Conserving Dürer’s woodcut “The Knight and the lansquenet”

Grimwade Senior Paper Conservator, Libby Melzer, with student conservator, Laura Daenke preparing the print for washing.
Grimwade Senior Paper Conservator, Libby Melzer, with student conservator, Laura Daenke preparing the print for washing.

The Poynton Collection forms part of the highly regarded Baillieu Library Print Collection, which over the years has invaluably contributed to the teaching of academic disciplines at the University of Melbourne (Anderson 2011, p. 5; Inglis 2011, p. 105). The collection is home to one of Albrecht Dürer’s enigmatic early woodcuts, The Knight and the lansquenet (c. 1496). This magnificent woodcut by the master printmaker depicts a knight on horseback and a lansquenet (foot soldier) in the woods. Unfortunately, a past attempt at repairing several prominent tears caused considerable aesthetic and physical damage. Consequently, the woodcut was deemed not suitable for exhibition without extensive conservation treatment.

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UMA’s tribute to John Ellis, Activist Archivist Photographer

Deputy University Archivist Sue Fairbanks attended the Memorial for John Ellis in Geelong, Sunday 11 August.

Sue’s Tribute.

John Ellis at the exhibition launch for
Protest! Archives from the University of Melbourne,
Leigh Scott Gallery, Baillieu Library,
20 February 2013,
Photographer: Michael Silver

I first met John Ellis in 1991 when I was the newly appointed Labour Archivist at the University of Melbourne Archives (UMA). One of my first projects was to negotiate the purchase of John’s photographs of the peace and protest movements in Melbourne from the 1970s on. Over the next 30 years I came to understand how constant and deep John’s dedication to the peace and left movements was. He was the best example of an Activist Archivist – he was both a participant and documenter for nearly 50 years.

The legacy of his activism at UMA dates from the early 1990s. We now hold 10 acquisitions from him – 3 tranches of his photo collection; his poster collection; 2 of his exhibitions; his early participation in the Moorabbin Peace Action Committee; and his activism through music, one of his other great passions.  He also encouraged other organisations to preserve and deposit their records. Thanks to him and Romina Beitseen we hold the second tranche of the records of the Committee for International Cooperation and Disarmament (CICD); the International Bookshop; and the Eureka Youth League.

John and his great comrade, Les Dalton, volunteered at the UMA for many years. Les catalogued the records of the peace movement and the Peace Parsons such as the Rev. Alf Dickie. John’s speciality, of course, was photography and he photographed his way through his own the poster collection and those of the Victorian Trades Hall Council, the CICD, and the Communist Party of Australia. John also knew the importance of celebrating the achievements of the people who participated in the peace and left movements with him. He held the ‘Stand up’ exhibition in 1998 which subsequently toured through nine galleries to 2004. His ‘Speak Out’ exhibition at the Brunswick Town Hall in 2006 was a collaboration with the UMA. His last exhibition was on activism in Queenscliff.

When John moved to Queenscliff, we joked that he was retiring from his retirement. Of course, he did no such thing. I remember visiting John and his partner Dianne when I was 7 months pregnant with my twins. We discussed and set up a database for him to catalogue his photos into. My twin daughters are now 18 years old – that is another 18 years of Activist Archivism for John and Dianne. During these years John wanted his work to continue and passed the baton for photographing left events to Peter Love: he has entrusted Dianne with depositing more of his legacy with the UMA. But maybe it will take a village of Activist Archivists to replace John and his dedication. UMA owes John a huge debt of gratitude.

I give my condolences and those of the UMA to Dianne and John’s family. Rest in Peace John.

Sue Fairbanks

Deputy Archivist,

University of Melbourne Archives


Horizon Lines: Copyright Infringement and Collaboration

The Baillieu Print Collection contains over 9,000 works of art including pieces by Rembrandt, Dürer and the Australian artist, Lionel Lindsay. Some of the highlights of the collection are shown in the newly opened exhibition Horizon Lines: The Ambitions of a Print Collection. Having visited the exhibition, I can thoroughly recommend it and thought I would share some of my thoughts.
The exhibition is being held to celebrate the 50th anniversary of the Harold Wright and Sarah & William Holmes scholarships, which sponsor Australian and New Zealand scholars to go to the British Museum to study the print collection. The scholarships aim to promote collaboration between institutions in Britain and Australia and New Zealand. Notably, this latest exhibition features several replicas and drawings of objects from the British Museum collections.

Erin Holder visits Horizon lines exhibition.
Erin Holder visits Horizon lines exhibition.

