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National Gallery Act - Council of Australian National Gallery - Report and financial statements, together with Auditor-General's Report - Year - 1982-83

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Australian National Gallery Annual Report 1982/83

Australian National Gallery Annual Report 1982/83

Australian National Gallery Canberra 1983

Australian National Gallery Canberra 1983 ISSN 0 314 — 9919 Compiled by Hester Gascoigne; edited by Bruce Semler Designed by Sara Twigg-Patterson Photographs by Bruce Moore, Erwin Potas and Matt Kelso Typesetting by Smith & Miles Limited

Printed by A. E. Keating (Printing) Pty Ltd


Australian National Gallery Canberra A.C.T. 2600

30 December 1983

Dear Mr Cohen The Australian National Gallery has pleasure in presenting its Annual Report for 1982/83.

The Report outlines the Gallery's activities during 1982/83 and incorporates financial statements covering the period 1 July 1982 to 30 June 1983.

L. Gordon Darling Chairman of Council

The Hon. Barry Cohen, MP.

Minister for Home Affairs and Environment Parliament House Canberra A.C.T. 2600



Highlights of the Year 7

Chairman’s Report 8

The Opening of the Gallery 8

Basic Statistics 9

Funding 9

The Gallery as a National Cultural Centre 12

The Council 12

Director’s Report 14

The Opening Celebrations 14

Australian Art 15

Loans 16

Exhibitions 17

Acquisitions 18

Registration 20

Conservation 21

The Library 21

Pella in Jordan 22

Secretary and Manager’s Report 23

Management Review 23

Forward Planning 23

Publicity 24

Australian National Gallery Association 24

Public Relations 25

Commercial Activities 25

Consultants 26

Advisory Committee on National Collections 26

Freedom of Information 26

Staff 27

New Acquisitions 1982-83 29

Australian Art 29

European and American Paintings, Sculptures, Drawings and Decorative Arts 33

International Prints and Illustrated Books 38

Photography 38

Australian Aboriginal, Oceanic, African and Pre-Columbian American Art 40

Asian and Southeast Asian Art . 41

Gifts 42

Donors 1982/83 44

Exhibitions 47

ANG at ANU 47

Asian Art and Textiles 47

International Prints and Illustrated Books 47

Photography 48

Theatre Arts 49

Education Displays 49

Australian National Gallery Association 50

Programmes for Members 50

Special Events 51



ANGA News 51

Education Programmes 52

Publications 54

Books and Catalogues 54

Clothes and Textile Accessories 54

Greeting Cards, Posters and Large Reproductions 54

Other Items 55

Awards 55

Staff Activities 56

Director 56

Secretary and Manager 56

Australian Art 56

International Prints and Illustrated Books 58

International Art 58

Photography 58

Conservation 59

Education 59

Registration 59

Library 60

Publications 60

Public Relations 61

Other Activities 61

Staff Changes 61

Financial Report 63

Appendixes 69

Appendix 1 Functions and Powers of the Gallery 69

Appendix 2 Gallery Council and Committees 70

Appendix 3 Attendance Figures 70

Appendix 4 Management Structure 71

Appendix 5 Staff of the ANG 72

Appendix 6 Donors 75

Appendix 7 Corporate Appeal 77

Appendix 8 Founding Donor Fund 78

Appendix 9 $100 Members of the Australian National Gallery Association 82

Appendix 10 Inward and Outward Loans 83

Appendix 11 Acquisitions 86

Highlights of the Year July First sculptures installed in Sculpture Garden August 18

Open day for public, to test systems September 27 Major media preview of completed displays, followed by Director’s address to National Press Club October 3

Preview for Gallery staff, families and friends October 5 Television production Australian National Gallery : Exemplary Objects

shown nationwide by the ABC to an audience of more than one million October 6 Preview for major donors and lenders October 9

Preview for the Australian arts community October 11 Official handover of Philip Morris Arts Grant Collection October 12 Ceremonial opening of the Gallery by Her Majesty, Queen Elizabeth,

broadcast on television to an audience exceeding one million October 13 Gallery opens to the public

November 4 Esso sponsorship of extended Thursday hours begins November 10 Photography gallery opened by Max Dupain November 26 100 000th visitor welcomed March 30 Major acquisitions for the year announced

June 15 500 000th visitor welcomed June 30 531 223 visitors since opening 5000 Memberships of the Australian National Gallery Association covering 12 000 individuals 882 school groups, a total of 32 365 students, visited since opening


Chairman’s Report

The year 1982-83 has been a period of great change and considerable achievement for the Gallery. As a result of many years of planning and the contributions of numerous people the Gallery is finally in a position to work towards the fulfilment of its charter: to acquire, conserve,

research and make accessible a National Collection of works of art for the benefit and enjoyment of all people.

The Opening of the Gallery The Gallery is already becoming a new focus for the visual arts in Australia. The presence at the ceremonial opening on 12 October 1982 of Her Majesty the Queen and His Royal Highness the Duke of

Edinburgh, among a distinguished gathering, sealed the recognition of that event as one of great international cultural importance. On that evening I paid particular tribute on behalf of Council to three people among the many hundreds who helped create the Gallery:

Richard Crebbin, who chaired with distinction the first Council from its inception in 1974, and all his council members for their collective wisdom and imagination: Colin Madigan, the lead architect, and his professional colleagues, for the artistry of their design in a structure of immense complexity; and

James Mollison, the Gallery’s founding director, for his uncompromising standards of excellence, and all his curators for their considerable contri­ butions.

In his speech the Prime Minister, the Right Honourable Malcolm Fraser, announced that three galleries were to be named in recognition of outstanding services to the Gallery by Fred Williams, Sir William Dargie, and Sir Daryl Lindsay. He also chose this occasion to an­ nounce a twenty-seven million dollar contribution to Gallery purchases over the next five years, to be known as the Bicentennial Collection.

The opening ceremony took place before some 850 guests. Pro­ claimed ‘an event of national importance! the ceremony was televised and broadcast to an audience of over one million Australians. Invalua­ ble assistance towards the excellent media coverage accorded the opening ceremony was given by Michael Shea, Press Secretary to the Queen, Graham Wicks and Chris Freeman of the Australian Informa­ tion Service, John Thornton of the A.CT Electricity Authority, and Brian Adams of the Australian Broadcasting Commission. Those who were unable to be present at the public opening the next day were also able to share in it through the live broadcast from the Gallery on ABC FM radio.

At its next meeting the Gallery Council placed on record its appreciation of the efforts of the Director and all members of the Gallery staff on the occasion of the opening. The advice of Sir James Scholtens, Ceremonial Consultant, was also acknowledged with ap­ preciation.


Basic Statistics Visitors The promise of the opening was fulfilled in the first months of the Gallery’s operations. By the end of the financial year 531 223 visitors

had passed through the Gallery doors. A significant proportion of these, some 77 per cent, were visitors from interstate or overseas. The impact has been registered in tourist statistics for the A.C.T., which show an increase in tourism of 15 per cent since the opening of the


The Australian National Gallery Association The rapid growth of the Australian National Gallery Association to become the second largest in Australia, with over 5000 Memberships by 30 June 1983 covering some 12 000 individuals, is a gratifying

response to our invitation to Australians to take part in the life of the Gallery.

Education programmes Our Education programmes have produced impressive results. Eight hundred and eighty-two school groups, a total of 32 365 students from

all over Australia, visited the Gallery up to 30 June 1983. The Educa­ tion Centre has organised 170 lectures for lunchtime, Sunday after­ noon and evening programmes. Our twenty-eight Gallery Guides have

conducted a total of 1024 tours.

Funding The Gallery, the Government and the private sector The continued growth of the Gallery to meet the challenge of the Bicentenary will depend upon the development of an effective part­

nership between the Gallery, Government and the private sector. During the year the Gallery initiated two major fund-raising pro­ grammes: the Founding Donor Fund and the 1982 Corporate Appeal. (Contributors are listed in Appendixes 7 and 8).

Founding Donor Fund In October 1982 Ann Lewis, Chairman of the Visual Arts Board of the Australia Council, was invited to chair the Founding Donors Campaign. Richard Crebbin, the first Chairman of the Gallery Council, agreed to

be the Patron. The aim of the Campaign is to raise a substantial endowment to be used solely for the purchase of Australian and international works of art for the National Collection. Individuals were invited to donate a minimum of $1000 to the Fund; donations are tax deductible and a

permanent tribute plaque of names of donors will be displayed in the Gallery lobby. A core group of one hundred prominent Australians was invited to lead the Campaign. The response was heartening. The Campaign commenced in February and within the first six months more than 350

donors had contributed to the appeal, which closes on 1 March 1984.

1982 Corporate Appeal On 5 October 1982 the Gallery launched a three-million-dollar national appeal for founding corporate donors from the Australian business community.

National Chairman of the Corporate Appeal Committee was R. Kevan Gosper, Chairman and Chief Executive Officer of the Shell Group of Companies in Australia. Shell provided invaluable support during the first eight months of the appeal by undertaking the admin­ istration of the campaign and George Mulvey, a recently retired officer of Shell, was appointed Executive Officer.

The appeal is intended to extend over a period of three years and funds raised will be used exclusively for acquisition purposes. Initial donations of $5000 per annum for three years have been sought from a cross-section of companies who would become the Australian National Gallery's founding corporate donors. All donations are tax deductible.

More than thirty leading Australian businessmen formed fund­ raising committees throughout Australia. State Committee Chairmen were Sir William Vines (N.S.W.); Sir Thomas North (Vic.); the late Sir Robert Porter (S.A.); Bruce Watson (Old.); Alan Blackensee (W.A.); Sir John Crawford (A.CT); and Rod Henry (Tas.). The Governor-General,

His Excellency the Right Honourable Sir Ninian Stephen, A.K., G.C.M.G., K.B.E., K.St.J., agreed to be Patron of the appeal in its initial year. The appeal opened in the midst of a severe economic downturn and it is a tribute to Kevan Gosper’s personal dedication that he and his committees had raised, in cash and pledges, a sum approaching one million dollars from over one hundred companies by the end of the financial year.

Sponsors Sponsorship was received from the organisations listed below. Philip Morris Philip Morris (Australia) Limited, winner of the 1982

Business in the Arts Award, initiated The Philip Morris Arts Grant in 1973. Now conservatively valued at $750 000, the Philip Morris Arts Grant collection comprises 328 works by 117 artists, which range from paintings, sculpture, prints and works on paper to craft works, video tapes and posters. The collection also includes more than 200 posters and nearly 900 photographs by 102 photographers. On 11 October the entire collection was presented as a gift to Australia, to be based at the Australian National Gallery.

Esso Assistance of an innovative kind was given by Esso (Aus­ tralia) Limited. By underwriting free Thursday evening openings dur­ ing the daylight saving months Esso assisted in making the Gallery more accessible to the public. The free Thursday evening openings have enabled individuals and whole families to enjoy the National Collection during their leisure hours. Esso's sponsorship has been generously extended until 14 July 1983.

Other Sponsors Capital City Broadcasters Pty Limited provided


extensive advertising of the Gallery’s activities on Radio Station 2CC. Capital 7 Television and ABC-TV 3 also deserve special thanks for community advertising which has significantly raised the Gallery’s local and regional profile. Green Apple Graphics, Canberra, donated

typesetting and printing for one of the popular room brochures produced during the year for special exhibitions and The Canberra Times contributed to a spectacular display of fireworks celebrating the opening of the Gallery. The display was seen by 40 000 people.

Installation view of the exhibition of works from the Philip Morris Arts Grant, Australian Art of the

Last Ten Years, at Melville Hall, A.N.U.

Admission Charges A general admission charge to the Gallery applies. However, exemp­ tions for children under 15, full-time students, people in receipt of Australian pensions, the unemployed, and Members of the Australian

National Gallery Association mean that only 40 per cent of the Gallery's visitors pay the admission charge. Funds thus raised are applied exclusively to the acquisition of Australian works of art. During the year the Council was pleased to approve the use of these funds for important acquisitions for the Australian collections: Charles Conder’s Bronte Beach 1888; a collection of nineteenth-



century silver, one of the last privately owned collections of this quality in Australia; and a major example of nineteenth century wallpaper, one of the most famous ever made in France, titled The voyages of Captain Cook.

The Gallery as a National Cultural Centre Since opening, the Gallery has come to play an increasingly signifi­ cant role in the cultural life of the national capital. In April 1983 the Council hosted a reception for delegates to the National Economic

Summit, providing an informal occasion for that unique cross-section of Australian leaders to enjoy the National Collection. The Prime Minister; the Honourable R. J. L. Hawke, was among the distinguished guests. The Gallery was chosen by the Minister for Foreign Affairs, the

Honourable Bill Hayden, as the venue for an important function for the Heads of Diplomatic Missions to Australia and in March 1983 His Royal Highness Prince Charles made an informal visit while on his brief tour of Canberra.

The Gallery has received special visits from a wide range of organisations and individuals this year. Guests have included mem­ bers and staff of the Literature Board of the Australia Council; dele­ gates to conferences for Housing Ministers, State Ministers of Educa­ tion, and Ombudsmen; Heads of Commonwealth Cultural Institutions; and members of the Diplomatic Corps. The Regional Galleries Asso­ ciation held its Annual General Meeting at the Gallery. Art Gallery Society members from the Hamilton, Bendigo and McClelland Galler­ ies in Victoria, the Art Gallery of New South Wales and Newcastle Gallery have organised special visits. The National Trust of Australia (A.C.T. Branch) held its Founders' Day Dinner at the Gallery; the New South Wales Branch organised a special visit and the Third Interna­ tional Conference of National Trusts enjoyed a tour and a dinner. The New South Wales Dental Association chose the Gallery for a reception and a tour of the collection for delegates to their Canberra conference. The Australian-American Association held a monthly meeting in the

Board Room.

The Council During the year under review four new members of Council began their terms. The appointment of three was announced last year: Tom Critchley, A.O., C.B.E., a former senior Commonwealth public servant; Dr Murray Elliott, a medical specialist; and Lenore Nicklin, journalist. In August, artist Jacqueline Hick was appointed to the Council.

In August, James Fairfax stood down as Deputy Chairman, a position he had occupied since 1976, and Council paid tribute to his outstanding services. John Davies was elected to succeed him. Soon after opening the Opening Events Committee of Council was dissolved. One committee was reinstated during the year, the Building Committee, which was reconvened to examine any project which involved alterations or additions to the building.


In November, Robert Piper visited the United States to negotiate procedures for establishing a Foundation through which the Gallery will obtain gifts from citizens or corporations in the United States. An important Council initiative during the year was the invitation to

senior curators to attend meetings of Council committees on a trial basis for twelve months. This course of action was recommended as a measure which would go some way towards avoiding a situation common in similar institutions all over the world: an apparent lack of communication between controlling bodies and curators. The senior curators also provided substantial input for the Secretary and Manag­ er’s Corporate Development Plan. Curators also sit on each job-

interview panel for positions of Assistant Curator upwards. During the year, senior curators formed a group to offer advice to the Director and Council. The group’s first Chairman, Ian North, Curator of Photo­

graphy, was succeeded at the end of the year by Daniel Thomas, Senior Curator of Australian Art. Council was pleased to invite Lyn Williams to become the Gallery’s first Honorary Life Member in recognition of her support during all the years her husband Fred Williams was a member of the Gallery’s successive controlling bodies.

By the end of the year under review negotiations were almost concluded for the showing of the exhibition The Entombed Warriors in the Gallery in September 1983. This has been an historic year for the Gallery and for all those concerned with the development and preservation of Australia’s cul­ tural heritage. Considerable achievements have been made and of

course a very great deal remains to be done. A special challenge now is the need to assemble in time for the Australian Bicentenary in 1988 a worthy collection of outstanding works of art.



_________ Director's Report_________

The history of the National Collection goes back to 1912, but only this year has the Collection been installed in a permanent home. Already the response of visitors to the Gallery confirms that it is meeting a real need of the Australian community.

The Gallery expresses the outcome of the work of numerous committees and the efforts and involvement of many people. Among these, I referred in my address to the National Press Club to three persons who played key roles in the development of the Gallery : Sir

Daryl Lindsay, Sir William Dargie and Sir Russell Drysdale. Four other remarkable people — Lucy Swanton, John and Sunday-Reed, and Fred Williams — through their sensitivity and the example they set, gave rise to the search for excellence which became the guiding

principle for the many acquisitions committees with which I have worked. The work of these people complemented by the magnificent efforts of the architects, the trust of the Chairman and Council, the commit­ ment of the curatorial staff to the developing collections, and the dedication of the administrative staff, have given Australians a Na­ tional Gallery of which they can all be truly proud.

The year's achievements have been considerable. By October the fitting out of the galleries and the Sculpture Garden for display was complete. Solutions had been found to the problems posed by the installation requirements of works of all kinds, including anchoring of sculptures, framing and labelling, and fitting of barrier rails. The twelve sculptures in the Sculpture Garden were installed with considerable assistance from the Department of Administrative Services.

The mounting of opening exhibitions was substantially completed in time for the first of the series of previews held prior to the ceremonial opening.

The Opening Celebrations On 27 September representatives of the media were invited to the Gallery to view the displays, meet the professional staff and test some of the Gallery’s services. They were also able to preview an hour-long documentary on the Gallery, produced by Brian Adams and narrated by Robert Hughes. After the preview the Director was the guest of the National Press Club, where his speech to a record audience of over four hundred was broadcast nationally on ABC radio.

The subsequent exhibition previews enabled the Gallery to cele­ brate the opening with those people who had played a part in the project. On 3 October a preview was held for Gallery staff, their families and friends. At a special preview on 6 October, hosted by the Gallery Council and curatorial staff, the Gallery was pleased to be able to express its gratitude to donors and lenders whose generosity


has brought important works into the collection over many years. (Donors since 1975 are listed in Appendix 6.) On 9 October members of the Australian art community were invited, together with founding Members of the Australian National Gallery Association. The response of these first guests to the collection and the opening exhibitions was heartening.

Philip Morris Arts Grant Collection An important event of the opening celebrations was the official handing-over on 11 October of the Philip Morris Arts Grant to the

Prime Minister, the Right Honourable Malcolm Fraser, on behalf of all Australians. Over the past decade Philip Morris (Australia) Limited has provided

over half a million dollars for the purchase of works of contemporary Australian art. The aim of the grant was to sponsor the development of newer arts and younger artists. The collection expresses an impor­ tant chapter in the history of Australian art. The handing-over cere­

mony took place at Melville Hall, Australian National University, where an exhibition of works from the Grant, Australian Art of the Last Ten Years, was mounted. In line with the Gallery’s policy of serving the whole of Australia by

lending to other galleries those works not required for display, works from the Philip Morris Grant will be lent around regional centres. Dispersal will begin when responses have been received from all

galleries approached about the works they would like to receive. Some major donors were presented to the Queen during her tour of the Gallery after the opening ceremony. Among them were Joseph Brown O.B.E., Albert Tucker, John Brackenreg, Ray Kidd (Chairman,

Philip Morris Arts Grant), Rudy Komon and Harry Tatlock Miller. It was with great sadness that the Gallery received the news of the death of Rudy Komon two weeks later.

Australian Art Australian art has become a popular aspect of the Gallery’s display. The inaugural display, which will change little in general character

over the next few years but will vary considerably in the individual works represented, comprised 573 works in all art media and cate­ gories and traced a full, systematic outline of the growth of Australian art from the 1770s to the 1970s. No such permanent display of

Australian art has ever before been presented; nor have other coun­ tries attempted similar permanent displays of their own visual-arts achievements. We see this aspect of the Gallery’s work as a highly successful

response to the needs of the particular public which visits Canberra; that is, a largely tourist public drawn from the whole of Australia, and relatively uninformed both about art in general and about the art of this country. The Australian art display is of course of great interest to


Canberra’s small but significant minority of foreign tourists, a minority which one may assume to be informed about art in general and interested to learn about Australian art. The display occupies the entire upper one of the Gallery’s three floors of exhibition space and through the inclusion of many small-

scale works on paper and decorative arts objects, presents many more works than other departments on other floors. The large number of works is made acceptable to visitors by the stylistic and historical coherence of the displays on the one hand, and on the other by the shifts in intensity of emotional and intellectual response which result from mingling and alternating decorative arts and intimate drawings, watercolours, prints and books with paintings and sculptures.

Favourable historical accident accounts for the unusually large representation of the nation’s own art in the Gallery. It was once assumed that the Gallery would be devoted to Australian art alone, and that Australia could never hope for a National Gallery displaying art drawn from all the world’s cultures. That early lack of confidence and the consequent accumulation in the 1960s and early 1970s of Australian national material turns out to have been a happy accident,

resulting in a National Gallery which is strikingly different from others throughout the world. Loans from other collections, in particular from the National Library, will always remain necessary if the Gallery is to display Australian art systematically, for the first period of European contact with Australia

produced few works of art that are not already in other public collections. Three museological points should be especially noted in connec­ tion with the display of Australian art. The first is historically correct

picture frames, researched and prepared for all the nineteenth-cen­ tury paintings and for most of the twentieth-century paintings by John Jones, Assistant Curator, Australian Paintings and Sculptures. He now

has a unique knowledge of this hitherto unstudied subject and has been able to assist other art museums in Australia. The second is the Gallery’s labels, whose content and format was devised by the Department of Australian Art, and which were de­ signed and produced by the Department of Exhibitions. They have been accepted as amongst the most informative and most legible in the world, and their example is now being followed elsewhere in Australia.

Third, the standardisation of Australian artists’ names for computer cataloguing has meant that variant forms of one artist's name no longer occur in different labels and publications. The Gallery’s authority list of Australian artists’ names is now standard among other museums, libraries and publishers.

Loans Inward loans This year the Gallery’s holdings have been supplemented by 149


inward loans for the opening displays and for the special exhibitions, Paperwork and The screenprint. Most of the loans were for the Australian displays. The National

Library of Australia, Canberra, and its Rex Nan Kivell Collection in particular, are the source of long-term loans of paintings and decora­ tive arts and regularly changing short-term loans of light fragile works on paper.

Equally generous long-term loans were made by the Mitchell Lib­ rary, Sydney; the Museum of Applied Arts and Sciences, Sydney; the National Museum of Victoria, Melbourne; the Royal Anthropological Institute of Great Britain and Ireland, London; the Mertz Collection of Australian Art at the University of Texas, Austin; and several private collectors, including Wallace Thornton, who lent early Australian Abo­

riginal bark paintings for inclusion alongside the work of European artists. Very important short-term loans contributed for a few months to the

Gallery's inaugural displays. They included the Honourable Clive Gibson’s portrait by Joshua Reynolds of Sir Joseph Banks, a prime mover in the founding of the Australian colonies; the State Library of South Australia’s important early colonial photographs; Joseph Brown’s

symbolist painting by Arthur Streeton, The Spirit of the Drought; and Mr and Mrs Benno Schmidt’s famous painting by Russell Drysdale, The drover's wife.

Outward loans A moratorium on outward loans occasioned by opening day pressures ended in March. Eighty-nine loans were made to Australian museums and one each to the Whitney Museum of American Art, New York, and

the National Gallery of Art, Washington. Nearly all the outward loan transactions negotiated were of Australian art. The Australia-wide loans of key works to exhibitions initiated by others is an important contribution to the continuing assessment of Australian art and the

development of public interest in it. Sometimes the Gallery’s loans have comprised the greater part of an exhibition, for example Monash University Art Exhibitions Gallery’s Masterpieces out of the Seventies. Such loans bring the Gallery much goodwill, and are as important as the fully-packaged exhibitions which the Gallery hopes to prepare in the future for tour within Australia.'(Loans are listed in Appendix 10 to

this Report.)

Exhibitions Australian Art of the Last Ten Years was the only exhibition held this year at Melville Hall, the Gallery’s contemporary art venue at the Australian National University. Once again, the Gallery is grateful to the University for making the Hall available, allowing the display of a

broader range of works than would otherwise be possible. At the time of writing, negotiations were continuing with the University for the provision of permanent space to be used as an extension gallery for

contemporary art.

Within the Gallery, changing exhibitions have been mounted by the Departments of Photography International Prints and Illustrated Books, Theatre Arts and the Education Centre. The official opening of the Photography Gallery by the noted Australian photographer, Max Dupain, on 10 November was a mile­ stone in the Gallery’s history This substantial exhibition space at entrance level marks a new high point in art museum recognition of photography in Australia.

During the year changes have been made to the permanent displays of Australian and international art as a result of the inclusion of new acquisitions, the regular changeover of works on paper, and detailed adjustments of the opening displays.

By the end of June 1983 a five-year exhibition programme had been sighted and detailed planning for its implementation com­ menced. The programme does not include travelling exhibitions; they are precluded at present by budget restraints. It does however include a major exhibition of Indonesian Textiles in 1985/86. The position of visiting curator for two years to undertake selection of works and

preparation of a major catalogue for this exhibition has been advertised.

Acquisitions Following on the eighteen-month period during which few acquisitions were made while curatorial energies had to be devoted to moving the collection to the new building and to planning and installing opening exhibitions, important additions to the collection were made in the

second half of the year. On 30 March the Gallery announced its major purchases for the year. Among these were three additions to the small collection of masterworks planned to mark significant moments in the history of Western art. These are the great Self-portrait, 1623, by Peter Paul Rubens, the Madonna of humility c.1470 by an unknown master of the Ferrara school, and the Cycladic figure c.2700-2300 B.C., one of the finest known Cycladic sculptures, a work from the first moments of Western art.

Art of the Modern Period from 1850 forms one of the richest parts of the National Collection. Acquisitions during the year included the Edgar Degas monotype In the drawing room c.1879; the post-impres­ sionist painting by Edouard Vuillard, At the opera c.1900; and the Gallery’s first Surrealist painting, Landscape, 1927, by Joan Miro.

Major additions to the Australian collection this year have also been diverse. They included the paintings Charles Conder’s Bronte Beach, 1888; Nicholas Chevalier’s Hinemoa the Maori girl, 1880; Eugene von Guerard’s Steavenson Falls, 1863; the pictorial wallpaper The voyages of Captain Cook: and a collection of early Australian silver from the Port Philip area.

Acquisitions in the area of African, Pre-Columbian and Oceanic art and the arts of Asia include a Pre-Columbian ceramic vase, an Olmec


jade head and an extremely rare sixteenth-century sculpture of a Thai deity.

Acquisitions policy During the year changes were made to the acquisitions policy as published in the 1976/77 Annual Report. These changes take into account developments in the collections, and in some cases spell out

policies in greater detail. The acquisitions policy for Photography is now described in detail: It is proposed that the Department of Photography become a significant centre for the study of photography, with an Australian collection of

outstanding quality and balance, and an internationally significant over­ seas collection. The Gallery will collect works covering the history of photography as art.

Ferrara, Italy

Madonna of Humility. c. 1470 painted wood

The nineteenth-century Australian collection will be historically repre­ sentative and the twentieth-century Australian collection will be compre­ hensive. The collection of overseas photography will represent the work of major artists and movements in the history of photography.

Within these broad guidelines the collection with be catholic. All types of photography will be acquired, from the fine print to photo-documenta­ tion, from the straight photograph to the hand-coloured, composite or otherwise manipulated image. Where possible, substantial and coherent groups of works will be taken into the collection, as well as major single works, to create a significant study and exhibition resource.

In addition, negatives, documents and memorabilia will be acquired as part of the Gallery’s Australian Art Archive. The collections will be a source of exhibitions within the Gallery and touring exhibitions for elsewhere in Australia.

The Department of Asian and Southeast Asian Art is now described as Asian Arts and Textiles. The initial policy for this collection was to acquire important sculptured iconic works representative of Hinduism and Buddism, in Asia and Southeast Asia, with the aim of achieving aesthetic and cultural coherence and placing before the people of Australia devotional images of two of the major religions of Asia. The Gallery now intends to represent selectively all the arts of Asia without duplicating existing Australian collections. This policy also identifies a new area of acquisitions: Asian textiles, with at the present time a

particular emphasis on the cloths from the Indonesian archipelago. These are collected by an expert committee formed to identify and recommend items for purchase. The collection originally identified as Primitive Art is now described as Arts of Aboriginal Australia, Oceania, Africa and Pre-Columbian America. The arts of the American Indian and Eskimo have been added to the collecting areas.

The Australian art acquisitions policy now makes special mention of the need to acquire nineteenth-century material of the kind already in other public institutions in the country. The ‘Repository’ collection for use by students and scholars is now described in two parts: a ‘study collection’ of prints, drawings, sketchbooks and the like, lesser quality material for reference and teaching purposes; and an Austra­ lian Art Archive for items such as artists' personal papers, memorabi­ lia, and studio equipment.

Registration The Department of Registration’s prime task continued to be the safe and systematic movement of works of art to the new building for display and storage. By 30 June the only collections remaining in the Fyshwick repository were textiles and costumes, large sculptures and study holdings of paintings, works on paper and the arts of Oceania.

Considerable work has been done on reducing the backlog of unaccessioned works and bringing it to order. An officer was ap­ pointed to identify and research acquisitions made for the National


Collection from 1911 to 1976. Acquisitions for 1970, 1971 and 1972 have been rechecked, identified and listed. The Council has set a target of December 1984 for all works in the collection to be fully accessioned and entered into the computer.

A Gallery locations list of some 1100 objects, the average number of works on display at any time, has been prepared and its index is updated daily. Location cards for all other works in the building are being prepared.

Conservation A large number of paintings, works on paper, textiles, sculptures and objects were examined and treated in preparation for the opening and for exhibition later in the year. As well, further work was done in fitting out the studio and laboratory space and developing a comprehensive conservation documentation system.

The examination, treatment and subsequent installation of the Brancusi Birds in space and the creation of a microclimate case for the panel painting by Giovanni di Paolo were complex undertakings. Australian paintings treated included works by Streeton, Roberts,

Preston, Bunny, Duterrau, Dowling, Arthur Boyd and Godfrey Miller. Work continued on the three large cartoon paintings by Napier Waller. A large number of works on paper were examined, treated and mounted for inclusion in the contemporary art exhibitions at Melville

Hall and the changing exhibitions mounted by the Departments of Photography and Prints and Illustrated Books. In the Textiles Section, where fifty-three objects were treated, work was geared largely to the Theatre Arts, Southeast Asian and Australian textile displays.

A comprehensive conservation section for frames was established; thirty-five period frames were restored and minor treatment was carried out on twenty-nine others.

The Library The year was one of consolidation for the Library and one in which its role as a national resource has become clearer. Staff and outside users increased their demands, reflecting the Gallery’s growing role

as a research centre. ·

Full-time staffing increased to twelve. A documentation librarian was appointed to organise and develop the collection of current ephemeral and exhibition materials and to edit the Australian art index (AARTI). Entries to AARTI reached a level which will warrant its

becoming a public data base shortly. By the end of the year it contained over 2700 records. The Cataloguing Department streamlined its procedures, where possible, with the result that 2724 new records were created in-house,

an increase of 69 per cent on the previous year's figure. In addition, 901 pre-existing records and 9274 edit modifications were incorpo­ rated in the catalogue.


Purchasing continued during the year in all fields, with emphasis on complete catalogues of artists' works and museum inventory catalogues. Some work was also done on the development of a research collection on Indonesian textiles. The Serials Department has prepared a detailed list of holdings for current subscriptions, which now number 821. The list is available to staff and other libraries.

Pella in Jordan Since 1978 the Gallery has provided financial assistance towards the costs of an Australian archaeological expedition to Pella in the Jordan Valley.

The Pella excavations are a major undertaking of the greatest historical importance which, it is believed, will eventually provide an archaeological basis for a thousand-year succession of cultures in Jordan. These are still poorly documented. Pella is the largest unex­ cavated site known from the ancient world. In return for its financial contribution the Gallery is allowed a choice of any antiquities the expedition is allowed to bring back to Australia. Gallery support of the excavation continued this year.

Perhaps the most exciting find of the season was made during the preliminary excavation of a Natufian (Neolithic) site. Here, in addition to the numerous finely flaked chert implements, three cracked and extremely friable worked slabs of mudstone were found. Carved on one face with a series of concentric squares, these stones appear to have been a part of one or two stele-like objects. They are the first large carvings of the Natufian culture (c.10 000-9000 B.C.) to be found. It is imperative to continue investigations of this Natufian settlement in coming seasons.

Another important find was made in the apse of the basilical East Church (fifth and sixth centuries A.D.). Here the undisturbed reliquary of the church was discovered, cunningly sealed by a bronze lid and iron spikes within a stone drum. The reliquary consists of a miniature sarcophagus carved from gypsum, and contained flakes of a material which is now being studied, perhaps a bone of an early martyr of the church.

As usual the Jordanian Government permitted a share of the finds from the fifth season to be brought back to Australia. Many will eventually be displayed by the Gallery.



