Queensland Art Gallery Annual Report 1994-95

CURATORIAL & SUPPORT SERVICES PROGRAM significant of which is decorated with a yellow canary and attributed to the workshop of James Giles. In the area of international art glass, two small but effective vases by Johann Loetz Witwe. and Wurttembergische Metallwarenfabrik (WMF) we.re purchased, while the first coloured Lalique vase Biskra 1932 was donated by Mr John Michelmore through the Queensland Art Gallery Foundation. Three items of cobalt Persian glass, a ewe.r and two rose water sprinklers, we.re the gift of Lady Middleton. The major acquisition in the Decorative Arts Section this year was a sideboard, dated to 1868, from the 'Glengallan' homestead on the Darling Downs. Examples of Queensland colonial furniture of the exceptional quality of this piece are very rare. Its value is further enhanced with the identification of the cabinet maker, Joshua Ebenston, and the attribution of a carver, Matthew Fern. A contemporary newspaper review, with every justification, describes the furniture made for the homestead as 'equivalent to the imported article'. It was acquired with the assistance of the Australian Decorative & Fine Arts Society (Brisbane) Inc. An Elizabethan-style court cupboard was presented by Mr Lawrence King, while in the collection of artist's furniture a stylish contemporary side table Roheryn I 1992 by Helmut Lueckenhausen expresses the finely crafted tradition of post-war Europe in Australia. The focus collection of Aboriginal textiles was increased with the acquisition of three exceptional batiks from Ernabella Arts Inc. and three comparable items from Utopia Art and Craft. Nyukana Baker, one of the Ernabella artists, was able to identify one of her early works (c.1974) in the collection. Two pots by Noreen Ngala Hudson, both entitled Pmere Nuka (My country) 1994, are representative of the new work produced by the Hermannsburg potters. The recent history of Australian ceramics was enhanced with the acquisition of a platter by Peter Travis 1971, a bowl by Penny Smith 1980, two pieces decorated by Murray Walker in 1982, Dressed to queen and Artist and women, Ray Taylor's Slab vase 1983 and Large bowl 1983, a Les Blakebrough Sphere 1986 and Susan Ostling's Late Minoan vase 1987 and Sea, song, sorrow, memory construction 1989. More contemporary works by 20 One Manufactory, Alexandra Copeland, Andrea Hylands, Col Levy, Gwyn Hanssen Pigott, Marc Sauvage and Ted Secombe were also acquired. In the area of studio glass, a platter by Marc Grunseit Capricornia blue 1994, and vases by Nick Mount and Chris Pantano were acquired. Conservation The ' Fairweather' exhibition required a major involvement from the Conservation Section. In particular, the Conservator (paintings) was involved in coordinating conservation treatments of works by Ian Fairweather in many States and maintaining the works during their travels. The Section was involved in treating and reframing many fragile paintings and works on paper, and the Conservator (paintings) presented papers and an educational video on Fairweather's materials and techniques. The Senior Conservator (Paintings) and International Conservation Services Sculpture Conservator treated Anthony Caro's Unison after approval was given by the artist. The final touches to the patina are yet to be completed and approved by Caro. A major treatment was also carried out on Eric Wilson 's Violin which appears on the back of Stove theme 1942. A simultaneous showing of both paintings will be a feature in a centenary display. A large seventeenth-century oil pamtmg The Madonna, Christ and Stjohn has been attributed to Gerard Seghers (or the Circle of). The work was cleaned by the Senior Conservator and a new frame was carved and gilded by the Senior Artisan. Another version of the painting has been found in the Collection of the Kunsthistorisches Museum in Vienna. The Conservation Department is also being redesigned and equipped to enable it to commence a new program of structural treatments to large contemporary paintings.