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New exhibition and lightning talks: Horizon lines

View into the exhibition "Horizon lines" Noel Shaw Gallery
View into the exhibition “Horizon lines” Noel Shaw Gallery

Horizon lines: the ambitions of a print collection is a new exhibition in the Baillieu Library. It is staged as one of the activities to celebrate the 50th anniversary of the Harold Wright and Sarah and William Holmes scholarships, awards enabling print scholars from Australia or New Zealand to examine prints at the British Museum. The exhibition begins on the ground floor with a display on Harold Wright, London print seller and connoisseur, and the etchings from his personal collection. In the Noel Shaw Gallery on the first floor, the main exhibition unfolds with works of art from the Baillieu Library Print Collection featuring Northern and Italian Renaissance printmakers, such as Albrecht Dürer, and Dutch Republic prints, including Rembrandt, as well as the etching revival.

Come along on Tuesday 20th of August at 12:00 noon to hear print room interns speak about their discoveries and insights into selected prints in the exhibition.

Inside the exhibition "Horizon lines" Noel Shaw Gallery
Inside the exhibition “Horizon lines” Noel Shaw Gallery

When Greer came home: January – March 1972 ‘Save us from shaggy Germ, O Man.’

Vanessa O’Neill is the recipient of the Joyce Thorpe Nicholson Fellowship. Her research has explored the impact of Greer’s provocations at key points in time over the past 50 years, primarily through the General Correspondence Series (2004.0042) and the Early Years Academic, Performance, Writing and Personal Papers (2014.0044) of the Greer Archive.

The 25 year-old Germaine Greer who left Australia for Cambridge in 1964 did so anonymously, but the Greer who returned in 1972 was internationally renowned and her visit provoked a storm that touched on many of the most profound issues of the day. That reaction prompted Claudia Wright of The Herald to declare:

‘I am in the mood to vent the sadness and shame I feel for this country’s treatment of Germaine Greer. This woman, who is the best-known Australian in the western world, came like a beautiful Amazon with a bomb hidden under her skirts. She exploded across the country as no other visitor has of late…Her bomb detonated too soon. Germaine Greer is ahead of her time.’[1]

Image 1 Germaine Greer at Sydney press conference, 15 January 1972.

On Saturday 15 January 1972, Greer’s first press conference in Australia took place at a motel in King’s Cross in Sydney. For two hours, she took part in radio, television and press interviews. She spoke on a range of topics including her opinion of the First Lady Sonia McMahon, the inequity of women’s pay in Australia, and the limited availability of birth control. Much of the attention in the press was focused upon Germaine Greer’s appearance, which The Sunday Telegraph described in great detail: ‘She was dressed simply in a wool midi suit, mustard coloured singlet and purple suede boots over navy blue above-the-knee socks. Needless to say she was bra-less. At 6 foot 2 inches and 32 years of age, the long, languid Miss Greer looks dishy.’[2] In case imagination alone was not enough, readers were also provided with a photograph of Greer (Image 1).

On that same day, a review of The Female Eunuch appeared in The Age. It is interesting to note that of the wide range of reviews from across the world, in the Greer Archive Press Files, there is not one that is as dismissive nor as damning as that written by Thelma Forshaw in Greer’s hometown of Melbourne:

‘King Kong is back. The exploits of the outsized gorilla may have been banned as too scary for kids, but who’s to shield us cowering adults? To increase the terror, the creature now rampaging is a kind of female – a female eunuch. It’s Germ Greer, with a tiny male in her hairy paw (no depilatories) who has been storming round the world knocking over the Empire State Building, scrunching up Big Ben and is now bent on ripping the Sydney Harbour Bridge from its pylons and drinking up the Yarra.’[3] The lengthy piece concluded with: ‘Save us from shaggy Germ, O Man.’ 

Image 2 Thelma Forshaw’s review of ‘The Female Eunuch’.

This review was reproduced in a number of papers nationally. What is notable when looking through the press coverage is how carefully images of Greer were selected to reflect particular journalists attitudes towards her. Forshaw’s review was frequently accompanied by images of Greer that portrayed her as wild or uncouth (Image 2). Other more sympathetic articles, such as that in The Sunday Telegraph,  were accompanied by images that portrayed Greer as confident, poised, commanding and attractive.

Thelma Forshaw’s provoked such a strong outcry from readers, that the Letters to the Editor sections in The Age for the following week were dominated by letters written in response to this review. Most of them strongly defended the book and protested that Forshaw had completely misrepresented both Greer and her ideas. J. Morton of South Yarra wrote, ‘It was with disgust that I read in your normally responsible newspaper a scurrilous personal attack masquerading as a book review.’ V. Barnett of Beaumaris wrote: ‘I hope the negative review will not deter anybody from reading this most interesting and thought-provoking book.’[4]

 

The review did not deter readers. Within six weeks of Greer’s arrival in Australia, all 120,000 copies of The Female Eunuch had sold out. Mike Willesee devoted an entire Current Affair episode to an interview with her. Greer’s appearance on the ABC’s Monday Conference, debating Reverend Alan Walker (on issues including abortion law reform, the institution of marriage and sexual freedom) achieved a rating of 16, compared to the usual 4 or 5. Greer took part in a debate at Sydney Town Hall, organised by the Abortion Law Reform Association. The ABC Four Corners program covering this debate was cancelled at the last minute, by the ABC’s General Manager, claiming that Germaine Greer had already received ‘exhaustive exposure’.

