DSFB Catalogue 2013
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Heritage Newsletter of the Blue Mountains Association of Cultural Heritage Organisations Inc March-April 2016 ISSUE 43 ISSN 2203-4366 Photographers – through their eyes There is a particular group of people to whom we, as people/organisations interested in our history, owe a huge dept. That is - the photographer. Be it the official or professional or private photographer, they provide us with pictures of both ourselves and our nation, at specific points in time. Their work is a historical record, showing the meaning and intensity of life at the time, and the current social dynamics that accompany them. The Macquarie Dictionary (1995) defines a photographer as a person who carries out “the art of producing images of objects on sensitized surfaces by the chemical action of light or of other forms of radiant energy, as x-rays, gamma rays, cosmic rays etc”. Obviously today in a more modern definition, this would be expanded to include digital experiences. However, for the recording of historical subjects, this former definition would ring true. Many photographers in the 19th and 20th centuries sought to celebrate the communities of people who work to lay the foundations of the country, to record specific events, covering both individual stories, and town and rural life. Incline, Kembla Coal, King Katoomba clouds, Phillips Chinese wool wasking, Kerry When we look at a photo, what are we looking at? Many photos bring us back again and again, and we see something different every time. The photographer may have sought to depict a particular event, person, but inadvertently has recorded a variety of other material, such as fashions and tools, landscapes and buildings, cultures and social customs, techniques and trades. -
Australian and International Photography
Australian and International Photography Collectors’ List No. 151, 2011 Josef Lebovic Gallery 103a Anzac Parade (cnr Duke Street) Kensington (Sydney) NSW Ph: (02) 9663 4848; Fax: (02) 9663 4447 Email: [email protected] Web: joseflebovicgallery.com JOSEF LEBOVIC GALLERY 19th to Early 20th Century Established 1977 103a Anzac Parade, Kensington (Sydney), NSW Postal: PO Box 93, Kensington NSW 2033, Australia Tel: (02) 9663 4848 • Fax: (02) 9663 4447 • Intl: (+61-2) Email: [email protected] • Web: joseflebovicgallery.com Open: Wed to Fri 1-6pm, Sat 12-5pm, or by appointment • ABN 15 800 737 094 Member of • Association of International Photography Art Dealers Inc. International Fine Print Dealers Assoc. • Australian Art & Antique Dealers Assoc. COLLECTORS’ LIST No. 151, 2011 Australian & International Photography Compiled by Josef & Jeanne Lebovic, Lenka Miklos, Mariela Brozky On exhibition from Wednesday, 29 June to Saturday, 13 August and on our website from 2 July. All items have been illustrated in this catalogue. Prices are in Australian dollars and include GST. Exch. rates as at time of printing: AUD $1.00 = USD $1.05¢; UK £0.65p 1. The 35th Royal Sussex Regiment (Album Compiled by J.J. Twining), c1861-1865. Leather-bound album containing 59 albumen paper photographs and an ink © Licence by VISCOPY AUSTRALIA 2011 LRN 5523 drawing of the Regiment’s coat of arms, most images captioned in ink or pencil on album page, album inscribed and dated in ink on opening pages by owner, J.J. Twining, 7.6 x 7.5cm to 16.7 x 20.7cm (images), 23.5 x 20cm (album). -
Photography from Real to Surreal
Australian and International Photography From Real to Surreal Collectors’ List No. 159, 2012 Josef Lebovic Gallery 103a Anzac Parade (cnr Duke Street) Kensington (Sydney) NSW Ph: (02) 9663 4848; Fax: (02) 9663 4447 Email: [email protected] Web: joseflebovicgallery.com JOSEF LEBOVIC GALLERY 19th Century Established 1977 1. Attrib. Matthew Fortesque Moresby 103a Anzac Parade, Kensington (Sydney) NSW (Brit./Aust., 18281919). [HMS “Iris”], c1859 Post: PO Box 93, Kensington NSW 2033, Australia 1861. Albumen paper photograph, titled in ink on slip on backing upper right, 14.7 x 16.8cm. Tel: (02) 9663 4848 • Fax: (02) 9663 4447 • Intl: (+61-2) Fading and minor foxing overall, laid down on original