Art. Culture. Issue 21 Antiquities. October 2018 Natural history. Connecting the dots In this issue A word from the Director, David Ellis

In this issue, we see a clear thread This is the experience of one of our It is very exciting to see the of connections between people, four students contributing to this ever‑changing progress on the new places and objects. This is partly issue, Emily Cullen, who describes the museum site. I have discovered a new prompted by our new exhibition long, hard-fought identification of a passion for large machinery capable Connections, opening in November single rhinoceros beetle as one likely of moving large quantities of soil and sharing insights into the ‘lives’ purchased by Alexander Macleay from and rock! 2 News 19 Wedgwood in Melanesia objects take in their journeys the famous 18th century entomologist, The remarkable life of a trailblazer across the globe. The results can Dru Drury. I hope you enjoy this issue of Muse 3 A living dimension: plantings for from a famous family dynasty. be profound – fragments, thanks to and its myriad connections. the Chau Chak Wing Museum new technologies, can be virtually The collections continue to grow On the significance of the 22 Coffey and A chat on the beach joined to reveal new identities to through generous benefaction, and David Ellis landscape around our new Historic photographs give once anonymous sculptures, and on this issue’s cover we see an Director, Museums and Cultural museum. new insights into a painting seemingly innocuous brass cogs are example from more than 100 superb Engagement in the collection. revealed as ambassadors from early barkcloths donated to the Macleay 5 Connections 1800s London and the dawn of the Museum by Todd Barlin through the A new exhibition at the Nicholson 24 A gift from Korea computer age. Australian Government's Cultural reveals global links to objects in A small artwork is also a trace of 26 Stereography in the land of Gifts Program 2018. The donation our collections. a time of diplomatic outreach. Homer Following the connecting thread, for includes a large range of painted Historic stereographs reveal more the first time we can see and identify nioge made by Omie artists, Oro 8 Distant relations than just ancient vistas. the photographic muses for Alfred Province, PNG. The Omie barkcloth Visiting Indigenous artefacts far Coffey’s A chat on the beach thanks collection is significant, representing from home in Helsinki, Finland. 29 The curiosities of Dru Drury to the recent acquisition of two some of the first series of painted Looking for specimens in a photographic albums of the family of nioge (traditionally made by women), 10 David Myers’ graphintegrator famous 18th century collection long-term museums supporter Val made for sale as commercial artworks. A recent acquisition sheds light in the Macleay Museum. Havyatt. Chiara O’Reilly shares this They were acquired in the field by on an interesting period in the discovery and it makes you wonder the late Pacific arts collector-dealer history of computing. 32 Picturing antiquity what other windows will open over David Baker. Stay tuned in for our next Exquisite large-scale historic time to shed new insights and other issue of Muse when we will reveal 12 Putting Jericho under the photographs reveal some key exciting discoveries in the collection. more of these amazing cloths. microscope archaeological sites. Introducing a new joint research project with the British Museum. 35 Making history See what our guests and staff 14 Recycling history have been up to. Artist Sarah Goffman, inspired Sydney University Museums Education and Public Programs Muse edited by Luke Parker. by ancient cultures, turns trash 36 Find your muse Comprising the Macleay Museum, To book a school excursion, an adult education Nicholson Museum and University Art Gallery tour or a University heritage tour This edition contains names and images of people into treasure. Upcoming events and programs. +61 2 9351 8746 who have died. We acknowledge that, for some The Macleay Museum and the University Art [email protected] people and communities, these may cause distress Gallery are now closed as we prepare for the and sadness. Where possible, cultural permission 17 A shrewd tale opening of the Chau Chak Wing Museum. Macleay Museum to publish has been sought. Secrets of a mysterious reliquary Enquiries: The Nicholson Museum remains open: +61 2 9036 5253 Produced by Marketing and Communications, in the Nicholson revealed. Monday to Friday, 10am to 4.30pm and [email protected] the University of Sydney, September 2018. 18/7137 the first Saturday of every month, 12 to 4pm ISSN 1449‑0420 ABN 15 211 513 464 Closed on public holidays. Nicholson Museum CRICOS 00026A In the southern entrance to the Quadrangle General admission is free. +61 2 9351 2812 Forest Stewardship Council (FSC®) +61 2 9351 7305 (fax) is a globally recognised certification Become a fan on Facebook [email protected] overseeing all fibre sourcing standards. and follow us on Twitter. This provides guarantees for the sydney.edu.au/museums University Art Gallery consumer that products are made Enquiries of woodchips from well‑managed forests and other controlled sources Cover (detail) and above: Sandra Kairoki, ‘Rorire’ nioge (barkcloth) Top right: Atrax robustus, Pickard- Sydney University Museums Administration +61 2 9351 6883 with strict environmental, economical Omie people, Mount Lamington region, Oro province, Papua New Guinea. Cambridge 1877, female funnel-web +61 2 9351 2274 [email protected] and social standards. Collected by D Baker 2009, donated by Todd Barlin through the Australian spider, collected Sydney 1973, +61 2 9351 2881 (fax) Government's Cultural Gifts Program 2018, Macleay Museum, ET2018.56 Macleay Museum, EN2012.366 [email protected]

1 News

Groundbreaking ceremony On a sunny Friday morning in June, the ground was officially broken on the site of the Chau Chak Wing Museum. Vice-Chancellor and Principal Dr Michael Spence welcomed guests, including the Museum’s major benefactor, Dr Chau. Also present were staff from the University Museums and Campus Infrastructure Services, as well as representatives from the architects, JPW, and the builders, FDC. Aunty Donna Ingram welcomed the guests to Gadigal country, and a smoking ceremony was performed by Les Daniels. The museum will open in mid-2020.

Staff of the University Museums at the site of the new Chau Chak Wing Museum

New commission unveiled Over several weeks in July, a remarkable new artwork by Robert Andrew, a descendant of the Yawuru people of northern Western Australia, was installed at the entrance to the Faculty of Arts and Social Sciences Building on Science Road (see Muse issue 20, June 2018). The artist has used digital printing technologies to inscribe, as a shallow wall relief, the word GARABARA, from the language of the Gadigal people on whose land the University is built. A living dimension: plantings for The word, a local variant of ‘corroboree’, Professor Peter Lay and Dr Liz Carter from Sydney Analytical, with Tania Rhodes-Taylor, Vice-Principal, meaning ceremony, was originally transcribed External Relations into an English interpretation by William Dawes the Chau Chak Wing Museum in 1790–91. The eight partially corroded letters have been etched, giving the appearance of Sydney Analytical Launch eroded sandstone, and inserted steel pins will In July this year, Sydney Analytical and Sydney University oxidise, staining and colouring the wall. The work Museums formally launched their partnership to Paul Donnelly, Matt Poll and Jude Philp discuss the significance of develop world-class research techniques for museum is approached through Illawarra flame trees the landscape surrounding our new museum. (Brachychiton acerifolius), which are native collections. Many in the audience were energised by to subtropical regions on the east coast of the possibilities our partnership brings, through the Australia and have many practical applications public lecture given by Getty Conservation Institute for Indigenous Australians. scientist, Dr Odile Madden. The advanced microscopy techniques of vibrational spectroscopy (VS), Raman An important and distinctive feature of the new Chau Ficus macrophylla (Moreton Bay fig); and the indigenous and x-ray fluorescence and diffraction (XRF and Chak Wing Museum (CCWM) currently under construction Ficus rubiginosa (Port Jackson fig) known as damun in the XRD) will allow us to investigate the history of our can already be seen, and in fact has been visible for well Sydney language. collections as well as their futures. These hand-held, over a hundred years. This is, of course, the existing non-destructive techniques will give our conservators border of fig trees surrounding the site that will prove The fig trees are among the largest and clearly considered highly accurate and detailed data on the physical such a visual asset to the new building when complete plantings at the University, but it is worth considering composition of everything, from ancient pigments and give the impression the building was finished much that much of the greenery that forms such a distinct on Egyptian coffins to how a specific artist or maker earlier than 2020. To the south of the new museum, the and appreciated element of our campus has been just structured their work. The development of research figs along University Place and opposite Fisher Library as carefully planned and documented by architects and and techniques for museum collections will be a great form one side of the iconic processional avenue leading landscapers over the past century and more. In their asset for the Chau Chak Wing Museum to outreach to from Victoria Park to the Clocktower entrance of the variety and arrangement, planted over time, they were other cultural institutions, and to University academics Quadrangle. Collectively, the frame of figs around the site conceived as vistas, entrance ways, commemorations, keen to explore new ways of understanding the physical Robert Andrew's work, GARABARA being installed is comprised of groupings of three species: the northern contemplative sanctuaries, teaching examples and at the new FASS building histories of materials. east coast species, Ficus obliqua (small-leaved fig) and research subjects. Among the many luminaries involved

