! ! (1) ! ,B ! hile to +,-,.*)4 ! '34 G6('() ! ! (1) ! 5-'+8 ! B*,? ! &7(1 ! 5*.61 ! 2)*?7667,3 '34 ! ! 62 years ago the possibility of 62 years ago the possibility &7(1 2)3 ! ! began. or the ‘Apocalypse’. There he pinned and 0,.'+1)/ ! %&'()*+&,# F)2*,4.+)4 ! painted by Friend in his house at Hill End New painted by Friend in his house at Hill End New %&'()*+&,# "#E= ! Revelation &'()*+,-,.*/ ! "#$% ! %&'()*+&,# 2.*+1'6)4 ! re-pinned the sheets that comprise the work onto his bedroom re-pinned the sheets that comprise the work of St John’s wall. Friend unveiled a tumultuous interpretation iconographic allegory written in 95 AD when St John received cataclysmic end of through God a series of visions showing the the world and with it the possibility of redemption. Russell road to Hill End began when he encouraged Friend’s Drysdale the old gold mining towns near Bathurst. to explore new Riley In August 1947 they drove to Sofala in Drysdale’s (Wilson 2001). Here they sketched the main street and Tourer A town character then pressed on to Hill End. Friend wrote: ‘… the memoryshowed us round an old ruined village living in of its gold strikes. Now former 50,000 inhabitants—fabulous tales of mad peasants who there are only a handful of rather sordid, jovial 2003, p.538). By live by fossicking and rabbiting’ (Hetherington of family and September and needing to escape the demands the artistic community living at the boarding house, Merioola, in Friend and Donald Murray bought a leaking wattle and Woollahra, daub four room house on a couple of acres in Hill End for £70. The house provided a retreat for many artists including Drysdale, David Fred Jessup, , and Paul Haefliger, weather who bravely faced the cold Strachan and , when painting the countryside on a around Hill End by strapping hot water bottle. hilarious illustrated diaries that were transcribed edited and hilarious illustrated diaries that were transcribed later in volumes published first by Anne Gray from the NGA and 2–4 by Paul Hetherington, National Library of Australia. The with his satirical diaries are a rich resource not only about Friend The observations about the many other artists he knew. but unveiling of the The the New in 1948, was based on the final book of South Wales Testament, D'35)**'/

! C.6(*'-7'/ ! ,B ! , by Australian artist (1915–1989) was brought to the Paper Friend (1915–1989) was brought to the , by Australian artist Donald A'--)*: ! The Apocalypse of St. John the Divine @'(7,3'- ! +? ! $$=<> ! 9 ! !"#$%&'()*+&,#$'-$./$0'"1$/"#$23431# ";"<= ! UND 0*'217() CT ! DS CH RA !"#$%&'()*+&,#$'-$./$0'"1$/"#$23431# OR GRO +*':,3/ ! EAR &'9 CK S YW ! of investigating provenance. ConservationGallery Department, National attached to three sheets of (NGA), it was a composite work on paper of Australia paper sheets created exposed areas of secondary a narrow timber frame. The irregularity of the Masonite protected by support had designed its painted blue and by whom? If Donald Friend had been painted blue. But why had it been around the edges, which no such the framing materials – but there was would have documented and retained according to its policy, presentation, the NGA, worthw it looked fairly unprofessional so it was thought NGA may possibly have exhibited it in this way record. Also, while the painted the the hope of resolving the question. As Friend past with research the work’s to discuss its historylocating his contemporaries remote. This paper discusses the conservation seemed and importance treatment ABST When ose Peel E A nitial investigation convinced all parties to proceed with its 7386/ Late Donald Friend Figure 1: Donald Friend Australia 1915 – 1989 R I removal. The earlier condition report documented some remedial treatment undertaken before it was exhibited in 1995. The decision was made to investigate its provenance. The first step detailed and sometimes files and Friend’s was to read the NGA’s in-filled and if the old support and its narrow wooden frame should in-filled and if the old support and its narrow consideration its be retained as historical information, taking into work was completed size and use of storage space. Knowing the the chance in 1949 and that Donald Friend had died in 1989 the mural and of resolving the questions of who had mounted painted the border seemed unlikely. a secondary with its borders painted blue. Discussion support was held with the paper conservation team and Roger Butler, the NGA, regarding the Senior Curator of Prints and Drawings at Friend had the loss in the top left corner and whether Donald If, after assessment, mounted and framed the work as presented. secondaryit was decided to remove the mural from the support the question remained if the loss should be and provide another, B When the NGA acquired support was by Donald Friend (see Figure 1) in 1972, the distorted. been pasted onto The sheets, with several cuts across them, had KE framing, secondary support, composite sheets, provenance, backing removal. Unveiling the Apocalypse Unveiling R