backing. Email: [email protected] • Web: joseflebovicgallery.com $5,500 Open: Wed to Fri 1-6pm, Sat 12-5pm, or by appointment • ABN 15 800 737 094 Erroneously titled “Isis” on slip. Illustrated in Gillett, Australia’s Navy, p8. Member of • Association of International Photography Art Dealers Inc. The HMS Iris, commanded by Captain William International Fine Print Dealers Assoc. • Australian Art & Antique Dealers Assoc. Loring, was the flagship of the first British squadron in Australia in 1859, due to concerns of a Russian presence in the Pacific. The Iris returned to England in 1861, to be replaced by HMS Pelorus. Two photographs of HMS Iris attributed to M.F. Moresby, COLLECTORS’ LIST No. 159, 2012 paymaster of the ship, appear in an album compiled by William Macarthur. This photograph may have been taken by Moresby, or possibly Lt. Arthur Onslow RN, who was also on tour of duty with HMS Iris. -
PACIFIC MANUSCRIPTS BUREAU Catalogue of South Seas
PACIFIC MANUSCRIPTS BUREAU Room 4201, Coombs Building College of Asia and the Pacific The Australian National University, Canberra, ACT 0200 Australia Telephone: (612) 6125 2521 Fax: (612) 6125 0198 E-mail: [email protected] Web site: http://rspas.anu.edu.au/pambu Catalogue of South Seas Photograph Collections Chronologically arranged, including provenance (photographer or collector), title of record group, location of materials and sources of information. Amended 18, 30 June, 26 Jul 2006, 7 Aug 2007, 11 Mar, 21 Apr, 21 May, 8 Jul, 7, 12 Aug 2008, 8, 20 Jan 2009, 23 Feb 2009, 19 & 26 Mar 2009, 23 Sep 2009, 19 Oct, 26, 30 Nov, 7 Dec 2009, 26 May 2010, 7 Jul 2010; 30 Mar, 15 Apr, 3, 28 May, 2 & 14 Jun 2011, 17 Jan 2012. Date Provenance Region Record Group & Location &/or Source Range Description 1848 J. W. Newland Tahiti Daguerreotypes of natives in Location unknown. Possibly in South America and the South the Historic Photograph Sea Islands, including Queen Collection at the University of Pomare and her subjects. Ref Sydney. (Willis, 1988, p.33; SMH, 14 Mar.1848. and Davies & Stanbury, 1985, p.11). 1857- Matthew New Guinea; Macarthur family albums, Original albums in the 1866, Fortescue Vanuatu; collected by Sir William possession of Mr Macarthur- 1879 Moresby Solomon Macarthur. Stanham. Microfilm copies, Islands Mitchell Library, PXA4358-1. 1858- Paul Fonbonne Vanuatu; New 334 glass negatives and some Mitchell Library, Orig. Neg. Set 1933 Caledonia, prints. 33. Noumea, Isle of Pines c.1850s- Presbyterian Vanuatu Photograph albums - Mitchell Library, ML 1890s Church of missions. -
PACIFIC MANUSCRIPTS BUREAU Catalogue of South Seas
PACIFIC MANUSCRIPTS BUREAU Room 4201, Coombs Building College of Asia and the Pacific The Australian National University, Canberra, ACT 0200 Australia Telephone: (612) 6125 2521 Fax: (612) 6125 0198 E-mail: [email protected] Web site: http://rspas.anu.edu.au/pambu Catalogue of South Seas Photograph Collections Chronologically arranged, including provenance (photographer or collector), title of record group, location of materials and sources of information. Amended 7 July 2010. Date Provenance Region Record Group & Location &/or Source Range Description 1848 J. W. Newland Tahiti Daguerreotypes of natives in Location unknown. Possibly in South America and the South the Historic Photograph Sea Islands, including Queen Collection at the University of Pomare and her subjects. Ref Sydney. (Willis, 1988, p.33; and SMH , 14 Mar.1848. Davies & Stanbury, 1985, p.11). 1857- Matthew New Guinea; Macarthur family albums, Original albums in the 1866, Fortescue Vanuatu; collected by Sir William possession of Mr Macarthur- 1879 Moresby Solomon Macarthur. Stanham. Microfilm copies, Islands Mitchell Library, PXA4358-1. 1858- Paul Fonbonne Vanuatu; New 334 glass negatives and some Mitchell Library, Orig. Neg. Set 1933 Caledonia, prints. 33. Noumea, Isle of Pines c.1850s- Presbyterian Vanuatu Photograph albums - Mitchell Library, ML 1890s Church of missions. Includes some J.W. MSS.1893/ Items 1-4, Box Australia, Board Lindt photographs taken 1(16). of Ecumenical during his trip to the New Mission Hebrides in 1889 & article on Lindt, Age , 23 Sep. 1961. c.1863- Rev. Thomas Fiji Relics and family Mitchell Library, Methodist 1894 Baker photographs. Church of Australasia, Dept. of Overseas Missions, Original: LR 83; Microfilm: CY 4172 (photographs only). -