2 3 in these decisions was EG Waterhouse who, in close Linking in with Quinnell’s Campus Flora mobile app, collaboration with the architect Leslie Wilkinson, made visitors and students will be able to identify the plants Connections: some profound planting decisions including the numerous from their Eora, European and Asian knowledge bases. camellias around campus (notably in the Vice-Chancellor’s Plants selected to nestle under the fig canopy in the Garden), and the iconic jacaranda in the Quad, recently CCWM landscape include plants for food and other a new replaced by its clone. uses such as Grevillea poorinda, Correa alba, Acmena smithii or midjuburi (Sydney language), and Australian flax exhibition These much-loved examples are typical of many plantings Dianella tasred; sweet-smelling Asian Trachelospermum at the University in the early to mid-20th century where jasminoides, Rhaphiolepis indica and the pungent frequently, exotic species were favoured over indigenous European Santolina chamaecyparis. Their flowers will do at the with the exception of the fig tree plantings across the inner well to compete with Doryanthes excelsa, the Gymea lily city. However, the jacaranda’s recently added neighbour in so loved by Europeans when they first arrived. Grass-like Nicholson the Quad – an Illawarra flame tree, weery wegne (Dharawal plants include the European Calamagrostis x acutiflora, language, coastal Illawarra region), is a clear sign of the local Poa labillardieri, Xanthorrhoea australis today’s different direction, with greater consideration for and Lomandra longifolia nyalla, along with the Asian Museum sustainability and water use, and respect for the pre‑1800s Miscanthus sinensis 'Yakushima Dwarf'. landscapes of our region. – As Troy is currently researching, Gadigal people probably It is from this grounded perspective that the new plantings nurtured the grounds for hunting kangaroo and wallaby, for the CCWM have been drawn. From the beginning of cultivating the grass Lomandra longifolia for this and as planning for the new museum, the architects, Johnson a valued material for making baskets. The significance Pilton Walker, were motivated to recreate elements of of these and the other plantings will add a fascinating landscape suited to the geology and environment, not just and beautiful living dimension to the interpretation and of Sydney generally, but the actual museum site where presentation of natural history and Indigenous knowledges shale meets sandstone. To this end, and in consideration at the Chau Chak Wing Museum, opening mid-2020. of principles identified in the University’s Wingara Mura- Jamie Fraser Bunga Barrabugu Indigenous strategy (creating a ‘thinking You can explore Campus Flora now at introduces a new path to make tomorrow’), a number of exotic and local campusflora.sydneybiology.org plants were chosen. We are now working with Gadigal display exploring community members, in partnership with the University’s Page 3: Edward Hufton’s photographic print showing the figs in the 1890s, Macleay Museum HP85.10.53 the network of Associate Professor Rosanne Quinnell and Professor Jaky Below left: The figs when first planted, c.1859–62. Image Troy, to identify how we can best employ the plantings in courtesy of the University of Sydney Archives, P209_043 connections between CCWM educational programs and University teaching. Below: Reed basket, made from Lomandra rushes, used objects in our in food preparation, c.1885 Herbert River area, Queensland, Macleay Museum ETB.1070 collections.

One of the most arresting pieces Who is this mysterious couple? As the Such connections are being made in the British Museum’s Egyptian British Museum purchased the statue with astonishing frequency as Sculpture Gallery is a statue of a unprovenanced in 1839, it was thought museums digitise their collections life-sized couple seated side-by-side. their identity was lost forever. Then, and place their catalogues online. Although the woman's hands are in 1976, Dutch archaeologists working In June this year, a bronze ‘toe’ in missing, she appears to clasp her in the robbed-out tomb of General the Louvre was revealed to be the husband's left hand in both her own, Horemheb at Saqqara discovered a missing index finger of a colossal which rest gently upon her knee. sculpted fragment depicting three bronze statue of the Emperor This rare moment of quiet intimacy clasped hands. A cast was made at the Constantine in the Musei Capitolini is surprising in a gallery dominated Cairo Museum and flown to London in Rome; last January, researchers by the monumental statues of in 2009. It fit perfectly. While deeply matched one half of a cuneiform Amenhotep III and Rameses the satisfying on an aesthetic level, this tablet in the British Museum to the Great. It is not difficult to imagine moment of connection also unlocked other in the Musée d’art et d’histoire Henry Moore gazing upon the the couple’s identity, for who else in Geneva, completing an account couple as he drew inspiration for his could the statue represent but of the Mesopotamian flood story. It acclaimed bronze sculpture King and Horemheb himself – Tutankhamun’s is exhilarating to consider how such Queen, now displayed at the Tate. famous general and eventual connections will increasingly shape successor – seated with Amenia, modern curatorial work. his wife?

4 5 In November, the Nicholson Museum to a granodiorite bust broken from 20th century. When excavating the a demonstration piece partially The exhibition Connections will opens Connections, a new exhibition an unknown statue that Sir Charles Assyrian capital of Nimrud in Iraq in built in 1832. The other six pieces remain open at the Nicholson exploring how certain objects in the Nicholson purchased in Egypt in 1864. 1958, Sir Max Mallowan discovered a are from Babbage’s Analytical Museum until early 2020. Entry is Nicholson and Macleay collections There are striking similarities between cache of four intricately carved ivory Engine, conceived in 1832. Donated free. The exhibition also features an at the University of Sydney are this bust and a celebrated statue in furniture inlays that each feature a to the Macleay Museum by his architectural model of the new Chau intimately connected to objects held the Metropolitan Museum of Art in lady sitting on a chair. The identical great-great-grandson in 1993, these Chak Wing Museum, currently under by museums overseas. By examining New York that depicts Horemheb size, composition and find-spot of cogs and spring connect physically construction. these connections, we learn more as a squatting scribe, identified by these plaques indicate that they to other demonstration parts in Page 5: Late 18th Dynasty statue about the objects themselves and the an inscription around the base, the once adorned the back panel of London, Cambridge, Manchester EA36 of the seated couple Horemheb circumstances that caused them to dimensions of the head; the style of the same wooden chair or couch. and Harvard that together assemble and Amenia in the British Museum, © The Trustees of the British Museum rest eventually on opposite sides of the headdress; the facial expression; While Mallowan sent one panel to the machines of astonishing capability the globe. the folded sleeves; the type of stone; National Museum of Iraq in Baghdad, that fundamentally shaped the Opposite page, left to right: he exported the other three to modern world. Late 18th Dynasty torso of the goddess Isis (NMR.40) in the The exhibition explores these England, and then on-sent them to Nicholson Museum, reconstructed with connections in different ways. Like institutions that had sponsored the the cast of the statue’s head from the Museum of Egyptian Antiquities the seated couple and their missing dig: the Ashmolean Museum in Oxford, in Cairo hands, some connections are the Royal Ontario Museum in Toronto, Late 18th Dynasty bust of Horemheb manifest physically as joins that link and the Nicholson Museum in Sydney; and explored. Yet we find a new (NMR.1138) in the Nicholson Museum perspective by turning the vessel a single object across collections one chair split four ways. By tracing Late 18th Dynasty statue 23.10.1 these connections, we can consider upside down to reveal three letters, depicting Horemheb as Scribe of the and continents. The torso of a King in the Metropolitan Museum of small Egyptian statue purchased the objects in new ways. Strikingly, 'SNI', incised roughly into the Art, New York underside of the vessel’s base. This by Sir Charles Nicholson in 1860, while the missing left side of the This page, left to right: once considered a likely depiction Nicholson plaque was reconstructed graffito served as the 'barcode' of a (above) 8th century BC ivory of Queen Nefertiti, was correctly in wax to represent the lady reaching major exporter who shipped vessels plaque from Nimrud, AN1957.220 from Athens to Vulci, Italy, in the late in the Ashmolean Museum, Oxford, identified in 1996 as the goddess towards a lotus flower, its three © Ashmolean Museum, University of Isis when an eagle-eyed researcher counterparts show that the woman 6th century BC. At least 89 vessels Oxford marked with this graffito are known, recognised the head on display in the the handsome craftsmanship. While 8th century BC ivory plaque from the close resemblances enable us reflecting their common origin in the Nimrud, Nicholson Museum, NM59.3 to identify the bust as Horemheb, same emporium before their dispersal Late 6th century amphora by the across the Ionian Sea, and eventual Antimenes Painter, Nicholson Museum, probably also in scribal pose, they NM77.1 invite us to consider the intimate diaspora across the world. Detail: Graffito incised into the historical connections between underside of the foot of the these statues as well. Both statues But perhaps the best metaphor for Antimenes amphora were almost certainly robbed from the connectivity of objects lies with 10 Components from Charles Babbage's small, unassuming mechanical parts Engines c.1830–c.1870, donated by Horemheb’s tomb at Saqqara that he Dr Neville Babbage, 1993, Macleay commissioned while Tutankhamun’s from the prehistory of computing. Museum, SC1993.3.1-10 general – the same tomb, in fact, The spring coil and cases relate in which the missing hand from the to Charles Babbage’s Difference seated couple was found. Engine No. 1. Begun in 1822, around 2000 parts were used to construct This issue of object diaspora is a Like the seated couple split between ‘leitmotif’ that resonates throughout Cairo and London, a museum is the exhibition. It is often tempting to not defined by its walls but rather consider museums as islands, whose by the objects in its collections, individual collections were assembled and the potential of these objects in discrete repositories in London should instead reach towards a low to contextualise the collection in and Cairo, Sydney and New York; but offering table as part of a banqueting surprising ways. There is no doubt Cairo Museum. Casts were made in Connections approaches museums scene. in my mind that, as we prepare our Sydney and Cairo and exchanged in as archipelagoes, whose disparate collections for display in the Chau 1998. They match perfectly: a physical collections are connected by Connections explores some familiar Chak Wing Museum, we will discover connection between torso and head, capricious historical currents that can objects, such as the ivory plaque, more connections between our 15,000km apart, which enables the take, for example, a cache of objects in surprising ways. The famous objects and those in collections goddess to be seen as intended, once placed within a single tomb and Antimenes krater presents a similar elsewhere in Australia and overseas. and identified through her horned disperse them across distant shores. case. More than 140 black-figure ‘modius’ crown. vases are attributed to the Antimenes Dr Jamie Fraser is Senior Curator, The diaspora of connected objects Painter based on their shared style Nicholson Museum. Connected identities bring us back to is best exemplified by division of and iconographic scenes. Such Horemheb himself, and particularly archaeological finds in the early-mid connections are well-articulated

