Queensland Art Gallery Annual Report 1995-96

C U R A T O R I A L & S U P P O R T S E R V I C E S PROGRAM Decorative Arts potter Gwyn Hanssen Pigott, as contributions to the celebration of Gifts from private donors continued to enrich the collection of the Gallery's centenary year. decorative arts. Significant gifts were again received from Mrs Jessica Ellis, building on previous donations by Mr and Mrs Ellis. Her gifts to Conservation the English porcelain collection included two further examples from Major conservation treatments of paintings included Roy de the Chelsea Porcelain Works, a plate and a sauce boat, both c.1759; Maistre's (Studio interior) 1945, painted on the back of Cubist head several works of Dr Wall (Worcester), two of which are attributed 1945. The work is now displayable as a double-sided painting, to the decorator jeffereys Harnett O'Neale c.1770; and a Barr, Flight following design of a new support and framing system. Winifred & Barr (Worcester) teapot and stand c.1796. Mr George Newman Rumney's Barron Falls 1908 was cleaned and stabilised, and several gifted an impressive Meissen figurine, The tailor on the he-goat, other works underwent treatment prior to display in 'A Time modelled byj.j.Kandler in 1737 but cast in the nineteenth century, Remembered...' as its elaborate decoration attests. Works on paper were prepared for display rotations in the Gallery The first Copeland parian ware figurine to enter the collection, The and for several paper-based exhibitions including 'The Power to young shrimper 1862, cast 1868, was gifted by Mrs Agnes Richardson, Move ...' and 'With A View To japan ...' During conservation who also donated a group of Arts and Crafts silver jewellery by treatment of Arthur Streeton's watercolour Milson5 Point, Sydney Loma Lautour. A group of six pieces of jewellery by Queenslander c.1880-95, in preparation for rotation display, removal of acidic Mervyn Muhling, dating from the late 1970s to the late 1980s, now backing revealed a watercolour sketch of a harbour scene on gives a representative coverage of his work in the collection. the verso. In international art glass, a contemporary work by Kazumi Ikemoto, Works in the travelling exhibitions 'The Spiritual and the Social Scene 22 1994, was acquired. The largest acquisition of Australian and 'Ancient Land, Modern Art...' were prepared for transport and studio glass was a wall panel by Warren Langley, Nippur 2600BC installation. This included stabilisation and adequate support, as well 1994, extending his collection representation. A sculptural piece as design and making of packing and display supports, for textiles, Two worlds 1992 by another senior figure, Gerry King, and works decorative arts objects, paintings and works on paper. All works exploiting the bowl form in diverse ways - by Gerhard Emmerichs, were monitored during tours. Picasso's Lo Belle Hollandaise 1905 Dorothy Hartnett, Rachel Merritt and Nick Wirdnam - were was stabilised in preparation for its loan to the Musée Picasso, Paris. also added. A major project in the framing of the Collection was completed Three examples by one of the Harvey School's most accomplished when six paintings by john Peter Russell were reframed in potters during the 1930s, Gloria Lovelock, were given in her memory individual, Louis XIV-style frames which were hand-carved, by her niece. The more recent history of Australian ceramics was gilded and distressed. enhanced by artists gifts: potter Milton Moon donated a major 1962 Bottle, rectifying a notable omission in his representation; and Carl The paintings conservation studio was redesigned and equipped to McConnell presented an important Pot with ash glaze c.1975-76. deal with the preventive conservation needs of large contemporary Ceramic works by fellow Queenslanders Robert Burton, Leith paintings on canvas. This will assist towards treating the growing Dillon, Georgina Elms, Phillip McConnell, Warren Palmer, Kathleen collections of Asian and Australian works on canvas, including Shillam and Rick Wood were also acquired. A sculptural vase form indigenous Australian works. A motorised easel, custom-built by the by Errol Barnes and decorated by William Robinson, Between the workshop, is large enough to accommodate the remedial treatment flogs 1995, documents an important and continuing collaboration. of oversized contemporary paintings. A custom-built, low pressure Ceramics demonstrating the diversity of contemporary practice in lining table will enable conservators to perform structural other States included the work of Stephen Benwell, Patrick Collins, treatments and linings on modern paint surfaces that are sensitive Neville French, Owen Rye, Ray Taylor and Prue Venables. to pressure and temperature. These equipment items also required extensive changes to existing fume extraction systems. A finely crafted pair of chairs by Tony Kenway was acquired for the focus collection of artists furniture, while the focus collection of In the area of conservation of works on paper and mountcutting, Aboriginal textiles was increased by the acquisition of three painted new and more efficient systems of mounting, framing and storage silks from Keringke Art at Santa Teresa in the Northern Territory, have meant both improved presentation of works on display and Twelve textiles printed with designs inspired by the Queensland better access to the Collection. environment were acquired from Olive Ashworth. These were commercially printed in Asia and the original designs were rarely Registration returned. However, three surviving gouache designs were also Practical support and guidance continued to be provided for the acquired. Other textile works included a wool-stitched panel by management of the Collection and of the objects in the temporary Paula Hyland, Hey hey it's Dulcie! 1995, depicting the 'drag' scene in care of the Gallery for specific activities. Melbourne, and an impressive, dyed leather coat by Barbara Rogers Shibori distractions 1993. Exhibition activity included documenting, transporting and handling loan material. For 'A Time Remembered...', 'Leonard and Kathleen Exhibitions were presented and associated publications produced Shillam ...' and 'Gwyn Hanssen Pigott. . . ' , material was borrowed on the work of sculptors Leonard and Kathleen Shillam and of from as far afield as London, with 209 loans documented, packed,