand that celebrated the pioneering and satisfy the inborn curiosity is an endeavour to express my efforts of explorers, pastoralists and that is the prime cause of man’s gratitude to the country that has industrialists: men like James Cook, accumulated knowledge. The done me so well and made me John Macarthur and Grimwade’s thoughtful man in a new country so happy. I believe firmly in the own father, the industrialist Frederick like this then, becomes aware of principle succinctly expressed by Sheppard Grimwade. These interests his obligations to his successors … Noblesse oblige.2 are clearly reflected in the material No country has been so violently that Grimwade collected, reaching disturbed in its age old rest, and The Sir Russell and Mab Grimwade its zenith in 1934, when he arranged consequently in no country does Bequest was an extraordinarily for the purchase of ‘Captain Cook’s the responsibility of preserving a munificent gesture, establishing the Cottage’ and its transportation from knowledge of the past rest quite Miegunyah Press and bequeathing Great Ayton, North Yorkshire, to so heavily upon its people. a trove of Australian artworks, the Fitzroy Gardens in Melbourne.4 Sir Russell Grimwade1 rare books and archival materials We might today consider this to the university collections. From to be an eccentric gesture, just as Obligation is a common theme in the William Strutt’s painted masterpiece we might see Grimwade’s version writings of Sir Russell Grimwade. Bushrangers, Victoria, Australia, 18523 of Australian identity as quaintly It gained particular force in his later down to personal correspondence antiquated (or even chauvinistically years, when the question of his own with premiers and prime ministers, anachronistic). Contemporary mortality caused him to linger upon items from the Grimwade Bequest Australian history has been opened the many privileges his life had count amongst some of the most to many competing voices. It no accorded him. It is a central theme prized of the university’s treasures. longer offers a single, unified view of the above-quoted preface, penned The generosity of this gift should of the past, but a multiplicity that in 1954 to celebrate the centenary of not be measured in purely financial recognises that our vision of the the National Museum of Victoria, terms, but as the embodiment of past is shaped by, and contributes to, and it is equally evident in a lengthy, an obligation that Grimwade held our understanding of the present.

Henry Skerritt, ‘Experimental gentlemen’ 15 Visitors enjoying the exhibition Experimental gentlemen at the Ian Potter Museum of Art, University of Melbourne, in 2011. Photograph by Viki Petherbridge

Politically conservative, Russell engagement. Under the auspices of Through the use of exhibition Grimwade would most likely have the Grimwade Internship at the Ian design, text panels and listening bristled at such a postmodern Potter Museum of Art, I had the stations featuring contemporary conception of history, yet it is a opportunity to research the Grimwade music and interviews with current that I believe he intuitively collections and curate the exhibition songwriters including Don Walker understood. For if, in one way, the Experimental gentlemen (Ian Potter (Cold Chisel), Kev Carmody, transportation of Cook’s Cottage Museum of Art, 19 March to 25 Gareth Liddiard (The Drones) and embodied a very traditional view September 2011). In doing so, I hoped Mick Thomas (Weddings, Parties, of history (the literal reconstruction to use the boundaries of Sir Russell Anything), Experimental gentlemen of the past), in another way, it Grimwade’s collection, with all its attempted to present the past as a revealed a much more radical ‘faith omissions and exclusions, not as a continual process of discovery. The in the imaginative work that can be limitation to the stories that could be exhibition’s title was derived from the performed with the raw materials told, but rather as an epistemological name given by ordinary seamen to of history’.5 In the transplanted opportunity. If Grimwade’s collecting scientists and intellectuals like Joseph stones and mortar of Cook’s Cottage, passions revealed his explicit desire Banks, T.H. Huxley and Charles Grimwade was attempting to bring to reinterpret the present through the Darwin, who accompanied explorers the force of the past into present past (and vice versa), Experimental like Cook on their great sea voyages. view and, in doing so, create a space gentlemen drew attention to the ways The title also provided a useful through which the national narrative in which our own vision is equally metaphor to connect Grimwade to could be shaped. Likewise, by preconditioned. Most importantly, this colonial heritage. With varied donating his collections of Australiana the exhibition contended that history interests that extended to astronomy, to the University of Melbourne, he is not disconnected from the present, botany, photography, automobiles, hoped that future generations would finished and done with, conforming history and environmentalism, continue to engage with this task. to Erwin Panofsky’s conception of Grimwade was very much a modern In an era in which the narratives of the modern historical consciousness experimental gentleman. The Australian nationalism are more often as ‘a phenomenon complete in itself exhibition included objects such as hijacked by the odious parochialism and historically detached from the a beautiful timber cabinet made by of Hansonism, the Cronulla riots contemporary world’.6 Rather, as Grimwade to house his collection of and racially motivated violence, the I believe Grimwade recognised, eucalypt specimens,8 along with his obligation upon thoughtful men and Experimental gentlemen posited 1920 publication An anthography of women to reconstruct the past in that the past retains an inescapable the eucalypts, for which he provided order to understand the present has imaginative pull on the present, a both the text and the artistically never been more urgent. lingering force that shapes how we arranged photographs.9 From July 2010 to June 2011, see the world. As William Faulkner Not only did this title serve to I was the direct beneficiary of Sir famously opined, ‘The past is never connect Grimwade to his revered Russell Grimwade’s desire for such dead. It’s not even past’.7 explorers, it also helped position the