6 7 Right: Shaun Angeles with some of the Distant relations objects in the store of the Kansallismuseo

– Opposite page: Cleopas 'Lofty' Katakarinja and staff from the National Museum of Finland with "Heritage is in people, not objects – the objects – that had left Country more than a century objects created ago – that they had not been forgotten and that their on Arrernte it is living. In the end, perhaps solid and Luritja countrymen were still thinking of them. homelands cultural objects are less important For Shaun Angeles, tracking down and reconnecting than a living social cultural these objects to their contemporary custodians will practice." be a lifelong task, a journey which includes removing them from their museum typologies and renaming – Djon Mundine 2012 them into the languages of the people who made them. In some ways, the objects' cultural safety and security From central Australia to Finland: Matt Poll is protected by their distance. But, as the Finnish shares the extraordinary journey of a selection curators listened to the central Australian custodians contextualise the objects, within a continuum spanning of Indigenous artefacts. memory about where the objects might sit in relation to The way Lofty and Shaun spoke to the objects – as centuries, a genuine two-way learning and a world of ceremonial or everyday use. All 130 objects had been countrymen and as ancestors – was perhaps one of the exciting possibilities opened up: the truly global nature In June 2018, I joined central Australian community acquired by Pastor Oscar Leibler between 1911–13, more moving learning experiences for our international of these inventive craftsmanship traditions, the Lutheran members Cleopas Katakarinja and Shaun Angeles on when he filled in for the Strehlow family while they hosts, and several of us were quite emotional watching. missionary history, the iconic art of the Namatjira school a visit to the Kansallismuseo, the National Museum were on furlough, as manager of the mission on the Lofty reassured the objects that he would tell their from Hermannsburg. All these elements become parts of of Finland, in Helsinki to work on a remarkable lands of the Western Arrernte community of Ntaria descendants back on Country that they are OK: entirely new assemblages – the Indigenous past as seen selection of Arrernte and Luritja people’s objects. Our (Hermannsburg). In this short stay, Liebler gathered Alright – I'll be going back home now, where you come from, through Indigenous perspectives. ambassador for the journey was Mr Cleopas ‘Lofty’ more than 2000 artefacts and sold them to British and Hermannsburg. I'm saying goodbye ... I won’t see you again, Katakarinja, an Arrernte man and a senior custodian German museums, as well as to Adelaide. this is the last time I see you, goodbye. of the Utnerrengatye (Emu bush caterpillar) story of Together, Lofty and Shaun closely observed the manufacturing techniques, their grandfathers’ Urlatherrke (Mt Zeil). Lofty’s encyclopaedic knowledge The journey of these Arrernte and Luritja cultural Eero Ehanti, Curator at the National Museum of knowledges embedded in the artefacts. Lofty sang of the manufacture and use of a range of implements held objects, before their lives as museum artefacts, Finland, summed up many of our thoughts after place names and their associated stories to jog his in the collection in Finland meant that he could reassure is extraordinary. Their expedition started in watching Lofty say goodbye: Hermannsburg, continued to Oodnadatta by camel, to When there was this older person from the community and Adelaide by train, to Melbourne by boat, and to Bremen a younger one, and we could clearly see that there was a by steamship, before arriving in the Leipzig Museum continuous communication; they were in interaction where of Ethnography by 1913. Sometime during 1914, in the older person transferred information to the younger common practice of the times, some items were sold and person … I was also told that this is very strongly present traded among international networks of museums. The in their community – how the tradition is moved on to the Arrernte and Luritja objects travelled from Leipzig to younger people. Gdansk by train and then to Helsinki. (Quote transcribed from a forthcoming documentary by Antti Seppänen, 2018) One of Shaun’s ambitions for his work with the Strehlow Research Centre is to identify where objects These objects, separated by distance and time through of significant cultural heritage from the region are past collection practices, acquired an entirely new housed. There may well be tens of thousands of Arrernte appreciation and understanding from their host objects scattered around the world; the task of even institution through the process of connecting them back virtually reconstructing the whereabouts of so many to the custodians of their meaning and interpretation. fragments of history is not undertaken lightly and, The objects may live on display in the Kansallismuseo for ever so slowly, a semblance of control over the future many centuries to come, secure in the knowledge that a management of some objects is being regained by the bridge has been built for future generations to cross in Arrernte community. times to come.

On the last day of our visit, Lofty approached the tables Matt Poll is Assistant Curator, Museum Collections of objects and started a special song to say goodbye. and Repatriation, Macleay Museum.

8 9 Returning to Sydney in 1936, Myers, clearly David Myers’ graphintegrator building on his work on differential analysers, created the graphintegrator as part of his 1937 doctoral thesis at the University of Sydney. The – graphintegrator, similar to Bush’s machine, is a mechanical computing device designed to solve Kelsey McMorrow introduces a recent acquisition to the differential equations of the first and second order in graphical form. The machine consists Macleay collection, a mechanical instrument from a pre-digital age. of a metal framework mounted on a spindle carrying rollers. Attached to this framework is an assemblage of linkages and pivots, allowing the movement of pointers, pencils and wheels. While Bush’s analysers easily filled entire rooms, Myers’ machine attempted to improve on this by offering a much smaller, more portable While it may seem unusual today given our attachment to model that could solve simpler equations our smartphones and laptops, prior to the overwhelming more efficiently. success of digital technology, many professionals to his passion, delivered papers on analogue thought that mechanical devices would be the future computing. The conference had long-lasting Following the invention of the graphintegrator, of computing. Electrical engineer David M Myers was a impacts, being instrumental in establishing Myers went on to become Chief of the Council key proponent of this school of thought, as his unique computing as an area of study and legitimate for Scientific and Industrial Research’s (CSIR) invention, the 'graphintegrator', attests. Recently career path in Australia. Division of Electrotechnology. Later, he helped transferred to the Macleay Museum from the University of to establish the CSIR’s Section of Mathematical Sydney’s School of Electrical and Information Engineering, Seemingly uncertain of the future of digital Instruments within the Division of Radiophysics, the graphintegrator sheds light on this interesting period computing, Myers remained a strong advocate which was housed in what is now known as the in the history of Australian computing. for mechanical and analogue technology. Madsen Building at the University of Sydney. As His graphintegrator is a testament to his part of his work for the CSIR, he developed an lifelong interest in the field. Although the electromechanical differential analyser which graphintegrator was eventually made obsolete was used by several government bodies. by improvements in electronic and digital technology, it nevertheless represented an After seeing George Julius demonstrate the In 1948, Myers became the Professor of amazing feat of engineering and an important workings of a tote during a talk on calculating Electrical Engineering at the University of step within the development of computing machines at his high school, a 14-year-old Sydney. He was one of the key instigators technology, as engineers worked to discover the David Myers was inspired to begin a lifelong in organising Australia’s first computing limits of analogue technology in Australia. The career devoted to the study of mechanical conference, one of the earliest computing recent acquisition of the graphintegrator will computing devices. Myers graduated from the conferences in the world. The conference was greatly assist in the telling of this story within University of Sydney with a Bachelor of Science held at the University in 1951 and Myers, true in 1931 and a Bachelor of Engineering in 1933. the Chau Chak Wing Museum. Following this, he worked with DR Hartree and A Porter at Manchester University, building a Kelsey McMorrow is Curatorial Assistant, differential analyser. Macleay Museum.

