La Trobe Art Institute Art Collection Project Significance Assessment Prepared by Belinda Nemec November 2016 – March 2017 Prepared for La Trobe University at the request of the La Trobe Art Institute, by Dr Belinda Nemec, November 2016 – March 2017. © Copyright La Trobe University 2016–17 and individual copyright holders of artworks illustrated and sources cited. The views expressed in this report are those of the author, Belinda Nemec, or of individuals and written sources cited. They are not necessarily the views of La Trobe University, the La Trobe Art Institute, or individual La Trobe staff. This Report was edited by LAI staff in August 2017 to remove any information that may compromise the security of the University Collections. Areas of redacted content are indicated through the use of this symbol: Further information regarding this decision can be sought by contacting the La Trobe Art Institute. Cover image: ‘Spring’, one of four panels from Leonard French, The four seasons, 1975. La Trobe University Art Collection, purchased 1978. Photograph: La Trobe University Media Library, 2006. ii iii Australian collections are the memory bank of the nation and a key to its future. They embody the people, history, cultures, science and environment of Australia, and they show the creativity of Australians in all dimensions. Collections give a sense of our place in the world, and explain how the land and nation have evolved.* Significance is the values and meanings that items and collections have for people and communities. Significance helps unlock the potential of collections, creating opportunities for communities to access and enjoy collections, and to understand the history, cultures and environments of Australia.† The founders of La Trobe University believed it important that students be surrounded by art. They believed that art should be accessible and understood its role in enriching the student experience. Today I feel so grateful that our founders had the wisdom and foresight to establish this fine art collection. It is our duty to ensure their legacy prevails for future generations of La Trobe students.‡ * Roslyn Russell and Kylie Winkworth, Significance 2.0: A Guide to Assessing the Significance of Collections (Adelaide: Collections Council of Australia Ltd, 2009), 2. † Ibid., 1. ‡ Professor John Dewar (Vice-Chancellor, La Trobe University), in Exhibit A(lumni), (Bundoora: La Trobe University Museum of Art, 2012), 3. v Contents List of illustrations ix 1 Executive summary: statement of significance 1 2 Background: Context for this report 3 3 University art collections: context 7 3.1 International context 7 3.2 Australian context 7 3.3 Victorian context 9 4 The collections: brief descriptions 11 4.1 The La Trobe University Art Collection 12 4.2 The Etta Hirsh Ceramics Collection 14 4.3 The Trendall Collection 15 4.4 The Ethnographic Collection 16 4.5 The Stewart E. Fraser Poster Collection 17 4.6 The F.M. Courtis Collection 17 5 History of the La Trobe University collections 19 5.1 The La Trobe University Art Collection: history 19 5.2 The Etta Hirsh Ceramics Collection: history 38 5.3 The Trendall Collection: history 38 5.4 The Ethnographic Collection: history 44 5.5 The Stewart E. Fraser Poster Collection: history 50 5.6 The F.M. Courtis Collection: history 51 6 Assessing significance 58 6.1 What is significance? 58 6.2 Significance criteria 58 6.3 Who decides what is significant? 58 6.4 Why assess significance? 59 6.5 What is the assessment process? 60 7 Significance assessment of La Trobe collections 61 7.1 The La Trobe University Art Collection: significance 61 7.2 The Etta Hirsh Ceramics Collection: significance 94 7.3 The Ethnographic Collection: significance 96 7.4 The Trendall Collection: significance 99 7.5 The Stewart E. Fraser Poster Collection: significance 105 7.6 The F.M. Courtis Collection: significance 107 8 Discussion 123 vii 9 Recommendations 135 9.1 Location 135 9.2 Display 135 9.3 Accessioning 135 9.4 Collection care 136 9.5 Documentation 137 10 Coda 138 Appendix I: Other Australian university museums and collections 140 Appendix II: List of exhibitions generated or hosted by La Trobe University Museum of Art 159 Appendix III: Individuals consulted or who provided information 197 Appendix IV: Questions used as basis for discussion/response 199 Appendix V: Response from Dr Alana O’Brien 201 Appendix VI: Recommendations for the management of the F.M. Courtis Collection 206 References 237 viii List of illustrations Figure 1: Unveiling of sculpture A new house among the stars (1993) by Jock Clutterbuck. 14 Figure 2: Site for La Trobe University. 20 Figure 3: Installing Inge King’s Dialogue of circles in the moat in 1976. 22 Figure 4: La Trobe University, final architectural model, built by Yuncken Freeman (1965). 23 Figure 5: Maria Kuhn, Keith Humble (1981). 28 Figure 6: Staff installing an exhibition in the art collection’s first dedicated gallery space, located in the university’s main administration building (the David Myers Building), c. 1983. 