Keys to the Collection— Stories Frederick Mccubbin
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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 -
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. -
Whitehorse Artists' Trail
The Artists’ Trail En Plein Air – In The Open The Artists’ Camp Moving On Artist Biographies Further Reading Contacting Council The City of Whitehorse Artists’ Trail celebrates a significant During the late nineteenth century, a small number of European Almost every Saturday, for some four years (1885–1888), a group of A country house at Eaglemont was an attractive alternative Auty, G. and P. Corbally Stourton, Galbally, A. and A. Gray (eds), Phone: 9262 6333 Tom Roberts John Llewelyn Jones: Australia’s Letters from Smike: The Letters Fax: 9262 6490 phase in the municipality’s artistic heritage. This brochure and master painters were teaching new painting techniques to young Melbourne artists raced to the Lilydale line to catch a steam train, to a tent at Box Hill, and by early 1889 the artists’ camp had Forgotten Painter (exh. cat.), Corbally of Arthur Streeton 1890–1943, 1856 Born Dorchester, England Email: [email protected] the interpretative panels located at various points along the trail artists in Melbourne. leaving behind the bustling metropolis for an idyllic weekend of been disbanded. Stourton Contemporary Art, Edgecliff, Oxford University Press, South 1869 Arrived in Melbourne New South Wales [1999]. Melbourne, 1989. NRS: 133 677 acknowledge the artists who painted regularly at the Box Hill camping and painting. (service for hearing impaired people) Tom Roberts (1856–1931) and became a member of the group, where the majority of the 9 by 5 1874 Enrolled at National Gallery City of Whitehorse, Heritage McCulloch, A., The Encyclopedia artists’ camp. Frederick McCubbin (1855–1917) following a chance encounter Alighting at Box Hill, now part of paintings were created. -
Danks News Final
Artworks where Resale Royalty is not applicable Artworks under $1,000 and so exempt from Resale Royalty Collectible Australian artists in this category include: consider works on paper including prints, smaller works, works by less mainstream or emerging artists, decorative arts Robert Clinch 1957 - Black and White 2008 suite of eight lithographs 19 x 20.5 cm each, edition of 40 These lithographs are available individually or in matching numbered sets. Troy Pieta Alice Ali Trudy Raggett Kemarr 1980 - Arrkerr 2007 synthetic polymer on carved wood height: 40 cm David and Goliath Empire Trudy Raggett Kemarr 1980 - Arrkerr 2007 synthetic polymer on carved wood height: 40 cm Richard III Alien Artworks where Resale Royalty is not applicable Deceased Artists who have been deceased for more than 70 years Collectible Australian artists in this category include: Clarice Beckett, Merric Boyd, Penleigh Boyd, Henry Burn, Abram Louis Buvelot, Nicholas Chevalier, Charles Conder, David Davies, John Glover, William Buelow Gould, Elioth Gruner, Haughton Forrest, Emmanuel Phillips Fox, A.H. Fullwood, Henry Gritten, Bernard Hall, J.J. Hilder, Tom Humphrey, Bertram Mackennal, John Mather, Frederick McCubbin, G.P. Nerli, W.C. Piguenit, John Skinner Prout, Hugh Ramsay, Charles Douglas Richardson, Tom Roberts, John Peter Russell, J.A. Turner, William Strutt, Eugene Von Guerard, Isaac Whitehead, Walter Withers Bernard Hall 1859 - 1935 Model with Globe oil on canvas 67x 49 cm William Buelow Gould 1803 - 1853 Still Life of Flowers c.1850 oil on canvas 41 x 50 cm -
THE HARVEST of a QUIET EYE.Pdf