Left to right: Between 1928 and 1931, Vannevar Bush and Bird’s-eye view of the graphintegrator, c.1937, photographer unknown, transferred Computing in Australia has a somewhat unexpected others had built the first general-purpose from the School of Electrical and Information history, arguably beginning with George Julius’ differential analyser – a mechanical device Engineering, University of Sydney, Macleay Museum, HP85.16.106 1913 invention of the automatic totalisator, an designed to solve differential equations by Three images from DM Myers: electromechanical machine designed to calculate betting integration – at the Massachusetts Institute of A new mechanical means of solution of odds and returns. Commercially very successful, totes Technology (MIT). The instrument constructed differential equations of the second order and its application to engineering and other (as these machines came to be called) were installed at by Hartree and Porter (with the help of Myers) problems, DScEng thesis, University of Sydney, horseracing tracks internationally. Comprised of ticket was intended to be a model of Bush’s design, 1938: Detailed view of parts and mechanisms machines, adders, odds calculators and indicators, and proving its capabilities in order to secure View demonstrating the machine’s graphical large enough to fill entire buildings, totes were in fact funding for a full-scale machine to be built at output complex devices with functions that continued to be used Manchester. The model proved successful, and One of Myers' hand-drawn plans, including designs for pivots, rollers and jockeys and developed in more modern computers. support was soon secured to build an analyser more powerful than Bush’s original prototype.

10 11 Jamie Fraser and between the Canaanite inhabitants Accordingly, the Nicholson partnered astonishing results. The offering table Putting Jericho under the of Jericho and their natural world. with the British Museum to bring Dr is carved from oak wood presumably Caroline Cartwright What wood species did they source Cartwright to Sydney to examine the sourced from the upland forests microscope: the organic introduce a new joint for their furniture? Were certain Jericho remains. For three weeks high above Jericho on the Jordan timbers considered prestige? And, in June, Dr Cartwright removed Valley floor; its contents include project between with what foodstuffs did people bury minute samples from each organic baskets of foodstuffs including grapes, remains from Tomb B35 the Nicholson and their dead? artefact in the Nicholson’s Jericho placed into the tomb as offerings for collection. She then examined the dead. British Museums. Dr Caroline Cartwright, Senior these samples under a scanning Research Scientist at the British electron microscope (SEM) at the Ultimately, this research will inform Museum, has been exploring University’s Centre for Microscopy a display in the new Chau Chak these questions by analysing the and Microanalysis, enabling her Wing Museum that will explore organic remains from Jericho held to identify the wood species of the organic remains discovered in collections in the UK. These each sample through its distinct at Jericho and demonstrate how materials include several fragments anatomical structure. we can ask fascinating questions of wooden furniture from Tomb B35 of these materials through new that Kenyon had sent to University There is haunting beauty in the SEM scientific techniques. In 1952, British archaeologist Kathleen College London. Unlike these UK- images that Dr Cartwright produced Kenyon removed a blocking stone based materials, however, the organic – the perfect anatomical structure Dr Jamie Fraser is Senior Curator, sealing a Canaanite tomb (Tomb B35) remains from Tomb B35 in the of a tree felled, or a grape harvested Nicholson Museum, and Dr Caroline at Jericho near the Dead Sea. She Nicholson Museum have never been over three millennia ago, brought into Cartwright is Senior Research discovered an unrobbed chamber studied, including the undisturbed focus through the eyes of modern Scientist, British Museum. inside filled with the skeletal remains offering table. science. Although only in its early of at least 45 people and the funerary days, the project is producing some goods with which they were buried more than 3500 years ago.

What Kenyon found most astonishing, however, was a remarkable array of organic artefacts that had preserved under unusual conditions of desiccation. These materials included wooden furniture such as tables and stools; wooden vessels such as bowls and cups; wooden adornments such as buttons and combs; and reed baskets containing desiccated fruit, seeds and grains. On one low wooden table, Kenyon discovered the remains of baskets of food and joints of meat, left as offerings for the dead. Kenyon carefully preserved the table in situ with paraffin wax, before removing it in four sections from the tomb.

The Nicholson Museum was fortunate to receive a significant portion of the Jericho finds in recognition of its sponsorship of the dig under Opposite page, top: Photograph of small wooden bowl Below left: SEM image of a radial longitudinal section with carved ram’s head protrusions from Tomb B35 of Ficus carica (cultivated fig) wood from NM57.26, a Professor Jim Stewart, who served (NM53.36), containing desiccated pomegranate seeds fragmentary deep wooden bowl; image © C.R. Cartwright as honorary curator of the museum Opposite page, below: Photograph of a section of Right: Excavation photograph of Tomb P at Jericho, between 1954–62. These materials a low offering table from Tomb B35 (NM57.27) with discovered close to Tomb B35, with Margaret Wheeler. included 50 organic objects from remains of a joint of meat from a sheep or goat (Photograph S1 R6 1, courtesy of Helena Coffey and Stuart Laidlaw, the Jericho Excavation Photographic Tomb B35 that provide a rare window Top left: SEM image of a grape pip (Vitis vinifera) Archive 1952–58) with some grape skin still attached. NM57.12; into understanding the relationship image © C.R. Cartwright

12 13 Goffman’s art practice is cross- In the workshop, children created Recycling history disciplinary, responding not only to their own works, made from a the history of material cultures but recycled bottle and inspired by the impact of the Anthropocene ancient artefacts on display in the – on the planet, by way of our waste. Nicholson Museum. The colour Goffman’s concerns are more aligned palette for the workshop was blue and to the generations that lived through white, motivated by Goffman’s love It's easy to mistake Sarah Goffman's art for fine The Great Depression and World of Chinese blue-and-white porcelain china. Katrina Liberiou explains why Goffman is Wars, when re-using and recycling as well as the British/European everything was essential to survival – derivative ‘Willow pattern’. Goffman teaching kids how to turn trash into treasure. nothing went to waste that could be has produced a large body of work used for another purpose. referencing these, including Plastic Arts (2009).

In the July school holidays, Sydney‑based artist Sarah Goffman hosted an art workshop in the Nicholson Museum titled Recycling History, attended by 30 keen children, aged between five and 15.

Goffman (born 1966) is an installation artist who explores and examines the unwanted remnants of our society, such as waste, including bottles, containers and packaging. Goffman uses the discarded material to create beautiful and thought‑provoking artworks. In 2017, in the exhibition I am a 3D Printer at Wollongong Art Gallery, Goffman copied 100 objects from the gallery’s Mann‑Tatlow Collection of Asian Art, displaying the replicas in place of the originals in the purpose-built showcases. In this context, the work was often mistaken for the real thing – Goffman’s laboriously detailed drawings on recycled containers are arresting in their beauty and require a double‑take.

14 15 Goffman commenced the workshop The completed bottles, now Page 14 and 15 (above): details from I am a 3D Printer, at Wollongong Art by taking the children through the resembling museum objects, were Gallery, 2017, photographs by Bernie process of preparing the recycled displayed together in the museum Saunders A shrewd tale bottles, which involved filling them for a photo opportunity and then Page 15 (below): Recycling History: art workshop with Sarah Goffman, with paint to coat the inside and taken home where we imagine Nicholson Museum, July 12, 2018 they have taken pride of place on removing the sticky residue from This page (below): Plastic arts, Craig Barker and Nikki Brown labels. In the museum, she guided the the mantlepiece. installation view, Mori Gallery, Sydney 2009, photo by Michael Myers children through exhibitions featuring describe a curious creature that has objects from ancient Greece and Sarah Goffman has been creating baffled generations of students. Rome, encouraging them to sketch and exhibiting mixed media out their ideas on paper before installations since 1994. She has been transferring their design onto the included in more than 200 exhibitions bottles using permanent markers. across Australia and internationally. You can see more of her work at: Some children used their imagination, www.sarahgoffman.com others were inspired by the ancient cultures surrounding them and some Katrina Liberiou is Assistant Curator, took patterns from everyday items University Art Collection. such as their clothing.

Within the collection of the The shape is not clear, however, Nicholson Museum, a small and and has led to much confusion and unassuming bronze container debate among the school students (NM75.106) has confounded as to what the animal is. Dog, cat, generations of school students on rodent and mongoose are just excursion when they handle it as some of the variety of animals part of the ‘hands-on’ education shouted out by school students. program. The bronze object is This mirrors a longstanding debate in fact a shrew coffin and has an among the museum’s education interesting story to tell about ancient team, and even confusion among Egypt’s relationship with both gods experts when it first came into the and animals. museum’s collection.