2010 AICCM BOOK, PAPER AND PHOTOGRAPHIC MATERIALS SYMPOSIUM 54 2010 AICCM BOOK, PAPER AND PHOTOGRAPHIC MATERIALS SYMPOSIUM 55 4 at Rockvale had been sold to young %&'()*+&,# had been sold to ‘Coventry’ for £250 %&'()*+&,# . Miraculously their picture researcher found their picture researcher . Miraculously . There was nothing on record, so that line of so that on record, was nothing . There %&'()*+&,# that have now enriched its provenance. The Sun %&'()*+&,# On 10 September 1951 Friend writes in his diary when preparing to drive to Brisbane for the opening of his show at Marodian place at Armidale to have Galleries, ‘I might stop in at Coventry’s Gallery that the (Hetherington 2005, p.39). (The work must have been returned Gallery in Melbourne, where it was for sale for 300 from George’s It was sold to David Coventry from Rockvale guineas, to .) Station. Because of its size the work was installed in the music room, with the Steinway piano, as David called it (or the ballroom, as his younger brother Chandler referred to it) and there David would lie on his long couch and listen to classical music looking at the mural, which dominated the space on a dark wall. information, including that Beatrice Hinchcliffe was probably alive, information, including that Beatrice Hinchcliffe found her phone as they hadn’t heard otherwise (in fact, they box of photographs number). They also revealed that there was a They of Rockvale Station at NERAM taken at a fundraiser. Director of NERAM, suggested contacting Joe Eisenberg, former who Art Gallery, now Director Maitland Regional Museum and a ‘map drawer confirmed that, in his time at NERAM, there was titled Coventry bits and pieces or something inane like that’ (pers. in the 1970s comm., 15 May 2009). Fundraising was undertaken by the local community because Chandler Coventry had offered his private collection of contemporary art to Armidale on condition that a new gallery was built to house his and the Howard Hinton Downer could not collection. Unfortunately the Director Caroline locate the photographs of Rockvale Station. but in Armidale did not know of any photographs Peg Tully suggested contacting Molly Anderson, who was once married to Patricia Coventry also had Beatrice Hinchcliffe’s David Coventry. number in Sydney but did not have any photographs. I had several discussions with Beatrice (Bea) Hinchcliffe and Molly Anderson in May 2009 and although they had to search back 60 years to answer questions, occasionally unsure of dates but the a few gaps have been filled concerning with good humour, %&'()*+&,# When in London in 1949 Friend recorded in his diary: ‘Harry Miller came with news that my understanding at this Coventry’ (Hetherington 2005, p.31). Friend’s stage must have been that it had been sold to Chandler Coventry. He had later confirmation from John Amory of David Jones’ the halted. investigation had just in case they photo archive was contacted The Fairfax scanned NGA negative. This allowed photograph, but not the the original corner, to blow-up the top left Brenton McGeachie, photographer to try loss. It was still, however, and extract detail for infilling the difficult to see clearly. another turn. It was necessaryAt this stage the trail took find to of the other installation photographs of the mounting system and Station to answer the questions that may have impacted on the possibility of wall architecture was contacted at the Dr John Farrell the lost top left corner. with the hope they might have some Armidale Historical Society in the area who once knew the photographs or know people friends Tully At his suggestion, Ross and Peg Coventry family. the University of New Patricia Coventry, of the Coventry family, Archives were all contacted. England and Regional was The New England Regional Art Museum (NERAM) was Barryapproached (no photographs were found), as Pearce, curated the who had Curator of at the AGNSW, he might know Donald Friend retrospective in 1990. It was hoped but he did know if Beatrice Hinchcliffe was still alive. He didn’t Barry house, Gowrie, no longer existed. that the Hinchcliffe’s who Utopia Gallery, suggested contacting Christopher Hodges at worked with Chandler who and Bryan Hooper, knew the family, Coventry years. They were generous with background for many He 1 in ] on sic was unframed. %&'()*+&,#