Secretary and Manager’s Report This year has seen the effective establishment of the Gallery as an actively functioning art museum and the transformation of the National Collection from an art collection in storage to a significant publicly

accessible display. The opening ceremonies, masterminded by Sir James Scholtens, were outstandingly successful and received exten­ sive and favourable coverage from the media. Among other initiatives the year saw a most auspicious beginning for the Australian National

Gallery Association, the launching of an innovative range of publica­ tions and other products for sale, a successful trading year for the Gallery Shop, the establishment of catering services, and the endorse­ ment by the Council of a five-year development plan.

Management Review Following the official opening Council decided that this was an appro­ priate time to review the Gallery’s organisational structure and com­ munications system in relation to its envisaged role. On the basis of the presentations received Coopers and Lybrand Services were commissioned to undertake the requisite study during the period

December to February. In April, Council accepted the consultants’ final report and ap­ pointed a Steering Committee to oversee the implementation of the new arrangements, which are intended to be achieved within the currently approved staff ceiling. The revised organisational structure has been agreed to by the Public Service Board and appears as Appendix 4 of this Report. The structure emphasises management and commercial activities and the co-ordination of arts programmes and services.

Two new senior management positions were created and had been advertised nationally by the end of the review period. An Administrator (replacing the Secretary and Manager) will have overall responsibility for the administrative, commercial and financial affairs of the Gallery. A Commercial Manager will be responsible for merchandising, publi­ cations, production, sponsorship, public relations and membership. A third position, a Curator to co-ordinate arts programmes and serv­

ices, will be advertised early in the new financial year.

Forward Planning Five-year plan The first months of operation have provided the data base for the Gallery’s five-year development plan. The plan was endorsed by

Council and forwarded to the Minister for Home Affairs and Environ­ ment in response to a Cabinet decision that institutions concerned with national collections should prepare development plans and, in particular, should relate those plans to the period 1983-88 and the

Bicentenary. The plan aims to set out the major objectives of the


Gallery over a rolling five-year perspective. It will become a major feature of Gallery operations and will be reviewed and updated on a yearly basis.

Visitor research Market research will be significant in the Gallery's forward planning. Before the opening, Tolhurst Research of Sydney conducted a survey

into attitudes to the Gallery in Canberra, and information thus obtained made a valuable contribution to marketing and publicity planning for the year. Neill, Riley and Associates Pty Ltd of Sydney undertook a compre­

hensive survey of the attitudes of visitors to services and facilities in the Gallery. This survey, which comprised a visitor profile and facility evaluation, was conducted between 26 March and 7 April. Results indicate that gallery facilities are meeting the needs of the visiting

public and are generally rated very favourably by them. Some areas were identified as deficient, principally general signing and directions. Steps have been taken to remedy this problem, with the recall of Harry Williamson as Graphic Consultant to work with the Exhibitions Depart­ ment on a new signage system for the building. The visitor profile has provided an information base for future planning strategies.

Tourism The survey showed that approximately 77 per cent of the Gallery’s visitors are from interstate or overseas. Recognising this, liaison was established between local tourist authorities and tour operators and Gallery management to ensure the continued development of the Gallery as a major tourist attraction. Extensive briefings of the tourist and hospitality industry continued, with special programmes for bus and coach operators and tour guides.

Publicity Publicity and advertising material produced during the year included a free guide to the Gallery and its facilities and a range of posters including a quarterly information poster.

The public relations programme featured a concerted advertising schedule concentrating on the Gallery’s primary target audiences through both print and radio. The programme was supplemented by community service and Canberra Tourist Bureau commercial televi­ sion advertising.

Australian National Gallery Association In September the Australian National Gallery Association was launched to attract members of the public to join with the Gallery to further its overall objectives.

Benefits offered to Members include free admission, use of the Members’ Lounge, special opening hours, discounts on purchases from the Gallery Shop, a variety of programmes for Members and their families, and a quarterly newsletter, ANGA News.


At 30 June the Association was the second-largest such association in Australia. To ensure its continued success, Neill, Riley and Associ­ ates Pty Ltd were commissioned to undertake a comprehensive survey of Members’ attitudes and views. The survey was completed and results were ready for analysis by the end of the year.

Public Relations Government and corporate relations work also expanded with numer­ ous briefings and tours conducted for senior representatives of both public and private sectors. Government and corporate relations activ­

ities culminated in a reception for delegates to the Economic Summit Conference in April. The Diplomatic Corps received special attention commensurate with its position representing national interests overseas. Many of Australia’s ambassadors and consular officials received detailed brief­

ings on the Gallery, as did representatives of foreign missions to Australia. New Foreign Affairs trainees also received a one-day train­ ing session on the Gallery and the National Collection. The diplomatic year culminated in a reception in the Gallery for the Diplomatic Corps,

hosted by the Minister for Foreign Affairs.

Commercial Activities The opening of the Gallery signalled the launching of a number of commercial ventures. Overall marketing strategy for the first phase of the Gallery’s operation as a working museum was developed on

guidelines provided by Coopers and Lybrand prior to the opening and initial results indicated that the main thrusts of that strategy are appropriate.

Gallery Shop The Gallery Shop stocks a comprehensive range of art books, cata­ logues, posters, cards, gifts and other items and has had a very successful trading year. In June, John Wood assumed duties as

Manager, replacing Gary Pressey. Mr Wood has considerable experi­ ence in the book trade and is the current President of the New South Wales Booksellers' Association.

Publications .

The Gallery’s publications programme is innovative for such an insti­ tution in Australia. Producing a range of books, stationery, fashion accessories and commemorative items all related to the National Collection, it is based on successful marketing programmes employed

in museums overseas. November saw the distribution of the first Australian National Gallery catalogue, the culmination of three years of planning for production, marketing and product fulfilment and the basis of the Gallery's mail order service.

Catering The contract for the Gallery’s catering services was let to Initial Services Catering Pty Ltd, who were engaged in July to run the


Restaurant, Coffee Shop and Staff Lounge for an initial period of twelve months from opening. The caterer commenced work in the Gallery in August to enable full operation of all facilities from 13 October.

Consultants Many of the achievements of the year would not have been possible without the specialised assistance of various consultants, and the Gallery is glad to be able to register its appreciation of their services as recorded below.

Neill, Riley and Associates Pty Ltd, undertook the surveys of Australian National Gallery Association membership and attitudes of visitors to the Gallery’s services and facilities as described previously, and Tolhurst Research of Sydney undertook the survey of public attitudes to the Gallery in Canberra. The assistance rendered by Coopers and Lybrand Associates is acknowledged in connection with the areas to which it specifically relates.

Allan Bunsell continued as Consultant Executive Officer, Opening Events, until 31 May. The Gallery is grateful to the Australian National University for releasing Mr Bunsell to undertake a series of projects associated with the opening and subsequent establishment of the Gallery.

Stephen Hardy, of Southern Management Consultants Pty Ltd, continued to monitor work progress and provide programming assist­ ance to ensure the timely completion of the fitting out of the galleries. The volume of public relations work leading up to the opening dictated the allocation of specific tasks to a consultancy. In August, Council approved the appointment of Eric White Associates to provide this assistance.

Again because of in-house demands on our design staff Council approved the appointment of SPS Advertising Agency to be respon­ sible for design and layout, artwork and production of all printed material presenting the Gallery to the public.

Advisory Committee on National Collections During the year the Government established the Advisory Committee on National Collections (ACNC). The Committee, which is chaired by a representative of the Department of Home Affairs and Environment, includes the executive heads of the Australian National Gallery, the Australian Archives, the Australian War Memorial, the Museum of Australia and the National Library of Australia, with observers from the

Public Service Board and the Departments of Finance and the Prime Minister and Cabinet. Gallery staff participated actively in the work of the Committee and the working groups established to prepare spe­ cific reports to the Committee.

Freedom of Information The Gallery came within the scope of the Freedom of Information Act when it was proclaimed on 1 December. During the year there were


no formal requests for information under the Act. The Gallery receives numerous requests for information about the National Collection and the services provided within the building and seeks to expedite the handling of all such requests within the guidelines set out in the Act.

Staff During the year the final intake of staff brought the Gallery to full operational strength of 250 at 30 June as against 197 at 1 July preceding.

Security The security team was increased to sixty-seven officers, who received training prior to the opening in law, evacuation procedures, first aid

and other relevant subjects. As the team developed numbers were allowed to fall through natural wastage to fifty. Security Officers came from a variety of backgrounds and ranged in age from nineteen to sixty-one years.

Information Office Another significant development has been the establishment of the Information Office within the Public Relations Department. The office

is responsible for all direct dealing with the public. The nine Informa­ tion staff were chosen on the basis of public relations and foreign language skills and fine arts background.

Building Branch The Building Branch was staffed to a level sufficient to ensure that once the Gallery was open its operation, maintenance and cleaning

standards would reach and remain at a very high standard.

Public Service Board Recruitment of additional staff was handled by the Personnel Section. From November to February the Gallery participated in the Public Service Board’s Personnel Management Scheme with two officers transferred on loan for a total period of six months. The Gallery is glad to record appreciation of the Board’s continuing co-operation.

Secondment Furthering the Government's policy of sharing resources, the Gallery agreed to the secondment of one of its administrative staff to the Australian War Memorial for twelve months to provide project assist­ ance on its extensions. It is intended to continue secondments and exchanges with other organisations, particularly museums, both to

assist those organisations and to develop the skills of Gallery staff.

Work experience The Gallery participated in the secondary schools scheme to provide senior students with opportunities for work experience. Three stu­ dents from Belconnen High School were given work experience in the

Gallery’s administrative areas during June and the Gallery is planning to extend its participation in the scheme.


Retirements The year saw the first-ever retirements from Gallery staff. In September Phil Dennis retired as the Gallery’s Lending Officer. Mrs Dennis joined the staff in November 1974 and made invaluable contributions to the Gallery in several capacities.

On 30 March Tony George retired as Project Officer and Building Manager, ending a long and productive association with the Gallery which began in July 1976. Mr George was liaison officer with the National Capital Development Commission and was responsible for the commissioning of the building in time for the official opening. The completion of the building, the display outfitting and furnishings were all under Mr George’s control.

In June Mrs Valda Leehy, M.B.E., retired. Mrs Leehy had a long association with Commonwealth involvement in cultural activities. She was Assistant Secretary to the Commonwealth Art Advisory Board (1954-70) and the Commonwealth Literary Fund (1955-72), the Com­ monwealth Assistant to Australian Composers (1968-72), and subse­ quently Secretary to the Acquisitions Committee of the Australian National Gallery (1973-74), Secretary to the Interim Council (1974-76), and Secretary to Council of the Australian National Gallery (1976-83).

Mrs Leehy was the longest-serving officer associated with the Australian National Gallery project and her friendship and extensive knowledge and experience will be missed.


New Acquisitions 1982-83 Australian Art Few acquisitions were negotiated while preparations for the opening of the Gallery were being completed and purchase funds mostly went towards works already negotiated in the previous year. The number of

acquisitions, 2515, was nonetheless large, due to a bequest of 881 works, mostly of exceptional prints by Lionel Lindsay, received from Alan Queale, and the gift of 571 contemporary works from the Philip Morris Arts Grant.

The proceeds from Gallery admission charges are designated for the acquisition of works of art. This has resulted in a substantial purchase fund, assigned so far to what are expected to be three popular exhibits in the Australian displays: Charles Conder’s painting of Bronte Beach, Sydney, in 1888; a spectacular panel of pictorial wallpaper made in France about 1805, based on illustrations to

Captain James Cook’s voyages in the Pacific, which will be placed on view at the entrance to the display of Australian art; and eighteen pieces of chiefly Melbourne silver from the early colonial period and the more florid high-Victorian period.

Paintings and Sculptures Three colonial paintings were bought: an unusual Melbourne street scene of 1878 by Louis Tannert, a small romantic New Zealand

landscape with a Maori love-goddess by Nicholas Chevalier; and a romantic waterfall subject near Melbourne, painted by Eugene von Gue- rard in 1863. An Australian impressionist painting of great charm and importance was Charles Conder’s beach scene with holiday makers referred to

above. Mid-twentieth-century paintings for the permanent display were Charles Blackman’s Floating schoolgirl, 1955, and John Brack’s early masterpiece, Men’s Wear, 1953. Groups of 1940s expressionist and surrealist paintings by James Gleeson, Albert Tucker and Danila Vassilieff were acquired. Key paintings by Grace Cossington Smith (her first major interior, 1954), John Passmore (his last exhibited works,

1959-60); and Tony Tuckson (his most refined gestural abstraction, 1973); came in Lucy Swanton’s bequest. The key work of Tuckson’s earlier small-scale graphiste phase, 1960, was bought. Contemporary purchases included Machinetime Dreamtime, 1981,

by a city-based Aboriginal artist, Trevor Nickolls, and major paintings by Peter Tyndall. Of the 148 paintings acquired, 86 were contemporary works given by the Philip Morris Arts Grant. Among them were outstanding paint­ ings by Ken Whisson, Peter Booth, Paul Partos, Gunter Christmann, Dale Flic key, Dick Watkins and Aboriginal artists from the Western Desert and Arnhem Land.



DUFOURetCie (manufacturer), Jean- Gabriel CHARVET (designer) 1750-1829 Les Sauvages de la met

Pacifique (The Voyages of Captain Cook), c. 1805 wallpaper

John BRACK Men's Wear. 1953 oil on canvas


The forty-three Australian sculptures, thirty-two of them given by the Philip Morris Arts Grant, included Robert Klippel's major group of eight bronzes, 1981/1982, purchased for the Sculpture Garden. Flu- gelman’s very large stainless steel Cones, commissioned in 1976 for the Sculpture Garden, could at last be accepted when the building and grounds were completed.

Avant-garde Media Classic video works by Sam Schoenbaum, 1976, and by Robert Randall and Frank Bendinelli, 1981, were received from the Philip Morris Arts Grant. Purchases included films by Richard and Pat barter,

1975-76, Aleks Danko and Joan Grounds, 1976, and a slide-projection installation by John Durkley-Smith, 1981.

Drawings This collection gained 283 acquisitions, 95 of them being contempo­ rary works in the Philip Morris Arts Grant. William Westall’s pencil drawing of Kangaroo Island, visited in 1802

during Matthew Flinders’ voyage, was the earliest work purchased. An important late nineteenth-century watercolour was Charles Con- der’s delicate blossom design, The Coming of Spring, 1888. Groups of contemporary drawings by Bea Maddock, Ken Un- sworth, Gareth Sansom and Robert Jacks were bought, as were studies by Geoff Hogg for a community-arts mural in Melbourne. The

Philip Morris Arts Grant gift included a fine series of collages by Robert Owen. Although the overseas purchase of large French pictorial wallpaper panels, c. 1805, based on illustrations to Captain James Cook’s Pacific

voyages, are strictly speaking prints, they were discovered and recommended by Martin Terry, the Assistant Curator, Australian Draw­ ings, and will be the subject of a paper by Mr Terry at a conference on Franco-Australian cultural connections.

Prints, Posters, Books With 1817 acquisitions, this collection saw the largest increase within the Department of Australian Art. The Alan Queale bequest, chiefly of Lionel Lindsay’s prints, accounted for 772 works. Protest posters of

the 1970s and 1980s accounted for· a further 643; the majority, made by the Earthworks Poster Collective and others at the University of Sydney's Tin Sheds, were purchased but 253, by the Lucifoil and Megalo International collectives, were part of the Philip Morris Arts Grant gift.

Earlier works purchased included six major linocuts by Dorrit Black and two each by Ethel Spowers and Eric Thake, twenty-one prints by Frances Derham, the complete etchings and lithographs of Stacha Halpern, six etchings by Jessie Traill, and eighteen prints by Harry

Rosengrave. Major single prints were Blamire Young’s lithograph A print from Johnny Fawkner’s press, 1902, Thea Proctor’s colour lithograph The


flower shop, c.1920, and Margaret Preston’s imposing gouache stencil Shoalhaven Gorge, 1953, larger than most of her oil paintings and a masterpiece. Contemporary works included groups of screenprints by Toni Rob­

ertson and Martin Sharp, and etchings by Graham Fransella. The Philip Morris Arts Grant gift contained groups of screenprints by Tony Coleing, Bruce Latimer and Frank Littler, etchings by Bea Maddock and Keith Looby, and lithographs by Alberr Shomaly.

The only important nineteenth-century acquisitions were two illus­ trated books. One was Balzac’s La fille aux yeux d'or, 1896, illustrated with seven wood-engravings by Charles Conder. The other was the finest of all nineteenth-century Australian illustrated books, Eugene

von Guerard's Australian Landscapes, issued in Melbourne 1866-68, comprising twenty-four colour lithographs developed by von Guerard from his own paintings, among them two owned by the Gallery. The opened book is displayed in the same room as those paintings.

Contemporary artists’ books were purchased and others by Robert Jacks came with the Philip Morris Arts Grant.

Decorative Arts The most spectacular of the 210 acquisitions were eighteen items of colonial silver, mostly by Melbourne silversmiths. They included ex­ tremely rare objects from as early as the 1840s, among them an especially elegant coffee can by Charles Bennett and a trivet by the as yet unidentified B.S. and H.S. From the 1850s and 1860s the work of William Edwards was well represented, and by the Adelaide silver­ smith Henry Steiner there was a solid silver candlestick in the shape of a standing Aborigine.

A gold racing trophy, the 1913 Broken Hill Cup, by another Adelaide silversmith, Frederick Basse, was a welcome gift from the estate of Albert Edward Nott. A contemporary silver tea service made in Canberra in 1982 by Ragnar Hansen was the most recent object on display when the Gallery opened in October.

Furniture acquisitions were equally important. A New South Wales sideboard of c.1820, one of the finest known pieces of early colonial cabinet-making, makes a splendid beginning to the Australian dis­ plays. A pair of Victorian hall chairs, 1850s, in a quasi-Jacobean style and a rude miner's chair upholstered in wallaby fur add diversity. A

1950s writing desk by Schulim Krimper is a suitable companion for the space-age abstract paintings of that time. Textiles gained three outstanding needlework wall hangings from the early twentieth century, including a patriotic Advance Australia Fair, by the unidentified M.J.H. of New South Wales and Michael O’Connell’s Pandemonium and Convolvulus fabrics which typify Mel­ bourne’s Modernism of the 1930s. Frances Burke gave a large range of her Melbourne fabrics, from the 1930s to the 1960s, and Helen Grey-Smith’s gift of her 1960s fabrics adds work from Perth to the collection. From Sydney, L.G. Dalgarno’s 1920s costumes, Alice Dan-


ciger's scarf and James Gleeson's furnishing fabrics of the 1940s were unusually interesting. Vivienne Pengilly’s contemporary fabric birds, Jenny Christmann’s knitted woollen books and some Peter Tully clothes were received with the Philip Morris Arts Grant.

Significant additions to the well developed Australian ceramics collection included a 1920s jug from the Disabled Soldiers Pottery, Sydney, 1930s work from Perth by Flora Landells and from Adelaide by Doreen Goodchild. Work by the early twentieth-century Tasmanian studio potters Violet Mace, Maude Poynter and Mylie Peppin entered the collection for the first time. The post-war stoneware movement

gained work by Mollie Douglas and Col Levy. Classic examples of funk pottery of the 1970s by Margaret Dodd and Joan Grounds and contemporary vases by Stephen Benwell were amongst the eighty-six decorative-arts gifts received from the Philip Morris Arts Grant.

European and American Paintings, Sculptures, Drawings and Decorative Arts Acquisitions were virtually suspended during the hectic months of preparing the collection for the opening of the Gallery in October, but

many important additions were negotiated in the second half of the year.

Western Art pre 1850 Perhaps the earliest ‘Western’ work that will ever be purchased by the Gallery entered the collection this year. It is a marble female figure from the Cyclades made over four thousand years ago. Distinguished

by its refined clean lines, it is one of the finest such sculptures to have survived. The Madonna of Humility c.1470, from Ferrara in Northern Italy, is one of the small cluster of polychromed wooden sculptures from the Italian Renaissance still extant and the only fifteenth-century

Italian statue in this country. The Self-Portrait, 1623, by Peter Paul Rubens was an exciting coup for the Gallery, because this beautifully preserved picture was the last Rubens self-portrait in private hands. The source of Pontius’ engraving

of 1630, this important painting is the Gallery’s first baroque picture. The Gallery also acquired two superb examples of late nineteenth- century reportage: a monotype by Edgar Degas, In the drawingroom c.1879, and an oil sketch by Edouard Vuillard, At the opera c.1900. At the same time a drawing by Benjamin Constant, The Death of Jezebel,

1868, is a small reminder of the Romantic Movement’s continued interest in the grand composition.

Modern European and American Art The collection of modern European and American art received a major addition in Joan Miro’s famous Landscape, 1927. This important Surrealist work is the first painting by the artist to enter an Australian

public collection. Miro’s daring use of saturated planes of colour, meticulously inflected, prefigures much of the ‘colour field’ painting of the 1950s. The vital Dada/Surrealist contribution to modernism was



Peter Paul RUBENS Self-portrait. 1623 oil on canvas

further documented by the acquisition of a collage by Hannah Hoch, Love, 1931, and a painted wood relief, Shirt-front and fork, 1922, by Jean (Hans) Arp. The contrived ambiguity of Shirt-front and fork, also suggestive of a face and an arm, exploits the Surrealist concept of free association. Immediately following its purchase, the Arp was requested for loan by the National Gallery of Art, Washington, for its exhibition, Arp : The Dada Reliefs. It will return to the Gallery for permanent display in November.

Twentieth-century Drawings Substantial additions were made to the collection of twentieth-century drawings, particularly American drawings. An impressive example is




Lower Manhattan from the river, no. 2. 1921 watercolour

John Marin's watercolour Lower Manhattan from the river, no.2, 1921. One of the first American artists to work in a style shaped by European modernism, Marin’s agitated planes of watercolour mirror the energy of the city, transformed by the building boom then underway. Two early drawings by Louise Bourgeois entered the collection, one through the generous gift of Linda Quinell. Claes Oldenburg’s bizarre proposal for a monument (a cream-layered sponge cake three stories high) for

Picadilly Circus, London, in 1966; and Andy Warhol’s drawing of a boot, 1955, gaudily decorated with gold paper lace, are excellent examples of Pop Art’s humorous subversion of the presumption of ‘high art!

International Decorative Arts The collection of international decorative arts received a major addi­ tion with the purchase of a superb silver teaset, 1880, by Christopher

Dresser, one of the very first freelance designers, and manufactured by James Dixon and Sons, Metalworkers of Birmingham. The geomet­ ric simplicity of the teaset is a remarkable premonition of the functional aesthetic of twentieth-century design. The acquisition of the teaset has provided the Gallery with an occasion to display, for the first time, many other works from the collection of International Decorative Arts.

Contemporary Art As part of its commitment to collecting recent art comprehensively, the Gallery acquired photographs and drawings as well as paintings by contemporary overseas artists. Photographs by Cindy Sherman,


1 i

Victor Burgin, Arnulf Rainer and Lucas Samaras were acquired. Two paintings mark the beginning of a European component which when added to over the next three years will form a comprehensive collec­ tion of current art from Europe. 2 Indians, 1982, by Rainer Retting

reflects the renewed concern for imagery in German painting. A major Italian work of this kind, II Vento dei Galli Neri, by Enzo Cucchi, was painted this year and reflects the Gallery's aim to acquire work by promising younger artists as these are made, rather than in retrospect when the artist has established an international reputation and com­ mands high prices.

The contemporary art collection benefited from three important gifts. Nigel Hall donated four of his large format drawings. Baudoin Lebon donated an early photograph by Jos Velabregue to complement the three photographs by this artist acquired this year. The Contem­

porary Art Society, London, presented an important photographic work by Stephen Willats, the Lurky Place, 1978.

Artists’ Books Significant additions were also made to the collection of artists’ books. Of particular importance were Louise Bourgeois’ He disappeared into complete silence, 1948, and Lucas Samaras’ Book, 1968, both draw­ ing attention to the historical origins of this art form. Also significant in this respect was the purchase of 166 Russian journals produced during the uprising of 1905, adding to an already extensive archive of avant-garde publications from the Revolutionary period, providing a study resource unique in Australia. A changing display of artists’ books has been established adjacent to Gallery 3.

Theatre Arts Australian acquisitions for the theatre arts collection included an archive of designs by Barry Kay, 142 drawings representative of thirty years of his work in opera, ballet and drama.

The earliest work acquired was the woodcut of a theatre set, 1907, by Edward Gordon Craig, one of the most inventive set designers of the first part of the twentieth century. Other key works by major artists who worked in the theatre included two costume designs by Juan Gris for the ballet Les Tentations de la Bergere, 1923, and the complete set of pochoir plates by Alexandra Exter for the portfolio Decors de

Theatre, 1930. In addition, theatre programmes for the Diaghilev and de Basil ballets, photographs, and Jean Cocteau’s famous poster of Nijinsky in Le Spectre de la Rose, 1911, were purchased.

International Fashion and Textiles Important acquisitions for the collection of international fashion and textiles included three garments by the twentieth-century fashion designer Mariano Fortuny. A collection of eighty-one drawings from the House of Christian Dior, displaying Dior’s styles for the ‘New Look’

both in day wear and evening wear, was also acquired. The collection of twentieth-century textile designs was greatly strengthened with the


Alphonse MUCHA Convolvulus vine. Textile design for the manufacturer C. G. Forrer.

c. 1895

watercolour, pencil on cardboard

James DIXON & SONS, established 1806; Christopher DRESSER (designer)

Teasel. 1880 silver, ebony


acquisition of designs by Alphonse Mucha, Charles Rennie Mackin­ tosh and the Wiener Werkstatte.

International Prints and Illustrated Books The year's most important acquisitions included an exquisite little woodcut catalogue made for an exhibition in 1910 by the German artists of Die BrOcke; a Cubist drypoint still-life of 1911-12 by Picasso and a drypoint by Kandinsky made at the moment when he first

reached pure abstraction. Both intaglio and lithographic prints by Antoni Tapies were added to the Print Department holdings as well as an important group of prints by the British artist Richard Hamilton, including the legendary Adonis in Y fronts. A group of works in paper pulp for the inaugural show, Paperwork, selected by Anne Willsford during a trip to America, included Oldenburg’s outsize cast paper button, Caroline Greenwald's delicate Amber wings in frozen clouds, Clinton Hill’s Black track and Keith, version F by Chuck Close. The Department also acquired from the artist’s granddaughter the portfolio Zelt (Tent) of 1915 by Max Klinger. At the same time, the Library was

allowed to photocopy an extensive archive of Klinger papers. Since most of the artist's printed suites are now held in Australian collections this adds up to an important research resource.

Photography The acquisition programme made considerable progress in all areas, with special emphasis on historical material. Important nineteenth-century Australian works acquired included an album of salt prints, 1858-59, by the Sydney photographer Louisa

Elizabeth How; another album by Lady Fanny Jocelyn, Who and what we saw in the colonies, 1868, combining photographs, watercolours and text; and B.O. Holtermann’s large panorama of Sydney, c.1875, comprising twenty-three albumen prints from 22 x 18 inch wet plates.

The holdings of Australian pictorialism were expanded by the generous gift from Mrs Max Joyner of seventy-eight photographs by FA. Joyner, the acquisition of a large group of photographs by Harold Cazneaux and an accompanying gift of archival photographs and working tools from the Cazneaux family, and the gift by the late

Norman C. Deck of a group of his own photographs. The twentieth-century Australian collection also gained by the acquisition of 142 photographs by Max Dupain, making the Gallery's holding of his work the most comprehensive anywhere; and work by Peggy Clarke, Mina Moore, May Moore, Wolfgang Sievers, David Potts and others.

The Gallery also received all of the photographs collected by the Philip Morris Arts Grant, an unrivalled survey of Australian photogra­ phy of the 1970s selected by the Director, James Mollison. The international collection also gained unprecedented historical material. Significant acquisitions included Felice A. Beato’s album China, 1860, comprising sixty-six albumen photographs documenting


the later stages of the Opium War; RM. Emerson’s book Marsh Leaves, 1895, incorporating sixteen photogravures; a gently lyrical group of works (c. 1897-1927) by the Viennese pictorialist, Henrich KCihn, and in contrast a group from Lewis Mine’s Child Labour series; Man Ray’s surrealist masterwork, the album Les Champs Delicieux, 1923; and two works by the father of American photography, Alfred Stieglitz, The

Steerage, 1907 [large photogravure], and Equivalent, 1923. The major acquisition of the year however, was one hundred photographs by the most important photographer of the German New Objectivity move­ ment, Albert Renger-Patzsch, the prints reproduced in his book The

World is Beautiful, 1928.


Unfitted rayogram. 1922 From Les champs delicieux a portfolio of 12




Purchases of international contemporary material included works by Richard Long, Jan Groover and Boyd Webb.

Australian Aboriginal, Oceanic, African and Pre-Columbian American Art Three significant acquisitions were made during the year: a Maya vase; an Olmec effigy vessel and a Maya jade pendant. The Maya vase and Olmec vessel represent the highest artistic achievements of two of the major ceramic traditions in pre-Hispanic Central America.

The vase is regarded as one of the two outstanding classic Maya ceramic vessels in existence. An eighth-century funeral offering, it

Thailand, Middle Ayutthaya period Guardian deity, c. 1450 bronze, lacquer, gold leaf

depicts a ritual scene where an enthroned man or god is surrounded by his retinue. The main characters wear masks of Maya gods. Iconographically, the scene works on two levels, representing a real

occurrence while simultaneously alluding to an event in Maya mythol­ ogy. The glyphic inscriptions on the vase may eventually reveal the identity of the characters involved. In the sure handling of the delicate painted lines this vessel is a masterpiece of its kind.

The site of Las Bocas near present-day Mexico City has yielded a vast number of Olmec ceramics, most of which represent human figures, fish and birds. Effigy vessels of mammals, such as the Gallery’s vessel, are rare. The strong modelling and refined decoration of the clay in this animated sculpture illustrate the technical and

artistic sophistication achieved by the ancient Olmec potters. The vessel possesses added significance in that it shows a jaguar grap­ pling with a serpent, both major deities in the Olmec pantheon. The small Maya jade pendant is in the form of a head. Sensitively

and elegantly carved, it appears to be a portrayal of an actual individual. The features are typically Mayan with the characteristic accentuation of the high bridge of the nose and the sloping forehead. To the Maya, jade was a most precious possession because of its

rarity and its similarity in colour to the even more highly valued feathers of the quetzal bird.

Asian and Southeast Asian Art During the year the Gallery added to its collection of bronze Buddha images from Thailand with the acquisition of the first Brahmanical figure to enter the collection. The figure is the finest known of its kind to be produced by the Thai Kingdom of Ayutthaya. Founded in 1378, Ayutthaya became the richest and most powerful of the mainland

Southeast Asian states around the middle of the fifteenth century after having sacked Angkor in 1431 and annexed the neighbouring Thai Kingdom of Sukhothai in 1438. As a consequence, Ayutthaya sculp­

ture, which was solid in quality, was influenced by the more sinuous and graceful Sukhothai style. A happy blending of the two styles is apparent in the figure of the Guardian Deity.

Indonesian Textiles .

The Indonesian Textiles Advisory Committee is Chaired by the Direc­ tor and includes Professor Anthony Forge and Dr James Fox from the Australian National University, John and Robyn Maxwell from Mel­ bourne, and Ruth McNicoll.

Twenty-five textiles were acquired during the year, bringing the collection to 168 pieces. The highlights of the year’s acquisitions include a group of shell and beaded jackets and skirts from the Maloh people in Kalimantan; a magnificent Balinese double ikat gerinsing depicting wayang shadow puppet figures and embroidered in gold thread; and a Javanese sarong from one of the batik producing ateliers

in Pekalongan around the turn of the century which used European



fairy tales to provide the motifs — in this case the story of Snow White and the Seven Dwarfs.

Gifts A number of Australian photographs were given during the year, and a good number of European and American prints were received as gifts.

The only substantial gift of money for acquisitions was a purchase fund for Australian art given by Joseph Brown. The most important gift of paintings was five of Albert Tucker’s Images of Modern Evil, given by the Melbourne artist and his wife.

Two very important bequests of Australian art were received. From Lucy Swanton, of Sydney, who died in 1981, there were seven paint­ ings by Rupert Bunny, four by John Passmore, three by Ian Fair- weather, two by Grace Cossington Smith and one each by Tom

Roberts, Tony Tuckson and Michael Taylor. This bequest of exception­ ally beautiful paintings demonstrates the special lyrical sensibility of the donor. From Alan Queale, of Brisbane, who died in 1982, there were 750 prints by Lionel Lindsay, plus eight blocks, twelve tools and two drawings by the artist. The prints are the almost complete oeuvre of this leading Australian printmaker of the early twentieth century. The

bequest, which totalled 881 items, included interesting variant impres­ sions of some of Lindsay’s images, and 109 prints by other artists, of whom thirty-three were European. Other important works of Australian art were paintings by John Passmore, given by James Fairfax; by Ralph Balson, given by the artist’s son W. Balson; by Roger Kemp, given by the artist’s wife Merle Kemp; by Charles Doutney, given by Hal Missingham; and by William Dargie, given by the Reverend PJ. Haldane-Stevenson.