16 University of Melbourne Collections, issue 10, June 2012 Giovanni Battista Cipriani (artist), Francesco Bartolozzi (engraver), A view of the Indians of Terra del Fuego in their hut, 1773, engraving, from John Hawkesworth, An account of the voyages undertaken by the order of His Present Majesty, for making discoveries in the southern hemisphere, 3 vols, London: W. Strahan and T. Cadell, 1773. Grimwade Collection, Special Collections, Baillieu Library, University of Melbourne

exhibition as an unfurling succession of encounters, continuing into the modern era. Rex Butler has argued that the discovery narrative—the act of literally seeing a place for the first time—is constantly replayed in Australian art and art history.10 Reading Butler’s observation against the grain, Experimental gentlemen aimed to use this repetition to create the contemporary anew in each historical instance. Rather than seeing the past as a series of compartmentalised, completed events, Experimental gentlemen recast it as a succession of unfolding presents, coalescing from the colonial period into the contemporary moment. Entering the exhibition, the viewer was immediately thrown into the role of the explorer, confronted with a text panel that offered the following world, a world of untamed novelty hemisphere (1787).11 This small, spatial and temporal challenge: where every plant and animal leather-bound volume is a compelling seems to astonish and confound. relic of Cook’s voyages, a rich Stepping ashore, the moist sand Everything is different here. You reminder of the history of indigenous gives way gently underfoot, have stepped into the antipodes, presence, and a thrilling portent to embracing the soles of your where the natural order is reversed the stunning designs that would shoes. After nearly a year on and nothing is as it seems. flower into the rich contemporary ship, it is like a giddy caress to art movements of today.12 If these your weary sea legs. The shore One of the first works encountered tiny swatches have the ability (like is golden, reflecting the bright upon entering the exhibition was a so much indigenous art) to look autumnal light with the sizzling singular treasure from the Grimwade both forward and backward, they clarity of finely wrought crystal. Collection: Alexander Shaw’s stand in stark contrast to European It catches your eye and you are A catalogue of the different specimens representations of the people who briefly stunned. It is as though of cloth collected in the three voyages created them. Experimental gentlemen you have passed into a brand new of Captain Cook to the southern contained several depictions of

