“The countenance is the portrait of the soul and the eyes mark its intentions”

Percy Grainger was well-pleased with a likeness the celebrated Danish academician Knud Larsen (1865-1922) made of him during a visit to Jutland in 1909—and the Museum’s collection includes not just the finished watercolour painting but the preparatory drawings as well. With pencil, Larsen familiarised himself with Grainger’s features and captured contrasts of expression.  One sketch of the musician in profile freezes a wistful, unselfconscious expression, seemingly executed seconds before the posed finished work, which exudes self-confidence—the two appearing almost filmic in sequence.

‘Fancy, Knud Larsen did a not ½ bad drawing of me yesterday, which he has given me. And his elder girl Gerda…draws simply ravishingly. She said to him, “have you ever seen anyone so beautiful as he” meaning me, so he tells me.’ [2]

Knud Larsen 1865-1922), Percy Grainger, 1909. Watercolour and graphite on paper. Grainger Museum collection, University of Melbourne

Knud Larsen 1865-1922), Percy Grainger, 1909. Watercolour and graphite on paper. Grainger Museum collection, University of Melbourne

The Grainger Museum collection holds more than 600 works of art, a significant proportion of which are portraits or representations of people engaged in some kind of activity. Many of these, naturally, depict Percy Grainger himself, but family, friends, acquaintances, fellow musical personalities, admirers and people who influenced Grainger are also represented. The stylistic approaches of the artists whose works are represented in the exhibition Water, marks and countenances: works on paper from the Grainger Museum collection range vividly from the formal commissioned work straight out of the halls of the academy—to the irreverent and light-hearted barrack-room caricature.

Up until the late 19th/early 20th century the two primary expectations people had of a portrait were that it provide a physical resemblance, and disclose something about the sitter: an indication of their character, their social standing or perhaps occupation.

There are an abundance of early portraits of Percy Grainger in the Grainger Museum’s collection, for example, that depict him golden-haired, youthfully serious and impeccably dressed, seated at a piano or holding an instrument or a sheet of music—thus announcing to all those viewing the picture that they are looking at a portrait of a musician, and probably a famous one at that. The most iconic of these of course is Rupert Bunny’s large scale oil painting of 1902—but the drawings and sketches from the same period in this exhibition present a rather more personal quality.

The famous British actor Ernest Thesiger (1879-1961) made several appealingly gentle pastel portraits of Grainger during their years of friendship in London. Thesiger, who was himself an amateur musician, had studied painting and drawing at the Slade School of Art.

‘Never have I had, never will I have, a portrait of me more like, more true, more characteristic, more satisfying than yours. Only a real real [sic] sensitive artist could produce a work so full of insights, so apt, so sweetly done.’ [3]

Ernst Thesiger(1879-1961), Percy Grainger, 1903. Pastel on paper. Grainger Museum collection, University of Melbourne

Ernst Thesiger(1879-1961), Percy Grainger, 1903. Pastel on paper. Grainger Museum collection, University of Melbourne

In 1901, South Australian-born artist Mortimer Menpes (1855-1938) invited Grainger to perform in his palatial London studio to a very select group of potential patrons. Menpes had been making portraits of wealthy aristocrats and cultural luminaries.  His formal portrait of the irascible artist, James McNeill Whistler, included in this exhibition, was one of a series he executed of his friend and one-time mentor, before the two men had a cataclysmic falling out.

Mortimer Menpes(1855-1938), Whistler no. 11, 1912-1913. Etching and drypoint on paper. Grainger Museum collection, University of Melbourne

Mortimer Menpes(1855-1938), Whistler no. 11, 1912-1913. Etching and drypoint on paper.  Grainger Museum collection, University of Melbourne

The development of mechanised image-making in the nineteenth century brought with it a challenge to the whole notion of portraiture as an artform with the advent of the formal, posed photograph having a significant impact upon the style of images rendered by the artists’ hand. The latter started to take on different, more private or intimate functions. Artists began to feel able to explore series of ‘dashed off’ sketches of their friends or models (or strangers across the room) as a legitimate subject for exhibition.

Augustus John (1878-1961), for example, was particularly renowned for his spontaneous style of portraiture in which he produced simple line drawings that successfully managed to capture his sitter’s essence. The fragile, almost ethereal drawing of Grainger’s wife Ella, executed on washroom paper towelling, is indicative of this style. Ella met Augustus John while she was studying at the Slade School of Art in London in around 1914, more than a decade before she met Grainger.

Augustus John (1878-1961), Ella Viola Ström, n.d. Graphite on paper. Grainger Museum collection, University of Melbourne

Augustus John (1878-1961), Ella Viola Ström, n.d. Graphite on paper.  Grainger Museum collection, University of Melbourne

Jacques Emile Blanche’s idiosyncratic little sketches of Debussy dated 1902 in Dieppe are bare scratchings of pencil on rough paper, yet they capture perfectly the composer’s distinctively identifiable quiff. The drawings hint at a private occasion or conversation long hidden from the contemporary viewer.  Grainger credits Blanche with having introduced the music of Debussy to him. Perhaps Blanche made these drawings while talking with Grainger when the two were holidaying in Dieppe in 1902.

Jaques-Émile Blanche (1861-1942), Claude Debussy, 1902. Graphite on paper. Grainger Museum collection, University of Melbourne

Jaques-Émile Blanche (1861-1942), Claude Debussy, 1902.  Graphite on paper. Grainger Museum collection, University of Melbourne

A number of witty caricatures of Grainger and other significant musical personages of his time, such as the internationally acclaimed violin virtuoso Efrem Zimbalist, are also displayed in this exhibition.