3 %&'()*+&,# was installed. Beatrice Hinchcliffe There are two Polaroid photographs 2 as it should ‘cause a sensation’. —Bosch’s influence I suppose’. Friend I suppose’. Friend influence —Bosch’s ]. She then sold it to the Australian National ,3( in this condition on file at NGA, in situ in the %&'()*+&,# was the most ambitious project Friend had Friend project most ambitious was the . In any case, the picture is now really complete . In any case, the picture %&'()*+&,# %&'()*+&,# (Miller 1949). Steven scanned it but it was too pixilated to Apocalypse %&'()*+&,# %&'()*+&,# work (probably when tacked to the wall at Merioola) published in The Sun gain much information except that the The photograph was not clear enough to show whether the work was pasted or pinned together at that time. no mention of an old one so the work was probably acquired unframed (Mollison 1975). This resolves the frame question but who mounted it and painted the blue? Archivist at the Research Library at the Art Gallery Steven Miller, (AGNSW), checked their Donald Friend file, of New South Wales the clippings and the Coventry file for further information. Steven found a newspaper article and photograph of Friend in front of the of the the property owned by dining room at Gowrie near Toowoomba, Beatrice and her husband Gordon Hinchcliffe. Another file note in 1975 by NGA Director James Mollison to Conservatorwith Chris Payne, discussed a new narrow frame credence in the prophecies. It is an exercise in a dozen styles …’ credence in the prophecies. (Hetherington 2003, p.603). comments from artists Haefliger and Having received favourable to Robert Haines when offered a show Jessup, Friend suggested 7 April 1949, that Melbourne from 29 March to at Georges Gallery, he include the neglected painting’ Bosch’s a ‘fine book of Hieronymous had just bought show ‘fix the frames’ for her he had helped Olley in Sydney after And in a diary(Hetherington 2003, p.602). entry days later: two it was too dark to work for long on ‘… The sky was so overcast the nothing of belief in what purports to be … It contains absolutely the Hells, no hope of the Heavens, no the subject—no fear of The because it would be saleable but he had doubts that undertaken mural: almost completed the July 1948 Friend had of its size. By hell scenes in the long- day painting devils and ‘I worked all Gowrie. Therefore, colleague Samantha Shellard and Research Friend Curator Glenn Cooke were contacted to check QAG’s file regarding the framing, storage and possible exhibition of According to Daniel Thomas the work had been stored at the Queensland Art Gallery to (QAG) sometime before it was taken written to Brendon Kelson, Secretary, Commonwealth Art Advisory written to Brendon Kelson, Secretary, Board, that James Mollison had inspected the January Chandler wrote ‘… Mrs. Hinchcliffe is prepared to 1970. sell the painting and the price is $18,000. The painting is in need of some restoration for which she would be prepared to pay up to $1000 …’ (Chandler 1970). Queensland Art Gallery and then installed in a living room of their it had been bequeathed) living room [ (to whom sister’s her property Garie [ Gallery…’ 1979). (David Coventry (Thomas owned Rockvale Station when the was the younger sister of David and Chandler.) CoventryOther correspondence confirmed that Chandler had An NGA file note written by Daniel Thomas (NGA Senior Curator An NGA file note written by Daniel Thomas (NGA recorded a of Australian Art 1978–1984) on 3 April 1979 discussion with the gallery owner and collector Chandler Coventry. Friend himself at Thomas wrote, ‘…It was installed by Donald Rockvale near Armidale in the large property the Coventry’s stored at the room which was then a music room. It was later at Merioola—where journalist Harry Tatlock Miller also saw it—so it at Merioola—where journalist Harry Tatlock the was likely tacked to the Georges Gallery wall a few days later, as there are no sheets having been previously pasted together, the work has been tack holes across the central image. Although still visible along the irregularly trimmed some of the tack holes are be mounted and top edge. Friend was concerned how it could an idea’ (Hetherington framed but had faith that Haines ‘might have hang. 2003, p.642). Friend was delighted with the writes in his diary that he had tacked it to artist Peter Kaiser’s wall writes in his diary it to artist Peter Kaiser’s that he had tacked M U I D E ME N TH