Henry Skerritt, ‘Experimental gentlemen’ 17 indigenous people encountered during So too was the visual representation The distortions of colonial Cook’s voyages, including Francesco of the ‘Indians’ of Tierra del Fuego vision were not always a deliberate Bartolozzi’s A view of the Indians of distorted to suit prevailing tastes. manipulation. In many instances Terra del Fuego in their hut, which Cipriani re-imagined the Fuegians they were the by-product of artists accompanied John Hawkesworth’s in a neoclassical mode; they are grappling with the challenges of 1773 account of Cook’s voyage depicted in elegant profile, lounging representing the new world within (illustrated on page 17). in restrained contentment, unsullied the visual strictures of old-world Bartolozzi’s engraving, which was by the trinkets and excesses of convention. This tension famously created after a drawing by the fellow modern concern. This vision is animates the paintings of John Florentine Giovanni Battista Cipriani, in marked contrast to Buchan’s Glover, who wrestled to reconcile is a striking example of the ways in original watercolour (held in the the idyllic image of Europe with which European vision was altered British Museum), which shows the wilds of Tasmania. Glover by convention and imperial desire. them as a dank, huddled mass of was represented in Experimental James Cook visited Tierra del Fuego, humanity, much closer to his captain’s gentlemen with a literally transitional an archipelago off the southern-most assessment. work, created in 1831 on the island tip of South America, in 1869, less The representation of Cook as of Porto Praya during his voyage than five months into his first voyage the paragon of empire was equally from England to Australia. Glover’s of discovery. On board the Endeavour prone to distortion, as revealed in delicate watercolour Porto Praya16 was were two artists: Alexander Buchan Francis Juke’s large etching A view of displayed alongside works by his two and Sydney Parkinson. Unfortunately, Owyhee, one of the Sandwich Islands eldest sons, John Richardson Glover17 Buchan died of a seizure shortly after in the South Seas (1788) after John and William Glover. We believe this the expedition left Tierra del Fuego. Cleveley’s Death of Cook (1784).15 to be the first time these three artists His few sketches from the voyage Juke’s etching, which conforms have been exhibited together since were passed on to John Hawkesworth, to the written accounts of Cook’s the 19th century. who had been commissioned by the death, shows the captain as a heroic While John Richardson Glover is admiralty to edit Cook’s journals into martyr for Pax Britannia. Under relatively well known, William Glover a publishable form. In Cook’s journal, siege from warring natives, the is a much more mysterious figure. the captain rather bluntly referred hero turns to his men and gestures The second son of John Glover, to the natives of Tierra del Fuego as them to cease fire. But in 2004 the William was born in Leicestershire ‘perhaps as miserable a set of People as original Cleveley watercolour was in 1791, less than a year after John’s are this day upon the Earth’.13 Never discovered in a private collection illegitimate first son, John Richardson having been to Tierra del Fuego, in Buckinghamshire. Rather than Glover. In 1827, William purchased and under the spell of a neoclassical showing Cook as conciliator, it shows 80 acres of land in Van Diemen’s fantasy, Hawkesworth transformed him leading the charge, with the Land, and in 1829 he sailed out with Cook’s account into a rhapsodic hymn bodies of several Hawaiian warriors his younger brothers, Henry and to the virtues of the Noble Savage.14 strewn at his feet. James. William and Henry eventually

18 University of Melbourne Collections, issue 10, June 2012 William Glover, Untitled (Classical landscape with figures and animals crossing a bridge), 1830, oil on canvas, 79.9 x 115.8 cm (sight). Reg. no. 1997.0034, purchased 1997, the Russell and Mab Grimwade Miegunyah Fund, University of Melbourne Art Collection

took up land at Bagdad, north of In Basil Long’s 1924 biography at Old Bond Street in 1823 and Hobart, but their partnership was of John Glover, there are several 1824.18 Despite this documentation, soon dissolved due to a personal mentions of William Glover’s artistic the locations of William Glover’s disagreement. William had little luck achievements. He is recorded as a paintings remain largely unknown; the in farming, and filed for bankruptcy drawing master in Birmingham from large oil painting in the University of in 1842, before moving to Melbourne 1808, making him a prodigious young Melbourne Art Collection (illustrated where he lived out his days as a talent, and he is noted exhibiting above) is one of only two works in coachman, dying in 1870. alongside his father and brother Australian public collections, the

Henry Skerritt, ‘Experimental gentlemen’ 19 John Skinner Prout, Fern Tree Valley, Van Diemen’s Land, c. 1847, watercolour and gouache, 74.5 x 55.5 cm (sight). Reg. no. 1993.0024, purchased 1993, the Russell and Mab Grimwade Miegunyah Fund, University of Melbourne Art Collection (see also back cover)