Watercolours and drawings included works by Blamire Young and Ian Fairweather given by Ruth McNicoll (who also gave a ceramic by David and Hermia Boyd); and three sketchbooks by Harold Parker, together with photographs and archive material, given by his great- niece Rosamund H. Shepherd.

Gifts of Australian prints came from Frances Derham; a poster by Martin Sharp was given by The Sydney Committee; two etchings by Fred Williams were given by Lady Drysdale; and a group of thirty-one commercial-art items by Ken Done and others was given by SPS Advertising Agency. Sidney Nolan’s beautifully illustrated theatre pro­ gramme for Sydney University’s production of Orphee 1947 was given by Mr and Mrs Lindsay Parker.

James Mollison, the Gallery’s Director, gave thirty-six etchings by Fred Williams and avant-garde material by other Australian artists. Further avant-garde works were given by Michael Desmond, Daniel Thomas, and Media Space, Perth.

Most donors were, as usual, artists or their families or friends



making gifts to the Australian Decorative Arts collection, in apprecia­ tion of the remarkable reference resource that collection has become. Notable decorative art donations were the Broken Hill Racing Club gold cup by Adelaide silversmith Frederick Basse, from the Estate of Albert Edward Nott; Frances Burke's gift of twenty-nine of her own textiles and four chairs designed by Clement Meadmore; and James

Gleeson’s gift of several of his textiles, together with a drawing for their design and seven linoleum blocks (he also gave a painting by Sidney Nolan, an etching by Francis Lymburner, and fifty copies of the illustrated magazine Comment).

Helen Grey-Smith gave thirteen of her own textiles, and Alice Danciger gave one of her silk scarves. Other textiles were by Margaret Weir, given by her niece Alison Brown; by L.G. Dalgarno, given by members of the artist’s family; by Michael O’Connell, given by Calvin

Lean; and by Rachel Grieve, given in memory of Richard J. Montgo­ mery by his wife and sons (who similarly gave silver by David Grieve). Elspeth Hope-Johnston gave a fern-design Tasmanian textile. Ragnar Hansen gave one of his own silver arm-rings, and Peter

Tully gave six of his plastic Australia badges. Marguerite F Robey gave an example of Elinor J. Robey’s leatherwork. The remaining gifts of Australian decorative arts were ceramics. Artists who gave their own work were Stephen Benwell, Mollie Doug­

las, Eileen Keys and Mylie Peppin. The artist's sister Alice Correll gave work by Valeria Correll and David Ell gave a pot by the Tiwi Aboriginal potter Kelantumama. The Goodes family gave eight ceramics by the Western Australian potter Flora Landells. Tasmanian studio pottery by

Maude Poynter came from Spring Gray and Carline Lamprell; by Mylie Peppin from Genevieve Henley; and by Violet Mace from Louie Nye. Murray Walker gave a garden edging-tile by Austin & Sons and Marjorie and Donald Graham gave a jug from the Disabled Soldiers Pottery, Redfern.

The largest gift of all was the 571 works of contemporary Australian art in various media, plus the 826 contemporary Australian photo­ graphs, given by the Philip Morris Arts Grant on the occasion of their exhibition Australian Art of the Past Ten Years. The collection, begun

in 1973, was selected for the Philip Morris Arts Grant by the Gallery’s Director, James Mollison, in the knowledge that it would eventually be given to a public collection. Exhibitions of the photography collection and of the painting and sculpture collection had been held throughout Australia as they developed over ten years. The final collection added to the Gallery’s own holdings gives the Gallery an unrivalled collection of contemporary Australian art. Besides traditional paintings, sculp­ tures, drawings, prints, photographs and decorative arts the collection

includes recent work by Aboriginal artists using non-traditional media, experimental video, community-arts and intermedia works and a large group of 253 political and social-action posters by Lucifoil, Megalo International and similar collectives.

Donors 1982/83 Australian National University Library print by J.B. Madou Bill Balson painting by Ralph Balson Mrs Maureen Barden photograph by Alice Mills Stephen Benwell five ceramic bowls by Stephen Benwell Mrs Alison Brown textile by Margaret Weir Joseph Brown drawing by Louis Buvelot Mrs Eve Buchanan photograph by Eve Buchanan Frances Burke four chairs by Clement Meadmore twenty-nine textiles by Frances Burke Fabrics;

Frances Burke designer Roger Butler print by Lionel Lindsay print by William Hunter Cazneaux Family collection, comprising seventy items of photo­

graphs, papers and equipment relating to Har­ old Cazneaux Contemporary Art Society two drawings by Stephen Willats

photographic panel by Stephen Willats Dr Alice Correll ceramics by Valeria Correll Peter Cripps two photographs by Peter Cripps James H. Dalgarno jacket by L.G. Dalgarno

Kenneth J. Dalgarno purse by L.G. Dalgarno Alice Danciger textile by Silk and Textile Printers; Alice Danciger

designer Norman C. Deck twenty-seven photographs by Norman C. Deck Frances Derham greeting card by Ethel Spowers greeting card by Eveline Syme greeting card by Jessie Simpson Michael Desmond audio disc by Sol LeWitt (ef at)

audio tape and book by Tim Pogott and Will So·} terboek book by Amanda Holt book by Carl Heyward (ed.)

Mollie Douglas ceramic jar, bowl and cup and saucer by Mollie Douglas Lady Drysdale two etchings by Fred Williams

David Ell ceramic plate by John Patrick Kelantumama, Tiwi Pottery J.O. Fairfax

painting by John Passmore

Fischer Fine Art Ltd greeting card by John Hubbard

Pat Gilmour book by Sue Barnes (ef at) postcard by Robert Richardson twelve stage proofs, an enlarged photo-stencil and

black and white negative for Autumn in New York' by Gerd Winner thirty-five postcards by various artists

James Gleeson drawing and seven printing blocks for fabric de­ sign by James Gleeson print by Francis Lymburner

fifty copies of C o m m e n t magazine five textiles by James Gleeson textile by Silk and Textile Printers Ltd; James Glee­ son designer watercolour by Sidney Nolan collection of 213 theatre programmes and related \

material Goodes Family ceramic lampbase by Flora Landells ceramic vase and cup and saucer set by Landells l

Pottery Mr and Mrs D. Graham ceramic jug by Disabled Soldiers Pottery

Mrs Barclay Gray and Mrs B.A. Lamprell ceramic vase by Maude Poynter

Mrs Helen Grey-Smith thirteen textiles by Helen Grey-Smith

Marr Grounds book by Marr Grounds and Paul Pholeros

The Reverend J.P. Haldane-Stevenson painting by William Dargie


Nigel Hall material relating to proposed sculpture for the Aus­ tralian National Gallery entrance hall Ragnar Hansen armring by Ragnar Hansen Genevieve Henley ceramic teaset by Mylie Peppin Elspeth Hope-Johnston dressing table tidy

Geoff Hogg twenty-six items of documentation relating to the Brunswick mural

Mervyn Horton print by Fayga Ostrower Mrs Max Joyner seventy-eight photographs by Frederick Joyner John Kaldor photograph by Christo Merle Kemp painting by Roger Kemp

Eileen Keys ceramic bowl by Eileen Keys

Albert Edward Nott Bequest memorial cup by Frederick Basse Calvin Lean six pieces of fabric by Michael O’Connell

Baudoin Lebon three exhibition posters by Gerard Titus-Carmel

Aime Maeght greeting card by Pierre Alechinsky

Mrs Olive Mclnerney photograph by Morton Collyer

Mrs Wilma McKay ten photographs by Madge Massingham photograph by unknown artist

Mrs Ruth McNicoll ceramic cruet by Hermia and David Boyd drawing by Ian Fairweather watercolour by Blamire Young

Media Space Artists three audio tapes by various artists book by various artists

Mrs L. Meltzer three photographs by Elizabeth Nash-Boothby photograph by unknown artist

Hal Missingham painting by Charles Doutney

James Mollison ceramic badge by Mark Thompson exhibition poster by Patrick Procktor exhibition poster by B. Prize

print by Max Bill print by Jean Tinguely thirty-six prints by Fred Williams video tape by Philip Brophy (ef a/)

Kathleen, Michael and Christopher Montgomery set of six cake forks by David Grieve two textiles by Rachel Grieve Philip Morris Arts Grant five hundred and seventy-one works of contempo­

rary Australian art including paintings, sculpture, video works, drawings and posters eight hundred and twenty-six Australian photo­ graphs

Mrs David Nye ceramic jug by Violet Mace Tony Palmer photograph by T. Jackson

Mr and Mrs Lindsay Parker theatre programme designed by Sidney Nolan theatre programme including designs by Pablo Picasso

Andrew Paterson theatre programme two photographs by unknown artists Miss Mylie Peppin

ceramic plate, vase, jug, sugar bowl and cream jug by Mylie Peppin ceramic teaset by Killiney Pottery; Mylie Peppin designer, Helena Chuda Ckova, potter

Alan Queale Bequest collection of 772 prints, etching tools, plates, blocks and drawings by Lionel Lindsay seventy-six prints by various Australian artists thirty-three prints by various non-Australian artists

Linda Quinel! drawing by Louise Bourgeois A. Ramsay photograph by Pegg Clarke

Robert Richardson book and three prints by Robert Richardson Rizzoli International Publications (New York) print and book by Sol LeWitt

Marguerite F. Robey nine photographs by F. Smithies and Will Cooper leatherwork photograph folder by Elinor J. Robey

Rosamond C.H. Shepherd a collection of 17 photographs of Harold Parker, his sculptures and paintings, studio scenes and group portraits, and one photocopy of newspa­

per clipping re death of Harold Parker three sketchbooks by Harold Parker photograph by May Moore photograph by Elliott & Fry Mrs Helen C. Smith and Mrs Joan C. Reeve photograph by unknown artist SPS Advertising Agency four advertising stickers four advertising badges large advertising poster ten small copies of poster by Graeme Davey and

Ken Done Walter Stringer ballet programmes and related material Mrs Pat Stuart three photographs by Pat Holmes

photograph by unknown artist Lucy Swanton Bequest seven paintings by Rupert Bunny three paintings by Ian Fairweather four paintings by John Passmore painting by Tom Roberts two paintings by Grace Cossington Smith

painting by Michael Taylor painting by Tony Tuckson Mrs J.K. Taylor shawl, scarf and jacket by L.G. Dalgarno Jill Taylor

necklace by L.G. Dalgarno Margaret Mackean Taylor textile by unknown English artist

The Sydney Committee Ltd poster by Martin Sharp Daniel Thomas book by Tony Twigg book by Mirka Mora

printed T-shirt by The Artworkers Union printed T-shirt by Joseph Beuys Mrs Mary True two photographs by Alice Mills

photograph by unknown artist Albert Tucker two paintings by Albert Tucker Barbara Tucker three paintings by Albert Tucker

Peter Tully six badges by Peter Tully Mrs A. C. Tyson album of photographs by J. P. Campbell Anthony Velonis book, two exhibition catalogues, exhibition invite-

tion and three prints by Anthony Velonis Edgardo-Antonio Vigo two books by Edgardo-Antonio Vigo assemblage by Edgardo-Antonio Vigo (ef a/) Murray Walker ceramic garden tile by Austin and Sons Mo Wedd-Buchholz poster after Erich Buchholz Diana Woollard book by La Monte Young and Jackson Me Low Tcshi Yoshida print by Toshi Yoshida



ANG at ANU Australian Art of the Last Ten Years. The Philip Morris Arts Grant; 11-28 October; 15 December-27 March. Selected from the works in the Philip Morris Arts Grant and curated by James Mollison, the exhibition displayed the work of contemporary Australian artists and included paintings, sculpture, prints and draw­ ings, posters, photography, videotapes, Aboriginal art and decorative arts. The accompanying catalogue was published with the co-opera­ tion of Philip Morris (Australia) Ltd and documented the entire Philip

Morris Arts Grant with the exception of photography The exhibition marked the gift of the Philip Morris Arts Grant to the nation and was installed at Melville Hall, Australian National University, the Gallery’s contemporary art venue.

Asian Art and Textiles Indonesian Textile Display, 6 December An exhibition of twenty textiles was mounted as part of a display of Indonesian textiles and music arranged for Members of the Gallery Association. Professor Anthony Forge and Dr James Fox of the Austra­

lian National University, members of the Indonesian Textiles Advisory Committee, delivered short lectures on the textiles, and the Darling Downs College of Advanced Education Gamelan orchestra provided appropriate music. The display was curated by Ruth McNicoll.

International Prints and Illustrated Books Paperwork, 13 October-16 May The exhibition documented the increasing interest that artists have taken in paper, transforming a substance once merely the background

for an image into the image itself. Works dated from an 1889 lithograph on yellow paper by Gauguin to the experimentalism of the 1970s, represented by artists such as Robert Rauschenberg, Roy Lichten­ stein, Jasper Johns and David Hockney.

The exhibition was curated by Pat Gilmour and Anne Willsford, and accompanied by a handbook, Paperwork, written by Pat Gilmour assisted by Stephen Coppel, and researched by Anne Willsford, illustrating all the works on display. A videotape giving background information was scripted by Kay Vernon and produced with the help of the Australian Film and Television School, Gaynor Cardew, Jorg Schmeisser and Theo Tremblay.

Prints of James McNeill Whistler, an exhibition in two parts Part I, 1858-1880, 13 October-11 January. This exhibition showed the artist's early etchings including the French Set of 1858, a number of works from the Thames Set published in 1871 and the Venice Sets of 1880 and 1886. Early lithographs were also displayed.


Part II, 1880-1903, 15 January-15 April. The second part concen­ trated on Whistler’s later lithographs and etchings made in Brussels and Amsterdam. The exhibition was curated by Tony Palmer and accompanied by a

room brochure written by Pat Gilmour and Tony Palmer.

The Screenprint, 1 June-30 November Essentially a twentieth-century technique developed from stencilling, screenprinting was first used by American artists in the late thirties. The show contrasted early ‘serigraphic’ examples, many of them by Australians, with more recent sophisticated screenprints such as Sol LeWitt’s magnificent large piece Set of 75 and photo-screenprints on canvas by Andy Warhol and Alain Jacquet of France.

This exhibition was curated by Pat Gilmour and was accompanied by a room brochure written by Pat Gilmour assisted by Stephen Coppel, and researched by Anne Willsford. A videotape produced with the help of the Australian Film and Television School, was

researched by Stephen Coppel and featured a number of collabora­ tors, among them Ursula Laverty and Redback Graphix of Wollon­ gong.

L’Estampe Moderne (The Modern Print), 1 June-14 August By showing this graphic portfolio of the late 1890s in its entirety and for the first time in Australia, the exhibition presented a slice of late

nineteenth-century taste as a contribution to that stream in art history which argues that art is more meaningful if looked at in context rather than as a collection of isolated masterpieces. Curated by Tony Palmer, who also wrote the accompanying room brochure.

Photography International Photography 1920-1980, 10 November-30 January A general survey of the Gallery's extensive holdings of twentieth- century photography comprising 120 works by 72 artists. This inaugu­ ral exhibition, curated by Isobel Crombie and Ian North, was opened by Max Dupain and was accompanied by a book of the same name written by the staff of the Photography Department, illustrating all the works on display, and a room brochure.

Australian Photography: Pictorialism to Photojournalism, 13 October- 16 January From the soft focus images of pictorialist John Kauffmann through to the sharp forms and clear focus of modernist Max Dupain to David Moore’s human interest photojournalism, the exhibition highlighted the stylistic changes in Australian photography from the turn of the century to the 1960s. Curated by Helen Ennis and Martyn Jolly.

Portraits of Artists, 27 January-4 February Portraits of artists who are represented in the National Collection of art. Compiled by Isobel Crombie.


Ansel Adams: The Museum Set, 5 February-24 April Seventy-five photographs spanning Adams’ career and printed in 1980-81. Curated by Isobel Crombie and Ian North.

Paul Caponigro: Stonehenge 1967-1972. 5 February-19 April A portfolio of thirteen photographs printed in 1978. Curated by Isobel Crombie.

Fluman Interest: French Photography from Lartigue to Cartier-Bresson, 30 April-17 July The exhibition also included the work of Andre Kertesz, Brassa'i and Boubat. Curated by Isobel Crombie and Helen Ennis, who also wrote the room brochure, which was printed with assistance from Green

Apple Graphics, Canberra.

Australian Street Photography : the 1970s, 21 April-12 July A selection of eighteen photographs including works by Jean Marc le Pechoux, Roger Scott and Philip Quirk. Curated by Helen Ennis. The exhibition was described in the brochure for the French photography


Theatre Arts An Introduction to Les Ballets Russes de Serge Diaghilev, 13 October- 19 April The first in a series of exhibitions drawn from items in the collection, this exhibition included costumes for the ballets Petrouchka, 1911,

Thamar, 1912, Le Coq d ’Or, 1914, and The Sleeping Princess, 1921. Set and costume designs by Leon Bakst, Alexander Benois, Andre Derain, Natalia Gontcharova and Juan Gris were also exhibited. Curated by Diana Woollard and Robyn Healy.

Scheherazade, 30 April-30 October Scheherazade focuses on the costumes designed by Leon Bakst. It demonstrates his use of sharply contrasting colours which opened infinite possibilities for later developments in fashion and the theatre.

Production photographs and theatre programmes were included in the exhibition. Curated by Diana Woollard and Robyn Healy.

Education Displays The Materials of Art These exhibitions are part of a series designed to increase under­

standing of works of art through an examination of the materials from which they are made. At the conclusion of the first six-part series the displays will be re-exhibited side by side in a comprehensive exhibi­

tion, The Materials of Art, Painting. Curated by Alison French. 1. Oil paint, 13 October-4 April 2. Watercolours, 9 April-6 June 3. Gouache, 11 June-16 December 1983



Australian National Gallery Association Since the opening of the Gallery the Association has drawn substantial membership from the community to become the second-largest gal­ lery association in Australia. The year saw the Membership Office move from the planning stage into its intended role as an organisation encouraging interest in and support for the National Collection of art.

As of 30 June the Association had attracted 5000 families and individuals, 12 000 Australians, as Members. Membership reflects the national charter of the Gallery, 25 per cent of Members originating from States and Territories other than the Australian Capital Territory.

Programmes for Members In conjunction with the Education and Curatorial departments, the Membership Office organised a variety of programmes for Members, ranging from Adventure Trails for pre-school children to the adult education series Understanding Modern Art.

Understanding Modern Art Thursday nights 21 October-9 December. A series of eight lectures by Education staff, aimed at helping participants understand modern art and how it can change basic ideas.

Masterpiece Series Sunday mornings 17 O ctober-12 December. The series set out to investigate why certain works of art are called ‘masterpieces’. Six talks by Education staff, followed by brunch in the Members Lounge.

Special Viewings Sunday mornings 31 O ctober-14 November. Two curators discussed the special exhibitions they organised for the opening of the Gallery: Paperworks and International Photography. Adventure Trails 3 -7 January inclusive. For children aged 8-12, trails through the galleries were organised around a popular theme: Food and Play.

Learning by Doing 24-26 January. A three-day workshop for children and their parents. Art : An Individual Expression Thursday nights 3 February-10 March. A series of five films, each featuring an artist or artists represented in the National Collection, introduced by Education staff.

The Art of the Aborigines Thursday nights 17 and 24 February, 3 and 10 March. A series of lectures discussing Aboriginal works of art within a fine art context. The Collections Sunday mornings 6 February-3 April. Nine talks by curators in charge of specific collections about the works on display, their relation to work in other curatorial areas and the logic behind their acquisition.

Art in Context Sunday mornings, repeated Thursday nights, 1 M a y-14 July. A series of ten lectures by Education staff looking at individual works in the National Collection and attempting to place them in their original context.


Contrasts 10, 12, 16-18 May. Children were encouraged to find for themselves the differences and similarities between a small number of works in the collection. For age groups 4-5; 6-8; 9-12. Guest Lectures Sunday mornings 29 May, 17-31 July. Four

lectures on a variety of themes by the curatorial staff.

Special Events A number of previews and special events were arranged for Members. They attracted attendances of up to one thousand. Opening of the Photography Gallery 10 November. Members were invited to the inaugural exhibition in the Photography gallery,

International Photography 1920-1980, which was opened by the cele­ brated Australian photographer, Max Dupain. Afterwards he was guest speaker at a Members lunch in the Gallery Restaurant. An Evening of Indonesian Textiles and Music 6 December. The first public display of the collection of Indonesian textiles was intro­

duced by talks by Professor Anthony Forge and Dr James Fox on the symbols and techniques used in their production. A performance by the Darling Downs Institute of Advanced Education Gamelan orches­ tra accompanied the exhibition.

George Melly Lecture 10 February. World-renowned jazz enter­ tainer George Melly lectured on Magritte and the Surrealists. Preview of New Acquisitions 30 March. A preview of the Gallery’s major acquisitions for the year was held from 5.30-7.30 p.m.

French Photography Soiree 6 May. The soiree marked the open­ ing of the French Photography exhibition, Human Interest: Lartigue to Cartier-Bresson. Guest speakers were His Excellency, M. Jean-Ber- nard Merimee, the French Ambassador, and Ross Steele, President of the Alliance Frangaise. Music was provided by J.B. & The Jazzmen.

Special Viewing 24 June. A special viewing of the exhibition L’Estampe Moderne was held for $100 Members of the Association. This was followed by a reception in the Boardroom.

ANGA News In conjunction with the opening of the Gallery the Membership Office commenced publication of the Australian National Gallery Association News. A quarterly publication, the.News publicises exhibitions and events and also contains articles on aspects of the National Collection.


Education Programmes The Gallery’s education programmes fall into two broad categories: public events and events for students in full-time education. In the former category are the lunchtime and Sunday afternoon series of gallery lectures, and the Thursday evening slide lecture series in the theatre. Education staff play a major role in the Sunday morning

lecture series for Members and in addition they run holiday pro­ grammes for Members and their children. To date, 170 lectures have been given to an average audience of forty at lunchtimes and on Sundays, and an evening theatre audience of between thirty and one

hundred and eighty. A monthly lecture calendar has been instituted to ensure that the public is fully informed of coming events.

Young visitors being shown work in the Sculpture Gallery by a member of the education staff.


The twenty-six Gallery Guides who have finished their training year have conducted four tours a day, covering Australian art and the International collections between them; a total of 1024 tours since the opening of the Gallery. At present there are insufficient Guides to

provide for booked tours. From the comments of the public and observations made by guides from other museums and galleries, we are confident that the standard of the Guides’ work is excellent. The Guides are members of the Association of Australian Voluntary Guides and they acted as hosts for one day of the A.VG. conference held in the Gallery.

A second recruitment of Gallery Guides took place in December and the one day a week coverage of lectures and seminars has been extended to the Australian Aboriginal, Oceanic, African and Pre­ Columbian collections. The current twenty-five trainees are expected to begin guiding in December 1983.

The second category of education programmes is for students in full-time education. As one might expect, the Gallery has been a magnet for school and college groups: 32 365 students in 882 school groups have visited the collections so far. Of these, the great majority

were from schools in New South Wales and the Australian Capital Territory, with ninety-eight from Victoria, thirty-three from Queensland, seven from Tasmania, three from South Australia, one from Western

Australia and two from overseas. A recent decision to appoint two further lecturers will ease some of the pressure on existing staff, and allow the development of in-service teacher courses and resource material for schools.

The theatres have been used constantly for slide lectures by staff and visiting lecturers, for group welcomes, for films (430 films have been screened since opening) and on three occasions for confer­ ences. A three-screen audio-visual, The Genesis of a Gallery, was

produced for regular screening in the Main Theatre, as well as a single screen audio-visual and a videotape for wider distribution. The collection of documentary films on art increased to eighty and the slide collection, which services all Gallery staff, to approximately thirty-five thousand slides. Sample slide packs covering the major

areas of art in the collection were prepared and further packs are planned for distribution through the Gallery Shop and to schools for use as an introduction to a Gallery visit.



Books and Catalogues Australian National Gallery: An Introduction edited by James Molli- son and Laura Murray. 292 pages; 310 illustrations (180 in full colour). Hard cover. $40.00

Australian National Gallery a souvenir book of the Gallery and the National Collection. 52 pages; 103 illustrations (92 in full colour). Soft cover. $4.00 International Photography 1920-1980 by Isobel Crombie, Helen Ennis, Martyn Jolly, Ian North. 156 pages; 120 illustrations (26 in full colour). Hard cover. $30.00

Paperwork by Pat Gilmour and Anne Willsford. 84 pages; 50 illustrations (24 in full colour). Soft cover. $12.00 Pella in Jordan I edited by Basil Hennessy, Anthony McNicoll, Robert H. Smith. Vol.l, 161 pages; 30 figures, bibliography. Vol.ll 181 pages; 150 plates, 3 end-plates. Hard and soft cover. Hard cover $70.00; soft cover $50.00

Peter and the Wolf retold by Laura Murray, illustrations by Danila Vassilieff. For children to 10 years. 40 pages; 16 illustrations all in full colour. Hard cover. $15.00

Clothes and Textile Accessories Jenny Kee Scarf Designed by Australian fashion designer Jenny Kee, incorporates Australian motifs. Printed in 18 colours on crepe de Chine silk by Rainbow Fabrics in Italy. Size 114x114cm. $120.00

Art Deco Scarf Geometric design based on a scarf in the Gallery’s collection. Printed in dark purple on beige crepe-de-Chine silk. Size 167.5 x 47.5cm. $48.00 Floral Scarf Based on a block-printed nineteenth-century fabric from the Gallery's textile collection. Printed in soft pinks, greens and greys on silk twill. Size 87.5 x 87.5cm. $39.50

Australian National Gallery T-Shirt Gallery building in a bush setting is the background for an eighteenth-century image of a kangaroo. Printed in black on white poly-cotton. Adult $11.00; Child $9.00

Greeting Cards, Posters and Large Reproductions Greeting Cards Margaret Preston, Woodcuts. Boxed set of 12 cards and envelopes, 6 designs in full colour on antique laid paper (no greeting). $13.00. Andre Derain, Pantagruel. Boxed set of 12 cards and envelopes, 6 designs in full colour on antique laid paper (no greeting). $13.00. Martha Romme, Twelve Months of the Year. Boxed set of 12 cards and envelopes, 12 designs in full colour on antique laid paper (no greeting). $13.00.

Posters Four works from different areas of the National Collection


chosen to announce the opening of the Gallery. Each poster measures 995 x 690mm. $7.50 each William Eggleston. Light bulb in a red room, 1973. Colour photo­ graph.

Mask with feathers, Dan Tribe (West Africa). Margaret Preston. Bird of paradise c.1923. woodcut. Leon Bakst. Costume design for an odalisque from the ballet Sheherazade 1910. Large Reproductions Fifteen high-quality large reproductions, support size 770 x 503mm. $15.00 each

Eugene von Guerard. North-east view from the northern top of Mount Kosciusko, 1863. Fernand Leger. Trapezists, 1954. Leon Bakst. Costume design for Shah Zeman from the ballet Sheherazade, 1910. Jackson Pollock. Blue Poles, 1952.

Arthur Streeton. From McMahons Point-fare one penny, 1890. Claude Monet. Water-lilies, 1910-1920. Arthur Streeton. The selector’s hut (Whelan on the log), 1890. Tudor St. George Tucker. Nasturtiums c .1903.

Charles Conder. Under a southern sun, 1890. Russell Drysdale. The rabbiter and his family, 1938. Tom Roberts. In a corner on the MacIntyre, 1895. Arthur Boyd. Boat builders. Eden, N.S.W, 1948. Thomas Griffiths Wainewright. The Cutmear twins, Jane and Lucy c. 1840.

Other Items Commemorative Crystal Decanter Created by Orrefors of Swe­ den, specially engraved to mark the opening of the Gallery limited edition. $185.00

Room Brochures produced for the following special exhibitions were available to the public in return for a token donation in the galleries. International Prints and Illustrated Books. Prints of James McNeill

Whistler, The Screenprint; L'Estampe Moderne (The Modern Print). Photography. International Photography 1920-1980; Eluman In­ terest : French Photography from Lartigue to Cartier-Bresson plus Australian Street Photography: the 1970s.

Awards Alistair Hay received awards for design and the book as an object from the Australian Book Publishers’ Association, for Australian Na­ tional Gallery : An Introduction, and Book of the Year from the

Colophon Society of Canberra for International Photography 1920­ 1980.


Staff Activities

Director The year was a particularly active one for the Director. The lead-up to the official opening involved him in a variety of activities for the Australian and international news media. Among these the most important was probably the collaboration with Robert Hughes in the ABC documentary The Australian National Gallery — Exemplary Objects' during July, and addresses to the Royal Australian Institute of Architects and the National Press Club in September.

Later in the year the Director delivered lectures to the Australian Literary Association and the Association of Gallery Guides. His other engagements included meetings with the Australian Bicentennial Au­ thority, the Advisory Committee on National Collections and the Artworks Advisory Committee of the Parliament House Construction Authority. In addition to interstate travel to attend important openings

in the State capitals, he was guest speaker at the opening of the New England Regional Art Museum, Armidale, in March, After the opening and the announcement of major acquisitions for the year, the Director was able to travel briefly to Europe and the United States during April and early May. This first overseas visit in two years enabled him to re-establish links with artists, art dealers and museums, and permitted the first-hand inspection of art works for possible acquisition for the National Collection.

During the year the Director acted as host to visiting groups such as the Ombudsmens’ Conference, the Heads of Commonwealth Cul­ tural Institutions, and the tour of the Gallery by members of the Diplomatic Corps in November. Distinguished guests included His Royal Highness the Prince of Wales, Members of Parliament, directors of overseas museums, artists and donors.

Secretary and Manager In June the Secretary and Manager, Mr Greg Andrews, visited mu­ seums and galleries in America in conjunction with the Annual Confer­ ence of the American Association of Museums in San Diego. The conference gave him an opportunity to meet senior museum person­ nel and to promote the Australian National Gallery in an international forum. Mr Andrews also participated in the work of the Advisory Committee on National Collections.

Australian Art A major aspect of curatorial activity associated with the Gallery’s opening was public relations interviews for press, radio and television. The Senior Curator, Daniel Thomas, was especially involved in radio

programmes which achieved remarkable nationwide audiences. Inter­ views for the media continue as a diminished routine activity usually associated with new acquisitions or temporary exhibitions.


After the opening, curators’ public relations activity shifted more to speaking engagements outside Canberra, for example at the New England Regional Art Museum, Armidale, NSW, the Bendigo Art Gallery, the Art Gallery of New South Wales, Sydney, the Art Gallery of Western Australia, Perth, and (mostly by John McPhee, Curator of Australian Decorative Arts) at art schools and Colleges of Advanced

Education, for example in Perth, Townsville, Canberra, Sydney and Melbourne. The most rewarding speaking engagements for curators are the many lectures given within the Gallery itself, to trainee Guides, Members and visitors for such lectures are closer to the direct experience of works of art.

Curators’ writing projects took on an increasing public relations role. Articles on aspects of the collection were written by curators of Australian art for Art and Australia, Craft Australia, Australian Antique Collector, Australian Connoisseur, Pottery in Australia, and Australian

National Gallery Association News. There were also book reviews and articles contributed to the Sydney Morning Herald and Australian Art Review. While not neglecting scholarship, these articles aroused valuable publicity.

Of the publications which appeared during the year perhaps the most original is the outline history of Australian art which forms the largest chapter of the book Australian National Gallery : An Introduc­ tion.

Writing for publication in future years takes into account an interest­ ing new development. International dictionaries and encyclopedias of art, published in Europe and America, increasingly include Australian material. During the past year international publishers have become aware of the Australian National Gallery as a source of information and contributions, and have made several requests. This important contribution to international awareness of Australian art will probably continue.

Papers for international conferences in 1983-84 at Australian uni­ versities have been commissioned, to be delivered by Martin Terry and Mary Eagle. Another external role, committee work, was more localised in

Canberra. Curators resigned from most committees during the lead- up to the Gallery's opening, but their subsequent return showed some new patterns. Mary Eagle and Andrew Paterson were committee members for the annual conferences of the Art Museums Association of Australia and the Art Association of Australia, which will be held in Canberra for the first time, at the Gallery, in August 1983. Daniel Thomas was asked to join committees of the Humanities Research

Centre, Australian National University, and to help supervise post­ graduate students for the Department of Australian History at the University; outside Canberra, but still in a national role, he joined the Australian Bicentennial Authority Exhibitions committee and assisted in Australia Council assessment of grants to art exhibitions. John


McPhee is on the Crafts Board of the Australia Council’s Exhibitions Advisory Committee.

International Prints and Illustrated Books The Senior Curator, Pat Gilmour, was overseas for nine weeks from January to March, visiting Italy, Germany, France, England, Japan and the United States. Her primary purpose was to make contact with artists and dealers and to look at new prints being produced. She also researched the possibility of acquiring a collection of modern Japa­ nese prints and collected information concerning the way printers and artists have collaborated; essential research for a future exhibition.