The object is a long, narrow and The bronze reliquary was part of hollow rectangular bronze box, a series of 20 Egyptian antiquities opened at one end, 7.4 cm high, (NM75.91–NM75.110), including 2.3 cm wide and 3.5 cm deep. There shabti figurines, faience amulets and is nothing in the interior, the original bronze figurines, purchased by the mummified animal having long since Nicholson Museum in late 1975 from been removed. Cast above the box Mrs LB Hamilton of Kirribilli, after is an animal figurine, in the likeness an examination and authentication of a shrew or Egyptian mongoose. by Professor JB Hennessey of

16 17 the University’s archaeology to crocodiles, produced with a range the god Horus, called Khenty-khem, department. The objects were of modest to elaborate embalming ‘prominent of eyes’. Horus had said to have been collected by Mrs techniques and materials. sharp vision in both the light and Hamilton’s husband’s uncle in Worshippers might have selected an dark, like the shrew itself. Wedgwood in Melanesia Egypt about 60 years previously, animal mummy in the image of the presumably acquired during the god to whom they paid respect or Shrew coffins and reliquaries for First World War and brought simply the one suiting their budget. small animals are well-known in to Australia. Egypt, and many other museums The Nicholson’s ongoing research including the Louvre, the Brooklyn Even in this initial stage, there into Egyptian animal embalming is Museum and the Boston Museum was some confusion as to what the the key focus of the current Animal of Fine Arts have shrew coffins in animal represented on the object; Mummy Research Project, which is their collections. The donation of the in the report to the University’s conducting a series of multi-imaging Welch collection in 2017 included Vice-Chancellor, it is described as scans and scientific analysis of the a small bronze container with what “a ?crocodile” and in a handwritten museum’s collection of 14 animal appears to be a lizard represented note in the Nicholson files it is mummies, including cats, ibises on the top (NM2017.220), meaning described as “a little bit like an and crocodiles. The shrew coffin the Nicholson now has a second armadillo”. But now, with further demonstrates the practice to be bronze animal reliquary. research, we can say with confidence very varied. that the animal on the object is From Middle Age writers through a shrewmouse. The Crocidura religiosa, or Egyptian Shakespeare and beyond, shrews pygmy shrew, was a curious type have been depicted as unpleasant Devout ancient Egyptian of votive mummy, popularly and ill-tempered, aggressive worshippers commonly purchased worshipped during the Late Period and nagging. But for the ancient animal mummies as votive and with a sacred connection to Egyptians, the shrew was offerings. It is likely that priests two gods. The shrew was seen as highly sacred. embalmed and sold the mummies a manifestation of the nocturnal at temples, promising that the spirit aspects of the sun god, Ra. As a Dr Craig Barker is Manager of of the creature would carry divine creature with a ravenous appetite Education and Public Programs for messages to the gods. for insects, which were considered Sydney University Museums, an enemy of Ra, the shrew also made and Nikki Brown is a former As manifestations of deities, animals for an appropriate and effective museum Education Officer and made appropriate dedications. An guardian. The shrew also has a now a history/English teacher at Ella Finney discusses the extraordinary fieldwork conducted by the incredible array of animal mummies connection with the town of Khem, Cranbrook School. independent and adventurous anthropologist, Camilla Wedgwood. have been discovered, from beetles the centre of worship for a form of

Camilla Wedgwood (1901–55), a member of the famed in the Macleay Museum and another in the University Wedgwood pottery dynasty, was part of the first Archives, which also holds her notes and writings. Her generation of women to attend Cambridge University and field notebooks scrupulously record her anthropological enter the discipline of anthropology in the mid-1920s. practice, including when she took photos and how she Independent and adventurous, she came to Australia in worked with photography in the field. It is a rich archive 1927 to be a lecturer in the newly established Department that presents multiple points of view for analysis: the of Anthropology at the University of Sydney. personal, the visual and the professional.

In 1933, Wedgwood received a grant from the Australian Wedgwood’s diaries offer an intimate glimpse into the year National Research Council to carry out fieldwork on she spent on the island. She lived in a house built for her “culture contact in Melanesia” and was directed to by the locals, and had a dog called Jock. Manam islanders document the lives of women and children on the small were constantly visiting her house, for conversation, to island of Manam, off the north coast of Papua New Guinea. listen to her gramophone and to trade. She was committed With a Christian mission nearby, this was regarded as a to learning the local language and had a tireless work ‘safe option’ for an unmarried female working alone in ethic. Two months into her field trip she continued to work the Pacific. on vocabulary lists, even on a day where she was suffering from “melancholia”, sardonically writing that she had Shrewmouse bronze reliquary, Nicholson Museum, NM75.106 There are two collections of Camilla Wedgwood’s Manam “spent till 1.30 planning suicide”. field photographs at the University of Sydney, one held

18 19 Page 19: Plaque donated by the Wedgwood’s social anthropological Wedgwood’s Manam photographs Wedgwood company to the Women’s focus was the tacit and explicit are evidence of a point of College at the University of Sydney where Camilla Wedgwood was Principal actions of everyday life and contact, and they allowed her to for 10 years, courtesy of the routine, and this is reflected in her demonstrate the depth and detail Women’s College photographs. Recently popularised, of her anthropological knowledge Above: Wedgwood’s hand-drawn map of Manam Island, published in Wedgwood’s hand-held box Brownie to her colleagues and students. her Report on Research in Manam film camera allowed her to seize The Macleay’s collection of Island, Mandated Territory of New Guinea, Oceania 4 (1934), and ‘natural’, unguarded representations Wedgwood’s images are in glass also reproduced as a glass lantern slide for teaching, Macleay Museum, of people participating in cultural, lantern slide format, part of a larger HP99.1.1130 religious, social, political and holding including the work of other Opposite page: economic minutia. Many of her images anthropologists, used for lectures Top: ‘Manam Island, New Guinea – are of group activities, where the in the University’s Department of Making tapa’a, a mixture of sago and participants seem either unaware or Anthropology. As a set, they shed light grated coconut. One man is grating coconut, while others are beginning unconcerned by the presence of the on how collections of photographs to erect the platform on which it is anthropologist and her camera. were edited to teach, and sometimes to be smoked. The method of grating here shown is not native to Manam.’ perpetuate specific ideas about 1933, Manam Island, Madang Province, Papua New Guinea, photo by Camilla Wedgwood was clearly adept at cultures, places and people in Wedgwood, lantern slide, Macleay encouraging her subjects in Manam to this period. Museum, HP99.1.1093 embrace the photographic process, Left: ‘Sagido wearing some of her ornaments.’ Wedgwood sometimes but her vernacular-style photographs Wedgwood remained an honorary included people’s personal names and annotations in her field notebooks lecturer in the Department of as part of her image captions, image from the University Archives reveal that Wedgwood was anything Anthropology after becoming collection as published in but a professional photographer. principal of the Women's College at Wedgwood’s Oceania article, Girls' Puberty Rites In Manam Island, New She developed her film in the field, the University of Sydney in 1935, a Guinea, 1933

but contending with rudimentary position she held for 10 years. Right: One of the few photos of the facilities and a tropical climate, she anthropologist during her time on Manam Island; ‘Camilla Wedgwood and frequently under or overexposed Ella Finney is an undergraduate Oaruaru playing cat's cradle’, Manam Island, Papua New Guinea, slides or damaged the final product. history student at the University of 7 December 1933, photo: Joseph On one day, she remarked, “What Sydney and studied the Wedgwood National Library of Australia, PIC/11861/95 has happened to this film! Not collections as part of her completion underexposed? Bad developer? Can of the ‘Vikings of the Sunrise’ Pacific Below: ‘A group of women and children taking their ease on the it be intensified?” Her perseverance history course in 2018. beach’, 1933, Manam Island, Madang Province, Papua New Guinea, photo provides some indication of how by Camilla Wedgwood, lantern slide, important she believed photography Macleay Museum, HP99.1.1097 was to her research.