other being a small watercolour in the landscape. As settler Australians National Library of Australia. The began to shape their own identity untitled landscape in the Grimwade in relation to this place, it became Collection, purchased in 1997 with necessary to cast the original owners money from the Miegunyah Fund, out of the visual record. Until this was conserved for Experimental point, however, indigenous people gentlemen, revealing a wealth of are an inescapable presence in the detail previously obscured beneath colonial visual record. Drawing discoloured varnish. Amongst the on the Grimwade Collection, details revealed was a series of Experimental gentlemen was able to pseudo-Egyptian hieroglyphs, carved present a remarkably detailed account across the building at the right of of the colonial representation of the canvas. The presence of these Australia’s indigenous inhabitants, hieroglyphs suggests that the painting starting with early works such as depicts the flight of Mary and Joseph William Blake’s noble and elegant into Egypt, but this reading does not A family of New South Wales,20 after account for the mysterious presence a sketch by Governor Philip Gidley of the other three characters in the King, through the mockingly comic painting, including the strange, Wambela by the convict artist Richard hermitic John the Baptist-like figure. Browne,21 and culminating in a Shown alongside the works of his by Bernard Smith to be ‘a prophet series of extremely unusual pencil father and brother, Glover’s untitled of taste in the visual arts’,19 cited as drawings of indigenous people of landscape tells a very different the first artist to paint the Australian South Australia. These previously story in the development of art landscape free of the constraints of unidentified works22 were discovered in Australia. John Glover holds a topographic accuracy. In Fern Tree to be the preparatory drawings for canonical position as the first artist Valley (illustrated above and on the the lithographic plates in J.D. Wood’s to successfully capture the Australian back cover of this magazine) we see 1879 book The native tribes of South landscape. Despite being painted in the veil of European vision slowly Australia.23 Wood’s text, alongside Australia, William Glover’s landscape crumbling as the artist comes to pioneering works by George Taplin, shows how persistent the forces terms with the expressive potential Alfred Howitt and Lorimer Fison, that shape our vision can be. This of the Australian landscape and his signalled the genesis of Australian is thrown into stark relief by John place within it. anthropology. Skinner Prout’s Fern Tree Valley, It is hardly coincidental that This new interest in the customs Van Diemen’s Land. One of the most this marks the precise moment and traditions of indigenous underappreciated colonial landscape when Aboriginal Australians begin Australians was spurred by the painters, in 1960 Prout was declared to disappear from the represented emergence of orthogenetic theories

20 University of Melbourne Collections, issue 10, June 2012 Robert Dale (artist), Robert Havell Jnr (engraver and publisher), Panoramic view of King George’s Sound, part of the Colony of Swan River (detail), 1834, steel engraving, aquatint and watercolour, 18.0 x 271.4 cm (plate). Reg. no. 1973.0225, gift of the Russell and Mab Grimwade Bequest, 1973, University of Melbourne Art Collection

of evolution in which Aboriginal humanity, but it also inspired artists that the colonial city was a charged culture was seen as an earlier like S.T. Gill and George French site in which ‘issues of civilisation stage in the teleological progress Angas to create detailed visual records and savagery; race, gender and of human civilisation. Aboriginal of indigenous dress, material objects miscegenation were played out’.24 culture was likened to an and cultural practices. Angas and By the 1860s, images of indigenous archaeological remnant of primeval Gill documented these observations Australians in the urban setting man. Once contact was made with respectively in their lavish illustrated were increasingly rare, not because the more ‘advanced’ cultures, it books South Australia illustrated indigenous people were not present was inevitable that this ‘primitive’ (1847) and The Australian sketchbook in Australian cities, but because their culture would disappear. Not only (1865). Sir Russell Grimwade had an presence was a source of great anxiety did this lead to a sense of urgency extraordinarily complete collection of amongst non-indigenous Australians. on the part of early anthropologists colonial Australian illustrated books, The propagandistic power of this to record and collect ethnographic including fine copies of both these silence is epitomised by Robert Dale’s data for the information it could important volumes. impressive Panoramic view of King shed on the development of Penelope Edmonds has argued George’s Sound.

Henry Skerritt, ‘Experimental gentlemen’ 21 Robert Dale (artist), Robert Havell Jnr (engraver and publisher), Panoramic view of King George’s Sound, part of the Colony of Swan River, 1834