During 1983 Mrs Gilmour was elected to the Committee of the Print Council of Australia and invited to address the annual conference of the World Print Council in San Francisco. Curatorial Assistant Anne Willsford helped judge the Australian section of the International Telecommunication Union’s Drawing and Photography Competition for World Communications Year, 1983.

International Art Three members of the Department, Michael Lloyd, David Jaffe and Grazia Gunn, travelled overseas to inspect and search out new acquisitions. In addition to their normal duties all members of the Department delivered lectures to Members of the Gallery Association, Gallery Guides and visitors. David Jaffe gave lectures to students from the Canberra School of Art and Melbourne University and delivered a paper to the Australian Art Historical Conference. Michael Lloyd delivered lectures to visiting Fine Art students from Melbourne University and the Melbourne College of Advanced Education, was interviewed for two television programmes on the collection and prepared newspaper articles associated with the opening of the Gallery. Grazia Gunn and Michael Desmond also delivered lectures to Fine Art students from Melbourne University.

Diana Woollard visited State galleries and institutions to study techniques for the display of theatre material. Robyn Healy delivered a paper on the display techniques of theatre costumes to a seminar organised by the Museum of Applied Arts and Sciences, Sydney.

Photography In addition to his normal duties, the Curator, Ian North, was elected President of the Art Museums Association of Australia, and (ex-officio) Co-Chairman of the Council of Australian Museum Associations. He gave public lectures in association with the International Photography and Ansel Adams exhibitions; opened a Max Dupain retrospective exhibition at the Australian Centre for Photography, Sydney; and acted

as external assessor for the Graduate Diploma in Photography, Sydney College of the Arts. He also addressed the A.C.T. branches of the Museums Association of Australia (on Axel Poignant), the Institute for the Conservation of Cultural Materials, and Canberra School of Art.


Helen Ennis, Curatorial Assistant, gave lectures on the Department of Photography at Monash University, Melbourne, and the Tasmanian College of Advanced Education; and gave papers on aspects of twentieth-century art and photography at the Australian National Gallery, Monash University and the National Gallery of Victoria. She

also joined the judging panel for ‘Youth in the Electronic Agej an art competition for World Communications Year, 1983. Martyn Jolly, Curatorial Assistant, served on the Executive Commit­ tee of the Australian Centre for Photography, Sydney, and delivered

papers there on the Department of Photography and the theory of photography. He also gave lectures on Australian pictorialism and photographic theory at the Canberra School of Art and the Sydney College of the Arts respectively.

Isobel Crombie, Curatorial Assistant, gave a number of public lectures in association with the exhibition Human Interest : French Photography from Lartigue to Cartier-Bresson and supervised the public’s viewing of works not on display.

Conservation During the year a series of ‘in-house’ conservation seminars com­ menced with talks by Dr Nathan Stolow and Leo Wimmer. External lectures on conservation subjects were given by Jose­ phine Carter and the Senior Curator at conservators’ and other profes­ sional meetings. Advice on storage, lighting, environmental climate and other museological matters has been given to curators, adminis­ trative, engineering and technical staff.

External consultations were varied, ranging from project work on interdepartmental committees on National Collections (ACNAC); Con­ servation Heads of Departments (CHOC); to executive and represent­ ative work on conservators' groups, ICCM in Australia and internation­ ally in IIC, and the Editorial Board of Museum Management and Curatorship (UK).

Education Terence Measham and Felicity St John Moore attended and presented papers to the joint conference in Sydney of the Art Museums Associa­ tion of Australia and the Art Association of Australia. Education staff

also stimulated and participated in the formation of the Institute for Museums and Gallery Education (IMAGE, ACT). Publications by staff members include four articles in Art and Australia and one in Architecture Australia by Terence Measham, and the monograph Vassilieff and His Art by Felicity St John Moore, which

was published by Oxford University Press in November and subse­ quently won an Australian Book Publishers Association Design Award.

Registration The Registrar, Warwick Reeder, took long-service leave from the Gallery from 20 February to 14 June, visiting art centres in Europe



and the United States. While overseas he was recalled to duty to meet with fine art packing representatives used by the Gallery in Switzer­ land, France, England and the United States. The Registrar was Secretary of the Curators’ Group.

The Lending Officer, Andrew Paterson, also travelled privately overseas in February and March. While in Washington he met with the Curator, Clement E. Conger, and visited the Diplomatic Reception Rooms in the Department of State and the White House. The Lending Officer continued as Treasurer of the Art Museums Association of Australia and was on the Council of Australian Museums Associations.

The Assistant Registrar, Central Catalogue, Maxine Esau, repre­ sented the Gallery on a working group, reporting to the Advisory Committee on the National Collections, on the feasibility of an inte­ grated computer-based cataloguing system.

Frangois Le Gall visited the Art Gallery of New South Wales in April to learn from procedures involved in the demounting and packing of the Entombed Warriors exhibition.

Library Staff have played an active role in professional activities during the year. The Principal Librarian was elected Chairman of the Art Libraries Society, Australia and New Zealand, (ARLIS/ANZ) and the Deputy Librarian was elected a Committee Member and Editor of the Newsletter. The Documentation Librarian was elected to the Commit­ tee of the Canberra Branch of the Library Association of Australia’s On-Line User Group. The Principal Librarian joined the AACOBS Committee for the A.C.T. and the Head Cataloguer was recently elected incoming President of the A.C.T. Branch of the Professional Officers’ Association.

Staff have also attended a number of professional conferences and seminars including the Library Association of Australia Conference, a seminar on the cataloguing of non-book materials, Dialog, Orbit and Ausinet training courses and a seminar on copyright. The Principal Librarian was recalled to duty while travelling privately overseas to attend ARLIS Conferences both in North America and the United Kingdom.

Publications The Publications Department participated in a number of activities during the year. The Co-ordinator, Alan Dodge, spoke to the American Embassy Wives’ Association and the Australian American Association on the Gallery and its publications programme. He organised and hosted a book launch by the Director of Peter and the Wolf (illustrations by Danila Vassilieff, published by the Gallery) in September. He attended the 1983 Pan-Pacific Direct Marketing Conference in Sydney and ran a booth at the National Stationers’ and Booksellers’ show in Melbourne.


Public Relations Community relations activities included regular public speaking en­ gagements by Public Relations Manager, Stephen Gilfedder, and the Assistant Public Relations Manager, Hester Gascoigne. In June, Hes­ ter Gascoigne was recalled to duty in Washington and New York to visit public relations offices in major museums.

Other Activities Nadine Burch, Development Manager, participated in the Giving Australia Conference in Melbourne in February. The Head of Manage­ ment Services, John Carroll, attended the seminar on the appoint­ ment, development and performance of Public Service Managers conducted by the Centre for Continuing Education, Australian National

University, in March. George Gilbert, Chief Security Officer, delivered a paper on Museum Security to the Museum Association of Australia Conference in 1982. In May the Acting Chief Photographer, Bruce Moore, attended the Photographies '83 convention and trade show in


Staff Changes International Prints and Illustrated Books The Department had staffing difficulties during the year. Curatorial Assistant, Catherine Ciynes, did not return after her maternity leave; Jane White resigned at the end of March, and in April Kay Vernon left to take up a six-months scholarship at the British Museum in London.

A new Secretary, Margaret Rowe, joined the staff in April.

Conservation Allan Byrne joined the Department as Conservator of post-1940 works of art, and Jacqui Macnaughton and Ian Urquhart joined as Assistant Conservators later in the year.

Registration Numerous staff changes took place in the Department. In the Central Catalogue, Maxine Esau replaced Erica Persak as Assistant Registrar. Karin McNamara resigned in January and was succeeded by Helen

Maxwell. Elizabeth Gillespie of Registration and Jeanne Klovdahl of the Department of Australian Art exchanged positions during the year. In October, Sara Kelly was appointed to identify and research acqui­

sitions made for the National Collection from 1911 to 1976. Museum Assistants associated with the movement and handling of works of art were transferred to Registration from other sections. Cathy Aladjem and Gavan Desmond were appointed to co-ordinate works on paper, assisted by Renfred Pryor, framing and unframing exhibition material.

Responsibility for the installation of works of art was transferred to Registration from Exhibitions. In May Anthony Leitch became Co­ ordinator of Installations in place of Joe Markac, who was absent on extended leave without pay.


Andrew Paterson, formerly Administrative Assistant to the Depart­ ment of Australian Art, was appointed Lending Officer following the retirement of Phil Dennis, a long-serving and much-liked personality of the Gallery.

Education The doubling of staff numbers in Education allowed the introduction of a wide range of educational programmes and services. Alison French, formerly Director of the Benalla Art Gallery, was appointed Assistant Curator with responsibility for Education exhibitions; Diane

Pope took up the position of Administration Officer in charge of school bookings and was joined later by an assistant, Alice Hendry; Steven Allerton and Patricia Willey transferred to the Centre as Theatre Co­ ordinator and Steno-Secretary respectively; Ross Woodrow and, more recently, Sonya Celtlan and Angela Philp, all three with extensive teaching experience as well as Fine Art qualifications, were appointed lecturers with responsibility principally for school programmes. Jan Ward replaced Gillian Marsden as Education Resource Officer.

Public Relations Kerry Newman was appointed Senior Information Officer, in charge of full-time and part-time staff. Eight Information Officers were ap­ pointed. Full-time staff are Caroline Scharrer, Janet Patterson, Vicki Fayle, George Hirst; part-time staff are Mark Henshaw, Susan Nash, Margaret Williams and Fabio Angeletti.

Publications During the year Laura Murray resigned her post as Editor in order to commence a new position as Executive Editor of Art and Australia magazine. Francis Walsh resigned as Assistant Editor to take up the position of Editor at the Institute of Aboriginal Studies. Inga Lidums joined the Department in a part-time position to help co-ordinate

production scheduling, marketing and customer services. Bruce Semler has been appointed the new Editor and will take up duties in August 1983.

Gallery Shop Gary Pressey returned to Sydney and was replaced as Manager by John Wood.

Development Office Michele Day replaced Jenny Cox as Executive Assistant in August.


Financial Report

Auditor-General’s Office Canberra House, Marcus Clarke St, Canberra City, A.C.T. 2601

30 December 1983

The Honourable the Minister for Home Affairs and Environment Parliament House CANBERRA ACT 2600

Dear Minister

Australian National Gallery Report on Financial Statements

In accordance with sub-section 42(2) of the National Gallery Act 1975, the Council of the Gallery has submitted for my report its financial statements for the year ended 30 June 1983 comprising a Statement of Assets and Liabilities, a Statement of Income and Expenditure, a

Statement of Capital Accumulation and Notes to and forming part of the Accounts. The statements have been prepared having regard to the policies outlined in the Notes to and forming part of the Accounts.

A copy of the statements, which are in the form approved by the Minister for Finance pursuant to sub-section 42(l) of the Act, is attached for your information. I now report in terms of sub-section 42(2) of the Act that the statements are in agreement with the accounts and records and in my opinion —

(i) the statements are based on proper accounts and records; and (ii) the receipt and expenditure of moneys, and the acquisition and disposal of assets, by the Gallery during the year have been in accordance with the Act, except as indicated in Notes 3 (admis­

sion of certain visitors free of charge), 10 (opening of bank accounts without proper approval) and 14 (exceeding the ap­ proved forward obligation limit). The Gallery did not invest moneys during the year.

Yours faithfully

R L. Lidbetter First Assistant Auditor-General


Statement of Assets and Liabilities as at 30 June 1983

This P e rio d L a s t P e rio d

$ $ $ $ $ $

Capital Accumulation (See Statement of Capital Accumulation) 36,699,896 30,543,916

This is represented by: CURRENT ASSETS Cash at bank and on hand (See Notes 2 and 3) 2,801,756 3,813,367

Debtors (See Note 4) 41,928 3,381

Prepayments 92,190 115,253

Gallery Shop Stock (See Note 1) Publications Stock (See Note 1):

308,726 217,442

Work-in-Progress 17,064 —

Finished Goods 524,500 541,564 3,786,164 84,354. 4,233.797

FIXED ASSETS (See Note 5) Art Acquisitions (See Note 6) Gallery and Leasehold

29,707,967 24,400,841

Improvements (See Note 7) less accumulated 700,737 116,620

amortisation 106,558 594,179 52,196 64,424

Display Equipment 3,601,489 1,450,875

less accumulated depreciation 371,035 3,230,454 84,680 1,366,195

Loose Furniture (See Note 7) 1,018,643 1,552,832

less accumulated depreciation 192,988 825,655 140,408 1,412,424

Office Furniture 319,322 265,701

less accumulated depreciation 74,010 245,312 52,531 213,170

Film 40,956 36,310

less accumulated depreciation 6,562 34,394 1,807 34,503

General and Technical Equipment less accumulated

1,195,598 426,225

depreciation 225,340 970,258 35,608,219 77,199 349,026 27,840,583

TOTAL ASSETS 39,394,383 32,074,380

LESS CURRENT LIABILITIES (See Note 14) Creditors for Art Acquisitions 1,536,354 512,491

Creditors 397,916 301,981

Accruals Provision for Long Service

21,531 11.343

Leave (See Note 8) Provision for Recreation Leave

6,482 4,708

and Bonus (See Note 9) 445,549 2,407,832 291,190 1,121,713

LONG TERM LIABILITIES (See Note 14) Instalments owed on

τ ■


major Art Acquisitions Provision for Long Service

92,300 180,500

Leave (See Note 8) 194,355 286,655 228,251 408,751

TOTAL LIABILITIES 2,694,487 1,530,464

NET ASSETS 36,699,896 30,543,916

The a c c o m p a n y in g n o te s fo rm a n in te g ra l p a r t o f th e s e s ta te m e n ts .

In our opinion the financial statements, including the notes thereto, have been properly drawn up as to show fairly the financial transactions of the Australian National Gallery for the year ended 30 June 1983 and the state of its affairs as at that date.

L. Gordon Darling, C.M.G. Chairman of Council 19 December 1983

Gregory C. Andrews Acting Secretary and Manager 19 December 1983

Statement of Capital Accumulation as at 30 June 1983

This P e rio d L a s t P e rio d

$ $ $ $

Balance at beginning of period Transfer from Income and Expenditure

30,543,916 22,395,189

Statement — Funds applied to purchase of assets: Art Acquisitions (See Note 6) 4,371,462 2,677,356

Library Acquisitions — (544,392)

Loose Furniture (See Note 7) (534,189) 996,398

Display Equipment 2,113,777 1,063,399

Office Furniture 23,622 101,937

General and Technical Equipment 551,576 212,277

Film 4,096 34,260

Gailery and Leasehold Improvements 562,315 24,868

Gallery Shop Stock 91,284 181,912

Publications Stock 409,645 7,593,588 84,354 4,832,369

38,137,504 27,227,558

Add/Deduct SurplusZ(Deficit) transferred from Income and Expenditure (1,437,608) 3,316,358

Balance at end of period 36,699,896 30,543,916

The a c c o m p a n y in g n o te s fo rm a n in te g ra l p a r t o f th e s e s ta te m e n ts .

L. Gordon Darling, C.M.G. Chairman of Council 19 December 1983

Gregory C. Andrews

Acting Secretary and Manager 19 December 1983


Statement of Income and Expenditure for the year ended 30 June 1983

This Period Last Period

$ $ $ $

INCOME Parliamentary Appropriation Donations Income from Commercial

Activities (See Note 10): Admissions Corporate Membership and Founding Donor Corporate Sponsorship Family and Individual Membership Gallery Shop Publications Miscellaneous Income — Interest

— Other

Less transfer to Capital Accumulation (See Statement of Capital Accumulation)


LESS EXPENDITURE Salaries Employer’s Superannuation Contribution (See Note 11) Council Sitting Fees Advertising and Publicity Travel and Subsistence Office Services and Utilities (See Note 12) Freight and Storage Office and Gallery Requisites Postage and Telephones Printing Cost of Goods Sold

Gallery Shop Publications Professional Fees Incidentals

Monographs and Periodicals Long Service Leave (See Note 8) Amortisation of Leasehold Improvements (See Note 7)

Depreciation of Fixed Assets (See Note 5) Recreation Leave and Bonus (See Note 9) Loss on Disposal of Assets


SURPLUS/(DEFICIT) BEFORE ABNORMAL ITEMS Less Expensing previous year's assets (See Note 5) Add Prior Year adjustment — Work-in-Progress

(Note 13)

15,400,000 15,000,000

156,680 10,753

426,748 )


) )

42,000 157,004

) )


687,546 295,554 219,786

) )






5,489,382 3,015,181

515,130 291,037

40,575 31,525

117,735 58,333

311,881 234,613

1,219,400 735,107

140,479 130,325

1,273,651 553,675

209,464 140,352

268,637 91,620

294,398 ____

109,206 —

504,798 190,913

302,357 79,482

269,336 435,332

28,565 146,290

54,457 9,543

536,923 195,316

154,359 134,143

2,334 —












SURPLUSZ(DEFICIT) TRANSFERRED TO CAPITAL ACCUMULATION (See Statement of Capital Accumulation) (1,437,608) 3,316,358

The a c c o m p a n y in g n o te s fo rm a n in te g ra l p a r t o f th e s e s ta te m e n ts .

L. Gordon Darling, C.M.G. Gregory C. Andrews

Chairman of Council Acting Secretary and Manager

19 December 1983 19 December 1983

Notes to and forming part of the Accounts







STATEMENT OF ACCOUNTING POLICIES The accounts and records are prepared under the historical cost convention and, in accordance with generally accepted accounting principles except where detailed below, are

maintained on an accrual basis. Stock is valued at the lowest of cost, market or replacement value, due allowance having been made for damaged goods. SPECIAL ACCOUNT Special Account moneys are included in the figure for cash at bank and on hand. The details

of this account are given below.

Balance at 1 July 1982 Donations Interest Received


11,319 156,680 2,540

Acquisition of Art Works

Balance at 30 June 1983



$170,539 $170,539

ADMISSIONS ACCOUNT Admissions Account moneys are included in the figure for cash at bank and on details of this account are given below.


Revenue since

hand. The


13 October 1982 426,748 Costs of Collection 48,400

Interest Received 7,006 Acquisition of Art Works 298,529

Moneys Receivable 742

Balance at 30 June 1983 86,083

$433,754 $433,754

An oversight in the drafting of the Regulations to the National Gallery Act 1975 resulted in a blanket requirement to charge all visitors and staff entering the Gallery. Recommendations have been made to enable dignitaries, official visitors, visitors who are not viewing the National Collection and staff to be admitted without charge. During the year it was necessary to admit dignitaries, official visitors and some patrons to the Gallery Shop without charge.

Recommendation to amend the Regulations to cover such occurrences have been made.


As there are no doubtful debts no provision has been made for any write-off. FIXED ASSETS The Gallery’s policy is to capitalise only those items costing more than $250. Retrospective action has been taken to expense minor items. This is reflected in the Abnormal Item in the

Income and Expenditure Statement. Depreciation of Fixed Assets is calculated on a straight line basis. ART ACQUISITIONS The figure shown relates only to purchases and works commissioned by the Gallery from 1976 to 1983 and includes $92,300 due in future years. Other acquisitions (e.g. by gift) since 1 July 1976 and currently in the custody of the Gallery have not yet been formally transferred to the Gallery.










The amount shown in the Statement of Capital Accumulation for Art Acquisitions is cash expended during the year. This is to facilitate comparison with the allocation for acquisitions in the annual Appropriation Act, in accordance with section 35(2) of the National Gallery Act. In keeping with Gallery policy the costs of freight for art acquisitions were not capitalised with the acquisitions cost.


Total expenditure on Gallery and Leasehold Improvements since July 1976 700,737 168,686

Less amortisation (106,558) (104,262)

Written down value of Gallery and Leasehold $594,179 $64,424

The lease on one of the two buildings at Fyshwick was terminated during the year. Some items previously coded as Loose Furniture have been more appropriately transferred during the year to Gallery and Leasehold Improvements and General and Technical Equip­ ment.

PROVISION FOR LONG SERVICE LEAVE Provision has been made for employees with service of five years and over.

PROVISION FOR RECREATION LEAVE AND BONUS Provision for recreation leave and related bonus has been calculated as at 30 June 1983 and included as a current liability.

INCOME FROM COMMERCIAL ACTIVITIES Sources of revenue from the Gallery’s commercial activities have been itemised. Receipts from the Gallery’s commercial activities and Appeals to the public were lodged in separate bank accounts. Council approval for the opening of the Bank accounts was given after

lodgements had been made.

SUPERANNUATION The Gallery’s contribution to the Commonwealth Superannuation Fund is based on 15% of superable salaries for all present and future employees. The Gallery will be liable for post­ retirement pension increases.


Rent 77,403

Security 93,549

Other Services — Electricity 604,153

Fuel and Water 190,158

Repairs and Maintenance 188,265

Vehicle Hire 20,152

Cleaning and Miscellaneous Charges 45,720


WORK-IN-PROGRESS In 1981/82 the costs of Work-in-Progress for Publications Section stock were expensed. As a result of a change in accounting policy whereby the item is no longer expensed, the accounts for this year reflect an abnormal item of $42,283 being costs of Work-in-Progress which have now been brought to account as Stock On Hand as at 1 July 1982.

FORWARD COMMITMENTS Due to an oversight, Department of Finance procedures for obtaining prior forward commit­ ment approval for art acquisitions and other liabilities (excluding staff entitlements) entered into by the Gallery were not complied with. As a result formal approval from the Department of Finance had not been obtained by 30 June 1983 for commitments amounting to $584,570.

The Gallery has now obtained adequate cover for future commitments and has taken steps to ensure that this oversight does not occur again.



APPENDIX 1 Functions and Powers of the Gallery The functions and powers of the Gallery are defined by Sections 6 and 7 of the N a tio n a l G a lle ry A c t 1975. These sections are set out below, following the

definition of 'national collection' from Section 3. Section 3 In this Act, unless the contrary intention appears — ‘national collection’ means all works of art that are owned by the Gallery

from time to time. Section 6 6.1 The functions of the Gallery are: a) to develop and maintain a national collection of works of art; and

b) to exhibit, or to make available for exhibition by others, works of art from the national collection or works of art that are otherwise in the possession of the Gallery. 6.2 The Gallery shall use every endeavour to make the most advantageous

use of the national collection in the national interest. Section 7 7.1 Subject to this Act, the Gallery has power to do all things necessary or convenient to be done for or in connection with the performance of its


7.2 Without limiting the generality of sub-section (1), the powers of the Gallery referred to in that sub-section include power: a) to purchase or take on hire, or to accept as a gift or on deposit or loan, works of art;

b) to lend or hire out or otherwise deal with (otherwise than by way of disposal) works of art; c) to accept gifts, devises, bequests or assignments made to the Gallery, whether on trust or otherwise, and whether unconditionally or

subject to a condition and, if a gift, devise, bequest or assignment is accepted by the Gallery on trust or subject to a condition, to act as trustee or to comply with the condition, as the case may be; d) to collect, and make available (whether by sale or otherwise), infor­

mation on the visual arts; e) to make available (whether by sale or otherwise) reproductions of works of art; f) to arrange for, or to assist in, research into matters pertaining to the

visual arts; .

g) to erect buildings; h) to purchase or take on hire, or to accept as a gift or on deposit or loan, and to dispose of or otherwise deal with, furnishings, equipment and other goods; i) to act on behalf of Australia or of an authority of Australia in the

administration of a trust relating to works of art or related matters. 7.3 The Gallery shall not dispose of a work of art except in accordance with Sections 9, 10 or 11. 7.4 Notwithstanding anything contained in this Act, any money or other

property held by the Gallery upon trust or accepted by the Gallery


subject to a condition shall not be dealt with except in accordance with the obligations of the Gallery as trustee of the trust or as the person who has accepted the money or other property subject to the condition, as the case may be.

APPENDIX 2 Gallery Council and Committees Membership as at 30 June 1983

Australian National Gallery Council L. Gordon Darling, C.M.G. C h a irm a n John D. Davies (D e p u ty C h a irm a n ) Marc Besen Tom K. Critchley, A.O. C.B.E.

Murray W. Elliott James O. Fairfax Jacqueline Hick James Mollison (D ir e c to r ) Lenore Nicklin Robert W. Piper Virginia Spate

Robert J. McArthur (O b s e rv e r — D e p a rtm e n t o f H o m e A ffa irs a n d E n v iro n m e n t)

Development Committee Marc Besen, C h a irm a n John Davies James Fairfax Robert Piper L. Gordon Darling (e x -o ffic io ) James Mollison (e x - o ffic io ) Greg Andrews (e x - o ffic io ) Building Committee (Reconstituted in August) Tom Critchley, C h a irm a n Jacqueline Hick

APPENDIX 3 Attendance Figures : 13 October-30 June

October 46 798

November 62 307 December 64 394 January 92 903

February 33 117

March 41 982

April 74 414

May 74 947

June 40 361

Total 531 223

L. Gordon Darling (e x -o ffic io ) James Mollison (e x -o ffic io ) Greg Andrews (e x -o ffic io ) Opening Events Committee (Disbanded in October) James Fairfax, C h a irm a n L. Gordon Darling (e x -o ffic io ) James Mollison (e x -o ffic io ) Greg Andrews (e x -o ffic io )

Publications Committee Lenore Nicklin, C h a irm a n Marc Besen Murray Elliott Virginia Spate

L. Gordon Darling (e x -o ffic io ) James Mollison (e x -o ffic io ) Greg Andrews (e x -o ffic io )

Finance and Administration Committee John Davies, C h a irm a n James Fairfax Tom Critchley Robert Piper L. Gordon Darling (e x -o ffic io ) James Mollison (e x -o ffic io ) Greg Andrews (e x -o ffic io ) Robert McArthur (O b s e rv e r)

The total includes 35 916 visitors on Thursday nights between 5.00 and 8.00 p.m. since 4 Novem­ ber. Esso Australia Ltd sponsored free admission to the Gallery during these hours from 4 November to 14 July inclusive.





Australian National Gallery

MEDIUM TERM ORGANISATION STRUCTURE PROPOSED BY MANAGEMENT CONSULTANT ,·: Levels on this chart do not necessarily reflect the seniority of positions


------------- Line Reporting

-------------Co-ordination and Artistic Programme Management

























APPENDIX 5 Staff of the Australian National Gallery as at 30 June 1983

Director James Mollison Patricia Hotham, Personal Secretary

Nicholas Bonham, Curatorial Assistant Secretary and Manager Greg Andrews, Acting (seconded from Business and Finance Operations) Marie Johns, Executive Secretary Council Secretariat

Norma Yates, Acting Minute Secretary Departments Australian Art Daniel Thomas, S e n io r C u ra to r John McPhee, C u ra to r, D e c o ra tiv e A rts John Jones, A s s is ta n t C u ra to r, P a in tin g s a n d

S c u lp tu re s

Roger Butler, A s s is ta n t C u ra to r, P rin ts , P o s te rs a n d Illu s tra te d B o o k s

Martin Terry, A s s is ta n t C u ra to r, W a te rc o lo u rs a n d D ra w in g s

Mary Eagle, A s s is ta n t C u ra to r, A u s tra lia n P a in tin g s , C a ta lo g u e R a is o n n e

Russell Browne, C u ra to ria l A s s is ta n t, A d m in is tra tio n

Tim Fisher, C u ra to ria l A s s is ta n t, P a in tin g s a n d S c u lp tu re

Elizabeth Gillespie, C u ra to ria l A s s is ta n t, P rin ts Dig by Hyles, C u ra to ria l A s s is ta n t, P a in tin g s a n d S c u lp tu re

Grainne Murphy, C u ra to ria l A s s is ta n t, D ra w in g s Teresa Whiteford, S te n o -S e c re ta ry European and American Art Michael Lloyd, A c tin g C u rator, E u ro p e a n a n d

A m e ric a n A r t b e fo re 1 9 70

Grazia Gunn, A c tin g C u ra to r, C o n te m p o ra ry A r t p o s t 1970

David Jaffe, A s s is ta n t C u ra to r, E u ro p e a n A r t b e fo re 1 9 0 0

Michael Desmond, A s s is ta n t C u ra to r, E u ro p e a n a n d A m e ric a n A r t b e fo re 1970

Michael Warded, A s s is ta n t C u ra to r, C o n te m p o ra ry A r t p o s t 1 9 7 0

Robyn Mealy, C u ra to ria l A s s is ta n t, F a s h io n Diana Woollard, C u ra to ria l A s s is ta n t, T h e a tre A rts International Prints and Illustrated Books Pat Gilmour, S e n io r C u ra to r Tony Palmer, A s s is ta n t C u ra to r

Stephen Coppel, C u ra to ria l A s s is ta n t

Kay Vernon, C u ra to ria l A s s is ta n t Anne Willsford, C u ra to ria l A s s is ta n t Margaret Rowe, S te n o -S e c re ta ry Photography

Ian North, C u ra to r Isobel Crombie, C u ra to ria l A s s is ta n t Helen Ennis, C u ra to ria l A s s is ta n t Martyn Jolly, C u ra to ria l A s s is ta n t Arts of Aboriginal Australia, Oceania, Africa, and

Pre-Columbian America, and Asian Arts and Textiles Ruth McNicoll, A s s is ta n t C u ra to r Wally Caruana, A s s is ta n t C u ra to r Special Advisors

Dr Piriya Krairiksh, V is itin g C u ra to r, A s ia n A r t Douglas Newton, S p e c ia l A d v is o r, O c e a n ic , A fric a n a n d P re -C o lu m b ia n A m e ric a n A r t

Education Terence Measham, S e n io r C u ra to r Alison French, A s s is ta n t C u ra to r Felicity Moore, A s s is ta n t C u ra to r Sonya Celtlan, L e c tu re r Judith Harbour, L e c tu re r Jennifer Hoff, L e c tu re r

Ross Woodrow, L e c tu re r Janina Granneman, A u d io -V is u a l P ro d u c e r Steve Allerton, T h e a tre C o -o rd in a to r

Di Pope, S c h o o ls C o -o rd in a to r Alice Hendry, C le ric a l A s s is ta n t Jan Ward, E d u c a tio n R e s o u rc e s O ffic e r

Patricia Willey, S te n o -S e c re ta ry Conservation Dr Nathan Stolow, S e n io r C u ra to r Josephine Carter, Conservator 3, T extiles

Use King, C o n s e rv a to r 3, P a in tin g s p r e 1 9 40 Seumas Andrewartha, C o n s e rv a to r 2, P a p e r Allan Byrne, C o n s e rv a to r 3, P a in tin g s p o s t 1 9 40 Leopold Wimmer, C o n s e rv a to r 2, F ra m in g Carol Cains, C o n s e rv a to r 1, Textile s Jacqueline Macnaughton, C o n s e rv a to r 1,

P a in tin g s

Debbie Ward, C o n s e rv a to r 1, T extiles Mark Durr, M u s e u m A s s is ta n t Mark Henderson, M u s e u m A s s is ta n t Ian Urqhart, M u s e u m A s s is ta n t Andrew Powell, M u s e u m A s s is ta n t

David Swifte, M o u n tc u tte r Pauline Feaver, S te n o -S e c re ta ry

Exhibitions Ole Olsen, C u ra to r Tomasz Ciolek, E x h ib itio n D e s ig n e r Mark Hill, E x h ib itio n D e s ig n e r Mark Dodson, E x h ib itio n s C o -o rd in a to r Sara Twigg-Patterson, G ra p h ic D e s ig n A s s is ta n t Andrew Marley, M u s e u m A s s is ta n t Janelle Kinnane, C le ric a l A s s is ta n t Library Margaret Shaw, P rin c ip a l L ib ra ria n John Thomson, D e p u ty a n d S e ria ls L ib ra ria n

Leanne Thompson, D o c u m e n ta tio n L ib ra ria n Gillian Currie, H e a d C a ta lo g u e r Joan Bruce, C a ta lo g u e r Sandy Rands, C a ta lo g u e r Ross Gould, C a ta lo g u e r Patricia Carter, C a ta lo g u e r Geraldine Wonnacott, S e ria ls A c c e s s io n e r Yvonne Wigman, M o n o g ra p h s A c c e s s io n e r

Patricia Frei, In te r-L ib ra ry O ffic e r/B ib -C h e c k e r Michael Hoyle, S e ria ls A s s is ta n t Michelle Baste, E n d P ro c e s s o r/F ile r Jeni Allenby, C le ric a l A s s is ta n t Registration Warwick Reeder, R e g is tra r o f C o lle c tio n s