20 21 Coffey and A chat on the beach –

In preparation for the new Chau Chak Wing similar to that in the finished work. Although the loose photographs don’t Museum, we are researching works in the feature the exact composition of the collection and inviting scholars both local and final work, they do help to reveal the care and study behind Coffey's A chat international to write a response. Dr Chiara on the beach. O’Reilly discusses a delightful work in the Coffey was an Irish immigrant to University Art Collection, A chat on the beach Australia. As an artist, he regularly (1919) by Alfred Coffey. exhibited his etchings and paintings and was an active member of the Royal Society; in 1892 he won the President’s Prize and the prize for Alfred Coffey’s A chat on the Despite the sense of a ‘quick painting’ every section taught by the society. beach depicts a quiet conversation and a captured moment, the He eventually became Vice President between two women as they enjoy composition is nonetheless carefully of the Royal Art Society of NSW. a day out, surrounded by people planned. The palette of colours draws walking and enjoying the beach the eye, creating a sense of summer In 1919, he joined the newly on a glorious summer's day. It's a light. This is clearest in the dresses established Faculty of Architecture delicate painting with the two women of the women which carefully echo where he was listed as the ‘Instructor in the foreground, the focus of the the dominant colours of the painting; in Freehand Drawing’ for several composition. The seated figure holds the striped blouse of the seated years. His skills as a draughtsman our attention – the strong lines of the figure repeats the tones of the beach. are less evident in this painting underside of her parasol radiate out The other figure is dressed in blue but come to the fore in his many to frame her face and hat which are and white, colours which draw our etchings. Among his oeuvre are many painted in the broadest of strokes. attention to the pattern of the waves recognisable Sydney sights – including Her friend is stretched out, lying down stretched across the painting and the the University of Sydney, the Rocks on the sand, her head resting on her brilliant blue of the cloudless sky. and Sydney Harbour. hand in quiet contemplation, her face in profile. In their closeness, there is a In 2018, four photographic albums Dr Chiara O’Reilly is an art historian clear sense of friendship and intimacy, and a number of loose photographs and Director, Museum and Heritage a shared discussion which leaves us relating to Valerie Havyatt (née Studies, Faculty of Arts and Social intrigued and guessing. Luker) and the Luker and Johnson Sciences at the University of Sydney. families were donated to the Macleay The composition, despite its size, is Museum’s historic photography dominated by broad brushstrokes. collection. These include photographs Above: Alfred Coffey (1869–1950) They give a sense of surface to taken by Coffey that give a new insight A chat on the beach, 1919 the sand, establishing texture and into A chat on the beach. Taken at a oil on board, 23.5 x 31 cm donated by the Estate of Nell Wryana suggestions of movement and beach in Ulladulla, the photographs Buckingham 1986, University Art Collection, UA1986.4 shape. In the seated figure they are feature Havyatt’s aunt Constance again visible, as the paint is dragged Maude Elliot Smith (née Luker) and her Below: Four photographs by Alfred Coffey across the surface of the skirt in friend, wearing dresses and hats that donated by Dr Valerie Havyatt 2018, Macleay Museum, clockwise from broken, rough shapes which together recall those featured in the painting top left: HP2018.1.5, HP2018.1.6, suggest form. and a parasol which is strikingly HP2018.1.7, HP2018.1.8

22 23 A gift from Korea –

With North Korea the focus of recent International House held several exhibitions in the Wool Although Australia established full diplomatic relations the hall of the Plumbers and Gasfitters Employees Union in Room during this period, including one focused on the with Seoul in South Korea in 1961, it was not until the Melbourne in March 1982, before opening at International news, a small work in the University lives of Iraqi women. The purpose of these exhibitions was election of the Australian Labor Party in 1972 that priority House in April. Art Collection provides a window into to engage residents, but also publicise the activities of the was given to establishing relations with Pyongyang. house. Opened in 1967, International House is a student Diplomatic relations were established on 31 July 1974, It is unusual to find North Korean artworks and objects a time when there was an attempt residence established to promote global understanding. and North Korea opened an embassy in Canberra in Australian collections. Although it may not fit in the to engage with Korea through art They actively encourage residents from around the world in December, with Australia doing likewise in April 1975. University’s core collecting priorities, it does provide to apply and, since opening, have had 6000 residences It was not to last; North Korea withdrew their diplomats evidence of the diverse activities that we engage in. The and culture. Chris Jones investigates. representing more than 100 nations. It was an appropriate on 30 October 1975. wood inlay mountain scene is a reminder of the role that venue for an exhibition intended to improve the cultural exchange can play in the world of international A wood inlay work of a Korean mountain scene, by Korean relationship between Australia and North Korea. Running parallel to the Australian government’s diplomatic diplomatic relations. artist Ro Song Sik, was gifted to the University of Sydney activities in the 1970s, the Australia-Korea Society in 1982 by a delegation from the Democratic People’s By 1982, the two countries had been estranged for a for Friendship and Cultural Exchange was initiated Chris Jones is Assistant Collections Manager, Republic of Korea (DPRK). The delegation was visiting number of years. In October 1975, North Korea had by a Melbourne activist, Joseph Waters. The society Sydney University Museums. Australia to mark the 70th birthday of Kim II-sung. The removed its embassy from Canberra and expelled emphasised the achievements of the DPRK and the Left: notice for Korean Exhibition, Sydney Morning celebration included an exhibition of Korean photographs, Australian diplomats from Pyongyang. Diplomatic relations dangers to peace being caused by the foreign troops Herald, 3 April 1982, p. 46 books and handicrafts at International House, University were complicated following the Korean War. After the stationed in the South. They believed that an open Right: Ro Song Sik, Korean Mountain Scene 1977, wood of Sydney, titled Thirty Years of Achievement in the armistice in July 1953, a military demarcation line divided exchange between the two countries would lead to a inlay, University Art Collection, UA1982.2 Democratic People's Republic of Korea. the Korean Peninsula, and Australian forces remained in better relationship. It was the society that brought the Korea as part of the multinational peacekeeping force North Korean arts exhibition to Australia, first displayed in until 1957.

24 25 sites were popular, particularly those in Egypt, Stereography Rome, the Holy Lands, and Greece. My recent research project focused on a selection of stereo views of Greece held within the Macleay in the land Museum’s Historic Photograph Collection. Through this research it became apparent that of Homer much of the genre was used to reaffirm Western beliefs and prejudices about the character and heritage of a nation, rather than being – impartial documentation.

Sarah Judd looks beyond the These travel stereographs of Greece have copyright dates that span the late 19th and photograph to the cultural early 20th centuries. The late 19th century significance of stereographs. saw renewed interest in stereography and the establishment of large stereograph publishing companies such as Underwood & Underwood, H.C. White Company, and Keystone View Company. Though based in America, they held a The potential for photography to capture global monopoly on stereograph production and images of travel was realised almost immediately established offices throughout Europe, Australia after the announcement of the daguerreotype and New Zealand. Larger stereograph publishers in 1839. Within the same year, Noël Paymal employed many unattributed photographers, Lerebours commissioned more than 1000 bought and published stock from defunct scenic daguerreotypes of sites all over the publishing houses, and sometimes even stole world for his work Excursions Daguerriennes. images from other companies. Travel sets Daguerreotypes were, however, one-off produced by these companies often attempted photographic images, captured on silver- to simulate the experience of travel, with coated copper plates. With the development Underwood & Underwood producing companion of the glass negative which could be copied guidebooks that contained maps and a narrative for multiple photographic prints, together of travel built around descriptions of the with stereography, travel images became stereographs. Captions about the scenes were widely dispersed. occasionally included on the reverse of cards.

In a stereograph, two photographic images on The content of the stereographs I researched a single card are viewed through a stereoscope can be roughly divided into three, albeit viewer, giving a 3D effect. Stereographs, or overlapping, categories: images of landscape, stereo views, first captured public attention at images of archaeological features, and images the 1851 Crystal Palace Exhibition in London, in of contemporary Greek people. Images that which Queen Victoria admired stereographic showcased the Greek landscape often relied images created by Jules Dubosq. According on composition and historical context to create to Laura Claudet’s entry on stereography in interest. This was done by adapting artistic The Encyclopedia of Nineteenth-Century convention used for landscape paintings, Photography, more than a million viewers were or including information about relevant sold in London and Paris within three months of historical events in the accompanying captions the exhibition. or guidebooks.

Stereographs were typically sold in series that Images that feature archaeological sites depicted stories of a playful nature, landscapes, prominently not only used composition and travel views or street scenes. Images of travel historical context, but also relied on human figures to create a certain vision of Greece. The were particularly popular as they allowed the Top: ‘Temple of Olympian Jupiter, Middle: ‘Bird’s-eye View of Delphi, Below: ‘Washerwomen at Ancient viewer to experience a foreign land without the inclusion of people in these stereographs is largest of Greek Temples, Athens, Valley of Pleistos and the distant Roman Fountain, Old Corinth, common, with one or more people appearing Greece, Copyright 1901’, published Gulf of Corinth, Greece, Copyright Greece, Copyright 1901’, published cost or difficulties of travel. Within the travel by H.C. White Co, Macleay Museum, 1908’, published by H.C. White Co by H.C. White Co, Macleay Museum, genre, images of archaeological or historic prominently in the majority of images studied. HP2016.4.43. The human figure Macleay Museum, HP2016.4.98. The HP2016.4.77. Human figures establish gives a measure of scale to a archaeological site at Delphi adds a connection with ancient Greece and monumental structure. a sense of cultural history to suggest a possible original function the landscape. of the site.

26 27 While this could be partially attributed to the visual interest a human figure can generate, their posture and placement within the scenes confirms they had an impact on the message the image was sending. People in these images often act as markers of scale, or are actors indicating the original use of an archaeological site, or mimic figures included in European travel paintings of the 18th and 19th centuries. The A small number of these stereographs feature images of contemporary Greek peoples as the sole point of focus. These often employ a curiosities of more anthropological gaze, featuring people in traditional dress either facing the camera front- on or engaging in pre-industrial activities. These images highlight how Greece was depicted as a faded glory, unequal to contemporary Western society. Despite this, an enduring connection between contemporary and ancient Greek Dru culture is found in these images within their titles, with their lineage or the land they occupy being attributed to Homer or ‘Classic Greece'. Drury My research into these images shows they hold a wealth of information, beyond a straightforward depiction of Greece, both consciously and subconsciously included. Looking into these Secrets – historic images helps us understand the context of production and original audiences. It also in the encourages us to treat them not as objective visual record, but as cultural objects with their own agency. Macleay

Sarah Judd works as a volunteer with the Museum Macleay Museum’s Historic Photograph Collection and recently completed her honours degree in archaeology. Emily Cullen explores the elusive entomology Top: Stereoscope made by HC White, collection of USA 1890–1910 donated by Dru Drury, and Mr & Mrs GFB Howard, 1974, its traces in the Macleay Museum, SC1974.21 Macleay collection.