The State Collections
THE STATE COLLECTIONS Collections of the State Cultural Institutions of NSW Art Gallery of NSW Australian Museum Historic Houses Trust of NSW Museum of Applied Arts and Sciences State Library of NSW THE STATE COLLECTIONS Collections of the State Cultural Institutions of NSW Art Gallery of NSW Australian Museum Historic Houses Trust of NSW Museum of Applied Arts and Sciences State Library of NSW ColleCtions of the state Cultural institutions of nsW Copies of this doCument Can be doWnloaded from www.arts.nsW.gov.au isbn 0 7313 7213 1 february 2012 Cover image: duCk, late 1790s, TAL & dai-iChi life ColleCtion layout by state library of nsW, p&d-3814-5/2012 ii The State Collections: ColleCtions of the state Cultural institutions of NSW MessagE from the Minister fOr the Arts The people of NSW should be proud of the State Like most major collecting institutions around the Collections which are currently valued at $4.3 billion. world, only a small percentage of objects in the State For the purpose of this report, the State Collections Collections can be displayed at any time. However, comprise the collections of: it is possible to request access to some material that is • The Art Gallery of NSW not on display. To explore some of the wonderful items • The Australian Museum in storage, I recommend a visit to the Powerhouse • The Historic Houses Trust of NSW Discovery Centre at Castle Hill, which provides access • The Museum of Applied Arts and Sciences, and to over 50,000 objects through its state-of-the-art • The State Library of NSW. -
Australian & International Miscellany: an Eclectic Assemblage
Collectors’ List No. 187, 2017 Josef Lebovic Gallery Australian & International Miscellany: 103a Anzac Parade (cnr Duke St) Kensington (Sydney) NSW An Eclectic Assemblage P: (02) 9663 4848 E: [email protected] W: joseflebovicgallery.com 1.| |The Last Supper And The Agony In The Gar JOSEF LEBOVIC GALLERY den From “The Book Of Hours”,| c1500.| Tempera Celebrating 40 Years • Established 1977 on vellum, 10.6 x 7.7cm. Slight cockling and paint loss Member: AA&ADA • A&NZAAB • IVPDA (USA) • AIPAD (USA) • IFPDA (USA) upper and lower left. Framed.| $2,950| The Agony in the Garden refers to the events in the life of Jesus, Address: 103a Anzac Parade, Kensington (Sydney), NSW as recorded in the New Testament, between the Farewell Dis- Postal: PO Box 93, Kensington NSW 2033, Australia course at the conclusion of the Last Supper and Jesus’ arrest. Phone: +61 2 9663 4848 • Mobile: 0411 755 887 • ABN 15 800 737 094 “Jesus prays in the Garden of Gethsemane while three of his disciples – Peter, James and John – sleep. An angel reveals Email: [email protected] • Website: joseflebovicgallery.com a cup and a paten, symbols of his impending sacrifice. In the Open: Monday to Saturday from 1 to 6pm by chance or by appointment background, Judas approaches with the Roman soldiers who will arrest Jesus (New Testament, Mark 14: 32-43).” Ref: The National Gallery, UK; Wiki. COLLECTORS’ LIST No. 187, 2017 Australian & International Miscellany: 2.| |The Mutineers Turning Lieut. Bligh And Part Of The Officers And Crew Adrift From His Majesty’s Ship The “Bounty”,| 1790.| Aquatint and engraving, accompanied An Eclectic Assemblage with four related engravings, text including artist, title and date in plate below image, 47 x 63.8cm. -
Heritage Collection 2008 Iii Nelson Meers Foundation