David Andre, A s s is ta n t R e g is tra r, T ra n s p o rt & L o c a tio n

Maxine Esau, A s s is ta n t R e g is tra r, C e n tra l C a ta lo g u e

Bruce Dallas, C le rk Andrew Paterson, L e n d in g O ffic e r Cathy Aiadjem, C o -o rd in a to r, W orks o n P a p e r Teresita Cashmore, A s s is ta n t R e c o rd s C le rk Gavan Desmond, A s s is ta n t C o -o rd in a to r, W orks

on P a p e r

Emelita Kaczerepa, R e c o rd s C le rk Sara Kelly, B a c k lo g Task F o rc e C le rk Jeanne Klovdahl, C u ra to ria l A s s is ta n t, A c c e s s io n s Francois Le Gall, C h ie f A r t P a c k e r Tony Leitch, C o -o rd in a to r, In s ta lla tio n s David Maybanks, L o c a tio n s C le rk Helen Maxwell, C u ra to ria l A s s is ta n t, A c c e s s io n s Renfred Pryor, M u s e u m A s s is ta n t, In s ta lla tio n s Susan Quayle, A c c e s s io n s M a rk e r

Nat Williams, M u s e u m A s s is ta n t, In s ta lla tio n s Zadie Williams, R e c e ip ts C le rk Development Office Nadine Burch, M a n a g e r — D e v e lo p m e n t Michele Day, E x e c u tiv e A s s is ta n t Sheila Rowell, C le ric a l A s s is ta n t Kate Milner, M a n a g e r — M e m b e rs h ip

Elizabeth Sharpe, M e m b e rs h ip O ffic e r Hao Thai, R e c o rd s C le rk Public Relations Stephen Gilfedder, P u b lic R e la tio n s M a n a g e r Hester Gascoigne, A s s is ta n t P u b lic R e la tio n s

M a n a g e r

Kerry Newman, S e n io r In fo rm a tio n O ffic e r In fo rm a tio n O ffic e rs :

Fabio Angeletti Vicki Fayle Mark Henshaw George Hirst Susan Nash Janet Patterson Caroline Scharrer

Margaret Williams Management Services John Carroll, H e a d o f M a n a g e m e n t S e rv ic e s Personnel

Penny Stone, P e rs o n n e l O ffic e r Trevor Landsberger, In d u s tria l O ffic e r Tessa Gargan, S a la rie s C le rk Robyn Perkins, S ta ff C le rk

Dale Thornberry, C le ric a l A s s is ta n t Registry Kerry Costello, O ffic e r-in -C h a rg e , (o n le a v e ) Domenica Campagna, A c tin g O ffic e r-in -C h a rg e Karen Byrne, C le ric a l A s s is ta n t Kimberly Gibson, C le ric a l A s s is ta n t Steven Goleby, C le ric a l A s s is ta n t Elizabeth Lamont, C le ric a l A s s is ta n t Andrew McLeod, C le ric a l A s s is ta n t

Kay Richards, C le ric a l A s s is ta n t Mary Ryan, C le ric a l A s s is ta n t Travel Helen Ulrich, Travel O ffic e r Typing Resources Joy Pensko, O ffic e r-in -C h a rg e , T y p in g R e s o u rc e s

Kerri Cheetham, W o rd P ro c e s s in g T yp is t Dianne Hoitink, W ork P ro c e s s in g T ypist Regina Newham, W o rd P ro c e s s in g T yp is t Helen Power, W o rd P ro c e s s in g T y p is t Margaret Stack, T yp ist Jan Goodman, T yp ist

Stores Bob Lockhart, S to re s O ffic e r Michael Bartlem, S to re m a n Jim Hartley, S to re m a n Thomas Smith, S to re m a n /D riv e r

Photographic Services Bruce Moore, A c tin g C h ie f P h o to g ra p h e r


Matt Kelso, S e n io r P h o to g ra p h e r Erwin Potas, S e n io r P h o to g ra p h e r Rod Bolton, P h o to g ra p h ic A s s is ta n t Jessie Birch, P h o to g ra p h ic R e c o rd s C le rk

Workshop Andy Jorritsma, W o rk s h o p M a n a g e r Len Russell, S e n io r C a rp e n te r Lance Harrop, C a rp e n te r Paul Leven, C a rp e n te r Edward Schuhmann, C a rp e n te r Don Mclnnes, P la s te re r Victor Donoso, W e ld e r

Nic Kasunic, P a in te r Steven Ewyk, A p p r e n tic e Building Branch Graham Moon, A c tin g B u ild in g M a n a g e r Anne Saunders, C le ric a l A s s is ta n t

Morrie Harding, S e n io r E le c tric ia n Brenton Cramp, E le c tric ia n Angelo O’Reilly, E le c tric ia n Paul Trevillian, E le c tric ia n

Kim Troth, E le c tric ia n Cleaners Terry O’Halloran, F o re m a n C le a n e r Frank Cachia, S e n io r C le a n e r

Barry Nichols, S e n io r C le a n e r Tom Hayward, S e n io r C le a n e r Ned Asanin Rhonda Clark Dennis Corcoran Tim Coutts Angelo De Santis

Dorothy Ellul Michel Fernandez Michelle Hopman Kim Huynh David Kennedy Rocky Marcellus Michael Police Trinh Poonpol Joe Ranieri T. Sotomayor Zelko Stefek Van Tran John Upton Allan Ward Terry Walsh Lorraine Young Security George Gilbert, C h ie f S e c u rity O ffic e r Dick Talbot, A s s is ta n t C h ie f S e c u rity O ffic e r

Lesley Cameron, C le ric a l A s s is ta n t Neville Baker, S e c u rity S u p e r v is o r Ron Bell, S e c u rity S u p e rv is o r Brian Hall, S e c u rity S u p e rv is o r Terry Horan, S e c u rity S u p e r v is o r

Ian Lovie, S e c u rity S u p e rv is o r Max Warner, S e c u rity S u p e rv is o r Security Officers: Margaret Balzary Jenny Barley

Eddie Bourke Yvonne Brown Ian Caley

Peter Carlson Roy Carter Geoff Chamberlain Alan Cunningham Rose Curran Jim Dunbar David Eals Ian Edwards Chris Gowing David Hamilton Claude Hammond Michael Hansen Mac Hardie Gordon Herschell Bob Higgins Doug Hoar Peter Hosking Pat Howlett Neil Hughes Carmel Hurrell Paul Ingram Andy Jeans Steven Jones Dianne Johnson Enid King Gary Kopp Margaret Lauder Des Main George Marinescu Violetta Marinescu Frank Mayrhofer John Moloney Joe Nedomlel Malcolm Nightingale Jim Ponting Maurie Renton Neil Roche Grettje Sargent Linda Spokes


Joe Stefek Ronald Stewart Margaret Styles Michael Sutton Gary Tegg Jacqueline Watchman Frank Whetton Mike Whitesell Business and Finance Operations Manager, B u s in e s s a n d F in a n c e — V a c a n t Manfred Claasz, A c tin g M a n a g e r, B u s in e s s a n d


Angela Watts, A c tin g S e n io r F in a n c e O ffic e r Marilyn McAuliffe, S e n io r A c c o u n tin g O ffic e r Gail Houghton, A c c o u n tin g O ffic e r Margaret Parkes, A c q u is itio n s A c c o u n tin g O ffic e r Robert Wade, R e v e n u e A c c o u n tin g O ffic e r Lyn Tregilgas, C a s h C o lle c tio n s O ffic e r Josie White, C a s h C o lle c tio n s O ffic e r Peter Baker, C le ric a l A s s is ta n t Lynne Weatherstone, C le ric a l A s s is ta n t Computer Services Elizabeth Hope, Clerk


Category : Donors Mr John Aland Jean Appleton Mrs Nan Bainbridge

Mrs Haydn Beck and Mrs Norman Johnstone Mr Stephen Benwell Mr Peter Bessant and Mrs Toni Bessant Miss Lina Bryans Mr Nairne Butchart Special Account of Mr Roger Butler

Mrs Diana Cameron Mr John Cooper Dr Alice Correll Janet Cosh Mr A.F. Dali Mrs Edith A. Dew James Fardoulys Mrs Pat Gilmour

The Goodes Family Spring Gray and Carline Lamprell Mrs Alisoun Grevis-James Miss E.M. Grove Mrs Perle Hessing

Purchasing Neill Garland, P u rc h a s in g O ffic e r Clare Knobloch, P u rc h a s in g A s s is ta n t Publications Alan Dodge, C o -o rd in a to r o f P u b lic a tio n s Alistair Hay, A s s is ta n t C o -o rd in a to r, P ro d u c tio n &

D e s ig n

Inga Lidums, M a rk e tin g C o -o rd in a to r Robyn Worsnop, C le ric a l A s s is ta n t Mark Quy, M a il O rd e r C le rk Sales and Merchandising John Wood, G a lle ry S h o p M a n a g e r

Pauline Catt, A s s is ta n t M a n a g e r Cheng Phillips, S e n io r G a lle ry S h o p A s s is ta n t Jean Casey, S a le s A s s is ta n t Cathy Harrington, S a le s A s s is ta n t

Louis Papp, S a le s A s s is ta n t Keith Woutersz, S a le s A s s is ta n t Teresa Zorzi, S ales A s s is ta n t Telecom Staff Ada Libbis, Switchboard Operator

Mr M.E.R. Horton Mr David McDiarmid Mrs Wilma McKay Mr Ivan McMeekin and Mrs Colleen McMeekin Mrs L. Meltzer Mr Richard J. Montgomery and Mrs Kathleen

Montgomery Mr David Moore Joy Murphy Mr Hepburn Myrtle

Helen Ogilvie Mr Andrew Paterson Miss Mylie Peppin Miss Jessie Plante

Mr Vincent Price Dr Lloyd Rees Miss Marguerita F. Robey Mr Noel Sheridan Mrs Margaret D. Stevenson Mr Walter Stringer Mrs Pat Stuart

Mrs Jean Taylor Mrs Mary True


Mrs A.C. Tyson Mr Anthony Velonis Mrs Lawrence Weiner Mrs Diana Woollard

Mrs Sheila Wyatt Toshi Yoshida Mr Russell Zeeng

Category: Associate Mrs Valerie Albiston and Miss Yvonne Cohen Mr Garry Anderson Ms Meredith Ardlie Professor and Mrs HW. Arndt Mr Murray Bail Mr Richard Beck Mrs J. Stuart Bond Miss Irene Brown Miss Coral Browne Mrs W. Buckle

Frances Burke Mrs Jean Campbell Cazneaux Family Madeleine Chalette-Lejwa Gunter Christmann Frank Clune

Contemporary Art Society, London Crown Point Press Margaret Strutt Davies Misses Nell and Grace Davies

Mr Robert Deane Mrs Frances Derham Mr Chris R. Deutscher Lady Drysdale

Edwards, Madigan, Torzillo, Briggs Dr Peter Elliott Lance and Roberta Entwistle Mrs Peggy Fauser

Mr and Mrs S. Felsen Victoria Fernandez Miss Anna French

Sam Fullbrook Mr Philip Goldman Mr J. Greene Mrs Helen Grey-smith

Mr Mervyn Horton Mr Ray Hughes Mrs Portia M. James-Wallace Mrs Joy Jerrems

Mrs Rainbow Johnson Mr John Kaldor Mrs Merle Kemp Mr Leon Kossoff

Lachaise Foundation, Boston Mrs Maurice Lambert Laurie Wilson Bequest M. Baudoin Lebon Mrs Hanna Lemberg The Lister Gallery (Perth)

Mr Harry H. Lunn (Junior) Mr Angus McBean Mr Robert McCredie Mr Frank McDonald Mr Peter McLeavey Mrs E. McMahon Mrs Ruth McNicoll Bea Maddock Mr Paul Mallard Meere Family Mr Edward Merrin Professor and Mrs J.D.B. Miller Mr H. Tatlock Miller Mr Frank Mitchell Mr Georges Mora Mrs E. Morris M. Fernand Mourlot Mr Frederick Mulder Sir Sidney Nolan Mr Robert Owen Parasol Press Ltd Mr Leonardo Patterson Mr Tom Phillips Mr J. Laurence Rentoul Mr A. Rosenthal Mrs Veronica Rowan Mr Kenneth Rowell Mr Robert Shaw Mrs Rosamond C.H. Shepherd Athol Shmith Grace Cossington Smith Mrs Winifred Stone Mr Egon Suerth Margaret Mackean Taylor Mr K.G.S. and Miss U. Teague Mrs Jean Thomas Mr Joe Tilson Gerard Titus-Carmel Mrs Margaret Tuckson Mrs Mo Wedd-Buchholz Mr Keith Wingrove Judith Wright Mr David Wynn

Category: Patron Mr D.JW. Allen


Mr D.W. Allen Arts Council of Australia, A.C.T. Division Inc. Australian War Memorial Mr W. Balson Mrs A.G. Beardsley Dr Norman Behan Mr John Brackenreg, O.B.E. Mrs Grace Buckley Estate of Enid Cambridge Mr L. Gordon Darling, C.M.G. Family of The Late Betty Olive Davies Estate of Mr Norman C. Deck Mr J.O. Fairfax Mrs Michael Fizelle Mr Donald Friend Mrs E.G.C. Fullerton Robin Gibson and Brett Whiteley Mr James Gleeson Godfrey Phillips International Mr Basil Hart Mr Sali Herman Mrs Olive Hirschfield Indian High Commission (Canberra) Mrs Max Joyner Lady Knox Mr Rudy Komon Mr Roy Lichenstein New Zealand Government Bequest of The Estate of Edward Albert Nott Mr John Perceval

Mr Daniel Spoerri Daniel Thomas Mrs Winifred Thorvaldson Mrs Barbara Tucker Mr Brett Whiteley Kenzan Yamada

Category: Benefactor Crafts Board of The Australia Council Boyd Family Mr Arthur Boyd Mr Joseph Brown, O.B.E. The Lady Casey

Bequest of Grace Crowley The Sir William Dobell Foundation Mr Robert Dulieu

Mr. J.D. Kahlbetzer Sir Richard and Lady Kingsland The Loudon Sainthill Memorial Trust Fund James Mollison

Philip Morris Arts Grant Bequest of Alan Queale John and Sunday Reed Miss Gwendolen Swanton

Estate of Miss Lucy Swanton Mr Albert Tucker Mr Kenneth Tyler Fred Williams

There have also been eleven anonymous donations over the years.

APPENDIX 7 Corporate A ppeal

The Gallery is grateful to the following companies who contributed to the Gallery's Corporate Appeal in its inaugural year, 1982/83. The following companies have donated in amounts of $10000, $5000, $1000 or $500.

AC I International Limited Adelaide Brighton Cement Holdings Ltd. Advertiser Newspapers Limited Air Queensland Ltd Albert Investments Pty. Ltd. Amatil Limited Ampol Limited Australia and New Zealand

Banking Group Limited The Australian Gas Light Company Australian Guarantee Corporation Limited Baillieu Bowring Marsh & McLennan Pty. Ltd.

Bain & Company Bank of New Zealand

Banque Nationale de Paris Barclays International Australia Limited Beatrice Australia Limited Besser (Qld.) Limited Blue Circle Southern Cement Limited Boral Limited Robert Bosch (Australia) Pty. Ltd. BP Australia Limited Brambles Industries Limited Brash Holdings Limited The Broken Hill Proprietary Company Limited

Bundaberg Sugar Company Limited Burroughs Limited Cadbury Schweppes Australia Limited

7 8

Canberra Building Society Carlton and United Breweries Limited Castlemaine Tooheys Limited Jack Chia (Australia) Limited Clemenger Australia Pty Limited Clifton Brick Holdings Limited Cockburn Cement Limited G. J. Coles & Coy. Limited Commonwealth Banking Corporation The Commonwealth Industrial Gases Limited Coopers & Lybrand Costain Australia Limited CSR Limited Dunlop Olympic Limited Entrad Limited Esso Australia Ltd. The Estate of The Late George Adams John Fairfax Limited Fletcher Challenge Australia Limited Golden Poultry Farming Industries Ltd. The Greater Union Organisation Pty Limited Anonymous H. J. Heinz Company Australia Ltd. The Herald and Weekly Times Limited ICI Australia Ltd

Instant Office Furniture Pty. Ltd. Kitchens of Sara Lee (Australia) Pty. Limited Kodak (Australasia) Pty. Ltd. Kraft Foods Limited Linfox Transport Group Lloyds International Limited

(A member of The Lloyds Bank Group) M.I.M. Holdings Limited McDonald’s Family Restaurants Mascot Industries Limited Mathers Shoes Mayne Nickless Limited MEPC Australia Limited Millers of Manuka Minster Carpets Pty. Limited Mitchell/Giurgola & Thorp Architects Mitsui and Co. (Australia) Ltd. The Myer Emporium Limited

National Australia Bank

National Panasonic (Australia) Pty. Limited National Westminster Bank Group Nationale-Nederlanden (Aust.) Ltd. Oliver J. Nilsen (Australia) Ltd. The North Queensland Newspaper Company

Limited P&O Australia Ltd. Permanent Trustee Company Limited Perth Building Society Philips Industries Holdings Limited Plessey Pacific Pty. Limited Walter Reid & Company Limited Repco Corporation Limited Reserve Bank of Australia Rheem Australia Limited Rintoul Pty. Ltd. Roche Bros. Pty Ltd Roche Products Pty. Limited Rothmans of Pall Mall (Australia) Limited S.A. Brewing Holdings Limited Sedgwick Limited Shell Australia Limited Show-Ads Art Photo Engravers Pty. Ltd. Singapore Airlines Limited Smorgon Consolidated Industries The Sportscraft Foundation Standard Chartered Australia Limited Strandbags Taverns of Victoria Pty. Limited Telecom Australia Tomas Systems Transfield The Trustees Executors & Agency Co. Ltd Tubemakers of Australia Limited

Umal Consolidated Limited Unilever Australia Limited Utah Foundation Visy Board Pty. Ltd. Voyager — Solo Group of Companies Westfield Limited Westpac Banking Corporation Westralian Farmers Co-operative Limited Woolworths Limited

APPENDIX 8 Founding Donor Fund

The Gallery is grateful to the following individuals who contributed to the Gallery’s Founding Donor Fund in its inaugural year, 1982/83. Patron: Richard C. Crebbin Co-ordinating Chairman: Ann Lewis


Karma Abraham Phillip Adams George Adie Lawrence J. Adler Robert and Elizabeth Albert Claudio Alcorso Lady Allen Dr Joan W. Allsop, A.M. John Andrews, A.O.

Lady Ansett Joan Armstrong In Memory of John Armstrong

Mrs Irene M. Ashton Caroline Atwill Rita Avaiev Philip Bacon

Marianne Baillieu Mary Baillieu Jim Bain Fay Baker James Baker Sir James Balderstone Mrs Jack Balloul Sandra & David Bardas Mrs Barbara Gough Barnes Professor G.W. Bassett, A.M. The Hon. Sir Howard Beale, K.B.E., Q.C. The Hon. Sir Alexander Beattie Dame Beryl Beaurepaire, D.B.E. Des Beer, O.A.M., J.P Pamela Bell Anthony R. Berg Eva Besen M.A. Besley Sir Henry Bland, C.B.E. David Block, A.O. Mrs Alan Bond

Ivor Bowden Miss Mavis Bowskill John Brackenreg, O.B.E. John J. Bradley, O.B.E.

Mrs John Brennan B.G. Brett, O.B.E. Peter Briggs Miss Elizabeth Britten Mrs Viola Bromley Sir Wilfred Brookes, C.B.E., D.S.O., A.E.A. Dulcie Brookshaw Joseph Brown, O.B.E., Hon. LI.D. (Mon.)

Mrs G.W. Browne A.W. Buckingham Emeritus Professor Sir Joseph Burke, K.B.E., D.Litt.

John H. Calaby Sir Bede Callaghan, C.B.E. S.L. Campbell Major General T.F. Cape, C.B., C.B.E., D.S.O.

Hon. Gordon Carmichael Guy Casanova Eileen Chanin Arthur Charles

Jack Chia Sir Raphael West Cilento David S. Clarke Assoc. Professor David Cohen Sir Edward Cohen Sir Edgar Coles

Dame Mabel Coles, D.B.E. Marjory Collard O’Dea H. C. Coombs Keith H. Cousins, C.M.G. Henry Crawford Sarah Crawford

Robert Crichton-Brown Donald Crone, B.Arch., F.R.M.T.C., F.R.A.I.A. Sir James Cruthers Russell Cuppaidge, C.B.E. Ms Rowena Danziger Clare Darling

Ian Darling James Darling L. Gordon Darling, C.M.G. Margaret Darling

Michael Darling John Davies Dimity Davy Dame Joyce Daws

The Right Hon. The Viscount De Lisle, V.C., K.G., PC., G.C.M.G., G.C.V.O. Sir Peter Derham I. W. Dickson

M. M. Dickson Sir William Dobell Art Foundation Robin Espie Dods J. G. Donaldson

Mabel Dowling Taylor Mrs Robert Dulieu Annette Dupree Maadi Einfeld

Bob Ellicott Dr Murray Elliott The Hon. Mr Justice Else-Mitchell, C.M.G. Patricia Fagan

J.O. Fairfax The Vincent Fairfax Family


Suzanne Falkiner Faye Fayman Paul Fayman William Fayman Frank Fenner Sir Otto Frankel John Gale, O.B.E. John Gandel Neilma Gantner Diana Gibson R.F. Gibson Hector Gilliland Graham W. Glenwright Lady Gobbo Kevan Gosper Jock Gosse Mollie Gowing Micki Griff Jean Griffin Angus K. Grimwade Tadeusz Groblicki Mrs Clive Hall

In Memory of Bernhard Hammerman, O.A.M. Sir Keith Hancock Lance Hardy Rolf Harris Geoffrey L. Hassall The Hon. Sir William Haworth

Rod Henry Michael A. Hershon Charles Hewitt Sir Randal Heymanson, C.B.E. Michael Hobbs Michael Hodgetts Sir John Holland Ernest M. Horton Mervyn Horton Nina Horton Dr John Hueston Harold R. Hughan Sir Leonard Huxley, K.B.E. J.H. Hyles Daryl Joseph Isles Peter Jaffe Sir Albert Jennings Victor E. Jennings Mrs Stanley Jones Pamela V. Jose John W. Kaldor Naomi Kaldor Hon. Michael Kennedy Raymond H. Kidd

Anonymous Sir Richard Kingsland, C.B.E., D.F.C. In Memory of Rudy Komon Piriya Krairiksh Wayne N. Kratzmann

Henry Krongold, C.B.E. Joyce Landau Mrs J.C. Langley Peter C.B. Larcombe Laurence H. Ledger, M.B.E. Dr M.S. Lefebvre Shirley Lenehan Bernard H. Leser James B. Leslie, M.C. Stuart Leslie Ann Lewis John D. Lewis

Mrs James Litchfield Leonie Livingston Dr Susan C. Locke Anonymous

Mrs Graham Lumb Anonymous Colleen McCullough Gail McDougall R.A. McDowell Charles G. McGrath Sandra McGrath Ranald McGregor Mrs Hugh Maclachlan Sir Ian McLennan, K.C.M.G., K.B.E. Sir James McNeill, C.B.E. Sir Keith Macpherson Eve Mahlab Jack Manton Mrs Jack Manton Harold Marshall Peter Mason Judy Matear

R.L. Mathews Terence Measham Richard John Meldrum Howard Michell John D. Milne Sir John Minogue Cathryn J. Mittelheuser Margaret H. Mittelheuser James Mollison Felicity St. John Moore Georges Mora

Elizabeth J. Morgan Hugh M. Morgan


P.R. Morgan Sarah F.M. Morgan William H.M. Morgan

Morrison’s Tralee' Station Sir Charles Moses, C.B.E. Lady Muir Sir Laurence Muir Professor J. Mulvaney Dame Elisabeth Murdoch, D.B.E. Baillieu Myer K.B. Myer, A.C., D.S.C. Lady Nathan Ivan E. Newnham, A.O., M.B.E., F.T.S. Bert Newton Olivia Newton-John Lenore Nicklin John A. Nish

R.l. Oatley Geoffry C. Ormiston Roslyn Oxley

Mrs Kerry Packer Tony Parkes Dr Timothy Pascoe Philip A. Pearce James Penfold-Collins

Peggy Perrins Shaw M.D. de B, Collins Persse Mancell Pinner R. W. Piper Walter Pisterman Edward Timothy Platt Vernon P. Plueckhahn, O.B.E., E.D, S. A.F. Pond The Ian Potter Foundation

Mrs A.J. Powell Orde Poynton Esq., C.M.G., M.D. Jeanne Pratt Anonymous Sir John Proud

Eric S. Purbrick Anne Purves Geoffrey Quinn James S. Ramsay

Susie Rockman D.W. Rogers Jacqueline L. Russell Philip Russell Anonymous Sheila Scotter

Mrs Annette Searle Harry Sebel And Sons Pauline Seidler

Penelope Seidler Timothy Seidler Hal. Selle, O.B.E.

Helen Selle Claudette Shakespeare Thomas F. Shakespeare Sir Keith Shann, C.B.E.

Sir Frank Sharpe, C.M.G., O.B.E., E.D., J.R Mrs M. Sidis John N.S. Simpson J.H.H. Sleigh Joshua Smith S. Winston Smith

Mrs Minnie Smorgon Mrs Victor Smorgon Albert Spiegel Goldie Sternberg

Mr & Mrs A.W. Stewart Robert Stigwood W. John Stirling Kerry M. Stokes

Mrs John Storey Peter Stuyvesant Cultural Foundation T. B. Swanson Bruce B. Teele Jack Thompson

Lady Travers Ross V. Turnbull John Vandeloo, O.A.M., J.R

Sandra Velik Sir James Vernon, A.C., C.B.E. Kenneth D. von Bibra Dr David Chun Kong Voon, B.Med.Sc., M.B., B.S.

Philip J. Wadsworth Renee Wainberg Diana Walder Leslie Walford M. Walkowski

John S. Walton Romy Waterlow Miss Ariane Weiss Wenkart Foundation

Morris West Dr Norman Wettenhall Geoff White Gough Whitlam J.O. Wicking, A.M. L. Gratton Wilson, A.O.

Mrs Eugene Wood Mary Wood Diana Woollard Robert P. Woollard, A.O.


Mrs Beverley Wright David Wynn Young Presidents’ Organization, Inc.

Mrs G.R. Zambelli Walter Zavattaro Sir David Zeidler

APPENDIX 9 $100 Members of the Australian National Gallery Association

Ms K. Abraham Dr M.A. Adena Mr D. Albion Miss P. Alexander Mr E.N. Ball Professor B.D. Beddie Mrs J.B. Belfrage Mr M.D. Bell Miss P. Bell Ms M.P. Berg Dr N. Blewett Mr H. Bonython Ms U. Brunnschweiler Mr W.J. Burt The Headmaster, Canberra Grammar School,

Manuka Mr E.R. Cantrill Mr A.J. Carter Professor M. Clark Ms M.M. Clark Mr J.L. Connor MrC. Cole Mr M.S. Collins Mrs J.T. Crawcour The Cladan Cultural Exchange Institute of

Australia Mr G.F. Decure Mr A. Drescher Professor D.N. Dunbar Ms B. Duncan Mr P.J. Dunstan Lady Edwards Miss R. Evans Dr R.H. Fleming Mrs G. Frolich Mr R. Giacco MrsM. Gibb Mr J. Gosse Mr N.H. Grave Mr R. Gregory Mr P.F. Groth Mr J. Guy Ms M.F. Guy Mr G.M. Harrison

Mr D.F. Hawthorne Mr J. Henshilwood Mr G.C. Hobbs Ms C.E. Hodgkinson Mrs N. Hoffman Dr M. Holloway Mr H. Howard Mr R,W. Hutchinson Miss J. James Mr J. Kelly Kerriday Nominees Pty Limited Mrs L. Korke Hon. Mr J.A. Larkins M.K. Lewis Mr J.F. Limbrick R. Martin Mrs A. Molan Mrs L.M. Montgomerie Miss M.D. Morrah Dr G.S. Mossop Lady Muir Mrs E. Muspratt Mrs L. Nichols Mrs M.L. O’Donnell Mr M. Optiz Ms V. Pollock Mr M. Priest Mr G.F. Quinn MrR. Reed Miss PM. Richardson Mr A.L. Rigby, A.M., E.D. Mr M.P, Sampson Dr D. Schogren Mrs A. Searle Mr G.A. Sellers Mr G.D. Smith Ms M. Solar Mr E. Solomon Mr A.R. Spensley Mr K.M. Stokes C.T. Swifte Mrs PA. Throsby Ms G.A. Tregear Mr K.A. Vaughan

Mrs M.F. Walton Ms M. Wickes Mrs L.M. Wieland W . Williams

APPENDIX 10 Inward and outward loans

LENDERS Long-term Loans Anonymous Lenders Geoffrey Anderson, A rta rm o n , N.S.W. Commonwealth of Australia, Department of Home

Affairs and Environment, C a n b e rra , A.C.T. Robert Haines, S ydn ey, N.S.W. Mr and Mrs Roger Kemp, B la c k R o ck, VIC. Philip Morris Arts Grant Charles Nelson Perkins, C h a irm a n , A b o rig in a l

D e v e lo p m e n t C o m m is s io n , A.C.T.

Alfred Redpath, C a m p b e ll, A.C.T. Royal Anthropological Institute of Great Britain and Ireland, L o n d o n Wallace Thornton, B o m b a la , N.S.W. Albert Tucker, St K ild a , VIC.

Short-term Loans Anonymous lenders Eddy Batache, S ydney, N.S.W. Brooke Alexander Inc., N e w York, U .S .A . Joseph Brown, O.B.E., M e lb o u rn e , VIC.

Ian Cox, Fitzroy, VIC. Crown Point Press, O a k la n d , C a lifo rn ia , U.S .A . ivan Durrant, M id d le B rig h to n , VIC. Miss D. Dyason, R e s e a rc h , VIC. Getler/Pall, N e w York, U .S .A . The Hon. Clive Gibson, P a rh a m P a rk , W est

S usse x, E n g la n d

Marian Goodman Gallery, N e w York, U .S.A. Alain Jacquet, N e w York, U .S .A . Rudy Komon, S ydney, N.S.W. Maria Kozic, N o rth c o te , VIC.

Pat and Richard Larter, Yass, N.S.W. John Lord, L a u n c e s to n , TAS. The Robert McDougall Art Gallery, C h ris tc h u rc h , N e w Z e a la n d (E s ta te o f M r R o n O 'R e illy )

Bea Maddock, M a c e d o n , VIC. Anne Mills, T u rra m u rra , N.S.W. The Mitchell Library, S y d n e y N.S.W. Multiples Inc., Marion Goodman Gallery, N e w

York, U.S .A .

Museum of Applied Arts and Sciences, S ydney, N.S.W.

Dr F.H. Wilson Mr I. Wilson Mrs J. Woods Dr R.G. Woods

Museum of Modern Art, N e w York, U .S.A. National Library of Australia, C a n b e rra , A.C.T. Lloyd Nuttall, M a ld o n , VIC. Pace Editions Inc., N e w York, U .S .A .

Parasol Press Ltd, N e w York, U .S.A. Marilyn Pearl Gallery, N e w York, U .S.A. Shepparton Arts Centre, VIC. State Library Division, Archives, A d e la id e , S.A. Oliver Streeton, S o u th M e lb o u rn e , VIC. A.F. Taussig, C a s tle c ra g , N.S.W. Albert Tucker, S t K ild a , VIC. Silvie Turner, L o n d o n , E n g la n d

Ian Tyson, L o n d o n , E n g la n d Waddington Graphics, L o n d o n , U.K. Lyn Williams, H a w th o rn , VIC.

OUTWARD LOANS AUSTRALIAN CAPITAL TERRITORY Australian National University, Classics Department

Forty items of Roman Syrian glass Australian War Memorial H. Moore Jones S im p so n 's d o n k e y

Commonwealth of Australia, Artbank (a unit of the Department of Home Affairs and Environment) Arthur Baker-Clack

Yachts in a w h a rf

Robert Dickerson The b a th e rs

George Duncan Trees a t B e rrim a . 1 9 48

Mitty Lee Brown F lo ra l a rra n g e m e n t

Brad Levido O n ly m o n u m e n t to c o a l

Jeffrey Makin N e a r Yan Yean

Margaret Oliey R a n u n c u lu s

Peter Powditch S w ish. 1977


Lanyon Homestead, Lanyon, Tharwa Furniture from the Oscar Paul Collection Tallboy, c.1790 Two chairs, c.1800 Two trays, oval, c.1820 Cellaret fitted as work box. c.1840 Clothes press. Late 18th century Chest of drawers. Late 19th century Four knife boxes. Late 18th and early 19th

centuries Chest of drawers, c.1900 Pedestal table, circular Bedside cupboard A warming pan, set of fire irons, coal scuttle, trivet

kettle and two pot lids.