li1 c ) 1;: \l} i e\ \. \ .\ The University of Sydney Copyright in relation to this thesis* Unde r the Copyright Act 1968 (several provision of which are referred to below), this thesis must be used only under the normal conditions of scholarly fair dealing for the purposes of research, criticism or review. In particular no results or conclusions should be extracted (rom it, nor should it be copied or closely paraphrased in whole or in part without the written consent of the author. Proper written acknowledgement should be made for any assistance obtained from this thesis. Under Section 35(2) of the Copyright Act 1968 'the .uthor of a literary, dramatic. musical or artistic work is the owner of any copyright subsisting in the work', By virtUe of Section 32( I) copyright 'subsists in an original literary, dramatic. musical or artistic work that is unpublished' and of which the author was an Australian citizen, an Australian protected person or a person resident in Australia. The Act. by Section 36( I) provides: 'Subject to this Act. the copyright in a literary, dramatic, musical or artistic work is infringed by a person who. not being the owner of the copyright and without the licence of the owner of the copyright, does in Australia, or authorises the doing in Australia of, any act comprised in the copyright'. Section 31 (I )(.)(i) provides thot copyright includes the exclusive right to'reproduce the work. in a material form'.Thus, copyright is infringed by a person who, not being the owner of the copyright, reproduces or authorises the reproduction of a work., or of more than a reasonable part of the work, in a material form, unless the reproduction is a 'fair dealing' with the work 'for the purpose of research or swdy' as further defined in Sections 40 and . -
Tom Roberts's Masterpiece Emerges for Public Sale
Melbourne | +61 (0)3 9508 9900 | Thomas Austin | [email protected] TOM ROBERTS’S MASTERPIECE EMERGES FOR PUBLIC SALE FOR THE FIRST TIME SINCE THE 9 BY 5 IMPRESSION EXHIBITION IN 1889 She-Oak in Sun-Light Makes Auction Debut After Over a Century in the Sir Walter Baldwin Spencer Collection An Enduring Symbol of Roberts’s Vision to Create a Distinct & ‘National’ Visual Vocabulary for Australian Landscape Painting TOM ROBERTS 1856-1931 She-Oak and Sun-Light (1889) oil on wood, 30.5 x 30 cm Estimate $220,000–280,000 MELBOURNE, 30 October 2019 – On 20 November 2019, Tom Roberts’s celebrated Impressionist masterpiece, She-Oak and Sun-Light (1889), will go under the hammer at Sotheby’s Australia’s auction of Important Australian Art. The work was first seen by the public during the iconic The 9 by 5 Impression Exhibition in Melbourne in 1889 before being acquired by one of Australia’s first great art patrons Sir Walter Baldwin Spencer (1860-1929). The panel has been cherished by Spencer’s descendants since that time and will make its auction debut at Sotheby’s Australia this November. 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 Melbourne | +61 (0)3 9508 9900 | Thomas Austin | [email protected] THE MOST CELEBRATED WORK FROM AUSTRALIA’S FIRST IMPRESSIONIST EXHIBITION Over the past century, beginning with Frank Gibson, R.H. -
PRIMARY Education Resource
A break away! painted at Corowa, New South Wales, and Melbourne, 1891 oil on canvas 137.3 x 167.8 cm Art Gallery of South Australia, Adelaide, Elder Bequest Fund, 1899 PRIMARY Education resource Primary Education Resource 1 For teachers How to use this learning resource for primary students Tom Roberts is a major INTRODUCTION exhibition of works from the National Gallery of Australia’s ‘All Australian paintings are in some way a homage to Tom Roberts.’ Arthur Boyd collection as well as private and Tom Roberts (1856–1931) is arguably one of Australia’s public collections from around best-known and most loved artists, standing high among his talented associates at a vital moment in local painting. Australia. His output was broad-ranging, and includes landscapes, figures in the landscape, industrial landscapes and This extraordinary exhibition brings together Roberts’ cityscapes. He was also Australia’s leading portrait most famous paintings loved by all Australians. Paintings painter of the late nineteenth and early twentieth such as Shearing the rams 1888–90 and A break away! centuries. In addition he made a small number of etchings 1891 are among the nation’s best-known works of art. and sculptures and in his later years he painted a few nudes and still lifes. This primary school resource for the Tom Roberts exhibition explores the themes of the 9 by 5 Impression Roberts was born in Dorchester, Dorset, in the south of exhibition, Australia and the landscape, Portraiture, England and spent his first 12 years there. However he Making a nation, and Working abroad. -