G IO F T N G I O N S I UNT ERVA LYS RAMI NS A F E EMO drawing with some fear that the inks might bleed, and then the strips were taped to the back of the new support so that the work was lightly stretched and could be easily removed in the future. R Friend discussed his preference for gilded frames with paintings and me at the AGNSW in 1988. Anne Gaulton, conservator, Although he wrote in his diary simple that Parker Galleries provided wooden frames that could be coloured by the artist, which he occasionally did with Drysdale, Friend wrote also that the framer Styles in Sydney mounted his works with ready-made frames acid migration from the secondary support. The back of the work from nails that showed brown discoloured strips including rust were probably did not relate to the Masonite construction but at Rockvale Station. transferred from battens attached to the wall and Caneite (sugar Molly Anderson recalled a wooden structure although she was cane bagasse) backing attached to the wall comm., 16 & 22 away for the actual installation of the work (pers. May 2009). Joins, tears and The old paste was moistened and scraped away. to unify the cuts were repaired, and losses filled and in-painted The distortions image including the top left and lower right corners. were reduced but it was considered unnecessary to separate reflects its rich each sheet and reattach. The present appearance history. AN Small samples of the inks and paint were taken for FTIR (infrared spectroscopy) analysis. The inks were confirmed as dyes, All the probably aniline, as shellac was identified as the binder. waxes contained pigments—the white has a trace of chalk but the pigment samples from the watercolour and ink washes were not intense enough to identify specifically. R Strips of Japanese paper were pasted around the edges. A hinged aluminium grid secondary case support was designed in the work ever travelled. It was covered with acid free multi-use board. The back of the work was lightly sprayed to relax the CO Investigating the adhesive, The work was removed mechanically. were two layers of once the work was free, it was found that there probably to attach starch, possibly wallpaper paste. The first was to the Masonite it to the wall at Rockvale Station and the second as a result of at Gowrie. Both layers of starch were discoloured and the cream colour of the papers has probably changed. The changed. The probably papers has of the cream colour and the Friend, another traditional also scraped back by surface was a highlights as well as technique that provides watercolour this case the aged appearance the image—giving in disruption to of an old fresco. referring to the diaries entries in Friend’s There are several likely is not identified but was materials. The supplier purchase of 2009, pers. comm., 5 June) or WC Parker Galleries (M Olley a variety of Whatman papers into Sydney Penfold, who imported in his diaryand Melbourne. He writes on 12 April 1948, ‘… I have on my wall, which it almost covers, most of the drawing pinned work is in, work over it boldly …’ and, now that all the detailed There are many three-pronged (Hetherington 2003, p.580). pinholes (upholstery and across several of the pins) in corners It is apparent that Friend pinned sheets from regular repositioning. from left to right with the lower papers the sheets along the top layers. The majority of the paper sheets pinned over the upper together with little paint underneath are overlapped and pasted majority were pinned prior to painting. the joins, suggesting the before its first Whether Friend joined the sheets in this fashion exhibition in 1949 is presently unknown. 5 6 was removed from the wall was removed from the E U mural, which is there, set, I have heard, have heard, set, I which is there, mural, %&'()*+&,# IQ CHN , have lost some of their intensity through fading from QAG in 1962 or 1963 with some difficulty, 1963 with some difficulty, from QAG in 1962 or E N RE T %&'()*+&,#

. IO S ’ T I ST UCTU I ND T %&'()*+&,# %&'()*+&,# R R T re-pasted a few lifting edges during his Armidale stopover. few lifting edges during re-pasted a a look at my a look set …’ mine has ever been than any picture of more beautifully confirms 2005, p.120). This p.115; Hetherington (Hughes 1965, the Station as noted in didn’t install it at Rockvale that Friend Friend wife, recalled David Coventry’s file. Molly Anderson, NGA’s predominantly but the relationship between the lines, the washes technique he used for many years. The robust quality of the papers allowed Friend to experiment and physically attack the surface. The drawing was first lightly sketched in graphite and the process of drawing and the changes made are easily visible. White wax was also used to roughly sketch in shapes or to break up the resulting image as the wax rejects a watercolour or ink