NEW SOUTH WALES Art Gallery of New South Wales, Sydney Exhibition: D o u g la s D u n d a s R e tro s p e c tiv e Douglas Dundas G o o b ra g a n d ra Valley. 1949

The H a rb o u r a t n o o n . 1936

P o rtra it o f D o ro th y T h o rn h ill. 1942-44

M o rn in g o n B la c k M o u n ta in . 1947

P o rtra it o f D o u g la s W atson . 1940

Exhibition: A u s tra lia n P e rs p e c ta 1 9 8 3 — A b i­ e n n ia l s u rv e y o f c o n te m p o ra ry A u s tra lia n A r t

Garry Willis N aka N a k a . 1982

Exhibition: E lio th G ru n e r 1 8 8 2 -1 9 3 9 Elioth Gruner W est c o u n try , N e w S o u th W ales. 1936

A u tu m n m o rn in g , c. 1922

M u rru m b id g e e R a n g e s , C a n b e rra . 1934

S tu d y fo r m o rn in g lig h t. 1916

(Trees a n d w a te r, d u s k .) 1917

P o rtra it o f J u lia n A s h to n . 1896

(To th e h ills .) 1927

(F a rm y a rd , re tu rn in g d r a u g h t h o rs e s , d u s k .) 1917

The g la d e , fc. 1920)

Twilight, (c. 1920)

Trees (c o w b e s id e a g a te b e tw e e n ta ll tre e s ).

c.1920 The w a ttle s . (1921)

The b a rn , c.1921

To th e hills, c. 1927

The c a s c a d e , c.1927

Australia Council, Visual Arts Board, Sydney Exhibition: V e n ic e B ie n n a le 1 9 82 Travelling Exhibition: A u s tra lia a t th e 1 9 82 V en ice B ie n n a le

Rosalie Gascoigne

C o u n try air. 1978

Broken Hill City Art Gallery Arthur Boyd S h e e p in fie ld

R o s e b u d la n d s c a p e w ith h a y s ta c k s . 1939

F ig u re s w ith b la c k s w a n . 1944

L o v e rs in a b o a t. 1944

A rtis t in a c a v e a n d s h o e s a n d m o d e l's le g

F ig u re w ith r e d d o g . 1973

S.H. Ervin Museum and A rt Gallery, Sydney Exhibition: The A r t o f B la m ire Y ou ng Blamire Young T ennyson a n d h is frie n d s , c . 1905-c. 1910

The o ld g u m tre e

O ld c a s tle , C a n a ry Is la n d

D e e p s e a b e rrie s

G ra n fe r C a n tle

The a rtis t's w ife

The re h e a rs a l

S m o k e n ig h t a t th e c lu b

The b r id g e

The m a n s io n s o f th e g re y th ru s h

Newcastle Region A rt Gallery, Newcastle Exhibition: E ric W ilso n Eric Wilson D o o rw a y in V e n ice

(P o rtra it o f th e a r t is t ’s m o th e r.) 1936-7

S till life . 1938

S n o w in P im lic o . (1938)

S n o w in P im lic o . 1938

(S tu d y fo r A b s t r a c t— T he k itc h e n s to v e .) c.1943

(F ro n t v ie w o f p o s e d fe m a le m o d e l.) 1939

E m b a n k m e n t, c. 1937-40

(L a n d s c a p e , d e a d tre e s , h ills a n d b ird s ,

W a n ta b a d g e ry ? ) c. 1945

(U p ro o te d tre e in la n d s c a p e , W a n ta b a d g e ry .)

c.1945 (S tu d y fo r 'S to v e T h e m e ’.) c.1942

(Two s tu d ie s o f k itc h e n s to v e .) c. 1942

(S tu d ie s fo r a s till life w ith b o ttle s .) c. 1940

G en oa. 1939

QUEENSLAND University A rt Museum, University of Queensland Arthur Boyd St F ra n c is b e in g h e ld o v e r th e fla m e s b y a s o ld ie r

F a th e r b e a tin g S t F ra n c is

Queensland Art Gallery, Brisbane Exhibition: The S te n c ille d Im a g e Georges Lepape L ’h a b it p e rs a n . 1912


- £ . ? * - ·

Les h e rm in e s

A.E. Seguy Plate Nos. 3, 9, 17 from In s e c te s . c.1925 Plate Nos. 14, 16, 18 from P a p illo n . c.1925

TASMANIA Burnie Art Gallery, Burnie Travelling Exhibition: D ra w in g s : G o d fre y M iller, Tony Tuckson, K en W h is s o n

Ken Whisson D o m estic in te rio r, c. 1959

Day in th e co u ntry, c. 1960 Bullfighter, c.1961

M e ta m o rp h o se s. (1968)

Two fig u re s in a n in te rio r. 1968

Queen Victoria Museum and Art Gallery, Launceston Travelling Exhibition: L lo y d R e e s, L a te D ra w in g s a n d L ith o g ra p h s

Lloyd Rees The O lg a s , d is ta n t a s p e c t. 1976

The O lg a s , th e n o rth e rn a s p e c t. 1976

The G re a t R o ck, s tu d y a t e v e n in g . 1977

B o u ld e rs a n d a d is ta n t city. 1977

The w a te r tank, D u ra m a n a . 1977

VICTORIA City of Brighton, Municipal Offices Arthur Boyd Jud a s k is s in g C h ris t

Ewing Gallery and George Paton Gallery, Melbourne University Union, University of Melbourne Travelling Exhibition: A u s tra lia n W om en

P h o to g ra p h e rs , 1 8 9 0 -1 9 5 0

Ruth Rollick M rs In n e s R a n d o lp h a n d c h ild re n b e s id e a car.

c.1920 (G ro u p d rin k in g tea in a n a rtro o m .) c. 1920-30

M iss J. P u rv e s S m ith, c. 1920-30

M rs A .E .M . K irk w o o d (S ta n d in g b rid e ), c. 1920-30

M rs A .E .M . K irk w o o d (S e a te d b rid e ), c . 1920-30

M rs In n e s R a n d o lp h a n d c h ild re n b e s id e a c a r —

c h ild in fro n t o f car. c. 1920-30

Q u e n tin C a in (B o y in c a r w ith d o g ), c. 1920-30

The McClelland Gallery, Langwarrin W.D. Knox (Sum m er, M e n to n e B e a c h .)

Monash Exhibition Gallery, Monash University Exhibition: M a s te rp ie c e s — O u t o f th e S e v e n tie s Peter Cripps E n te rin g d u P re l’s p ro je c tio n ; s h e lls o f p a s t a c tiv ity .


Sam Schoenbaum O ne y e a r's w ork. 1973-74

Imants Tillers S till life II. 1975

Peter Tyndall U n title d p a in tin g . 1977

U n title d p a in tin g no. 17

University Gallery, University of Melbourne Arthur Boyd R o c k y la n d s c a p e w ith tw o fig u re s

F ig u re w a tc h in g

In te rio r w ith b la c k r a b b it

Exhibition: Im a g e s o f W o m e n , 2 0 th c e n tu ry p rin ts a n d d ra w in g s

Dorrit Black The la w n m ow er, c. 1932

Mike Brown I lo v e yo u . 1972

Ambrose Dyson (S o ld ie r ta lk in g to a g irl.) c. 1942

Adrian Feint C ircle . 1927

Adelaide Perry G irl d re s s in g , c. 1928

Thea Proctor W om en w ith fa n s. c. 1932

Toni Robertson H is to ry 1: W ritin g on th e fe n c e is b e tte r th a n

s ittin g on th e fe n c e . 1977

H is to ry 2 : . . . b u t n o t m u c h ! T h e re m u s t b e w a y s to

b re a k th e fe n c e s d o w n . 1977

Fred Williams C h o ru s g irls . 1956

UNITED STATES OF AMERICA National Gallery of Art, Washington, D.C Exhibition: A rp : The D a d a R e lie fs Jean (Hans) Arp P la stro n e t fo u rc h e tte . (S h irt-fro n t a n d fo rk .) 1922

The Whitney Museum of American Art Exhibition: J o e l S h a p iro Joel Shapiro U n ititle d 1 9 7 3 -7 4 (JS 8 9 /C h a ir)


APPENDIX 11 Acquisitions

Australian Art AUSTRALIAN PAINTINGS BALSON, Ralph M a tte r p a in tin g no. 4 .1962

enamel and sand in synthetic polymer medium on composition board Gift of Mr W. Balson, the artist’s son, 1982. BLACKMAN, Charles F lo a tin g s c h o o lg irl. 1954

oil on composition board BRACK, John M en's Wear. 1953

oil on canvas

CHEVALIER, Nicholas H inem oa, th e M a o ri girl. 1880

oil on canvas COLEING, Tony U ntitled. 1981

synthetic polymer paint on canvas U ntitled. 1982

synthetic polymer paint on canvas CONDER, Charles B ronte B e a ch . 1888

oil on cardboard Purchased from Gallery admission charges 1982.

DARGIE, William Still life: P a tric k H a ld a n e -S te v e n s o n . 1983

oil on canvas Gift of The Reverend J.P. Haldane-Stevenson 1983.

DOUTNEY, Charles

N ig h tc lu b . 1952

oil on canvas Gift of Hal Missingham 1983. FAIRWEATHER, Ian Triple p o rtra it. 1969

synthetic polymer paint on cardboard on composition board Bequest of Lucy Swanton 1981. GLEESON, James D e p o s itio n . 1939

oil on canvas F ig u re in a chair. 1939

oil on canvas P rin c ip a ls o f th e R itu a l o f H o m ic id e . 1939

oil on canvas W ee p in g h e a d . 1939

oil on canvas The lo vers. 1940

oil on canvas KEMP, Roger F ig u re s a n d b rid g e 1. c. 1940-45

oil and tempera and pencil on cardboard Gift of Merle Kemp 1983. LADE, Owen

C arole. 1977

oil on composition board Peter. 1979

oil on composition board NICKOLLS, Trevor M a c h in e tim e D re a m tim e . 1981

synthetic polymer paint on canvas NOLAN, Sidney (F ig u re a n d a n im a l) [recto], 1941

(F ig u re in b o a t? ) [verso], 1942

The two works above both gifts of James Gleeson 1982. PASSMORE, John S outh w in d o n th e b e a c h . 1950

oil on composition board Gift of James Fairfax 1982. The p e a r tree. 1946

oil on canvas O n h e a rin g N ie ls e n ’s 5 th S ym ph on y. 1959

oil on composition board S a tu rd a y fish no. 2. c. 1960

oil on composition board B athers. 1950s oil on composition board

BUNNY Rupert F rench h o use , c. 1923

oil on canvas The p e a r tree, Var.

oil on canvas The s lu g g a rd s , c. 1923

oil on canvas (L a n d s c a p e s k e tc h , S ou th o f F ra n ce ), c. 1923

oil on composition board (L a n d s c a p e s k e tc h , S ou th o f F ra n c e ), c . 1923

oil on composition board (L a n d s c a p e s k e tc h , S ou th o f F ra n c e ), c . 1923

oil on composition board (L a n d s c a p e s k e tc h , S o u th o f F ra n ce ), c.1923

oil on composition board The seven works above all bequest of Lucy Swanton 1981.


ROBERTS, Tom Storm clo ud s. 1920s

oil on composition board SMITH, Grace Cossington Interior w ith v e ra n d a h d o o rs . 1954

oil on composition board The b e a c h a t W a m b e ra l Lake. 1929

oil on composition board The seven works above all bequest of Lucy Swanton 1981. TANNERT, Louis

The E astern M arket. 1878

oil on canvas TAYLOR, Michael Bluey In the bush.

synthetic polymer paint on canvas Bequest of Lucy Swanton 1981.

TUCKER, Albert The b o m b in g . 1943

oil on composition board The return. 1943

oil on plywood Bride. 1944

oil on paperboard S ydney Fox. 1946

oil on cotton gauze on paperboard The O ld Eve. 1951

oil and synthetic polymer paint on plywood S elf-portrait. 1954

oil on paperboard A rm o u re d fau n a tta c k e d b y p a rro ts . 1969

synthetic polymer paint on composition board Im a g e o f M o d e rn Evil: W om an a n d c lo w n . 1943

oil on canvas Im a g e o f M o d e rn E vil 6 . 1944

oil on canvas The two works above both gift of the artist. 1983. Im a g e o f M o d e rn Evil: W om an. 1943

oil on canvas Im age o f M o d e rn E vil 1 . 1943

oil on canvas Im a g e o f M o d e rn E vil 5. 1944

oil on composition board The three works above all gift of Barbara Tucker 1983. TUCKSON, Tony

No. 2 1 : R e d -fa c e w hite. 1960

oil on composition board W hite ske tch . (1973)

synthetic polymer paint on cardboard Bequest of Lucy Swanton 1981.

TYNDALL, Peter d e ta il/ A P erson L o o k s A t A W ork O f A rt!s o m e o n e

lo oks a t s o m e th in g ... detail. 1976

oil and synthetic polymer paint on canvas de ta il/ A P erson L o o k s A t A W ork o f A rt!s o m e o n e

lo o k s a t s o m e th in g ... detail. 1977

oil on canvas de ta il/ A P erson L o o k s A t A W ork o f A rt/s o m e o n e

lo oks a t s o m e th in g ... 1978-79

synthetic polymer paint on canvas VASSILIEFF, Danila A rm y in v a d in g fa rm la n d . 1942

oil on plywood S c o rp io n (Lilith). 1943

oil on asbestos cement sheet P o v e rty a n d p ro s titu tio n . 1943

oil on canvas M an a n d his tro u b le s . 1944

oil on plywood M y s e lf in a g re e n a n d d a rk m o o d . 1944

oil on canvas mounted on plywood von GUERARD, Eugene S tea venso n Falls. 1863

oil on canvas


polished stainless steel KLIPPEL, Robert U n title d o p u s 3 6 5 .1981 / cast 1983

bronze U n title d o p u s 366.1981 / cast 1983

bronze U n title d o p u s 3 6 7 .1981 / cast 1983

bronze U n title d o p u s 3 6 8 .1981 / cast 1983

bronze U n title d o p u s 3 6 9 .1981 / cast 1983

bronze ‘ U n title d o p u s 3 7 0 .1981 / cast 1983

bronze U n title d o p u s 3 7 1 .1981 / cast 1983

bronze U n title d o p u s 3 7 2 .1981 / cast 1983

bronze VASSILIEFF, Danila Im p o rta n t p e rso n . 1947

Lilydale limestone G e n e ra l F ranco. 1948



AUSTRALIAN DRAWINGS BLACKMAN, Charles S c h o o lg irl o n stairs, c. 1953-54

crayon BUVELOT, Louis B la ckw o o d . 1879

pencil Gift of Joseph Brown 1982 W ahgunyah. 1877

pencil CHEVALIER, Nicholas S teavenson River, c. 1860

watercolour COLEING, Tony Untitled. 1979

pen and ink, coloured pencils, stamped ink U ntitled. 1979

pen and ink, coloured pencils, stamped ink CONDER, Charles The C o m in g o f S p rin g . 1888

watercolour FAIR, Fraser F lu o re sce n t s tre e t c o m p o s itio n 2. c. 1981

coloured chalks FAIRWEATHER, Ian (C yclists) [recto],

gouache (B alinese fig u re c o m p o s itio n ) [verso],

gouache (Two n a tive s.) c. 1960

gouache on composition board The three works above all bequest of Lucy Swanton 1981. Figure.

pen and ink G ift o f R uth M c N ic o ii. 1982.

GLEESON, James F abric d e s ig n , c.1947

brush and ink over pencil on tracing paper Gift of the artist 1982.

HOGG, Geoff Twenty w o rk in g d ra w in g s re la tin g to th e B ru n s w ic k

m ural, Turana Youth Training C e n tre , M e lb o u rn e , c. 1979-81

gouache, pencil, pen and ink Twenty-six d ye lin e p la n s , g o u a c h e s a n d .

p h o to g ra p h s re la tin g to th e B ru n s w ic k m ura l,

Turana Youth Training C e n tre , M e lb o u rn e ,

c. 1979-81

Gift of Geoff Hogg and the Turana Mural team 1981.

JACKS, Robert G re e n s to n y o b s ta c le s . 1981

watercolour H u e a n d c ry z ig z a g . 1981

watercolour MADDOCK, Bea S im e on c a rry in g th e c ro s s . 1962

charcoal S ta te m e n t!. 1972

pencil F o r n o re a l re a so n . 1972

watercolour wash on etching and collage of cut lithograph, cut photo-etching on torn paper Your tu rn is c o m in g u p . 1975

collage of gouache on torn newspaper on newspaper on grey paper PARKER, Harold S k e tc h b o o k : P o rtra its o f w o m e n a n d b a b ie s , lite ra ry

fig u re c o m p o s itio n s . 1940

twenty-four drawings in coloured chalks S k e tc h b o o k : F in is h e d s tu d ie s o f lite ra ry fig u re s,

fa rm in g ty p e s , a n im a ls . 1940-41

twenty-one drawings in coloured chalks S k e tc h b o o k : R e n a is s a n c e -s ty le fig u re s tu d ie s a n d

c o m p o s itio n s , c. 1938

twenty-seven drawings in coloured chalks and pencil The three sketchbooks above all gift of Rosamond C.H. Shepherd 1983.

PASSMORE, John B o y s fis h in g , c. 1970

pen and blue and black ink and wash on tracing paper PRATT, Douglas Six d ra w in g s . 1940s

pencil S k e tc h b o o k : A u s tra lia n la n d s c a p e s . 1968

eight drawings in pencil

ROPER, Edward; ALLCHIN, J.H. (A s h e e p b e in g a tta c k e d b y a b ird .) 1889

watercolour SANSOM, Gareth S ix u n title d d ra w in g s . 1981

coloured fibre-tipped pens, ballpoint pens, synthetic polymer resins SHARP, Martin D e s ig n fo r p o s te r: A p m ira , A r t s a le fo r la n d rig h ts.

(1982) collage of cut coloured paper on dark blue paper J u s t fo r fun. 1980-81

pen and ink

SIMPSON, Jessie G reetin g c a rd : C h ristm a s, c.1917

pen and ink, gold paint Gift of Frances Derham 1983.

UNSWORTH, Ken Twenty d ra w in g s . 1974-81

charcoal, brown enamel VASSILIEFF, Danila G eneral F ra n c o a n d b lo n d e , c. 1952

gouache WALKER, Murray Flesh. 1982

brush and ink, watercolour, pencil WESTALL, William View o f the n o rth s id e o f K a n g a ro o Islan d. 1802

pencil WOLSELEY, John D e s c rip tio n o f an e x p e d itio n , 2 J u n e 1978 a c ro s s

O rm iston P o u n d fro m w e s t to east. (1978-79)

pen and ink YOUNG, Blamire G eorge Street, c. 1930

watercolour Gift of Ruth McNicoll 1982.


colour screenprint ARMITAGE, Jean G o ld crests. Early 1930s

colour woodcut l ASHTON, Will M arseilles.

etching BAKER, Christine Asquith (D e a d trees.) c. 1940s

j colour lithograph BALL, Sydney B yron s p rin g [46/60], 1980

colour screenprint BANKS, John The be ach .

etching BLACK, Dorrit The a cro b a ts, c.1927

colour linocut H illside houses, c. 1930


The la w n m ow er, c. 1932

linocut The m o u n ta in lake. c. 1935

colour linocut The w o o l q u ilt m a k e rs , c. 1940-41

colour linocut N a val funeral, c.1949

colour linocut CATTAPAN, Jon M o d e rn p u n is h m e n t. 1980

etching COBB, Victor W inter’s n o c tu rn e , P rin c e s B rid g e , c. 1910-19

etching COLBOURN, John M o rn in g silver, c. 1942

colour linocut COUNIHAN, Noel Clergy. (1932)

linocut Tycoon. 1932

linocut DAWSON, Janet P arts o f F o rtun e. 1981

colour stencil DERHAM, Frances Twenty lin o c u ts , s te n c ils fo r b o o k p la te s , g re e tin g

ca rd s a n d c o v e r d e s ig n s .

DERHAM, Frances, Student of (M e lb o u rn e fro m th e Yarra.) 1950s

colour linocut DUFOUR, et Ole (manufacturer); CHARVET, Jean-Gabriel (designer), 1 7 5 0 -1 8 2 9 Les S au va g e s d e la m e r P a c ifiq u e (The Voyages o

Captain Cook), c. 1805 (wallpaper) Purchased from admission charges, 1982-83.

DWYER, Ella S le e p in g d ry a d s (F a nta sy), c. 1930s

etching, aquatint M o o n b e a m s, c. 1930s

etching, aquatint

DYSON, Will S panish d a n ce r, c. 1928

linocut EDWARDS, Mary Cooper The Z o o fro m A s h to n P ark, c.1932

linocut Q u e e n s la n d la n d s c a p e , c. 1932



ELLIS, Peter The in v e n tio n o f th e h e a d a c h e . 1981

etching EMANUEL, Cedric H o b a rt 2 . 1931/prtd 1981

etching A R ic h m o n d farm . 1940/prtd 1981

etching FAIRWEATHER, Ian P o s tc a rd (C h ristm a s). 1916

etching, hand-coloured FEINT, Adrian (Vase o f flow ers). 1929

colour linocut FLETT, James View fro m P e rrin s C re e k R o a d , O lin d a . (1932)

etching FRANSELLA, Graham Thirteen e tc h in g s , s o m e h a n d -c o lo u re d . 1980-81

FRIEDENSEN, Thomas The b u s h m a d o n n a . 1930

etching GALLOP, Herbert C a nb erra. (1920s)

etching .

GLEESON, James Seven p a in tin g b lo c k s fo r fa b ric , c . 1947 linoleum on wood Gift of the artist 1982.

GOODHART, J.C. The d a y sh ift, P ro p rie ta ry M in e , B ro k e n H ill [5/251.


etching GURVICH, Rafael Isolation. 1977

etching, aquatint HALPERN, Stacha S eve nty-tw o lith o g ra p h s , e tc h in g s a n d m o n o ty p e s 1955-65

The complete graphic works including some working states.

HERBERT, Harold G re e tin g c a rd : S a p lin g s , c.1933 lithograph G re e tin g c a rd : W hite g u m s , c.1933 lithograph HUNTER, William

'Lady for a Day'. 1960s


Roger Butler Fund 1983. M o u n t M a c e d o n . c. 1940

colour aquatint LINDSAY, Lionel (S e a te d fe m a le n u d e .) c. 1906-07

drypoint Roger Butler Fund 1983. A n a lm o s t c o m p le te c o lle c tio n o f a ll L io n e l L in d s a y 's

is s u e d p rin ts .

Over 750 items including etching tools, plates, blocks and drawings Bequest of Alan Queale, 1982.

LINDSAY, Norman P an w ith n u d e s , c. 1920

lithograph LYMBURNER, Francis R e s u rre c tio n . 1948

drypoint Gift of James Gleeson 1982. MARLER, G. (C o u n try h o m e s te a d ).

etching McMAHON, Christopher C o v e r fo r 'E x h ib itio n o f c h ild a r t fro m m a n y c o u n trie s '.

c. 1940

linocut MOIRA G re e tin g c a rd : (D a n c in g e m u s ).

linocut NORTHCOTT, Dawn G re e tin g c a rd : (B la c k a n d re d sa ilo rs ), c. 1950

potato-cut O’CONNELL, Ella G re e tin g c a rd . c. 1932

colour linocut G re e tin g c a rd . c. 1932

colour linocut OGILVIE, Helen G re e tin g c a rd : (G u m n u ts ). 1936

linocut PRESTON, Margaret H o lly h o c k s . (1926)

colour woodcut S h o a lh a ve n G o rg e . 1953

colour gouache stencil

PROCTOR, Thea The flo w e r sh o p . c. 1920

colour lithograph REES, Lloyd Q u ie t d a y on th e h a rb o u r. 1980


lithograph REYNOLDS, Frank G rape s in su n lig h t, c. 1931

colour linocut ROBERTSON, Toni Taking m a rk e t to w n b y strategy. (1976-77)

six colour screenprints with three additional duplicate prints The ro ya l n u c le a r show . (1981)

six colour screenprints ROSENGRAVE, Harry E ighteen p rin ts in c lu d in g lith o g ra p h s a n d lin o cu ts.

1952-67 SCHELTEMA, J.H. G randm other, c. 1900

etching SCHMEISSER, Jorg B ack from th e b e a c h . 1980

etching SHARP, Martin 'Ignatz p a in ts h is w orld'. 1980

colour screenprint G ing er in J a p a n . 1981

colour screenprint SHI BLOW, John The o ld laneway. 1896

etching SPOWERS, Ethel Football. 1936

colour linocut G reetin g c a rd : A H a p p y N e w Year, c.1926

relief, colour linocut Gift of Frances Derham 1982. G re e tin g c a rd . 1929

colour linocut Wet a fte rn o o n [17/30], 1930

colour linocut STREETON, Arthur G re e tin g c a rd : C h ristm a s. 1911

lithograph, hand-coloured SYME, Eveline G reetin g c a rd : C h ristm a s. 1954

linocut Gift of Frances Derham 1982. G e ra n iu m s. 1928

colour linocut G reetin g c a rd : (D e s e rt p e a ). (1930s)

linocut THAKE, Eric M o b y D ic k : The C o ffin Life-B uoy. 1932

linocut on wove paper M ob y D ic k : ‘There s h e b lo w s ! — S he b lo w s !' 1932

linocut TRAILL, Jessie H a m m e r a n d to n g s, C ly d e [Ed. 30]. 1938

etching and aquatint printed with plate tone on cream laid paper P enny Traill, c. 1920

drypoint on oriental style paper The s ig n a l-b o x . 1910

etching and aquatint printed with plate tone on thin oriental style paper E vening, E m e ra ld . 1911

etching and aquatint printed with plate tone with wiped highlights on cream laid paper E vening, M a lla c o o ta W est [2/20], 1924

aquatint and etching, printed with plate tone on Japanese vellum Les c h iffo n n ie rs . 1951

etching and aquatint with pencil on cream wove paper van RAALTE, Henri The far sh o re . 1921

drypoint von GUERARD, Eugene Ferntree Gully, D a n d e n o n g R a ng es, V icto ria : fro m

E u g en e von G u e ra rd 's A u stra lia n la n d s c a p e s .

(1866) colour lithograph WALLER, Christian G re e tin g c a rd : C h ristm a s. (1923)

linocut G re e tin g c a rd : C h ristm a s. (1925)

colour linocut G re e tin g c a rd : The S ta r in th e East. c. 1932

linocut The G ates o f D a w n . (1933)

lithograph The G ates o f D a w n : The D a u g h te r o f th e Sun. (1933)

lithograph WALLER, Napier G uinea fow ls [23/35], c. 1922

linocut H e a d [6/50], c. 1928

perspex cut WILLIAMS, Fred T hirty-six e tc h in g s d a te d 1954-66.

Gift of James Mollison 1983. The M e tro p o lita n . 1955-56

etching, aquatint, flat biting W indm ill girls. 1955-56


etching, drypoint The two works above both gift of Lady Drysdale 1983.

WILSON, Charles View fro m th e lo u n g e . 1980

etching WOOD, Rex W om an w ith q u in c e s , c.1933

linocut (N u d e w o m a n w ith d e e r), c. 1933

linocut YOUNG, Blamire A p rin t fro m J o h n n y F a w k n e r's p re s s . 1902

woodcut A lso in c lu d e d in th e b e q u e s t o f A la n Q u e a le 1982:

Works by David BARKER (1), Leonard BECK (2), Penleigh BOYD (1), George COLVILLE (1), Victor COBB (4), CURRIE (1), Elizabeth DURAK (1), John ELDERSHAW (1), John FLANAGAN (1), Thomas FRIEDENSEN (4), Murray GRIFFIN (1), Elioth GRUNER (1), Hal GYE (2), Harold HERBERT (3), Livingston HOPKINS (1), William HUNTER (9), Percy LEASON (1), Ruby LIND (1), Norman LINDSAY (13), Sydney LONG (4), M. MacNALLY (1), MARLER (1), B.E. MINNS (1), Eirene MORT (1), Douglas PRATT (1), Margaret PRESTON (1), Bruce ROBINSON (1), RUSSON (2), Tom SEYMOUR (1), Vincent SHELDON (1), John SHIRLOW (2), Lesbia THORPE (1), Sydney URE SMITH (5), VIRGIL (1), Napier WALLER (1), James WARNER (2).

AUSTRALIAN POSTERS DAVEY, Graeme; DONE, Ken A d v e rtis in g p o s te r: F M ra d io s ta tio n 2JJJ, and

related promotional material. Gift of SPS Advertising Agency 1982.

DERHAM, Frances P u b lic ity p o s te r: ‘G u e s ts a t G a rry g ra th '.

linocut, hand-coloured SHARP, Martin P oster fo r th e F e s tiv a l o f S y d n e y 1982.

Gift of the Sydney Committee Limited. Tiny Tim the C h a m e le o n s [Ed. 50], 1982

Tiny T im . . . O p e ra H o u se . 1982, September 4

Tiny [ T im ] . . . M a s q u e ra d e . 1982

Paris visions. 1978

A d e la id e F estival. 1982

A pm ira [A rt sale fo r la n d rig h ts ] [Ed. 15], 1982

VARIOUS Posters p ro d u c e d a n d c o lle c te d a t th e Tin S h e d s,

U n iv e rs ity o f S y d n e y 1 9 7 7 -1 9 8 0 . Includes work

from the Earthworks Poster Collective, Lucifoil posters and other collectives and individuals who used the facilities: ABBEY (1), Micky ALLAN (2), Kevin ANDREW (1), Dougal ANTHONY (1), ANTONIO (1), Mark ARBUZ (11), Mark ARBUZ and Stephen STOKES (1), Mark BAXTER (3). G. BENNETT (1), Mat BIENSTOCK (1), Vivienne BINNS and Toni ROBERTSON (2), Bridget BOGART (1), Steve BOLT (1). Bob BOUTIN (1), Annie BREMNER and Laurie DENTON (1), David

BROMLEY (1), Tony BROWN (1). Bev BRUEN (1). Tim BURNS (1), Mary CALLAGHAN (1), Michael CALLAGHAN (11), Michael CALLAGHAN and Chips MACKINOLTY (2), Michael CALLAGHAN and Marie McMAHON (3), Michael CALLAGHAN and Kerry WOODHILL (2), Patrick COOK and Chips MACKINOLTY (1), Jenny COOPES (1), Cathy CROWLEY (2), (David) (1), Lindy DENT (1), Merelyn FAIRSKYE (1), Jan FIELDSEND (7), Jan FIELDSEND and Carol BLOND (2), Jan FIELDSEND and Bridget BOGART (1), Doris FISH (3), John FORBES (1), Peter GREY (1), Reg HARTLEY (1), Ray HAYES (6), Ray HAYES and Helen DUCKWORTH (2), Martin HIRST (1), David JAMES (1), Sylvia JANSONS (2), Angela

KORVISIANOS (1), LA RAZA and Chips MACKINOLTY (2), Jenny LAYELLE (1), Pam LEDDEN (2), Steve LEWIS (2), Colin LITTLE (1), Jan MACKAY (7), Jan MACKAY and Mary CALLAGHAN (1), Jan MACKAY and Michael CALLAGHAN (1), Jan MACKAY and Chips MACKINOLTY (1), Jan MACKAY and Tom ROBERTSON (1), Chips MACKINOLTY (48), Chips MACKINOLTY and Colin LITTLE (1), Chips MACKINOLTY and Marie McMAHON (7), Chips MACKINOLTY and Mary PERKINS (1), Chips MACKINOLTY and Ray YOUNG (2), Marie McMAHON (17), Alec MORGAN and Chips MACKINOLTY (1), Peter MURPHY (2), Lyn NEWEL and Robert GIUSTI (1), Syd PARASSEN (1), (Pat) (1), Mary PERKINS (2), David POCTORAK (1), Carol PORTER (1), Tony PRESS (1), Dawn RIDLEY (1), Jean RILEY (1), Anne ROBERTS (1), Tom ROBERTSON (15), Toni ROBERTSON and Chips MACKINOLTY (2), Gary ROBINSON (3), Chris SHARP and Ros HEEFER (1), Leanne SHED (1), Sasha SOLDATHOW (1), Anne STEPHEN and Charles MEREWETHER (1), Jeff STEWART (1), THOR (1), TRUNG (1), Louise URBANICK (1), Carl VINE (1), Marilyn WALTERS and Louise DAUTH (1), Lee WHITMORE and Chips MACKINOLTY (1),


Kerry WOODHILL (2), Vicki WOOTEN (1), Paul WORSTEAD (2), Ray YOUNG (4), Toby ZOATES (6), UNKNOWN (139).

AUSTRALIAN ILLUSTRATED BOOKS CONDER, Charles Balzac. La fille a u x y e u x d'or. London, Smithes. 1896

six wood-engravings CROZIER, Cecily (ed.) A C om m ent. Melbourne.

Vols 1-24,1940-46 and 24 duplicate issues Gift of James Gleeson 1982.

MORA, Mirka Mirka's c o lo u rin g b o o k no. 1. Courtin/Fevola,

Melbourne. 1970 lithograph, colour lithograph Gift of Daniel Thomas 1982. von GUERARD, Eugene E ugene von G u e ra rd ’s A u s tra lia n L a n d s c a p e s .