SECONDARY Education Resource
Shearing the rams painted at Brocklesby station, Corowa, New South Wales, and Melbourne, 1888–90 oil on canvas mounted on board 121.9 x 182.6 cm National Gallery of Victoria, Melbourne, Felton Bequest Fund, 1932 SECONDARY Education resource Secondary Education Resource 1 For teachers How to use this secondary student learning resource This extraordinary exhibition CURRICULUM ALIGNMENT brings together Tom Roberts’ most famous paintings loved by All the themes in the Tom Roberts exhibition can be used with visual arts students from Year 7–10 and beyond. all Australians. Paintings such as Some may be more relevant to specific years given connections to other learning areas such as History and Shearing the rams 1888–90 and Civics and Citizenship at the same level as outlined under A break away! 1891 are among each theme that follows. the nation’s best-known works The Arts – Visual Arts: Year 7 and 8 of art. • Experiment with visual arts conventions and techniques (ACAVAM118) Tom Roberts is a major exhibition of works from the • Develop ways to enhance their intentions as artists national collection as well as private and public collections through exploration of how artists use materials, from around Australia. techniques, technologies and processes (ACAVAM119) • Develop planning skills for art-making by exploring The secondary student learning resource for the Tom techniques and processes used by different artists Roberts exhibition highlights the relevance of Roberts’ (ACAVAM120) oeuvre to today’s contemporary world. Themes explored include Australian life, landscape, portraiture, Federation • Practise techniques and processes to enhance and making a nation, Aboriginal and Torres Strait Islander representation of ideas in their art-making (ACAVAM121) histories, immigration and the influences of other artists. -
Nineteenth Century Masterpiece by Australian Jewish Artist for Auction
Press Release Melbourne 18 April 2013 For Immediate Release Melbourne | 03 9509 2900 | John Keats | [email protected] Melbourne | 03 8416 5999 | Yumeko Leung | [email protected] Nineteenth Century Masterpiece by Australian Jewish Artist for Auction MELBOURNE 14 MAY 2013 ABY ALTSON 1866-1949, CHILDREN’S CHILDREN 1889 In May 2013, Sotheby’s Australia will offer for sale a rare nineteenth century painting by one of Australia’s most significant Jewish artists. Aby Altson’s Children’s Children 1889 (estimate $280,000-380,000, lot 36) has been on long-term loan to the National Gallery of Victoria, Melbourne, since 2002, when it was borrowed for the opening of The Ian Potter Centre: NGV Australia at Federation Square. 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 Press Release Melbourne 18 April 2013 For Immediate Release Aby Altson is a significant figure in the history of Australian Art. From a Melbourne Jewish family, he was widely regarded as one of the most prominent artists at the National Gallery School during the 1880s and was awarded the Travelling Scholarship in 1890. This award took Altson to Europe where he developed a successful career and he subsequently settled in New York. Together with Rupert Bunny, E. Phillips Fox and John Longstaff, Altson was a pioneering Australian artist of the late nineteenth century who forged an international career. -
Immunity from Seizure
Immunity from Seizure THE NATIONAL GALLERY IMMUNITY FROM SEIZURE Australia's Impressionists 07 Dec 2016 - 26 Mar 2017 The National Gallery, London, Trafalgar Square, London, WC2N 5DN Immunity from Seizure IMMUNITY FROM SEIZURE Australia's Impressionists 07 Dec 2016 - 26 Mar 2017 The National Gallery, London, Trafalgar Square, London, WC2N 5DN The National Gallery is able to provide immunity from seizure under part 6 of the Tribunals, Courts and Enforcement Act 2007. This Act provides protection from seizure for cultural objects from abroad on loan to temporary exhibitions in approved museums and galleries in the UK. The conditions are: The object is usually kept outside the UK It is not owned by a person resident