The panorama, which stretches straightforward. We can see this Pointing to these ambivalences nearly three metres in length, explicitly in James Taylor’s triptych and uncertainties, where the rigid presents a series of detailed vignettes view of The town of Sydney in New order of European vision came of the King Ya-nup people in their South Wales.25 Despite its topographic unstuck when confronted with the traditional country near the present style, it also served the propagandistic new world, is not to suggest that site of Albany in Western Australia. function of showing Sydney as a we are smarter, better informed, In the most striking of these tableaux safe, industrious town in which the less racist or less blinkered than our (illustrated on previous page), a group forces of darkness and light were colonial counterparts. Rather, it is of British naval officers is shown in harmonious balance. Although to show that every present requires returning from a hunting party with intended to be a 360-degree view, re-evaluation, revision, argument a group of King Ya-nup men. The the panorama runs left to right as an and debate. Questioning the ways in leader of the British party, identified allegorical tale, from civilisation into which our predecessors’ vision shaped as Dale himself, is depicted shaking barbarism. While the panels on the their world is also to question how we hands with one of the King Ya-nup. left and right are relatively obvious see the world today, how our vision is This scene paints the cross-cultural in their contrast, depicting cultivated shaped by the past, and how we wish encounter between the British and Europeans at one end of the to shape it for the future. Sir Russell the King Ya-nup as one of peaceful spectrum and ‘primitive’ tribesmen Grimwade’s efforts to preserve the coexistence. At a time when British at the other, the middle panel offers past in order to understand the newspapers were filled with reports a greater conceptual challenge to the present challenge us to consider how of violent indigenous insurrections, artist. Here indigenous figures are we wish to shape our own society. Dale’s panorama was a prime work shown as a strange hybrid, neither In taking up this task, we should not of propaganda to entice settlers to entirely European nor entirely other, seek to preserve a single, unchanging the new colony. But the harmony of dressed in peculiar, neoclassical vision of either the past or present, this scene masked a grim reality. In togas. Terry Smith has described but one that is ready and open to the booklet that accompanied the them as the ‘savages transformed’ the questioning of the scholars of panorama, Dale wrote of the violent of a utopian fantasy.26 Nevertheless, tomorrow. capture and murder of the indigenous their presence in the middle of leader Yagan, concluding with an Taylor’s clearly ordered hierarchy The Sir Russell and Lady Mab Grimwade ‘expert’ phrenological reading of reveals an inescapable tension Collection is held in the Ian Potter Museum of Art (www.art-museum.unimelb.edu.au/ the slain warrior’s skull, which Dale between the dialectic of civilisation art_brow.aspx). The Sir Russell and Lady had taken back to London where it and barbarism. This tension is Grimwade Collection of books is in Special was displayed as an ‘anthropological only partly resolved by the creation Collections at the Baillieu Library (www. lib.unimelb.edu.au/collections/special/ curiosity’. of the Noble Savage of Taylor’s collections/australiana/grim.html) and Dale’s panorama shows that imagination, which undoubtedly archival records are in the University of the relationships across cultures looked as implausible to viewers in Melbourne Archives (www.lib.unimelb.edu. au/collections/archives/). and between individuals are rarely 1823 as it does today.