M e lb o u rn e , H a m e l a n d F e rg u s o n . (1866-68)

twenty-four colour lithographs

AUSTRALIAN ARTISTS' BOOKS CRIFPS, Peter Two b la c k a n d w h ite p h o to g ra p h s from C ity L ife , a

p e rfo rm a n c e a t th e th ird S c u lp tu re Triennial. 1981

gelatin silver photographs Gift of the artist, 1982.

GOODWIN, Allison Let's m a k e th e s e w a lls w h e re w e live a n d w o rk —

hom es. 1976 [2 copies].

Published by the Bowden Brampton Community Group. offset lithography, screenprint GROUNDS, Marr; PHOLEROS, Paul S cu lp tu re a t th e to p e n d s . 1977

Published by the Experimental Art Foundation, St. Peters. offset lithograph Gift of Marr Grounds, 1982.

PIOLT, Amanda S m all o b je c t. 1981

Published by the artist, Sydney. offset lithography, screenprint Gift of Michael Desmond, 1983 KERR, David

P o cke t p ie c e . 1978

Published by the artist, Adelaide. xerox and fabric MclNTOSH, Marjorie

F our u n title d flip b o o k s . 1982

Published by the artist, Sydney, xerox and fabric TWIGG, Tony A rt! E xten sion s. 1981

Published by the artist, Sydney, xerox prints, pen and ink, string and typing in grey card folder Gift of Daniel Thomas 1982.

VIZENTS, Alan (etal) M ed ia s p a c e c o m p e n d iu m . 1982

Published by the artists, West Perth, xerox Gift of various artists involved with Media Space, 1983.

ZEROXDREAMFLESH; POGOTT, Tim and SOETERBOEK, Will La la s e q u e n c e b ru it. 1981

Published by the artists, Leichhardt, xerox, screenprint, rubber stamp Gift of Michael Desmond, 1983.

AUSTRALIAN FILM/VIDEO/AUDIO DANKO, Aleks; GROUNDS, Joan; LAURIE, David and STEWART, David We s h o u ld c a ll it a liv in g roo m . 1976 16mm colour film DUNKLEY-SMITH, John E xterio r w ith s e a g u lls N o 3 . 1980

twin screen slide installation JONES, Stephen S to n e h e n g e / TV B u d d a (H o m a g e to N a m J u n e P aik).

(1978) colour videotape LARTER, Richard P ortrait. 1975-76

8mm colour film LARTER, Richard and LARTER, Pat M asca ra flic. 1976

8mm colour film (Note this is name of artists!) S paces. 1981

stereo audio disc in sleeve Gift of James Mollison, 1983.

THOMAS, Paul; VIZENTS, Alan D ra w in g out. 1981

Published by Media Space, West Perth, audio cassette and offset lithography VIZENTS, Alan Furniture. 1982

Published by Media Space, West Perth.


offset lithography (booklet) and audio cassette VIZENTS, Alan (e ta !) P o o r A u s tra lia . 1982

Published by Media Space, West Perth. audio cassette The three works above all gift of various artists involved with Media Space, 1983.

ZEROXDREAMFLESH; POGOTT, Tim and SOETERBOEK, Will P arts u n k n o w n . 1982

Published by the artists, Sydney, offset lithography (booklet), and audio cassette Gift of Michael Desmond, 1983.

AUSTRALIAN PHOTOGRAPHY All gelatin-silver prints unless otherwise stated.

ADCOCK, Thomas S te re o s c o p ic v ie w c a r d — n a tu re u n d is tu rb e d , c. 1880s

albumen silver photograph S te re o s c o p ic v ie w c a r d — C o x ’s C re e k , c. 1880s albumen silver photograph S te re o s c o p ic v ie w c a r d — n a tu re u n d is tu rb e d ,

c. 1880s

albumen silver photograph BAYLISS, Charles E ig h t a lb u m e n s ilv e r p h o to g ra p h s o f S ydney, c. 1880s

BRODIE, A. D a rlin g P o in t R o ad . c. 1870s

albumen silver photograph BUCHANAN, Eve M ona M c L e o d .

Gift of Mrs Eve Buchanan, 1982.

CAMPBELL, J.P. A lb u m o f p h o to g ra p h s , c o m p ris in g 2 6 le a v e s w ith 4 5

p h o to g ra p h s o c c u p y in g 2 4 le a v e s , c. 1900s Gift of Mrs A.C. Tyson, 1983.

CAPTAIN SWEET L a u n ce sto n w ith fig u re , c. 1880s

albumen silver photograph Silver Falls, c. 1880s

albumen silver photograph C a sca d e B rew ery, L a u n c e s to n , c. 1880s albumen silver photograph C a m el train, c. 1870s

albumen silver photograph CAZNEAUX, Harold T w enty-eight p h o to g ra p h s , c. 1900s-1940s

S eventy p h o to g ra p h s a n d m is c e lla n e o u s ite m s

re la tin g to H a ro ld C a zne aux. c. 1900s-1940s

Gift of the Cazneaux family, 1982.

CHRISTO W ra p p e d co a st, L ittle Bay, S ydney. 1969

Gift of John Kaldor, 1982.

CLARKE, Pegg Tea party, c. 1920s

Gift of A. Ramsay, 1982. S p id e rs w e b. c. 1920s

M is t in th e m o u n ta in s , c. 1923

COLLYER, Morton O live C otton, c. 1944

Gift of Olive Mclnerney.

COOPER, Will M o o n lig h t on th e D e rw e n t.

E a g le H a w k N e c k fro m C a s h 's L o o k o u t—

looking north. The two works above both gift of Marguerite F. Robey, 1982.

DAVILA, Juan The K elly g a n g — w o rk c o m p ris in g e ig h t p a n e ls .

1983 DECK, Norman Tw enty-seven p h o to g ra p h s o f S o lo m o n Islan ds.

1913-40 Gift of Norman C. Deck, 1982.

DUPAIN, Max O ne h u n d re d p h o to g ra p h s . 1928-78

EATON, J.B. (W et d a y in M e lb o u rn e ). 1921

The fen ce, c. 1938

ELLIOTT & FRY, London, est. 1863 P o rtra it o f H a ro ld P a rk e r w ith m a rb le s c u lp tu re ,

A ria d n e , c. 1908

Gift of Rosamond C.H. Shepherd, 1983.

HOLMES, Pat P o rtra it o f H a ro ld C a z n e a u x . (1934)

N e w Years Eve, K in g s C ro ss. (1946)

gelatin silver photograph L a d y Louis M o u n tb a tte n p re s s c o n fe re n c e ,

C a nb erra. (1946)

All three prints above gift of Mrs Pat Stuart, 1982.

HOLTERMANN, Otto; BAYLISS, Charles; PAINE, John (A lb u m o f w o rks d e p ic tin g th e to p o g ra p h y o f

S yd n e y): 31 leaves comprising 98 albumen silver

photographs occupying 29 leaves, c. 1875-80 HOLTERMANN, Otto; BAYLISS, Charles S m a ll p a n o ra m a o f S ydney. 1876

five albumen silver photographs forming a virtually continuous view of Sydney


Large p a n o ra m a o f S ydney. 1878

twenty-three albumen silver photographs in sequence and three others HOW, Louisa Elizabeth (B ou nd a lb u m p re d o m in a n tly o f fa m ily p h o to g ra p h s ).

1858-59 sixty-two leaves (with 47 salted paper photographs occupying 38 leaves). IKIN, Norman

T hirty-tw o p h o to g ra p h s , c. 1950s

JACKSON, T. C a rte -d e -visite p h o to g ra p h , c. 1880

Gift of Tony Palmer, 1983.

JAMES, David B a n try Bay. 1982

soft album with nine type C photographs occupying five pages.

JOCELYN, Lady Fanny (e ta l) Who a n d w h a t w e s a w in th e A n tip o d e s . 1868-70

bound morocco and gilt album of 65 leaves with 210 photos occupying 56 leaves JOYNER, Frederick S e ve n ty-e ig h t p h o to g ra p h s , c. 1900s-1920s

Gift of Mrs Max Joyner, 1982.

KAUFFMANN, John The g re y veil. c. 1900s

The riv e r Torrens, A d e la id e , c. 1900

A fte r sunrise, V ic to r H a rbo ur, c.1900

Pastoral, c.1910

gelatin carbon photograph G old en g lea m s, c.1908

gelatin carbon photograph KELSO, Matt D o c u m e n ta tio n o f J o s e p h B e u y s in s ta llin g th e w o rk

'S tripes from th e H o u s e o f th e S h a m a n ' in the

A.N.G. 1982

KIMBER, Mark (M an a n d w o m a n a n d s trip e d aw n in g s). 1980

type C photograph (Tall w om an, s h o rte r m a n ). 1980

type C photograph ( G irl in re d ja c k e t). 1980

type C photograph (M an, w om an a n d c h ild ). 1980

type C photograph (M an a n d w o m an ). 1980

type C photograph KLEINERT, Ingo L a n d fo rm s IX. 1981

type C photograph

L a n d fo rm s X. 1981

type C photograph LE GUAY, Laurence P o p e P ius XII. 1943

C h ild re n o f Tangier, c. 1943

A ffe c tio n — m o th e r a n d c h ild , c. 1955

E ric S m ith w ith d e s ig n fo r c o n c re te a n d g la s s

w indow , S a in t P aul's C o lle g e , U n iv e rs ity o f Sydney,

c. 1959

LINDT, John William A u stra lia n A b o rig in a ls ’. (1875-76)

portfolio of twelve albumen silver photographs MASSINGHAM, Madge Ten p h o to g ra p h s , c.1942

Gift of Mrs Wilma McKay, 1982.

MAURICE, R.T. P o rt A d e la id e , c. 1880s

P an ora m a o f P o rt A d e la id e , c.1900

MILLS, Alice G irl w ith c la s p e d h a n d s , c. 1920s

Gift of Mrs Maureen Barden, 1982. Your m o th e r w ith y o u r g ra n d fa th e r, c. 1920s

Winter, c. 1920s

from a series titled F o u r S easons. The two prints above both gift of Mrs Mary True, 1982.

MOORE, May P o rtra it o f H a ro ld Parker, M e lb o u rn e , c. 1920

Gift of Rosamond C.H. Shepherd, 1983.

MOORE, Mina P ortrait, c. 1920s

MUNZ, Martin (M ale fig u re le a p in g fro m d iv in g tower, w ith le g s a n d

a rm s a k im b o .) 1981

(M ale fig u re h ig h in th e air, w ith kn e e s b e n t.) 1981

(Fem ale fig u re c o m p le tin g a dive, w ith h e a d a n d

a rm s u n d e r w ater.) 1981

W om an in r e d s w im m in g c o s tu m e , w ith g ro u p o f

o th e r s w im m e rs .) 1981

(M ale ju m p in g fro m d iv in g b o a rd , w ith m a n y

s w im m e rs w a tc h in g .) 1981

(Fem ale fig u re in b ik in i, le a p in g fro m d iv in g b o a rd .)


six type C photographs from the S w im m in g p o o l series.

NASH-BOOTHBY, Elizabeth (L a d y w ith h a t.) c. 1910s

(Young w o m a n .) c. 1910s

(L a d y w ith fu r c o a t.) c. 1910s

The three prints above all gift of Mrs L. Meltzer, 1982.


POIGNANT, Axel J a c k a n d h is fam ily, p a r t A b o rig in e s , c. 1935-36

C o n Henry, Pingelly. c. 1938

S am S ue, p e a rl buyer, B ro o m e . 1947

A re s t d u rin g th e h u nt. 1952 (prtd/c1979) POTTS, David R a b b it tra p p e r, c. 1947

B u c k in g h a m P a la c e . (1953)

R o ya l A c a d e m y e x h ib itio n o p e n in g . (1953)

R o ya l A c a d e m y e x h ib itio n o p e n in g . (1953)

H e n le y R e g a tta . (1954)

H e n le y R e g a tta . (1954)

QUIRK, Philip H e a d m is tre s s s p o rts day. 1975

Interior, g a m e s ro o m K ia m a H o te l. 1977

S ole B ro th e rs C ircu s. 1978

C ity to surf. 1980

A m a te u r b o x in g . 1982

SHMITH, Athol Tivoli V audeville, b a c k s ta g e . (1942)

H .R.H. P rin c e W illiam o f G lo u c e s te r. 1946

E le m en ts in m o n ta g e . 1948

Triple spinn er. 1954

(M o d e l w ith o n io n b a g s .) 1958

fashion illustration Le Louvre. 1960

fashion illustration SEVERS, Wolfgang T w enty-three p h o to g ra p h s , c. 1930s-1960s

SMITHIES, F. (S n o w s c a p e .)

Lake R o d w a y a n d F ly n n s Tarn fro m th e s u m m it o f C ra d le M o u n ta in .

A rtis t’s p o o l, C ra d le M o u n ta in .

E ntra nce fro m D o v e Valley in to C ra d le Valley.

The w e e p in g g u m n e a r T u n b rid g e M a in Rd.

The w e e p in g g u m n e a r T u n b rid g e M a in R d.

(half-tone magazine reproduction) The six prints above all gift of Marguerite F. Robey, 1982.

SMITH, Julian I d o u b t it! c. 1930s

W hen b rig h t eyes g la n c e . (1942-43)

S elf-p ortrait, c. 1930s

TALBOT, Henry Bolivia. 1948

M elbourne. 1954

E d w a rd Borovansky. (1958)

M arg o M cK e n d rie . (1958)

Jan H e id e n re ich . c. 1958

UNKNOWN P o rtra it o f P a t H o lm e s.

Gift of Mrs Pat Stuart, 1982. P o rtra it o f B e re n ic e Agar.

Gift of Mrs Helen C. Smith and Mrs Joan C. Reeve, 1982. P o rtra it o f M a d g e M a s s in g h a m .

Gift of Mrs Wilma McKay 1982. P o rtra it o f E liz a b e th N a s h -B o o th b y .

oval portrait including her husband Gift of Mrs L. Meltzer, 1982. P o rtra it o f A lic e M ills.

Gift of Mrs Mary True, 1982. A d e la id e G a rd e n s, c. 1883

Twelve a lb u m e n s ilv e r p h o to g ra p h s o f a S ou th

A u stra lia n s h e e p sta tio n , c. 1880s

(H o use a n d la ke), c. 1880s

albumen silver stereo photograph (R o cks a n d m e n in riv e r b e d ), c. 1880s

albumen silver stereo photograph P o rt Elliot, c. 1880s

albumen silver photograph P o rt Pirie. c. 1880s

albumen silver photograph A d e la id e R a ilw a y S tatio n, c. 1880s

albumen silver photograph B a ro ssa Valley, c. 1880s

three photographs

VARIOUS Philip Morris Arts Grant 826 contemporary Australian photographs by John ADAIR, Mickey ALLAN, Venise J.B.


DUPAIN, Sandy EDWARDS, David ELLIS, Rennie ELLIS, Gerrit FOKKEMA, Sue FORD, Roger GARWOOD, Jillian GIBB. Christine GODDEN. Gary GREALY, Gerard GROENEVELD, Fiona


9 7

Trevor J. KENYON, Paul Anthony KRIEG, Martin LACIS, Laurie LE GUAY, Melanie LE GUAY, Peter LEISS, Jean Marc LE PECHOUX, John LEWIS, Ian LOBB, Steven LOJEWSKI, Graham McCARTER, Penelope MALONE, Jenni MATHER, Ken MIDDLETON, Julie MILLOWICK, David MOORE, Grant MUDFORD, Ann NOON, Glen O'MALLEY,

Robert OWEN, Max PAM, Tony PERRY, Philip QUIRK, Wendy REID, Jon RHODES, Stephen ROACH, Robert ROONEY, David SANDERSON, Roger SCOTT, Don SHARPE, Athol SHMITH, Lynn



Andrew YEATES, Willy YOUNG, UNKNOWN van der WAL, Martin G un te r C h ristm a n n . 1982

WILLIAMS, John E d w a rd a n d G le n so n . 1980

Yolande. 1980

Ita B uttrose. 1982

Joh n Law s. 1982

WILLIS, Gary F it the sixth: N A K A N A K A . 1982

pressure-sensitive tape, oil on type C colour photographs F it the e ig h th : S N A AKES. 1982

pressure-sensitive tape, oil on type C colour photographs

AUSTRALIAN DECORATIVE ARTS AUSTIN AND SONS, Brunswick, Victoria G a rd e n e d g in g tile, c.1900

stoneware Gift of Murray Walker, 1982.

BASSE, Frederick B roken H ill cu p . (1913)

gold Bequest of the Estate of Albert Edward Nott, 1983.

BENNETT, Charles C o ffe e can. c. 1845

silver, ebony E ntree dish, c.1845

silver Purchased from admission charges, 1982-83.

BENWELL, Stephen

Five b o w ls. 1982

stoneware Gift of the artist, 1982.

BOYD, Hermia, decorator; BOYD, David, potter Cruet, c.1956

earthenware Gift of Ruth McNicoll, 1982.

BRENTANI, Carlo S n u ffb o x , in p re s e n ta tio n case, c.1848

silver, silver gilt, various Australian woods BROWN, C.A. H a ir o rn a m e n t, c.1890

silver, shell B.S. and H.S. Trivet, c. 1840

silver The three items above all purchased from admission charges, 1982-83.

CORRELL, Valeria V egetable g a th e re rs . 1948

earthenware Gift of Alice Correll, the artist's sister, 1982.

DALGARNO, L.G. Shawl, c.1925

painted silk Scarf, c. 1928

silk, batik Jacke t, c.1932

painted silk Gift of Jean Taylor, the artist’s daughter, 1982. Purse, c. 1936

painted silk, kid Gift of Kenneth John Dalgarno, the artist’s son, 1982. Jacke t, c. 1938

painted silk Gift of James H. Dalgarno, the artist's son, 1982. N e ckla ce , c. 1942

painted kid Gift of Jill Taylor, the artist’s granddaughter, 1982. DICK, Alexander S u g a r ton gs, c. 1835

silver Purchased from admission charges, 1982-83.

DISABLED SOLDIERS POTTERY, Redfern, New South Wales Jug. c.1923

earthenware Gift of Marjorie and Donald Graham, 1983. DOUGLAS, Mollie C u p a n d sa u ce r, c. 1957




earthenware Bow l. c. 1962

Jar. c. 1968

stoneware The three items above all gift of the artist, 1982. Jar. c.1955

earthenware EDWARDS, William P re se ntatio n c u p . c.1859

silver C laret ju g w ith m a tc h in g salver, c . 1864

silver M ea t cover, c. 1865

silver B u tte r dish. c. 1865

silver S cen t b o ttle h o ld e r c. 1870

silver, silver gilt, leather, glass, wood EDWARDS, William (attributed to) Set o f e ig h t fin g e r b o w ls , c. 1865

silver FISHER, Edward Pap boat. c. 1880

silver The three items above all purchased from admission charges, 1982-83.

FORSTER, Hendrik C o ffe e p o t. (1982)

silver, silky oak

FRANCES BURKE FABRICS, Melbourne; BURKE, Frances, designer Tw enty-nine e x a m p le s o f fu rn is h in g a n d d re s s fa b rics, c. 1937-51

screenprint on cotton and linen Gift of Frances Burke, 1982-83. GLEESON, James Five e x a m p le s o f fa b ric . (1942-44) linocut on linen and cotton Gift of the artist, 1982.

GOODCHILD, Doreen The flo w e r d a n c e , c. 1930

porcelain (S tan din g fig u re .) c. 1930

porcelain Vase, c.1931

earthenware Vase, c.1931

earthenware GREY-SMITH, Helen Thirteen e x a m p le s o f fu rn is h in g fa b ric .


screenprint on cotton Gift of the artist, 1983.

GRIEVE, David S et o f s ix c a k e fo rks, c. 1935

silver, moonstones, river jade GRIEVE, Rachel Two p la c e m a ts . c. 1950

linen The two items above both gift in memory of Richard J. Montgomery, from his wife, Kathleen, and sons, Michael and Christopher, 1982.

HANSEN, Ragnar Tea s e rv ic e . 1982

silver A rm rin g . (1979)

silver, gold, pearl Gift of the artist, 1982.

KAY, William (attributed to) S et o f fo u r d e c a n te r la b e ls , c. 1850

silver Purchased from admission charges, 1982-83.

KEMP, Bronwyn P latform . (1982)

earthenware KEYS, Eileen Bow l. (1982)

porcelain Gift of the artist, 1983.

KIMBER, Millie S ha rk p la te , c. 1925

painted decoration on porcelain blank KRIMPER, Schulim W ritin g desk. (1960) design (1955)

New Guinea walnut, plate glass LANDELLS, Flora L a m p b a s e . 1938

S e t o f s ix c u p s a n d s a u c e rs . (1939)

Vase, c.1951

earthenware The two works above both gift of the Goodes family, 1983.

LEVY, Col Vase. (1973)

stoneware LOWE, Allan J a r c. 1945

earthenware MACE, Violet Jug . 1914



Gift of Louie Nye, 1983.

MEADMORE, Clement Four M e a d m o re , o r C o rd ch a irs. (1953)

steel, cord, plastic Gift of Frances Burke, 1983. M.J.H. New South Wales A d a m a n d E ve in th e G a rd e n o f E den. c. 1920

wall hanging A d v a n c e A u s tra lia Fair, c.1910

wall hanging Time. 1924

wall hanging, mixed fabrics O'CONNELL, Michael Six p ie c e s o f fa b ric , c. 1934

linocut on linen Gift of Calvin Lean, 1982. P an d e m o n iu m , c.1930

frieze, linocut on silk C onvolvulus, c. 1932

fabric, linocut on silk PATE, Klytie Jug. c. 1957

earthenware PERRIN, Mylie Teaset. 1940

earthenware Gift of Genevieve Henley, 1983. Jug. 1937

S u g a r b o w l a n d c re a m ju g . 1938-39

Vase. 1953 Teaset. c.1953

Plate. 1969

The five earthenware pieces above all gift of the artist, 1983. POYNTER, Maude Vase. 1931 earthenware Gift of Spring Gray and Carline Lamprell, nieces of

the artist, 1983. ROBEY, Elinor J. P h o to g ra p h folder, c. 1925

leather Gift of Marguerite F. Robey, 1982.

SHOJI. Mitsuo Bow l. (1975)

stoneware SILK AND TEXTILE PRINTERS LTD, Sydney, Hobart; GLEESON, James, designer Totem, c.1947

dress fabric, screenprint on rayon Gift of James Gleeson, 1982.

SILK AND TEXTILE PRINTERS LTD, Sydney, Hobart; DANCIGER, Alice, designer Voyage w ith in a d re a m . (1947)

scarf, screenprint on silk Gift of Alice Danciger, 1982.

STEINER, Henry C a n d le stick, c. 1865

silver Purchased from admission charges, 1982-83. Tankard, c. 1884

silver, silver gilt, ostrich egg Purchased from admission charges, 1982-83.

THOMPSON, Mark B a d g e w ith p o rtra it o f C h ris to p h e r H u nt. (1980)

earthenware Gift of James Mollison, 1983.

TIWI POTTERY: KELANTUMAMA, John Patrick Plate. 1979

stoneware Gift of David Ell, 1982.

TULLY, Peter Six A ustra lia b a d g e s . 1982

acrylic, anodized aluminium wire, enamel paint Gift of the artist, 1982.

UNKNOWN, New South Wales S id e b o a rd , c. 1820

cedar Sofa, c.1830

cedar UNKNOWN, Tasmania D re ssin g ta b le tidy. c. 1900

stencil on cotton, silk, glass beads Gift of Elspeth Hope-Johnston, 1982.

UNKNOWN, Victoria Pair o f h a ll ch a irs , c. 1850

cedar M iner's chair, c. 1900

eucalypt WALKER, Alan C. Jam s p o o n a n d b u tte r knife , c. 1925

silver, semi-precious stones Tobacco jar. c. 1925

silver, amethyst, jadeite WALKER, Alan C„ designer; SARGISON, Harold, silversmith Ice b u c k e t, c. 1906

silver WALKER, J.H. S et o f fo u r d e s s e rt s p o o n s , c. 1880



Purchased from admission charges, 1982-83.

WALKER, Murray Flesh. 1982

plate, earthenware WEIR, Margaret P iece o f q u iltin g , c.1910

silk, cottons Gift of Alison Brown, the artist's niece, 1982.

WENDT, J.M. Salver, c.1870

silver Purchased from admission charges, 1982-83.

AUSTRALIAN THEATRE ARTS KAY, Barry A g ro u p o f 142 th e a tre d e s ig n s a n d re la te d th e a tre

p ro g ra m m e s . 1956-81

various media NOLAN, Sidney Theatre p ro g ra m m e fo r S y d n e y U n iv e rs ity D ra m a tic

S o c ie ty ’s p ro d u c tio n s o f ‘P e ric le s ' a n d O r p h d e ’.

(1948) Gift of Mr and Mrs Lindsay Parker, 1983.

ART ARCHIVE C o lle ctio n o f s e v e n te e n p h o to g ra p h s o f H a ro ld

Parker, h is s c u lp tu re s , p a in tin g s a n d w a te rc o lo u rs ;

s tu d io s c e n e s a n d p o rtra its , c . 1900- c1930.

Including photographs by J.S. Wiley, Brisbane; Grove, Son and Boulton, Technical and Art Photographers, 174 Brampton Road, London, SW3; Cooperand Humphrey, Commercial Photographers, 71 Newman Street, London. Gift of Rosamond C.H. Shepherd, 1982.

HALL, Nigel Videotapes, plans, photographs of model, etc., for first idea for the sculpture for the A.N.G. entrance comprising:

1 videotape of small scale model of work 1 videotape of three-dimensional realisation of work using computer graphics 8 computer drawings

1 handwritten list of parts with sizes 2 large diagrams on tracing paper 1 large diagram on paper 10 black-and-white slides of small scale models

Gift of Nigel Hall.

SIMMUL, lime Two le a th e r-b o u n d p o rtfo lio s . 1983

cloth and leather-bound with gold embossing containing fifty pages of Rives BFK paper

THE ART WORKERS UNION W hy n o c o n tra c t? A rtis ts n e e d c o n tra c ts .

T-shirt printed on both sides Gift of Daniel Thomas 1983.

VARIOUS Philip Morris Arts Grant 571 works of contemporary Australian art, including paintings, sculpture, video works, drawings and

posters by Hilary ARCHER. Suzanne ARCHER, John ARMSTRONG, David ASPDEN, George BALDESSIN, Jeremy BARRETT, Jenny BARWELL.






Garry WILLIS, David WILSON, Douglas WRIGHT, Bill YAXLEY, Peter YEE. Three a rtis ts ' p a le tte s .

William Dobell, John Perceval, John Molvig Tw enty-one A b o rig in a l d ra w in g s : seven of the

Feathered Serpent, fourteen associated drawings

International Art EUROPEAN AND AMERICAN PAINTINGS AND SCULPTURES BEFORE 1850 Italy, Ferrara M a d o n n a o f H um ility, c. 1470

painted wood RUBENS, Peter Paul S elf-p ortrait. 1623

oil on canvas Greece, Cycladic Culture Fem ale figu re. 2700-2300 BO.


EUROPEAN AND AMERICAN PAINTINGS AND SCULPTURES 1850-1950 ARP, Jean (Hans) Plastron e t fo u rc h e tte (S h irt fro n t a n d fork). 1922

painted wood MIRO, Joan P aysa ge (L a n d s c a p e ). 1927

oil on canvas VUILLARD, Edouard A I'o p e ra (A t th e o p e ra ), c. 1900

oil on panel

CONTEMPORARY PAINTINGS AND SCULPTURES CUCCHI, Enzo II vento d e i g a lli neri. (The wind of the black cocks).


-oil on canvas DUNOYER, Pierre Tableau. 1980

synthetic polymer paint and modelling paste on canvas PETTING, Rainer Two Indians. 1982

powder pigment and synthetic polymer on canvas

HALL, Nigel C a n b e rra (la rge). 1982

painted aluminium WILLATS, Stephen The lu rky p la c e . 1978

four panels Presented by the Contemporary Art Society, London, 1983.

DRAWINGS FROM 1800 AUERBACH, Frank S tud y fo r th e p a in tin g 'V ie w fro m P rim ro s e Hill'.

1961-62 gouache on paper BOSMAN, Richard B a ck door. 1982

brush and ink on paper E scap e. 1982

brush and ink on paper B roken b a rrie rs . 1982

brush and ink on paper BOURGEOIS, Louise N o title, c.1951

pen and ink on paper No title, c.1951

brush and ink on paper Gift of Linda Quinell, 1983.

CONSTANT, Jean Joseph Benjamin The D e a th o f J e z e b e l. 1868

chalk on paper DEGAS, Edgar In the d ra w in g roo m . 1879-80

monotype, brush and ink on wove paper HOCH, Hannah ‘L o ve ’. 1931

collage LeWITT, Sol Form s d e riv e d fro m a c u b e . 1982

gouache, pencil on paper Form s d e riv e d fro m a c u b e . 1982

gouache, pencil on paper MARIN, John Lo w e r M a n h a tta n fro m th e river, no. 2 .1921

watercolour McCAFFERTY, Jay To h e a r it. 1980

burnt paper OLDENBURG, Claes P ro p o s e d c o lo s s a l m o n u m e n t fo r P ic a d illy C ircu s,

L o n d o n : fo rk c u ttin g a s lic e o f c a ke . 1966


crayon and watercolour on paper RILEY, Bridget F our c o lo u r study, w ith b la c k a n d w h ite . 1981

gouache on paper SCHAPIRO, Miriam O u r s o n g . 1982

collage WARHOL, Andy Book, c.1955

gouache, gold paper lace, pen and ink on paper WILLATS, Stephen D ra w in g fo r th e p h o to g ra p h ic w o rk 'T h e lu rk y p la c e ’.

1978 Presented by the Contemporary Art Society, London, 1983.

PRINTS FROM 1800 ALECHINSKY, Pierre G re e tin g c a rd : C h ris tm a s (A im e M a e g h t p re s e n ts

y o u w ith h e r b e s t w is h e s fo r 19 81 ) [Writing book], (1980) Gift of Aime Maeght, 1982.

ARAKAWA, Shusaku The d e g re e s o f m e a n in g . 1973

from the portfolio R e a lity a n d P a ra d o x e s .

BACON, Francis A e sch yle s O re ste ia [V/XXV] [A/P] [Ed. 150],

M an c ro s s in g a m irro r [V/XXV] [A/P] [Ed. 150],

S e lf-p o rtra it (T rip ty c h ) [First state] [Ed. 2/2],

S e lf-p o rtra it (T rip tych ) [IX/XXV] [A/P] [Ed. 150],

BILL, Max Z e rs tra h lu n g von w e iss (A s c a tte rin g o f lig h t ra y s from w hite). 1979

Gift of James Mollison, 1982.

BOSMAN, Richard D ro w n in g m a n 1.1981

D ro w ning m a n II. 1982

GALAS, Nicolas (F orew ord in c o rp o ra tin g a p h o to g ra p h .) 1973

from the portfolio R e a lity a n d P a ra d o x e s CARR, Francis St Pauls. 1953

H u n g e rfo rd B rid g e — re fle c tio n s . 1951

CLOSE, Chuck Keith Version F (B la c k K eith ). 1981

DAVIS, Stuart No title. 1964

from the portfolio Ten w o rk s b y te n p a in te rs DUFY, Raoul

B a ig n e u s e s (Bathers). 7/50. (1923)

ENSOR, James L'envie. 1904

FAHLSTROM, Oyvind S e c tio n o f w o rld m a p : a p u z z le . 1973

forty magnetised pieces from the portfolio R e ality a n d P a ra d o x e s

FISHER, Joel F irst e tc h in g . 1980

FREUD, Lucian (P le a d o f a w o m a n ). (1982)

one of a suite of four etchings GREENWALD, Caroline A m b e r w in g s in fro z e n c lo u d s . 1982

from M a p series.

HAMILTON, Richard A d o n is in Y Fronts. 1963

Toaster. 1967

I'm d re a m in g o f a w h ite C h ris tm a s . 1967

S w in g e in g L o n d o n '67. 1968

B a th e rs (a). 1967

B a th e rs (b). 1969

K e n t S tate. 1970

I'm d re a m in g o f a b la c k C h ris tm a s . 1971

M u lti-c o lo u re d fio w e rp ie c e . 1973

T ric h ro m a tic fio w e rp ie c e . 1974

In F iorne's h o u s e . 1982

P a tric ia K n ig h t (1). 1982

P a tric ia K n ig h t (2). 1982

R ic h a rd F ia m ilto n C o lle c te d W ords 1953-82. London.

Thames and Hudson, 1982: portfolio of nine prints, one book and postcard.

HILL, Clinton B la c k tra c k . 1978

four-panel paperwork HUBBARD, John G re e tin g c a rd : C h ris tm a s (W a te r c u rre n ts ). 1980

Gift of Fischer Fine Art Ltd, 1982.