2008 2008 S T A T E L I B R A R Y O F N E W S O U T H W A L E S State Library of New South Wales Macquarie Street Sydney NSW 2000 Telephone (02) 9273 1414 Facsimile (02) 9273 1255 TTY (02) 9273 1541 Email [email protected] www.sl.nsw.gov.au Exhibition opening hours: Monday to Thursday 9 am to 8 pm Friday 9 am to 5 pm Weekends 10 am to 5 pm Gallery space created by Jon Hawley Project Manager: Phil Verner Coordinating Curator: Stephen Martin Curators: Ron Briggs, Andy Carr, Suzanne Churm, Arthur Easton, Emma Gray, Barbara Hancock, Melissa Jackson, Gwenda Johnston, Allison Kingscote, Maryanne Larkin, Meredith Lawn, Stephen Martin, Jennifer O’Callaghan, Maggie Patton, Margot Riley, Ed Vesterberg, Colin Warner Editor: Theresa Willsteed Graphic Designer: Simon Leong Preservation Project Leader: Lang Ngo All photographic/imaging work is by Andrew LaMoreaux, Huu Phong Nguyen and Scott Wajon, Imaging Services, State Library of New South Wales. Printer: Blue Star Print – Australia Paper: Spicers Impress Matt 300 gsm and 130 gsm. Australian made from elemental chlorine free pulp derived from sustainable plantation forests. Australian Paper is an ISO 14001 certified mill. Print run: 10,000 P&D-2409-3/2008 ISBN 0 7313 7181 X ISSN 1449-1001 © State Library of New South Wales, April 2008 The State Library of New South Wales is a statutory authority of, and principally funded by, the NSW State Government. Every effort has been made to contact copyright holders of exhibited and published material. -
Heritage Newsletter Newsletter
HERITAGE NEWSLETTER of the Blue Mountains Association of Cultural Heritage Organisations Inc. July-August 2014 Issue No. 33 ISSN 2203-4366 Ali Khan the trader…and Indian Hawker Ali Khan the trader pictured in the driving seat of his cart, was one of many to travel around the Hawkesbury and other regions of Australia selling his wares. This photograph courtesy of Kathie McMahon was taken from the McMahon’s guest house in 1905 on the Bells Line of Roads, Kurrajong North. HERITAGE 1 July-August 2014 The Indian community has a long and rich history in Australia, with immigration beginning quite early in Australia’s colonial history. The earliest Indians came as convicts or as servants of British subjects who had been living in India. Many Indian immigrants to Australia in the late 19th to early 20th centuries sought employment in rural areas as labourers or itinerant hawkers. These hawkers traversed rural parts of Australia, moving from town to town in their covered wagons. The hawkers sold a diverse range of products, including food, books, pots and pans and jewellery, as well as products from India, such as silks and spices. Many sources indicate that these hawkers provided a lifeline to the rural towns and more isolated farms by providing a large range of products, as well as a diversion from the everyday 1. There is enough anecdotal evidence from local Australians that the Sikh hawkers were much loved members of the community. The womenfolk loved them because they provided a welcome break from their mundane existence - the hawkers brought beautiful clothes, goods, all things exotic, and a fleeting glimpse of the big wide world beyond their farmlands. -
2017 Annual Report Centre for Contemporary Photography 2017 Annual Report
Centre for Contemporary Photography 2017 Annual Report Centre for Contemporary Photography 2017 Annual Report Publisher Centre for Contemporary Photography 404 George Street, Fitzroy VIC 2065, Australia +61 3 9417 1549 | [email protected] | www.ccp.org.au © Centre for Contemporary Photography and the authors, 2018 Staff Naomi Cass Director Eric Nash General Manager - Operations Christina Apostolidis General Manager - Development Madé Spencer-Castle Curator Michelle Mountain Program Manager Linsey Gosper Gallery Manager Adelina Onicas Communications Coordinator Jack Loel Design and Communications Coordinator Sarah McKechnie Assistant Gallery Manager Fore Edge Business Services Bookkeeper Board of Management Jane Hodder Chair Jane Grover Deputy Chair Geraldine Ilott Treasurer Genevieve Brannigan John Gollings Peter Lovell Patrick Pound Judy Williams Emeritus Chair William Lasica Centre for Contemporary Photography 404 George Street, Fitzroy VIC 2065, Australia +61 3 9417 1549 | [email protected] | www.ccp.org.au TW @ccp_australia IG @ccp_australia FB /centreforcontemporaryphotography Cover: Andrea Grützner Untitled 5 [detail] 2014 Contents 04 Mission and Profile 05 Chair’s Introduction 06 Director’s Report 10 Statistical Snapshot 12 Performance Review 14 Board 18 Staff, Volunteers and Interns 20 Exhibition Advisory Committee 21 Exhibitions Overview 23 Exhibition Program 25 Exhibitions In Focus 42 Touring and Offsite Exhibitions 44 Education and Public Programs 49 Membership 50 Marketing and Promotion 52 In Response 55 Financial Statements 69 Sponsors 70 Patrons and Donors Centre for Contemporary Photograhy 2017 Annual Report Mission and Profile Centre for Contemporary Photography dynamic organisation responding (CCP) is the leading contemporary arts creatively to changes in technology, visual space in Australia dedicated to photography, communication and world events. -