33 Figure 7: Visitors enjoying an exhibition in the art collection’s first dedicated gallery space, located in the university’s main administration building (the David Myers Building), c. 1984. 34 Figure 8: Bart Sanciolo, Dante’s Divine Comedy (1980–83). 36 Figure 9: Reko Rennie, Murri totem poles (2013) in the forecourt of the La Trobe Institute for Molecular Science. 37 Figure 10: Professor A.D. (Arthur Dale) Trendall (1909–1995). 39 Figure 11: Menzies College (designed by Robin Boyd), pictured in 1970. 40 Figure 12: One drawer from A.D. Trendall’s photographic archive. 41 Figure 13: The study (formerly the living room) of the A.D. Trendall Research Centre, with a portion of Trendall’s library. 42 Figure 14: Original chairs by Australian manufacturer ‘Fler’, bookcase, carpet and items from the teaching collection, in the A.D. Trendall Research Centre. 42 Figure 15: Original furniture during A.D. Trendall’s time in the apartment at Menzies College. 43 Figure 16: Papua New Guinean display at the combined Prehistory and Anthropology Museum, 1981. 44 Figure 17: Unknown maker (East Sepik region, Papua New Guinea), Dancing wagan mask, donated by Dr Joseph Brown, on display in the Prehistory and Anthropology Museum, 1981. 45 Figure 18: Kinomere display in the Anthropology Museum, Open Day 1986. 46 Figure 19: Greek-community dancers outside the Anthropology Museum, Open Day 1986. 47 ix Figure 20: Ethnographic Collection items, stored in the CAVAL facility, Bundoora campus. 49 Figure 21: Spears and other weapons from the Ethnographic Collection, stored in the CAVAL facility, Bundoora campus. 49 Figure 22: Works from the Ethnographic Collection, on display on Level 4 of the Social Sciences Building, Bundoora campus. 50 Figure 23: Arthur Boyd, The Grampians (1950). F.M. Courtis Collection. 53 Figure 24: Leonard French working in his studio on The four seasons, in about 1975. 63 Figure 25: Interior of The Legend Café in Bourke Street, Melbourne, showing Leonard French’s mural series The legend of Sinbad the sailor (1956). 66 Figure 26: North Store, showing works resting on the ground due to lack of space. 69 Figure 27: North Store, showing works resting on the ground due to lack of space. 69 Figure 28: South Store, showing larger paintings. 70 Figure 29: Jabarda ‘Nuggett’ Collins, Untitled (n.d.), hanging in a meeting room on Level 4 of the Social Sciences Building. 71 Figure 30: Reinstallation of Leonard French, The four seasons (1975) in the undercroft of the David Myers Building following conservation treatment, December 2016. 72 Figure 31: ‘Summer’, one of the re-installed panels of Leonard French, The four seasons (1975), following conservation treatment, December 2016. 72 Figure 32: Reinstalling Inge King’s Dialogue of circles in 2015, following conservation treatment and raising the level of the supporting plinths. 73 Figure 33: Example of a minimal object file, containing original catalogue card with photograph, plus subsequent record sheet. 74 Figure 34: Charles Robb, Landmark, 2004. 84 Figure 35: Jon Campbell working on his Guerilla artwork RELAX, in the Borchardt Library, 2013. 86 Figure 36: Jon Campbell, RELAX, Guerilla artwork in the Borchardt Library, 2013. 87 Figure 37: Juan Ford, From grave to cradle, 2008. 88 Figure 38: Sculptor Herman Hohaus and family members with Hohaus’s sculpture Sofia, (1970), purchased with funds donated by Dr Roy Simpson through the Friends of La Trobe University, on the Peribolos Lawn, photographed c. 1980–89. 92 x Figure 39: Artist’s name not noted, work from LifeSkills exhibition held at LUMA in 2016. 93 Figure 40: Some of the Etta Hirsh Ceramics Collection, in the South Store on the Bundoora campus. 95 Figure 41: Selections from the Etta Hirsh Ceramic Collection, on display in the Borchardt Library. 96 Figure 42: Selected antiquities from the A.D. Trendall Collection. 101 Figure 43: William Frater, Jessica (1970). F.M. Courtis Collection, gift of the artist, 1970. 108 Figure 44: Roger Kemp, Climax (1965). F.M. Courtis Collection. Hanging in the Education Building, Bendigo campus. 110 Figure 45: Collection storeroom, Education Building, Bendigo campus. 112 Figure 46: Mary Clemson, Artuform (n.d.). F.M. Courtis Collection. Hanging opposite a large window in the Education Building, Bendigo campus. 113 Figure 47: Shaun Tan, Orange (illustration for pages 12–13 of Memorial) (1988). F.M. Courtis Collection, purchased from 1998 Children’s Literature Festival. 115 Figure 48: Examples of original artwork for children’s book illustrations (F.M. Courtis Collection), on display in the Education Building, Bendigo campus. 116 Figure 49: Example of hanging hook from recently relocated artwork, Education Building, Bendigo campus. 117 Figure 50: Lecturer David Beagley in the thoroughfare that might be suitable for conversion to a small gallery for student- curated exhibitions, drawing on the F.M.