Left: ‘Peasants in the Land of Homer, Greece, Copyright 1897’, published by Underwood & Underwood, Macleay Museum, HP2014.3.279. Contemporary Greek people are seen through an anthropological gaze while being linked to ancient Greek culture through the title.

28 29 Stepping inside the Macleay Entomology York. The Macleay specimen label specified ‘N. Collection, it’s easy to get lost amid the rows America’ on the male, while the female’s label of cupboards and drawers, especially if you’re was simply marked ‘’. The next step was to looking for something in particular. For my compare the beetles to the plates in Drury’s internship at the Macleay Museum, I was volume; on both specimens the front two legs definitely looking for something, but what made were positioned quite far forwards, while the my search harder was not knowing whether the second two sets of legs pointed backwards. insect I was looking for was even there at all. The similarities between the Macleay collection There are thousands of insects in the collection Xyloryctes jamaicensis and the illustration in of varying ages, and I was interested in some of Drury’s works did suggest that these were the the oldest, once belonging to an entomologist same individuals. by the name of Dru Drury. Even with research and evidence supporting Born in 1724, Drury was a silversmith who the identification and provenance of the two inherited the family business in 1748 and specimens, it is not possible to be certain from expanded it throughout his lifetime, even the illustrations alone. However, the potential purchasing other businesses and adding them does prompt further questions, such as how to his own. However, Drury’s true love was did two beetles from America end up in the insects and he exploited his business success to collection of a British silversmith, and how did fund his insect obsession, showing specimens they then arrive in Australia? at London’s Aurelian Society (1745–1826), the first learned society dedicated to entomology The answer to that question can be found in where members met, discussed, displayed “Nothing is strained or carried beyond the Drury’s network of collectors which stretched was married, as Drury was introduced to him and exchanged insects (Neave, S.A., Griffin, bounds nature has set and whoever will to America, China, Africa, India, the Caribbean through a Mrs James, either Thomas' wife F.J. 1933. The History of the Entomological compare the engravings with the originals, and later, in Australia. To one collector, Mr or mother. society of London, 1833-1933. London: I flatter myself will allow, that nothing is Thomas James of New York, Drury wrote Entomological Society). borrowed from fancy or that any colour frequently. Over the 12 years of their association Following Drury’s death in 1804, his collection given to an insect that does not really (1764–76), Drury received nearly 250 insects was sold at a public auction styled as ‘The Most The Aurelian’s secretary at the time was Moses exist in the subject to be represented.” from James, including 32 butterflies. Little Capital Assemblage of Insects Probably Ever Harris, who, along with his own publications, – Dru Drury is known of Mr James except that he lived Offered to Public Sale’. Many collectors were completed the majority of illustrations for in New York and worked as a collector for present at the sale, including Alexander Macleay, Drury’s three-volume publication of his Working my way through the collection Drury and other entomologists and was at one who purchased a number of unspecified insects. collection, Illustrations of Natural History searching for Drury specimens was both stage an acquaintance of the British Loyalist, It is equally possible that John Francillon (1770–82). These plates can be used to reliably fascinating and frustrating. The collection is John Rapalje. It is also quite possible that he purchased them from Drury’s cabinets and determine Drury insects in Macleay’s collection. massive, with thousands of insects pinned in Macleay later purchased them at the auction drawers, each with a glass lid. Examining the following Francillon’s death 13 years later. specimens was a slow and delicate exercise. First the lid had to be removed, which for Finding these two beetles feels a lot like the hardier specimens, like beetles, wasn’t meeting Drury himself, forming a link across so problematic. But the delicate wings of the hundreds of years that have passed. I can’t Lepidoptera were so fragile that even the slight imagine that Drury ever expected his insects to vacuum created when the lid was removed was still be amazing people half a world away and enough to cause the wings to move and quiver. centuries later.

Following the trails of previous Macleay curators, weeks of searching went by with many potential matches identified and then discarded Emily Cullen is a recent graduate of the because their patterning or positioning did not Master of Museum and Heritage Studies at the match the illustration. I was almost ready to University of Sydney. She has a background in admit defeat. Finally, I came across a male and biology, ancient history and teaching through female pair of American Rhinoceros beetles, her work at the Nicholson Museum. Xyloryctes jamaicensis, which could be those Drury had stated he had received from New

30 31 and professional. Of interest is as the Athens photos, and again traffic island is the Meta Sudans. that the photo shows the massive the photographer is unknown. A brick and concrete conical turning spoil heap of soil dumped on the Both photographs, along with a point constructed between AD 89 south of the Acropolis following the third view of the Roman Forum and 96, the Meta acted as the spot excavations by the Archaeological displayed in the Oriental Studies where triumphal processions would Society at Athens during the 1870s Room (UA2008.38), were donated turn left into the forum. It is also the and 1880s. This soil heap is now to the University by E.J. Forbes and only one of the photographs with covered completely by modern Son Limited around 1900. Forbes human figures for scale; underneath buildings in the Athenian suburb of were a publishing company based in the shadows of the Colosseum are a Koukaki. The image is certainly later Sydney who produced the Australian series of horse and buggies. than the 1870s when much of the edition of the Webster’s Dictionary, post-Periklean architecture on the and also manufactured school desks Another photographic print Acropolis was deliberately removed, and chairs. (UA1933.5) was donated by Mrs including a large medieval tower. Octavius Beale in 1933, the widow The original Acropolis Museum built The photo of the Arch of Constantine of the piano manufacturer and in 1874 is also visible. shows the structure built between philanthropist, who, after her AD 312–315 from its southern side. husband’s death in a motor vehicle Photographs of Italian archaeological The other photograph is from an accident, also donated the 19th sites were similarly popular, and interesting angle, taken from the century bust of Augustus to the two images show two of Rome’s Piazza di Santa Francesca Romana Nicholson Museum (NM2008.3). most famous buildings: the towards the southern side of the The image is labelled as a photograph Colosseum (UA2008.39) and the Colosseum. Visible on the right of of the Roman settlement of Timgad Arch of Constantine (UA2008.40). the image is the Arch of Constantine, in North Africa, but is in fact a Both images are of similar date and in the centre of the photo on the photograph of the stepped podium

Picturing antiquity – Dr Craig Barker takes a If you visit the administration Dated around 1900 are two offices of Sydney University photographs of the Acropolis closer look at some very Museums in the corridor beneath in Athens in the University Art large images of some the Nicholson Museum and behind Collection. One is a large image the Refectory, you will notice a series of the Parthenon (UA1907.1) of the most iconic of framed large-scale photographs with a matching image showing Mediterranean of Mediterranean archaeological the entire Acropolis (UA1907.2). sites. In the late 19th and early 20th Both are rather typical images of archaeological sites. centuries, photography was used as a the era, capturing the fascination tool to convey the beauty and wonder of the Western world with Greek of archaeological sites to a wider monuments at the end of the audience, particularly in an era when 19th century. The photograph of travel was rare and expensive. the Parthenon shows the temple from its western side, the view of Some of these images have a long the building seen when one first history and were displayed in climbs and enters the Acropolis. teaching rooms and lecture theatres The overall Acropolis image was around the Quadrangle. Three photographed from the area near the matching photos from these series Philopappos Monument, a site that are still displayed in the Oriental has subsequently become popular for Studies Room. many photographers, both amateur