Staged Savagery: Archibald Meston and His Indigenous Exhibits1 Judith Mckay and Paul Memmott
staged savagery: Archibald meston and his Indigenous exhibits1 Judith McKay and Paul Memmott Archibald Meston is remembered as the major architect of Queensland’s 1897 legislation that was to regulate its Indigenous people for almost a century, and also as its Southern Protector of Aborigines from 1898 to 1904. Meston’s contribution as a policymaker and Protector has received much scholarly attention,2 however, his activities as a showman – that is, in exhibiting live Indigenous people and himself joining in the performances – are not so well known and have been documented only sporadically.3 Even his best known offering, the Wild Australia Show, which was the subject of an exhibition held by the University of Queensland’s Anthropology Museum in 2015,4 has not been fully explored. This article takes a closer look at Meston’s exhibiting activities, which can now be traced more easily with the help of online searching of newspapers. It shows that these activities were central to his policies for solving Queensland’s ‘Aboriginals problem’ and to his work as a Protector, and eventually gained him a national reputation (or notoriety) as a showman. Further, Meston’s forays into the sphere of popular entertainment highlight a paradox in the treatment of Indigenous people in Queensland in the late nineteenth and early twentieth centuries, whereby these people were publicly 1 The content of this article is partly based on a chapter of Judith McKay’s PhD thesis research (see McKay 1996), with additional material on the Wild Australia Show and Meston’s ideology from Paul Memmott’s parallel research which began in 1980 with work on the Wakaya Land Claim in the Northern Territory and recently culminated in the University of Queensland’s exhibition in 2015. -
Michael Aird, Mandana Mapar and Paul Memmott
Michael Aird, Mandana Mapar and Paul Memmott Michael Aird, Mandana Mapar and Paul Memmott Kungkardi Kungkardi Kungkardi Sydney, December 1892 Melbourne, February 1893 Sydney, June 1893 Photo by Charles Kerry Photo by John W. Lindt Photo by Henry King Courtesy Queensland Museum © Trustees of the British Museum Courtesy State Library of Queensland Text copyright © of the authors Images copyright © of the artists (or relevant institution) All rights reserved by the copyright holders Properly acknowledged quotations may be made Queries regarding the republication of any material should be addressed to: University of Queensland Anthropology Museum Level 1, Michie Building The University of Queensland St Lucia, Qld 4072 Compiled by Michael Aird, Mandana Mapar and Paul Memmott ISBN 978-0-9923241-2-4 First published 2015 Designed by Geoffrey Burmester Printed in Brisbane, Queensland by Harding Colour Wild Australia: Meston’s Wild Australia 1892-1893 is an exhibition based on a research project initiated by Paul Memmott and curated by Michael Aird and Mandana Mapar. This exhibition was commissioned by Diana Young for The University of Queensland Anthropology Museum. Introduction Museum collections of former imperial powers the world over Although no biological descendants of the troupe members are replete with photographs created in the last decades of the have been identified to date, the contemporary communities of 19th century and the early ones of the 20th. The University of people identifying with the cultural groups from which the troupe Queensland Anthropology Museum has around eight thousand members came have been identified. We are currently looking at images, many of which date from this time.