Queensland Art Gallery Annual Report 1996-97

Conservation Transportation, insurance, documentation and packing/unpacking were Paintings receiving major conservation treatment were Blandford Fletcher's also undertaken for the 433 objects brought to the Gallery for acquisition Evicted 1887, including the restoration of its original frame, and William consideration. These included ninety-six objects from England, Japan and Dobell's The Cypriot 1940. A completed oil painting under The Cypriot, the United States, which required international transportation and Customs identified as Boy lounging, probably painted in 1939, was revealed with clearance. One painting de-accessioned from the Collection was despatched X-radiography. for sale. Le Retour de Pierrot by Charles Conder and Arthur Blunt, a mahogany, The Gallery lent forty-seven objects to other institutions for exhibition three-fold screen with silk panels, underwent a major treatment involving purposes, including Trois danseuses a Ia classe de danse and La danseuse, all sections. The silks were removed from acidic mounts, the glass was both by Edgar Degas, and Henri de Toulouse-Lautrec's Divan ]aponais to recut and UV filters were applied, the mahogany screens were repaired the National Gallery of Australia for 'Paris. . .'; and Wong Hoy Cheong's and new silk upholstery was fitted. In search of faraway places (from the 'Migrants' series), Chatchai Puipia's Siamese smile: Siamese intellectual and Sanggawa's Palo-Sebo to the Museum The custom-made, low pressure lining table, which is to be the centre of Contemporary Art, Tokyo for 'Art in South-east Asia 1997'. Sixty-eight piece of the preventive conservation program, was used to treat and objects were lent to State Government offices, bringing the total on loan flatten some seventy textiles for the 'Francesco Conz and the Intermedia at 30 June to 229 objects. Avante-Garde' exhibition. A stocktake of the Collection commenced on 23 April, with the holdings Major framing projects included a new frame for Peter Purves Smith's of the departments of Contemporary Australian Art and Indigenous Nazis, Nuremburg and restoration work on John Dollman's The creditors. Australian Art checked by 30 June. In sculpture, Barbara Hepworth's Orpheus underwent corrosion stabilisation, cleaning, restringing and coating. Aleks Danko's Day in day out (second version) and Robert Klippel's Metal sculpture, Opus 265 were cleaned and coated. Paper conservation work focused on rotations and exhibitions, with treatments on ukiyo-e prints, works by Louis Kahan, and the removal of graffiti from Cal Guo Qiang's Dragon or Rainbow Serpent (Nine Dragons). Registration A large proportion of the Section's energy continued to be devoted to providing specialist support to the Gallery's exhibitions program. 'The Second Asia-Pacific Triennial . . .' involved the transportation of some fourteen tonnes of art work, comprising 123 objects from seventeen countries in the Asia-Pacific region. Liaison was undertaken with shipping agents, artists and selectors in those countries, as well as with the Gallery's insurance broker, customs agent, the Australian Customs Service and the Australian Quarantine and Inspection Service, to ensure that loans were received in time for the opening and returned promptly to lenders at its ciose Other exhibition activity included documenting, insuring, transporting and handling loan material for 'Marks and Moments: Paintings by Gordon Shepherdson', 'Four Centuries of Ukiyo-e Prints' and 'Contemporary Vessels and jewels . . .' In all, 279 objects were documented, insured and transported for Gallery-organised exhibitions. Insurance was maintained for the intrastate tours of 'The Spiritual and the Social . . .', 'The Urban Edge. . .' and 'Silver and Gold from the Collection . . . ' T h e Section worked closely with the National Gallery of Australia on the arrival and departure of the 225 objects in 'Paris: In the Late I 9th Century'. 21