Image 3 Flyer for Sydney Town Hall debate

Greer’s letters provide testimony to her high demand at this time. Harry M. Miller wrote offering to represent her, but a hand-written ‘no answer’ appears on his letter. A request for an interview from Ernie Sigley’s producer in Adelaide (claiming that the presenter’s views are ‘diametrically opposed to your own…which could prove highly entertaining.’)[5] has ‘no’ hand-written on it. Greer responded to a letter from Lady Fairfax saying she was unable to attend a function as her guest speaker. In another letter, Greer refers to the fact that Winsome McCaughey has hosted a private meeting between Greer and local members of the Women’s Movement at her home in Parkville. Greer refused an invitation to address the Sydney Journalists Club, on the grounds that women did not have the right to be full members.

Germaine Greer did address the Canberra Press Club and at a lunch with 62 female journalists in Sydney proposed the formation of the Media Women’s Action Group. The Group subsequently won the right to full membership of the Australian Journalists Association and the Sydney Press Club. During Greer’s time in Australia, she took part in a Women’s March in Sydney campaigning for the right to equal pay, free contraception and safe legal abortions. Greer’s visit also coincided with the establishment of the Women’s Electoral Lobby in Australia.

The Press Files contained within the Greer Archive, in the Australia 1972 folders, offer evidence of the high level of interest that Germaine Greer’s two-month visit provoked. Letters to the Editor continued to be dominated by varying opinions of Greer. Mrs M.J. Barrier of Hawthorn wrote, ‘If over-education produces people like her, thank heavens for little brains.’[6]

On the eve of Greer’s departure on 23 March 1972, The Sydney Morning Herald interviewed a range of people about the impact of Greer’s visit. Bob Hawke, then president of the ACTU said, ‘I think Germaine has been a refreshing experience; she has jolted many people into the unusual experience of thinking instead of jumping to conclusions.’ [7]

The Greer Archive contains the typewritten notes that Greer made for her final press conference before departing Australia in March 1972:

‘You could say I’m leaving for my health. One more day of Australian newspapers and I’ll have a plastic bag instead of a colon. I don’t know how the rest of you stand it. You must have bowels of iron and hearts of oak.’

Despite what Greer perceived to be a negative response within the Australian press, she concluded by acknowledging the many people who had supported her during her visit:

‘So to all the people who have plucked my sleeve in the street, who have let me talk my heart out at luncheons, who waited outside and in the Town Hall to show their support for Abortion Law Repeal, to the Media Women, the lady in the Health Food Shop, the fruit shop and at the newsagency at Bondi, and the gentleman who gave me a lift of the dry cleaner’s thank-you for the impact you had on me. I’ll miss you.’[8]

The responses to Greer during her return visit from January – March 1972 highlight many of the tensions that were apparent within Australia society during the early seventies. The explosion of what Claudia Wright called the Greer ‘bomb’ is reflected in the extent to which women’s roles were being shaken up – something that was being met with a mixture of both fierce resistance and joyous celebration. The Greer Archive offers important insights into the impact that Greer’s visit had, not only within Australian society, but also upon Greer herself.

Image 4 Copy of the review by Thelma Forshaw that first appeared in The Age, 15 January 1972

[1] Claudia Wright, The Herald, 25 March, 1972

[2] Kerry McGlynn, The Sunday Telegraph, 16 January 1972

[3] Thelma Forshaw, The Age, 15 January, 1972

[4] Letters to the Editor, The Age, 20 January, 1972

[5] Letter to Germaine Greer from ‘Adelaide Tonight’ Producer Frank Ward, 25 January, 1972 located in The University of Melbourne Archives: Early Years 2014.0044 Unit 15

[6] Letters to the Editor, The Age, 27 January 1972

[7] The Sydney Morning Herald, 23 March, 1972

[8] Typewritten notes by Germaine Greer, located in the University of Melbourne Archives: Early Years 2014.0044 Unit 15

Image 1 Germaine Greer at her first Sydney Press Conference, as reported in The Sunday Telegraph (source News Limited). Many press articles of this event used versions of this photograph. University of Melbourne Archives, Germaine Greer Collection, Early Years series, 2014.0044, Unit 15

Image 2 Thelma Forshaw’s review of ‘The Female Eunuch’, The Age, 15 January 1972. University of Melbourne Archives, Germaine Greer Collection, Early Years series, 2014.0044, Unit 15

Image 3 Flyer for Sydney Town Hall debate, University of Melbourne Archives, Germaine Greer Collection, Early Years series, 2014.0044, Unit 15

Image 4 Image 4 Copy of the review by Thelma Forshaw that first appeared in The Age in The Saturday Review section, 15 January 1972, University of Melbourne Archives, Germaine Greer Collection, Early Years series, 2014.0044, Unit 15


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