Queensland Art Gallery Presscuttings Book 10 : Record of press coverage, March 1982 - May 1984

The Rockhamp ton Morning Bulletin 12 March 1984 • 1n The a11 of L. J . Harvey has come a long way from the steps of Brisbane's G.P.O. From dnys ns a young telegram boy whittling wood in his lunch hour, Harvey'a sculptures are_ now recognised to be among Queensland', finest. Ironically, the former telegram boy has ten his mark on the Brisba ne Post Office for posterity, with tropicul tree motifs carved in stone on the Eliz.nbeth Street fncade of the building Although it is more than 30 years aince the death of nn artist who recei ved little recogni– tion during his lifetime, works of Harvey finally hove been noted - in the Queenaland Art Gallery's first touring exhibition. The L J . Harvey and his School Exhibition, on show at the Rockhampton Art Gallery until March 25, is one of the fi nest collections ever pre..,nted by Queensland crnltsmen. The lavish carved woodwork, intriC11t~ pot• tery, and even lacework, ahow the veraa rlity and skill of Harvey and many of his students. Although a self-taught artist, Harvey became a mnster sculptor, working in •tone, bronze, wood and clay. He was one of Australia's first art pottery teachers, nnd the man behind some of the country's most respected modern sculptors. Lewis Jarvis Harvey migrated to Australia with his family when he w11a throe, A passion for woodcarving led him to open a furniture-making business just before the turn of the century, but the pressure of teaching carving part-time forced him to close the shop and devote oil his time to teaching and creating art, from about 1900. For almost 5 years, up until he died in 1949, Harvey was at the heart of a 0ouri•hing artistic community in Brisbane. Including sculptors like Daphne Mayo, beat known for her relief !Culptures on the Brisbane City Hall. Other studenl8 who also went on to "carve a name" for them.selvea included William Bowlea, Ralp~ Wal~er and Kath Shillnm. Although Hnr.·ey twice was represen :ed nt Britioh Empire exhibitions in 1924 ond 1938. and had several exhibition• of his own in Sydney, few nrt critics of the time recognlsrd the value of his work Will iam Moore , author of the first history of art in Australia, The Story of Australian Art, commented that Har.•ey had never been nde– qua ,ely recognised In his own St.ate. Yet all nround Brisbane , Harvey displayed hia talent and many churche• in Brisban~. including St John'A Cathedral, display his ecclesiastical carvings - altar piecea, railings, hymn board• and well panel•. For a year before the exhibition was launch– ed, at the Queensland Art Gallery during lost year'• Warana Fe•tival , gallery atofT research– ed the history end works of this "forgotten" artiBI. They are confident that the exhibition, now touring Queen• land and BOuthern States under the sponsorship of the Brisbane-baaed mining company, Anaconda Australia Inc., will place Harvey's name more firmly in the art history books. Their search led aa far owuy us the United St.ates, to the artist's daughter, Mrs Elsie Noble, and his grand•ona, the Reverenda David and Bruce Noble, of Houston, Texas. The family kindly loaned several pieces, including one of the exhibition'• most signifi– cant examples of Har.·ey'• skill a., a wood carver. The exhibition features delicntc hand-craned pottery, heavily-decorated aolid, wood furni • lure, and simple but •triking portrnit busts. An exhibition not to be mi6-'ed, it displays the versatility and ability ofa man credited not onlt with pioneering a unique •tyle or cral\ in Queensland, but influencing generation, of artllta. • This sideboard In the neo-Renslssance style was made by L. J. hsrvey for his wife in 1909.