in the UK Its import does not contravene any import regulations It is brought to the UK for public display in a temporary exhibition at a museum or gallery The borrowing museum or gallery is approved under the Act The borrowing museum has published information about the object For further enquiries, please contact [email protected] Protection under the Act is sought for the objects listed in this document, which are intended to form part of the forthcoming exhibition, Australia's Impressionists. Copyright Notice: no images from these pages should be reproduced without permission. Immunity from Seizure Australia's Impressionists 07 Dec 2016 - 26 Mar 2017 Protection under the Act is sought for the objects listed below: Charles Conder (1868-1909) Purchased 1888 © AGNSW X9159 Departure of the Orient - Circular Quay 1888 Place of manufacture: Australia Oil on canvas Object dimensions: 45.1 × 50.1 cm Art Gallery of New South Wales, Sydney. -
Portrait of a Collector: Dr Samuel Arthur
Portrait of a collector Dr Samuel Arthur Ewing and the Ewing Collection Cathleen Rosier A portrait of significance to the history of art collections at the University of Melbourne is that of Dr Samuel Arthur Ewing (1864– 1941) by John Longstaff (pictured right).1 Painted in 1922, this portrait features Longstaff ’s characteristic dark palette to tell the tale of one of Melbourne’s prominent surgeons- cum-art-collectors of the time. The sparing use of white first spotlights the face, highlighting the discerning yet shadowed eyes of a collector. The viewer’s gaze is then drawn downwards along the white scarf to rest on Ewing’s hand, the most important tool of a surgeon. Best known during his life as an ear, nose and throat surgeon, Ewing was also considered one of the leading collectors of Australian art of his day. But today the narrative has changed, and the portrait tells the story of Ewing the art philanthropist. In 1938 Ewing donated this painting and 55 other works of art to the University of Melbourne for the newly opened Student Union. The Ewing Collection became one of the founding collections of what is now known as the University of Melbourne Art Collection, which is managed by the Ian Potter Museum of Art.2 By understanding Ewing through the art and artists of his collection, his tale transforms even Cathleen Rosier, ‘Portrait of a collector’ 21 Previous page: John Longstaff, Dr Samuel Arthur Ewing MRCS DPH FRACS, c. 1922, oil on canvas, 88.9 × 68.9 cm. 1938.0012, gift of Dr Samuel Arthur Ewing 1938, University of Melbourne Art Collection. -
Talking Art Library Audio Transcripts
Talking Art Library Audio Transcripts Frederick McCubbin (1855-197), A Frosty Morning, 1910, oil on canvas, 49.5 x 75.0cm. The University of Melbourne Art Collection. Gift of Dr Samuel Arthur Ewing 1938 [1938.0014.000.000] Harold Weaver Hawkins (1893-1977), Another Day, 1954, oil on composition board, 71.0 x 91.0cm, The University of Melbourne Art Collection. Purchased 1954, [1954.0008.000.000] J.J Hilder (1881-1916), Children Playing, c.1909-14, watercolour on paper, 20.4 x 20.4cm, The University of Melbourne Art Collection. Gift of Dr Samuel Arthur Ewing 1938 [1938.0044.000.000]. Inge King AM (1915-2016), Sun Ribbon, 1980-82, black painted steel, The University of Melbourne Art Collection. Gift of Mrs Eileen Fox in memory of her parents Ernest and Fannie Kaye 1983. [1982.0023.000.000] Emanuel Philip Fox (1865 -1915), Lamplight, 1911, oil on canvas, 188.5 x 229.5cm, The University of Melbourne Art Collection. Gift of Mrs E. Phillips Fox 1939. [1939.0002.000.000] Thea Proctor (1879 -1966), The Bathers (Fan Design), c.1920s-1930s), watercolour on silk on card, The University of Melbourne Art Collection. Gift of Mrs Margaret Cutten, donated through the Australian Government’s Taxation Incentives for the Arts Scheme, 1983. [1983.0112.000.000] Jeffrey Smart (1921 – 2013), Hindmarsh Tannery, 1943, oil on canvas, 50.8 x 61.0cm, The University of Melbourne Art Collection. Gift of Sir John Medley 1950. [1950.0001.000.000] Lekythos Marathon Group, Class of Athens 581, ceramic, The University of Melbourne Art Collection.