INDIANA, Robert E te rn a l H e x a g o n . 1964

from the portfolio Ten w o rk s b y te n p a in te rs JOHNS, Jasper U n title d . 1973

from the portfolio R e a lity a n d P a ra d o x e s KANDINSKY Wassily R a d ie ru n g IV [IV N o 3 ], (1913-14)

KELLY, Ellsworth R e d b lu e . 1964

from the portfolio Ten w o rk s b y te n p a in te rs


KLINGER, Max Zelt, O p u s XIV (Tent). (1911-15)

double portfolio comprising 46 etchings and aquatints, including contents page and title page. LICHTENSTEIN, Roy S an dw ich a n d s o d a . 1964

from the portfolio Ten w o rk s b y te n p a in te rs B rushstrokes. 1967

MADOU, Jean Baptiste P ortrait o f C h a rle s L o u is B lu m e , N e le 9 J u in 1796.

Gift of Australian National University Library, 1982.

MIRO, Joan P erso n n a g e a u s o le il (Figure in the sun). (1938)

MOTHERWELL, Robert No title. 1964

from the portfolio Ten w o rk s b y te n p a in te rs MUNAKATA, Shiko O w l on a b ra n c h .

NEVELSON, Louise N ig h t star. [68/90], 1981

NICHOLSON, William P o rtra it o f J a m e s M c N e ill W histler. 1898

NODA, Tetsuya D ia ry : M ay 15th '8 0 in K yo to . 1980

D ia ry: A p ril 2 5 th 8 1 . 1981

D ia ry: A u g u s t 14th 8 2 . 1982

OLDENBURG, Claes S o ft A lp h a b e t. 1978

forty-one pieces, including 19 alphabetical characters in a wooden box P ro p o s a l fo r a B ro o m e S tre e t e x p re s s w a y in th e fo rm

o f a c ig a re tte a n d s m o k e . 1972

from the portfolio R e a lity a n d P a ra d o xe s B utton. 1981

ORTMAN, George N o title. 1964

from the portfolio Ten w o rk s b y ten p a in te rs OSTROWER, Fayga (A b s tra c t in g o ld a n d g re y ). [9/20]. 1969

Gift of Mervyn Horton, 1983 PAOLOZZI, Edouardo N o title. Early 1950s

screenprinted wallpaper fragment PICASSO, Pablo N a tu re m o d e , b o u te ille (Still life with bottle). (1912)

POONS, Larry N o title. 1964

from the portfolio Ten w o rk s b y ten p a in te rs RAUSCHENBERG, Robert

A c o lla g e s u ite o f n in e p rin ts fro m a n e d itio n

o f 1 0 0 .1979

A s ilk s c re e n s u ite o f n in e p rin ts fro m a n e d itio n

o f 1 0 0 .1979

Plot. 1973

from the portfolio R e a lity a n d P a ra d o xe s REINHARDT, Ad N o title. 1964

from the portfolio Ten w o rk s b y ten p a in te rs ROSENQUIST, James A p a le a n g e l's h a lo . 1973

from the portfolio R e a lity a n d P ara do xes RUSCHA, Ed In s e c t slant. 1973

from the portfolio R e a lity a n d P a ra d o xe s STELLA, Frank N o title. 1964

from the portfolio Ten w o rk s b y ten p a in te rs TAPES, Antoni G ra p h e m e s e t d e u x cro ix. (1950s)

M atie re e tg ra ffitis . [75/75], (1950s)

A.B.C.D. [8/50], (1950s)

Trois p la n c h e s . [7/50], (1950s)

Tete d e m o rt e t trois. [8/50]. (1950s)

Q ua tre b a rre s ra y e e s . [25/50]. (1950s)

P ie d e t c o lla g e . [16/50], (1950s)

P a p ie rs c o lle s a u x q u a tre c o in s . [9/50], (1950s)

2 4 x 1 7 . [7/75], (1950s)

J a m b e s u r ovale. [8/50], (1950s)

A n g le e tta c h e . [67/75], (1950s)

G ris e t coeur. [20/75], (1950s)

L e p ie d . [67/75], (1950s)

TINGUELY, Jean M e ta h a rm o n ie III: fro m a s e rie s o f N e w York

G reetin gs. 1981

Gift of James Mollison, 1982.

TURNER, Silvie C o lou rs o f th e tim e s . 1981

G rey sc a le : comprising six sheets fitted and

mounted together. 1981 TYSON, Ian Sign. 1981

UNKNOWN Ja p a n e s e h a ir s te n c il. (19th century)

VALLOTTON, Felix La rixe, ou, La s c e n e a u ca fe . 1892

G ustave F la u b e rt. 1894

VELONIS, Anthony C ity s c a p e . 1939 E xh ib itio n in v ita tio n : C o tta g e P la ce G a lle ry


[Ridgewood, New Jersey]. 1982 Third A v e n u e ΈΤ s ta tio n in te rio r, N e w York C ity [A/P

23/25] [Ed. 150], 1981 U n de r R iv e rs id e D rive , N e w York C ity

[A/P 6/25] [Ed. of 150]. 1982 The four works above all gift of Anthony Velonis, 1983.

VILLON, Jacques M atisse, O d a lis q u e s u r la te rra s s e . 1922

B raque, N a tu re m o d e [73/21 ]. 1923

B raque, N a tu re m o d e . 1923

Renoir, La io g e . 1928

Renoir, La Iog e. 1928

Renoir, La Iog e. 1928

C ezanne, C a rd p la y e rs . 1929

M anet, Le d e je u n e r s u r T herb e. 1929

M anet, Le d e je u n e r s u r T h e rb e . 1929

Picasso, M a te rn ite . 1930

WARHOL, Andy B irm in g h a m ra c e rio t. 1964

from the portfolio Ten w o rk s b y te n p a in te rs WEEGE, William Xtom p. 1981

WINNER, Gerd A utu m n in N e w York. 1980

A utu m n in N e w York. 1980

twelve progressive stage proofs A utu m n in N e w York. 1980

black and white photographic negative A utu m n in N e w York. 1980

enlarged positive photo stencil The three works above all gifts of Pat Gilmour, 1983. YOSHIDA, Toshi

S u p p e r w a g g o n . (1938)

Um brella. (1940)

Flying e a gle. 1981

Gift of Toshi Yoshida, 1982.

VARIOUS A ca ta lo g u e b y m e m b e rs o f d ie B riic k e g ro u p :

Dresden, Galerie Arnold, 1910, with twenty woodcuts by various artists including Kirchner, Schmidt-Rottiuff, Pechstein e ta l. T hirty-three p rin ts by the following:

Frank BRANGWYN, (1), CUITT (1), CURRIE (1), Frank DANNE, (1), KAMBARA (2), Auguste LEPERE, (3), LITTLEWOOD (3), J.S. (1), SCHMIDT (1), N.F. SUHR, (1), WATSON (1), James WHISTLER, (1), UNKNOWN (16). Bequest of Alan Queale, 1982.

POSTERS BUCHHOLZ, Erich (after) W ith th re e g o ld c irc le s a n d a fu ll c irc le blue.

reproduction of a painted wood relief of 1922 in the Landesmuseum, Dusseldorf. Gift of Mo Wedd-Buchholz, 1982.

PRIZE, B. E x h ib itio n p o s te r: E n c o re u n e g a le rie d e p lu s . (The

work of Ben Vautier at Baudoin Lebon, Paris.) (1980-81) Gift of James Mollison, 1982.

PROCKTOR, Patrick E x h ib itio n p o s te r: A C h in e s e jo u rn e y . Redfern

Gallery, London 4 Nov. — 9 Dec. 1980. (1980) Gift of James Mollison, 1982.

SCHLEGER, Hans P oster: ‘S to p fo r s u p e r s h e ll a n d go'.

P oster: ‘T elephone le s s ’.

P oste r: 'W ith g in this is i t ’.

P oste r: ‘A d d re s s y o u r le tte rs p lain ly'.

P oster: 'C y c lis ts ... s to p this'.

P oste r: ‘V isit th e R a ilw a y M u s e u m York'.

P oster: 'S e rv ic e ...o n time'. A pair of London

Transport posters (a) and (b). P oster: ‘3 r d F in m a r F a ir a t L ib e r ty s ’.

P oste r: E d in b u rg h 3 0 th In te rn a tio n a l Festival.

P oster: ‘S u c h lo b s te r! — M a c F is h e rie s ’. (1950s)

P oste r: ‘M a c F is h e rie s — s u c h p la ic e ’l (1950s)

P oster: 'L a n d e d y e s te r d a y ... o n y o u r p la te to d a y ’.


TITUS-CARMEL, Gerard E x h ib itio n p o s te r: K a s s e le r K u n s tv e re in 1971-79.

(1981) E x h ib itio n p o s te r: K u n s th a lle N u rn b e rg , 14 Feb. —

19 A p ril 1981. (1981)

E x h ib itio n p o s te r: G a lle ria M a e g h t, 2 2 J a n u a ry —

6 M a rc h 1981. (1981)

The three works above all gift of Baudoin Lebon, 1982.

ILLUSTRATED BOOKS FROM 1800 BONNARD, Pierre D in g o . Text by Octave Mirbeau and 55 etchings by

Pierre Bonnard, Paris, Vollard, 1924.

BOURGEOIS, Louise H e d is a p p e a re d in to c o m p le te s ile n c e . Suite of nine

engravings with text, introduction by Marius Bewley. 1947 DERAIN, Andre Les o e u v re s b u rle s q u e s e t m y s tiq u e s d e F rere

M a to re l m o rt a u c o u v e n t. Text by Max Jacob,

Paris, Henry Kahnweiler, 1912.

DUBUFFET, Jean L'ho m m e d u c o m m u n o u Je a n D u b u ffe t. Soft cover

bound book with text by Pierre Seghers and two lithographs by Jean Dubuffet. 1944 LEGER, Fernand La fin du M o n d e film e e p a r I’A n g e N o tre D a m e . Text

by Blaise Cendrars, Paris, La Sirene, 1919.

PICASSO, Pablo Le s ie g e d e J e ru s a le m g ra n d e te n ta tio n c e le s te de

S aint M atorel. Text by Max Jacob, Paris, Henry

Kahnweiler, 1914.

VELONIS, Anthony B o o k co ve r: Techn ica l p ro b le m s o f th e a rtist.

Technique o f th e s ilk s c re e n p ro c e s s . Federal art

project Works Progress Administration. (1938) E xh ib itio n c a ta lo g u e c o v e r: F ine p rin ts for m a s s

p ro d u c tio n , B ro o k ly n M u s e u m , M a y 1939,

B rooklyn, N e w York.

E xhibition c a ta lo g u e c o v e r: F irst e x h ib itio n o f

s ilk s c re e n s te n c il p rin ts , The W eyhe G a lle ry : 18

M a rc h -6 A pril, 1940, N.Y.

The three works above all gift of Anthony Velonis, 1983.

WHISTLER, James (et al.) P assages fro m m o d e rn E n g lis h p o e ts . Including 45

etchings by various artists and two etchings by James Whistler. London, Day & Son, (1862).

WINNER, Gera E ast one. Including 25 numbered leaves of

photographic screenprints. London, Kelpra Editions, 1978.

ARTISTS' BOOKS BARNES, Sue {etal) Q uarters. 1981. Published by the artists, Royal

College of the Arts, London. offset lithography Gift of PatGilmour, 1982.

BOCHNER, Mel (etal) A rtists a n d p h o to g ra p h s . 1970. Published by

Multiples Inc., New York. offset lithography HEYWARD, Carl (ed.) S ource o f in ve n tio n . 1980. Published by the artist,

San Francisco. xerox, collage Gift of Michael Desmond, 1982.


C o c k F ig h t D a n c e . 1980. Published by Rizzoli

International Publications Inc. and Multiples Inc. New York, offset lithography S unrise a n d s u n s e t a t P raian o. 1980. Published by

Rizzoli International Publications Inc. and Multiples, New York, offset lithography The two works above both gift of Rizzoli International

Publications, 1982. RICHARDSON, Robert F ig h t the cuts. 1981. Published by Leeds Postcards,

offset lithography N u c le a r b re a th in g e x e rc is e s . 1980. Published by

Leeds Postcards, offset lithography C ivil lib e rtie s /o ffic ia l s e c re ts . 1980. Published by

Leeds Postcards, offset lithography The three above works all gift of Robert Richardson, 1982.

C ivil lib e rtie s /o ffic ia l s e c re ts . 1980. Published by

Leeds Postcards, offset lithography Gift of Pat Gilmour, 1982. RICHARDSON, Robert (etal)

The b ig little p o e m se rie s . 1980

offset lithography Gift of Robert Richardson, 1982. SAMARAS, Lucas Book. 1968

Published by Pace Editions, New York, screenprint, offset lithography on die cut pages VARIOUS ARTISTS T hirty-five p o s tc a rd s b y th e s ta ff a n d s tu d e n ts o f th e

P rin tm a kin g D e p a rtm e n t, R o y a l C o lle g e o f A rt,


offset lithography, screenprint Gift of Pat Gilmour, 1982. VIGO, Edgardo Antonio First d a y c o v e r N o .26. 1981

screenprint, collage P ro sp e ct fro m th e p a s t 22. 1981

fabric and paper The two works above both gift of the artist, 1982. VIGO, Edgardo Antonio (et al.) O ur in te rn a tio n a l s ta m p s !c a n c e lle d sea ls. 1981

rubber stamped ink, collage Gift of the artist, 1982.

YOUNG, La Monte; MacLOW. Jackson A n anthology. 1970, Published by Heiner Freidric


Munich. offset lithography, collage Gift of Diana Woollard, 1982.

FILM, VIDEO/AUDIO DUCHAMP, Marcel The entire m u s ic a l w o rk s o f M a rc e l D u c h a m p .

Published by Multhipia Records, Milan. Work planned and composed in 1913. stereo audio disc in sleeve LeWITT, Sol (et al.) A rt b y te le p h o n e . 1969. Published by the Museum of

Contemporary Art, Chicago, stereo audio disc in sleeve Gift of Michael Desmond, 1983.

PHOTOGRAPHY All gelatin-silver prints unless otherwise stated BEATO, Felice A. China 1860. A disassembled album of 66

photographs plus the original album cover. 1860 albumen silver photographs BLANQUART-EVRARD, Louis-Desire P lace d u M a rc h e a Ypres.

BRASSAΪ Theatre d e s C h a m p s E lyse es. c. 1930s

BURGIN, Victor ‘US 7 7 ’: A set comprising 12 photographs. 1977

CARTIER-BRESSON, Henri Seville, S p a in . 1933 (p.c.1980)

M a d rid . 1933 (p.c.1980)

M e xico. 1934 (p.c.1980)

On the b a n k s o f th e M arn e, F ra n c e . 1938 (p.c. 1980)

G e sta p o in fo rm e r re c o g n is e d b y a w o m a n s h e ha s

d e n o u n c e d , d e p o rta tio n c a m p , D e s s a u , G erm any.

1945 (p.c.1980) F ranpois M a u ria c . 1951 (p.c.1980)

Rue M o u ffe ta rd , P aris. 1954 (p.c.1980)

E pirus, G re e c e . 1961 (p.c.1980)

DATER, Judy (S e lf-p o rtra it w ith le g in ca st).

(E m b ra c in g c o u p le ), c. 1968

(F igure on a s o fa w ith she et).

DRESSER, Christopher (W in d b lo w n .) [U n te rw e g s ], c.1906

EMERSON, Peter Henry M arsh Leaves. One hundred and sixty-five pages of

text; 16 photogravures from photographs by PH. Emerson. London, D. Nutt, 1895. ~ FINSLER, Hans

Twelve p h o to g ra p h s , c. 1920s-1930s

GROOVER, Jan Tyler fo rk s a n d sta rts. New York, 1978. A loose leaf

portfolio with 15 type C photographs plus title page [Ed. of 6], 1978 (L e g s a n d a rm s o f tw o p e o p le s ittin g on a b e n c h ).

(1980) (L e g s a n d a rm s o f tw o p e o p le s ittin g on a b e n c h ).

(1980) platinum print photograph (H e a d a n d to rs o o f b o y ). (1980)

platinum print photograph (W om an in a rm c h a ir). (1980)

platinum print photograph (W om an s ittin g in an a lu m in iu m s u n ch a ir). (1980)

platinum print photograph GUTMANN, John Tw enty p h o to g ra p h s . 1930s

HINE, Lewis T h irty-th re e p h o to g ra p h s . 1908-30

HOPPE, E.O. (In d ia n .)

HORST, Horst P. (N o e l C o w a rd .)

(E dith S itw e ll.)

(C o c o C h a n e l.)

(G e rtru d e S tein .) c. 1945-50

KEPES, Gyorgy 'G yo rg y K e p e s : 12 P h o to g ra p h s ’. A boxed portfolio of

12 photographs, a title page, contents page, essay by Philip Hofer and colophon. Vision Gallery of Photography, Massachusetts, 1977.

ΚϋΗΝ, Heinrich Tw enty-six p h o to g ra p h s , c. 1897-c. 1920

LENNARD, Erica (S ce a u x.) [1/5], 1979

(V ersailles.) 1979

LONG, Richard S tones in M o ro c c o . Series of five mounted

photographs representing a six day walk in the Atlas Mountains. 1979 Ireland. 1967

MAKOS, Christopher A lte re d im a g e . Portfolio comprising a linen covered

box, a dust cover, a double leaf title page and five photographs. Ron Feldman Gallery, New York, 1982 MARVILLE, Charles Le B e a u D ie u (Cathedral de Reims), c. 1853-54

salted paper print


MICHALS, Duane D eath co m e s to th e o ld lady. Set of five

photographs. 1969 The y o u n g girl's d re a m . Set of five photographs. 1969

The h u m a n c o n d itio n . Set of six photographs. 1969

C h an ce m e e tin g . Set of six photographs. 1970

Claes O ld e n b u rg , c. 1970s

S e lf-p o rtra it as the d e vil. [10/25], c. 1972

NAMUTH, Hans A n d y W arhol. 1982

Jo s e p h Beuys. [1/50] 1982

NEWMAN, Arnold Bill B randt. 1978

PARKER, Olivia Lost ob je c ts . Portfolio in a linen-covered box with 10

mounted photos plus title, contents, introduction and justification pages. 1980 RAINER, Arnulf B laustern. 1969

S e lb ste rru stu n g . (1971)

F ace farce. 1972

D e a th m ask. (1978)

RAY, Man Les c h a m p s d e lic ie u x . Portfolio of a 12- leaf book

with 12 rayograms plus a loose cover and a loose double-leaf introduction. 1922 RENGER-PATZSCH, Albert O ne h u n d re d p h o to g ra p h s , c. 1925-27

SALZMANN, August Je ru salem , S aint S e p u lc h re , c o u p o le . (1853-54)

SAMARAS, Lucas S ittin g s 2 0 x 2 4 (8A). 1980

Polaroid photograph S ittin g s 2 0 x 2 4 (3G ). 1980

Polaroid photograph

SHERMAN, Cindy U ntitled, (film still) [3/10], 1977

U ntitled, (film still) [2/10]. 1979

U ntitled, (film still) [4/10]. 1979

U ntitled. [API/20]. 1981

type C photograph U ntitled. [4/10], 1981

type C photograph U n titled . [9/10], 1982

type C photograph U ntitled. [AP1/2]. 1982

SHERWOOD, Andrew M o th e r a t bre a kfa st, S e m u r en A uxois. 1966

R a ch e l W yndh am a n d A n d re w , L o n d o n . 1969

B e rtra n d Berger, E tie n n e V illain a n d stranger. 1971

P a trice w a itin g fo r th e train, W exford, Ire la n d . 1974

E tienne a n d F ra n g o is e a t h o m e , Paris. 1976.

SLAVIN, Neal G ro u p s in A m e rica .

Boxed portfolio of 15 type C photographs with title page. Karab Inc., New Jersey. 1979 STIEGLITZ, Alfred The S tee rage . 1907

photogravure E qu iva len t. 1923

WEBB, Boyd (Pink cu rta in s .) 1979

type C photograph (O n yx d o m e s tic u s .) 1979

type C photograph YVA (O v e rla p p in g im a g e s o f s ta n d in g n u d e w o m a n .)

c. 1930s (C lo se -u p o f w o m a n ’s fa c e .) c. 1930s

(F ace o f a w o m an , c h in re s tin g on c la s p e d h a n d s .)

c. 1930s (G lass.) c. 1930s

(C u p s a n d s a u c e rs .) c. 1930s

DECORATIVE ARTS DIXON, James & SONS, established 1806; Christopher DRESSER (designer) Teaset. 1880

silver, ebony HUKIN & HEATH; Christopher DRESSER (designer) C la re t ju g . c. 1881

glass, electro plated silver, ebony FRIEDMAN, Eduard (designer) C h alice, c.1920


FASHION AND TEXTILES BEUYS, Joseph Free In te rn a tio n a l U niversity, (printed T-shirt)

Gift of Daniel Thomas, 1983.

FORRER, Atelier C.G. Paisley, (textile design), c. 1895

watercolour, pencil on cardboard R ose ga rd e n , (textile design), c.1895

watercolour, pencil on cardboard R h o d o d e n d ro n , (textile design), c.1895

watercolour, pencil on cardboard F ruit a n d flow ers, (textile design), c. 1895

watercolour, pencil on cardboard Iris, (textile design), c.1895


watercolour, pencil on cardboard B lue la b u rn u m , (textile design), c. 1895

watercolour, pencil on cardboard FORTUNY, Mariano Pink ve lve t coat. c. 1920

G reen ‘d e lp h o s ’ go w n , c.1920

GREAT BRITAIN (Ja co b e a n c re w e l w o rk p e lm e t, o r b e d va la n c e ).

(1600-99) HOUSE OF CHRISTIAN DIOR (A lb u m o f 81 fa s h io n d e s ig n s fo r La M a is o n R a p h a e l

C outure, P aris), c. 1947

MACKINTOSH, Charles Rennie Wave p a tte rn , (textile design.) c.1917

pencil, watercolour on paper MUCHA, Alphonse Pinks a n d c le m a tis , (textile design for the

manufacturer C.G. Forrer.) c. 1895 watercolour, pencil on cardboard P assion flow er, (textile design for the manufacturer

C.G. Forrer.) c.1895 watercolour, pencil on cardboard B e ll flow ers, (textile design for the manufacturer C.G.

Forrer.) c.1895 watercolour, pencil on cardboard C o n vo lvu lu s vine, (textile design for the manufacturer

C.G. Forrer.) c.1895 watercolour, pencil on cardboard POIRET, Paul (attributed to) B lue a n d g o ld e v e n in g m a n tle , c.1912

metallic gauze, chiffon, braid SNISCHEK, Max Fashion d e s ig n , (multicoloured dress with hat, white

trimmings and overskirt.) c.1912 watercolour, pencil on paper F ashion d e s ig n , (green coat with fur collar.) c.1912 watercolour, pencil on paper UNKNOWN (English) E m b ro id e re d Q u e e n A n n e tester, p e lm e t o r v a la n c e

c. 1710

Gift of Margaret Taylor, 1982.

VARIOUS ARTISTS The J o u rn a l o f D e s ig n s a n d M a n u fa c tu re rs . Vols. I-VI in three bound volumes, London, Chapman and Hall, 1849-51. hand-coloured engravings, textiles (various)

THEATRE ARTS ANDERSON, Percy C o stu m e d e s ig n fo r g u e s t a t w e d d in g : fro m C h u

C h in Chow. (1916)

watercolour on paper

BERMAN, Eugene S et d e s ig n fo r G iselle. 1940

watercolour on paper

COCTEAU, Jean N ijin s k y in Le S p e c tre d e la R ose. 1911

poster: colour lithograph

CRAIG, Edward Gordon F ig u re o f a R o m a n actor. 1907

wood relief D e s ig n fo r th e a tre set, Italy. 1907

woodcut on paper

EXTER, Alexandra F ifte e n p o c h o ir p la te s fo r th e p o rtfo lio D e c o rs de

Theatre. 1930

pochoir, gouache on paper

GRIS, Juan Le M a rq u is (costume design for a marquis) for Les

Tentations d e la B e rg e re . 1923

Le B a ro n (costume design for a baron) for Les

Tentations d e la B e rg e re . 1923

HOPPE AND BERT Tamara K a rsa vin a , c.1909

gelatin silver print

PICASSO, Pablo (designer) T hea tre d e M o n te -C a rlo p ro g ra m m e o ffic ie l, B allets

R usses. P aris, 1923. Programme including cover

and six programme designs ... 1923 Gift of Mr and Mrs Lindsay Parker, 1983.

SCHNEIDER M a d a m e A n n a P avlova, c. 1911

gelatin silver print, hand-coloured

UNKNOWN Vera N e m tc h in o v a . 1928

gelatin silver print

VARIOUS Theatre p ro g ra m m e s . Forty-one theatre programmes

for the Diaghilev and de Basil ballets. 1909-36 various theatre related items including photographs and publications Two h u n d re d a n d th irte e n th e a tre p ro g ra m m e s a n d

re la te d p a m p h le ts , c.1950-1982

Gift of James Gleeson, 1982. Theatre p ro g ra m m e . P ro g ra m m e O ffic ie l e d ite p a r

C o m o e d ia lllustre. 1914

N ijin sky a n d K a rsa vin a , c.1909

Two gelatin silver photographs Gift of Andrew Paterson, 1983.

A gro u p o f b a lle t p ro g ra m m e s , p h o to g ra p h s a n d

re la te d m a te ria l. 1929-51

ARTS OF ASIA Thailand, Middle Ayutthaya period G uardian deity, c.1450

bronze, lacquer, gold leaf

INDONESIAN TEXTILES Indonesia, West Kalimantan and Malaysia, Sarawak, Iban People C e re m o n ia l c lo th h a n g in g (p u a s u n g k it) d e p ic tin g a

p a ir o f s ty liz e d m o n s te rs in th e c e n tra l p a n e l.

cotton, vegetable dyes B la n ke t (p u a ) d e p ic tin g a n c e s to rs o f g ia n ts in tw o

row s o f six fig u re s e a c h . c. 1900

cotton, dyes Malaysia, Sarawak, Iban People H e a d h u n tin g ritu a l a lta r h a n g in g (p u a s u n g k it). (19th

century) cotton, dye3 Malaysia, Sarawak, Ngemah River, Iban People W om an's c e re m o n ia l s k irt (b id a n g ). 19th century

cotton, dyes Indonesia, Kalimantan, Upper Kapuas River Basin, Maloh People C e re m o n ia l b e a d e d s k irt (ka in m a n ik ).

cotton, vegetable dyes, beads C e re m o n ia l ja c k e t (s a p e b u ri) w ith w a te r s e rp e n t

(n a g a ) a n d h u m a n fig u re (k a k a le ta u ) m o tifs.

cotton, vegetable, dyes, shells C e re m o n ia l ja c k e t (s a p e b u ri) w ith w a te r s e rp e n t

(n a g a ) m otifs.

cotton, dyes, shells, felt, metallic sequins, beads C e re m o n ia l b e a d e d s k ir t (ka in le k o k ) w ith h u m a n

fig u re m o tif (ka k a le ta u ) in c e n tra l b a n d .

cotton, dyes, beads, shells, gold metallic lace C e re m o n ia l b e a d e d s k ir t (ka in le kok).

cotton, dyes, beads, shells, sequins C e re m o n ia l b e a d e d ja c k e t (s a p e m a n ik ) w ith h u m a n

fig u re m o tifs (k a k a le ta u ) c o n n e c te d b y te n d ril

m o tifs (kara w it).

cotton, dyes, beads, brass bells C e re m o n ia l b e a d e d s k irt (ka in m a n ik ) w ith b la c k

w a te r-s e rp e n t m o tifs (n a g a ) a n d y e llo w h u m a n

fig u re m o tifs (ka ka le ta u ).

cotton, dyes, beads Indonesia, Sulawesi C e re m o n ia l te x tile (m a w a ). (19th century)

cotton, dye, paint

Indonesia, Sulawesi, Palu, Toraja People S h ro u d (p o ris itu tu p ). c.1910

cotton, dyes M an's h e a d c lo th (s ig a ). c.1900

barkcloth (fuya) W om an's c e re m o n ia l tu n ic (b a ju ). c.1910

cotton, dyes, barkcloth Indonesia, Sulawesi, Rongkong, Toraja People F e stival b a n n e r (roto), p la n g i te c h n iq u e . (19th

century) cotton, dyes Indonesia, Timor C e re m o n ia l lo in c lo th (vilu b o k o f), w ith d ra w -s trin g .

(1900-33) cotton, dyes, string Indonesia, Sumatra L o k c a n batik.

cotton, dyes Indonesia, Sumatra, Minangkabau S e le n d a n g K e re n ci.

cotton, dyes Pitalah.

cotton, dyes, gold thread Indonesia, Sumatra, Lampung W om an's c e re m o n ia l s a ro n g (ta p is). (19th century)

silk, cotton, dyes Indonesia, Java, Pekalongan B a tik s a ro n g fe a tu rin g S n o w W hite a n d th e S even

D w arfs, c.1910

cotton, dyes Indonesia, Java, Surakarta S kirt c lo th (kain p a n ja n g ) c o n tin g batik, c. 1900

cotton, dyes Indonesia, Lomblen, lie Api Region, Tanjong, Tuak Village C e re m o n ia l w o m a n ’s s k irt (s a ro n g ). (19th century)

cotton, dyes Indonesia, Bali, Tenganan G e rin g s in g w a y a n g k e b a : d o u b le ikat. (1866-99)

cotton, dyes, gold thread

PRE-COLUMBIAN AMERICAN ART Bolivia, Tiahuanaco Culture, Middle Horizon Period Tapestry shirt. AD 900-1000

cotton, wool, natural dyes Peru, Chancay Culture, 1100-1400 F ig u re o f a llam a.

cotton, wool, dyes Peru, Nazca Culture P a in te d b e a k e r d e p ic tin g a h u m a n fa c e w ith th e nos


in relief. c.AD 140

earthenware P a inted vase d e p ic tin g tro p h y h e a d s . c.AD 140

earthenware Peru, Mochica Culture S tirru p -s p o u te d v e s s e l w ith b ir d d e s ig n . c.AD 820

earthenware S tirru p -s p o u te d v e s s e l w ith g e o m e tric d e s ig n .

c.AD 60 earthenware S tirru p -s p o u te d v e s s e l in th e s h a p e o f a s e a te d

ca n in e w e a rin g a h e lm e t. c.AD 350

Peru, Chimu Culture Vessel in th e fo rm o f a h u m a n h e a d . c. 1435

earthenware Peru, Inca Culture P a in te d p itc h e r, c.1220

earthenware Guatemala, Maya Culture, Late Classic Period, AD 550-950 P e n d a n t in fo rm o f a h e a d . jade, pyrite P o ly c h ro m e vase. 8th century

earthenware, pigments Mexico, Colima, 100 BC-AD 250 H o llo w s e a te d fig u re .

earthenware Vessel in th e fo rm o f a c u r le d d o g .

earthenware Mexico, Nayarit, 100 BC-AD 250 S ta n d in g w arrior.

earthenware S ea ted fig u re .

earthenware S ta n d in g w arrior.

earthenware Mexico, Michoacan S ta n d in g fe m a le fig u re , c.600 BC earthenware Mexico, Las Bocas, Olmec Culture B la ckw a re e ffig y ve sse l in th e fo rm o f a ja g u a r

g ra s p in g a sn a k e , c. 800-300 BC

earthenware, cinnabar, kaolin

NORTH AMERICAN INDIAN ART United States, Eskimo, Punuk Culture H a rp o o n h e a d ; e n g ra v e d . c.AD 1000

ivory United States, Early Mississippian Period, AD 700-1200 Vessel w ith in c is e d ra ttle s n a k e d e s ig n .

earthenware; white mineral paint United States, Arizona, Hohokam Culture, Sacaton Phase, AD 700-1200 Plate; r e d b ir d d e s ig n o n b u ff g ro u n d .

earthenware; pigment United States, New Mexico, Anasazi Culture Vessel w ith h a n d le a n d angu lar, a b s tra c t design.

c. 1100-1300

earthenware Vase, c.1275

earthenware Dish, c.1560


AUSTRALIAN ABORIGINAL ART Matjurri (artist) N.T., West Arnhem Land M agpie g e e s e .

ochres on eucalyptus bark Billinjara Nabegeyo (artist) NT., West Arnhem Land Totemic g o a n n a , s h o rt-n e c k e d tu rtle a n d s m a ll fish.

ochres on eucalyptus bark Victor Adam (artist) N.T., Melville or Bathurst Island, Tiwi People B ird c a rv in g . 1980-81

ironwood, ochres Wunuwun (artist) NT., West Arnhem Land Yam plants.

ochres on eucalyptus bark Milpurru (artist) N.T., West Arnhem Land Fruit bats; b a r k p a in tin g . (1982)

ochres on eucalyptus bark