22 University of Melbourne Collections, issue 10, June 2012 Henry Skerritt is a graduate of the University of 10 See Rex Butler, A secret history of Australian engraving, from John Hunter, An historical Melbourne, currently undertaking a PhD in the art, Sydney: Craftsman House, 2002, and journal of the transactions at Port Jackson history of art and architecture at the University of Rex Butler, Radical revisionism, Brisbane: and Norfolk Island, London: John Stockdale, Pittsburgh. From 2010 to 2011 he was Grimwade Institute of Modern Art, 2005. 1793. Grimwade Collection, Special Intern at the Ian Potter Museum of Art, where he 11 Alexander Shaw, A catalogue of the different Collections, Baillieu Library, University curated the exhibition Experimental gentlemen. specimens of cloth collected in the three voyages of Melbourne. of Captain Cook to the southern hemisphere, 21 T. (Richard) Browne, Wambela, 1820, London: Printed for Alexander Shaw, 1787. watercolour and gouache, 31.0 x 23.0 cm 1 Russell Grimwade, ‘Preface’, in R.T.M. Grimwade Collection, Special Collections, (sight). Reg. no. 1992.0012, purchased 1992, Pescott, Collections of a century: The history Baillieu Library, University of Melbourne. the Russell and Mab Grimwade Miegunyah of the first hundred years of the National 12 See for instance Judith Ryan (curator), Fund, University of Melbourne Art Museum of Victoria, Melbourne: National Wisdom of the mountain: The art of the Omie, Collection. Museum of Victoria, 1954, p. ix. Melbourne: National Gallery of Victoria, 2009. 22 Unknown artist after Gottlieb Meissel, 2 Russell Grimwade, quoted in John Poynter, 13 James Cook, quoted in Bernard Smith, A stage with dead body, c. 1879, pencil, Russell Grimwade, Melbourne University European vision and the South Pacific, London: 10.2 x 16.4 cm (composition). Reg. no. Press at the Miegunyah Press, 1967, p. 306. Oxford University Press, 1960, p. 22. 1973.0372, gift of the Russell and Mab 3 William Strutt, Bushrangers, Victoria, 14 John Hawkesworth, An account of the Grimwade Bequest, 1973, University of Australia, 1852, 1887, oil on canvas, voyages …, London: W. Strahan and T. Cadell, Melbourne Art Collection; Unknown artist 75.7 x 156.6 cm. Reg. no. 1973.0038, gift of 1773, vol. 2, p. 59. after Bernard Goode (photographer), A camp the Russell and Mab Grimwade Bequest, 15 John Cleveley (artist); Francis Jukes (engraver), of Aborigines at Point Macleay, c. 1879, pencil, 1973, University of Melbourne Art Collection. A view of Owyhee, one of the Sandwich Islands 10.1 x 16.4 cm (composition). Reg. no. 4 See Lisa Sullivan (curator), A collection and in the South Seas, 1788, etching and aquatint, 1973.0371, gift of the Russell and Mab a cottage: Selected works from the Russell and 43.0 x 59.2 cm (image). Reg. no. 1973.0347, Grimwade Bequest, 1973, University of Mab Grimwade Bequest, University of gift of the Russell and Mab Grimwade Melbourne Art Collection. Melbourne (exhibition catalogue), Ian Potter Bequest, 1973, University of Melbourne Art 23 J.D. Woods (ed.), The native tribes of South Museum of Art, University of Melbourne, Collection. Australia, Adelaide: E.S. Wigg and Son, 1879. 2000. 16 John Glover, Porto Praya, 1831, watercolour Three copies are held in Special Collections, 5 Chris Healy, From the ruins of colonialism: (sepia wash) on paper, 3 sheets: 6.1 x 13.0 cm; Baillieu Library, although none is of History as social memory, Cambridge 6.9 x 11.5 cm; 7.5 x 12.7 cm. Reg. no. Grimwade provenance. University Press, 1997, p. 35. 1996.0014.001.003, purchased 1996, the 24 Penelope Edmonds, Urbanizing frontiers: 6 Erwin Panofsky, Meaning in the visual arts, Russell and Mab Grimwade Miegunyah Indigenous peoples and settlers in 19th-century New York: Doubleday Anchor Books, 1957, Fund, University of Melbourne Art Pacific rim cities, Vancouver: University of p. 4. Collection. British Columbia Press, 2010, p. 12. 7 William Faulkner, Requiem for a nun, New 17 John Richardson Glover, Letter to ‘Emma’, 25 James Taylor (artist), Robert Havell & Son York: Random House, 1951, Act 1, Scene 3. 1831, with two drawings: Madeira, north-east (engravers), The entrance of Port Jackson, 8 Russell Grimwade, Timber eucalypt specimen view and Town of Porto Praya, St Jago, Cape and part of the town of Sydney, New South cabinet, c. 1919–20, eucalypt with brass Verde Islands, ink and wash, 53.2 x 44.5 cm Wales, 1823; The town of Sydney in New handles, 85.0 x 72.3 x 53.0 cm. Reg. no. (sheet). Reg. no. 1995.0112.001.003, South Wales, 1823; Part of the harbour of 1973.0755, gift of the Russell and Mab purchased 1995, the Russell and Mab Port Jackson, and the country between Sydney Grimwade Bequest, 1973, University of Grimwade Miegunyah Fund, University of and the Blue Mountains, New South Wales, Melbourne Art Collection. Melbourne Art Collection. 1823, aquatint, engraving and watercolour. 9 Russell Grimwade, An anthography of the 18 Basil Long, John Glover, London: Walker’s Reg. nos 1973.0381–0383, gift of the Russell eucalypts, Sydney: Angus and Robertson, Galleries (Walker’s Quarterly, no. 15, and Mab Grimwade Bequest, 1973, University 1920. Several copies of the original 1920 April 1924). of Melbourne Art Collection. edition and one of the second (1930) edition 19 Smith, European vision and the South Pacific, 26 Terry Smith, Transformations in Australian are held in the Grimwade Collection, Special p. 228. art, vol. 2: The nineteenth century – landscapes, Collections, Baillieu Library, University of 20 Philip Gidley King (artist), William Blake colony and nation, St Leonards, NSW: Melbourne. (engraver), A family of New South Wales, 1793, Craftsman House, 2002, p. 22.

Henry Skerritt, ‘Experimental gentlemen’ 23