32 33 of the Temple of Venus Genetrix Rome, showing the northwestern region by the Italian government located at Djemila (ancient Cuicul), section of the forum as viewed from in 1898, including restoration of Making history a Roman settlement in modern the Portico Dii Consentes on the architectural fragments where Algeria, founded around AD 96 as Capitoline Rise. Visible is the Arch possible. These state-funded a colony for veterans by Emperor of Septimius Severus which was excavations continued in the forum Nerva. In 1909, systematic dedicated in AD 203, some of the until 1925, but it can be presumed archaeological excavations began columns of the Temple of Saturn and that this photograph was taken in the at the site and it can be assumed the 17th century dome of Santi Luca first decade of the twentieth century, 1. Dr James Fraser, Senior Curator of the Nicholson that this photograph is probably e Martina just behind the remaining as the foundations of the Basilica Museum; Professor the post-First World War in date. Two Corinthian corner columns of the Julia behind the temple have been Hon. Bob Carr, former NSW Premier and Australian additional photos from the same Temple of Vespasian and Titus. completely cleared. Foreign Minister; and David Ellis, Director of Museums series are displayed in the Oriental and Cultural Engagement, Studies Room, one of the main street Indeed, even before photography, The monumental scale of the large after Carr’s public lecture 'Decline and Fall: of Djemila (UA1933.7) and the other this view of the ruins of Rome print photographs is indicative of Reflections on Rome and the of the theatre at the more famous was popularised by artists. The the popularity of these types of USA' on 1 August 2018. archaeological site of Timgad, hence Metropolitan Museum of Art holds photos for Victorian and Edwardian 2. Researcher Brent Kerehona studies a the confusion (UA1933.6). an etching by Giovanni Battista audiences. They conveyed a carving of his whanaunga Piranesi, dated around 1775, from sense of the grandeur of Classical family member Hongi Hika (1772‑1828) in the Macleay The most recently acquired of the a very similar angle, while the slope architecture and the exoticism and 1. 2. Museum storerooms. photographs, and the only one that of the Capitoline proved popular for romanticism of the ruins of the past 3. Matthew Huan, is colour-tinted, was donated by artists as diverse as JMW Turner that appealed to a contemporary collections officer and entomology assistant, Shane Simpson AM in 2014 and and Claude Lorrain during their viewer. Even in the 21st century, re‑pinning insects in the Macleay collections at is now in the education collection Grand Tours. The first official there is a scale to these photographs Elizabeth Bay House. (IRN113836). The photograph excavations of the area began in that remains breathtaking. 4. Museum Education Officers is mounted on card and depicts a 1803 when debris was cleared from Mitchell Barker, Gabrielle late 19th century view of the ruins the Arch; Piranesi’s view depicts Dr Craig Barker is Manager, Harrington and Rhiannon Bateman in Roman armour for of the Roman Forum. The view the Arch covered with soil. Official Public Programs and Education, the children’s July school holiday activity day on the is well known to tourists visiting excavations were first begun in the Sydney University Museums. Roman military.

4.

Page 32: The Parthenon, University Art Collection, UA1907.1

Page 33: The Arch of Constantine, University 3. 3. Art Collection, UA2008.40

Left: The Roman Forum, University Education collection, IRN113836 Please help us to conserve and grow Below left: The Colosseum, University Art Collection, UA2008.39 Name: �������������������������������������������������������������������������������������������������������������������� Please accept my: Below right: The Acropolis, Address: ��������������������������������������������������������������������������������������������������������������� £ Cheque £ Money order £ Credit card University Art Collection, (Please make payable to The University of Sydney) UA1907.2 ������������������������������������������������������������������������������������������������������������������������������� Credit card details Phone: ������������������������������������������������������������������������������������������������������������������� £ Visa £ MasterCard £ American Express £ Diners Club Email: �������������������������������������������������������������������������������������������������������������������� Card No: ��������������������������������������������������������������������������������������������������������������� Please accept my gift of: Cardholder’s name: ������������������������������������������������������������������������������������������� £ $50 £ $100 £ $250 £ Other $ ��������������������������������������������������������� Company name (if using a corporate card) ������������������������������������������������������� (Donations of $2 or more are tax deductible) (A receipt will be issued in the name of the cardholder) Expiry:...... Signature: ��������������������������������������������������������������������� I would like to allocate my donation to: £ Macleay Collection £ Acquisitions £ Please send me information about how I can remember the £ Nicholson Collection £ Conservation University of Sydney in my will. £ University Art Collection £ Director’s priorities £ I confirm that I have included the University of Sydney in my will.

Advancement Services ABN 15 211 513 464 The information you provide on this form is collected by the University of Sydney to Level 7, Jane Foss Russell Building (G02) CRICOS 00026A maintain contact and keep you up to date with information about the University, its services, The University of Sydney, NSW 2006 Australia CFN 10369 events and achievements. It may be passed onto groups affiliated with the University, such as alumni organisations and foundations (local and overseas), Sydney Uni Sport & Fitness, +61 2 8627 8807 and residential colleges. Your name may be published in the annual honour roll. If you wish +61 2 8627 8819 (fax) to remain anonymous or do not wish to receive information, please contact Advancement [email protected] Services via fax (+61 2 8627 8819) or email ([email protected]). The University sydney.edu.au/museums abides by the NSW Privacy and Personal Information Protection Act 1998. 34 Find your muse at Current Sydney University Museums exhibitions December 2018 February 2019 –

– – Nicholson Museum Whether you want to view an exhibition or attend a Saturday 1 December 2018, 2–3pm Saturday 2 February, 2–3pm –– Alpha and Omega: tales of talk, we have plenty on offer. A Very Bourbon Christmas: Māori in early Sydney* transformation, until Friday 26 Christmas in the Bay of Naples in Rebecca Conway, Macleay Museum October 2018 the 18th century* Travellers in Time series –– The sky and the sea: For more information and to view the latest timetable, Dr Estelle Laser, The University ancient Cypriot art visit sydney.edu.au/museums and click on ‘What’s on’. of Sydney Wednesday 20 February, –– Lego Pompeii Unless otherwise stated, all events take place at the Cost: free 6 for 6.30pm –– Death Magic Nicholson Museum. The Nicholson Museum –– Memento: remembering Saturday 15 December, 10am–4pm Mummy Project Roman lives Information Day Join us for the Friends of the –– Tombs Tells and Temples: The Nicholson Museum will be opened Nicholson Museum AGM and a excavating the Near East Free Nicholson Museum tours November 2018 for the University of Sydney’s annual presentation on the latest research –– Actors, Athletes and Academics: Join Nicholson Museum staff Information Day. on the Egyptian mummies held in life in ancient Greece every Monday from 3.30–4.30pm All welcome the Nicholson collection. –– The Art of Storytelling for a collection tour with a – Thursday 1 November, 12–1pm Wednesday 14 November, 6pm Cost: $40, $30 for Friends of the –– Connections, from Monday different focus each week. From Eastern Ave to Science Road: Film screening: The Opposition Nicholson Museum and their 12 November 2018 Cost: free a curator’s tour of new public art A film about the difficulties of guests, $10 for students. Includes commissions development and stability in PNG. light refreshments. Unless noted, all Nicholson Museum A free one-hour walking tour with Old Geology Lecture Theatre exhibitions are ongoing. Dr Ann Stephen examining recent Cost: free art commissions on campus. January 2019 Bookings: museums.education@ Wednesday 21 November, sydney.edu.au 6 for 6.30pm – Cost: free Sir Charles Nicholson Lecture 2018 Wednesday 16 January, 10am–4pm Facing our past: the Jericho Skull at January School Holiday Fun Day Saturday 3 November, 2–3pm the British Museum Activities for kids aged 5–12 Sardinia: Bronze Age and beyond* Dr Alexandra Fletcher, British Museum throughout the day. Robert Veel, Academy Travel Cost: $40, $30 for Friends of the Cost: free Cost: free Nicholson Museum and their Bookings not required guests, $10 for students. Includes Saturday 10 November, 2–3pm light refreshments. Nicholson Museum Exhibition Thursday 31 January, 5pm Opening: Connections Wednesday 28 November, Rome: City and Empire. Dr James Fraser will give a lecture 11am–12pm Curating an exhibition to mark the official opening of the Free modernist art walking tour Dr Lily Withycombe, National Follow us on Twitter at Connections exhibition in a sneak Join us for a free walking tour of Museum of Australia twitter.com/sydneyunimuseum peek viewing of the exhibition in this modernist public art on campus Cost: free or find us on Facebook one-off Saturday opening. with your guide Alan Spackman. by searching for ‘Sydney Cost: free Bookings: museums.education@ University Museums’. sydney.edu.au Cost: free All details are correct at the time of publication, however, events may change due to circumstances beyond our control. Please visit our website for up‑to‑date information: Above: Votive lead wreath from * The 2018 sydney.edu.au/museums Greece, Archaic period, Nicholson Postcards from Museum, NM48.316.2 the Past and the If you wish to contact 2019 Travellers in the Macleay Museum, the Left: Eclectus roratus (Muller 1776), Time free Saturday Nicholson Museum or the articulated skeleton of the Eclectus lecture series Above: Large two-handled University Art Gallery, parrot, collected Solomon Islands, is sponsored by storage jar from Pella, Jordan, please see inside front c.1880, Macleay Museum, NHB.1738 Academy Travel. Nicholson Museum, NM97.89 cover for our details.

36 37 Connections

Connections is a new exhibition in the Nicholson, exploring how certain objects in the collections are intimately connected to objects held by museums overseas. By examining these links, we learn more about the objects themselves and the circumstances that caused them to rest eventually on opposite sides of the globe.

From Monday 12 November 2018

Nicholson Museum Black-figure amphora, attributed to the Antimenes Painter, Black-figure amphora, attributed to the Antimenes Painter, Athens, Greece, 530–510 BC, purchased 1977 with funds donated by Mrs Mary Saywell, Nicholson Museum, NM77.1