wash. Black and red inks were used A On 3 April 1944 Friend writes in his diary a new ‘… experiments in medium—coloured inks, white and black ink and watercolours all mixed. The result is very rich’ (Hetherington 2003, p.54; Pearce including the inks in many of his drawings, 1990, p.24). However, the but it was a medium that produced vibrant drawings and was a The mural comprises 16 sheets of different but good quality papers. The two wove sheets on the far right, comprising the ‘new 1947 mould made’, Jerusalem’, are countermarked ‘J WHATMAN so it is apparent that Friend acquired the papers from England soon after they were produced. Other laid sheets have partial countermarks such as, ‘Arnold’. The joins in the Masonite sheets expanded and contracted over The joins in the Masonite sheets expanded and places. There are time causing the paper to tear vertically in two may have been many distortions and cuts to the sheets that was pasted onto this done to reduce air bubbles when the paper secondary support. S It appears further damage occurred when the work was stored It appears further damage occurred when the at the Department of Manufacturing Industry Store, documented Reeder (1975). It is Warwick in a NGA file note by the Registrar, that the lower right probably during this time before secure storage unfortunately lost. corner with the majority of the signature was NGA, reattaching The mural had minor treatment in 1975 at the silver fish damage, lifting paper edges and in-painting extensive taken at Gowrie. some of which is just visible in the photograph said she must have been away at the time, as she wouldn’t have said she must have been away at the time, as missing remains let it happen. Why the small top left corner is a mystery could possibly have been lost during the de- but the mural was installation when leaving Rockvale Station where at QAG. rolled up by David, or in transport, or in storage CO because it had a large enough room to accommodate it. Chandler, Chandler, it. accommodate to room enough large a had it because from David at that time, had bought who was still estranged around 1958. Chandler never owned the back Rockvale Station %&'()*+&,# the support and Bea confirmed that her husband Gordon built when it arrived mounted the work, against her better judgment, in blue. She at Gowrie and then painted the exposed Masonite Station, which upset Channy as he was not given the chance to Station, which upset Channy buy it. It is assumed the storage in 1952 where old friend Robert and sent to QAG for safe Gordon Hinchcliffe in 1954 Bea married Haines was the Director. property Gowrie in 1961. David reclaimed and they moved to the the it. It was then installed at Gowrie as they didn’t want to relinquish Bea recalled she and Chandler (Channy) travelled to England in travelled to England she and Chandler (Channy) Bea recalled David sold Rockvale were away, While they 1952 for nearly a year.

2010 AICCM BOOK, PAPER AND PHOTOGRAPHIC MATERIALS SYMPOSIUM 56 2010 AICCM BOOK, PAPER AND PHOTOGRAPHIC MATERIALS SYMPOSIUM 57 , . in 2008. D#6/3E()/#$ , Random , Sydney, Thursday Thursday , Sydney, , unpublished paper —a CD on mounting The Sun Zhuangbiao Conservation on the Move NTS 2004, co-curated the Margaret %1$?14#1/34#$@)A3( LS AI GEME T Margaret Olley: far from a still life Olley: far from Margaret E D 2'1)*5$763#158$9:9;<9:=:>$6#/6',&#(/34# E D

PHY WL is presently on contract for the National Gallery of CT O A NT ose Peel University of Sydney and is a member of the Australian Institute for the Conservation of Cultural Material Inc. Awarded '-$,#643(#$/'$%?DD@$)15$/"#$('1,#64)/3'1$&6'-#,,3'1 Established the NSW division of AICCM in 1981 and served on various relevant committees. CO Email: [email protected] Paper Conservator, QAG; and Glenn Cooke, Research Curator, QAG; and Glenn Cooke, Research Curator, Paper Conservator, Queensland Heritage, Australian Art, QAG. Curator National Gallery of Australia: with thanks to Roger Butler, of Australian Prints and Drawings; Andrea Wise, Senior Paper Conservator;Fiona Kemp, Paper Conservator; James Ward, Paper Conservator; David Wise, Senior Paintings Conservator; Greg Howard, Frame Conservator; Brenton McGeachie, Senior Imaging Services; Gillian Currie, Research Library; Photographer, Building David Sharrock; Brett Redfern; Charlie Summerell, Services. BIOGRA R ConservatorAustralia 2009–2010. She was Senior Paper at the AGNSW from 1985–2008 having worked independently from 1979–1985. She was Head Conservator National Australian Archives ACT 1975, Assistant Conservator National Library of Australia 1973–74 and Exhibition and Conservation Assistant 1970–71. Rose contributed an essay ‘Australian postwar photo-documentary’ Photography Art Gallery of New South collection handbook 2006, convened the Third National Wales Books and Photographic Materials— Symposium for Paper, ('**)B'6)/3'1$C$('11#(/3'1, Preston exhibition and contributed catalogue essay ‘Drawing Connections’ 2004, produced 2003, a Chinese scroll with Conservator for Asian Art, Sun Yu and devised and coordinated a series of seminars and exhibition for the Bicentennial program, Rose has a Bachelor of Arts (majoring in art history and theory) ACKN Patricia Coventry; Beatrice Hinchcliffe; Molly Anderson; Peg Tully; Archivist, Research Library and Archive, AGNSW; Steven Miller, John Farrell, Armidale Historical Society; Barry Pearce, Senior Senior Stewart Laidler, Curator of Australian Art, AGNSW; Christopher Hodges; Bryan AGNSW; Paintings Conservator, NERAM; Joe Director, Gallery; Utopia Caroline Downer, Hooper, Maitland Regional Art Gallery; Margaret Olley, Eisenberg, Director, Shellard, Senior artist; Catherine Reade, Fairfax Photos; Samantha Miller, T 1949, ‘Year’s work on mural’, on mural’, work T 1949, ‘Year’s Miller, p.30 3 March 1949, March–April, pp. 147–151. 1975, NGA File 74/3812, Mollison, J Pearce, B 1990, Art Galleryexhibition catalogue, Beagle & The of New South Wales Press, Sydney. 24 March 1975. W 1975, NGA File 74/3812, Reeder, Stewart, M 2006, Point. House Australia, Milsons Friend, Artist box’, NGA File 1970– Thomas, D 1979, ‘Donald 1979. Wilson, G 2001, ‘Hill End’, from National Library 23-24 February, of Australia Conference, viewed 30 July 2009 , vol. 2, , vol. 3, , vol. 1, National , Edwards and Shaw, Sydney. Sydney. , Edwards and Shaw, Molly Anderson did not recall a frame did not recall Anderson Molly !"#$53)63#,$'-$2'1)*5$763#15 !"#$53)63#,$'-$2'1)*5$763#15 7 !"#$53)63#,$'-$2'1)*5$763#15 N S 2'1)*5$763#15 E IO S E NC T O ERE NCLUS F showing. Raw wood unpainted. One has to take them home and work on them. There are no other framers in Sydney.’ Because Robert Haines was Director of QAG at the time and Because Robert Haines was Director of QAG had hung the work in 1949 at Georges Gallery it is assumed it was an unofficial agreement with David Coventry. Friend writes in his diary in January 1946, ‘Then today I went to town again, to see Parkers about frames. They produce, for terrific prices, careless knocked-up-affairs, with the nails David Coventry (1920–1966), Chandler Coventry (1924–1999). Chandler’s According to Beatrice Hinchcliffe, David stimulated interest in art (pers.comm., 18 May 2009). restoration which was not undertaken at that time. Chandler restoration which was not undertaken at that used the $17,000 to support his gallery in Sydney and repaid pers. Hinchcliffe in paintings ten years later (Hinchcliffe, comm.,15 May 2009). Miller also lived at Merioola during the 1940s, Harry Tatlock and Arthur including artists , Justin O’Brien Fleischmann. Gallery (1947–1951) and then Director at the of Victoria works Queensland Art Gallery (1951–1960). He hung Friend’s at Georges Gallery in 1949. In reply to Chandler Coventry Kelson suggested, ‘…Perhaps whether he Mrs. Hinchcliffe might enquire of Donald Friend Hinchcliffe would be prepared to undertake the work’. Beatrice price to cover was paid $1000 less than the $18,000 sale Robert Haines (1910–2005) was Director of Georges GalleryRobert Haines (1910–2005) Assistant Director at the National before being appointed Molly Anderson reported that Friend stayed at Rockvale Station Molly Anderson reported that Friend stayed at (pers.comm., for a few days, and drew three sketches of her 16 May 2009). E

when the work was mounted at Rockvale Station but said if there Station but said was mounted at Rockvale when the work frame with a A similar have been verywas one it would narrow. coloured workshop, hand was made in the NGA rounded profile of the to protect the edges highlighted with gold blue/grey and for gilded frames. preference Friend’s work and acknowledge Hughes, R 1965, p.103. Kelson, B 1971, NGA File 74/3812, 17 February, Library of Australia, Canberra. Hetherington, P (ed.) 2003, National Library of Australia, Canberra. Hetherington, P (ed.) 2005, National Library of Australia, Canberra. R p.102. 74/3812, 4 February, C 1970, NGA File Coventry, A (ed.) 2001, Gray, 6 7 4 5 3 2 providence or divine intervention. what happened to the old So, it off to storage—just in case. support? The curator sent ENDN 1 CO Sometimes conservators opportunity to research are given the chemical aspects of a work but its not only the physical and information¬–in this case call it provenance to gain further (Hetherington 2003. P.345). 2003. (Hetherington