Leonard Frank Reynolds (1837-1939), Caricature of violin virtuoso Efrem Zimbalist, 1927. Ink on paper. Grainger Museum collection, University of Melbourne

Leonard Frank Reynolds (1837-1939), Caricature of violin virtuoso Efrem Zimbalist, 1927. Ink on paper. Grainger Museum collection, University of Melbourne

Prints by well-known (and not-so-well-known) artists include a beautifully executed and rarely exhibited lithograph by William Newzam Prior Nicholson (1872-1949) depicting a pensive Rudyard Kipling—who was one of Grainger’s major influences.

William Newzam Prior Nicholson (1872-1949), Rudyard Kipling, 1899. Lithograph. Grainger Museum collection, University of Melbourne

William Newzam Prior Nicholson (1872-1949), Rudyard Kipling, 1899. Lithograph.  Grainger Museum collection, University of Melbourne

Also of significance is a series of delicate watercolours portraying women by Melbourne miniaturist Bess Norriss Tait (1878-1939). Viewed together, these ‘countenances’ span almost a century of styles and provide an interesting insight into the history of the portrait genre.

Bess Norriss Tait (1878-1939), Miss Helen Lempriere (aged 14 years), 1924. Ink and watercolour on paper

Bess Norriss Tait (1878-1939), Miss Helen Lempriere (aged 14 years), 1924. Ink and watercolour on paper

Astrid Britt Krautschneider (Curator, Grainger Museum)

 

[1] The title quote is from Marcus Tullius Cicero (106-43BC).

[2] Letter from Percy Grainger to Rose Grainger, 13 September 1909.

[3] Letter from Percy Grainger to Ernest Thesiger, 25 December 1909.


Imprinting the spirit of Mexico

The international scope of the Baillieu Library Print Collection has been broadened by the acquisition of three works by José Guadalupe Posada (1852-1913). Posada is regarded by many as the founder of Mexican printmaking, bringing the medium to the masses through popular news sheets and chapbooks. He worked at the publishing house of Antonio Vanegas Arroyo, which produced thousands of periodicals and broadsides. These ephemeral printed documents communicated caricatures of contemporary individuals, news, sensational stories and issues of the day. Posada trained as a lithographer in Mexico City and promoted the use of etching on zinc and photorelief techniques to Mexico.

Barata de Calaveras (1910) depicts a skeleton carrying off two female workers. It contains the imprint of Arroyo and was printed by him for distribution during the Day of the Dead Festival.  Posada is particularly renowned for his calaveras or skeletons, which his hand animated with distinctive character. Depictions of skeletons are an integral aspect of Mexican culture and many images and figurines of calaveras were produced for the annual Day of the Dead Festival.

José Guadalupe Posada, Barata de Calaveras, 1910

Posada was working during the Mexican Revolution (1910-1920), a time when news sheets were an important vehicle for political messages and the shaping of an independent Mexican cultural identity. Many of Posada’s images were used across multiple sheets; they recur in varied topics and are printed under numerous titles. The image in Gran Calavera Electricia (Grand Electric Skull) (c.1910) tells, in some instances, of the calavera at the 1910 centenary celebrations for Mexican Independence Day, which recognises Mexico’s liberation from Spain. The calavera is at the cemetery gathering together the citizens who will be joining him. The beams shooting out of his eyes express his hypnotising powers on the diminutive victims. A typical commentary below the image describes the people and misadventures that culminated in the pile of skulls depicted: disreputable tortilla and pulque vendors, for example, beaten by customers including those poisoned by bad meat or liquor. Other versions reflect another frequently discussed news topic: deaths caused by electric trams. The tram car seen in the background is arriving at the cemetery to deliver its now deceased passengers. [1]

José Guadalupe Posada, Gran Calavera Electricia, (c.1910)

A catrina is seen at the top left of La Gran Calavera del Chin Chun Chan (c. 1910), a sheet that was a collaboration with Manuel Manilla and J. Cortes, Posada’s contemporaries working at the Arroyo publishing house. Posada made famous the catrina, or tall affluently dressed female skeleton, which has since become a symbol in Mexican art. [2] Each stanza below the image is punctuated with the title of the popular Mexican musical, ‘Chin Chun Chan’, a phrase that was also used as a substitute for swearing. Many of the broadsheets would have come to life for their audience by being spoken or sung aloud. The Baillieu Library Print Collection is delighted to add this lively Mexican voice to its holdings and thereby enhance the telling of printmaking history.

José Guadalupe Posada, La Gran Calavera de Chin Chun Chan, (c. 1910)

 

Kerrianne Stone (Curator, Prints)

[1] Posada’s Mexico edited by Ron Tyler, Washington: Library of Congress: 1979, p. 237
[2] Revolution on paper: Mexican prints 1910-1960 by Dawn Adès and Alison McClean with the assistance of Laura Campbell; edited by Mark McDonald. Published Austin [Tex.]: University of Texas Press; [London]: In co-operation with the British Museum Press, 2009, p.54


A Tale of Two Ben Jonson Folios

In 2014, the Baillieu Library made a very special acquisition: a copy of the Second Folio of The workes of Ben Jonson (2 volumes, 1631-40). The University of Melbourne is fortunate to have Ian Donaldson as one of its Honorary Professorial Fellows: Prof. Donaldson is the author of a critically acclaimed biography of Jonson (Ben Jonson: a life. Oxford: OUP, 2011) and is one of the General Editors of the Cambridge edition of the works of Ben Jonson (Cambridge: CUP, 2012). The acquisition of this collection of Jonson plays and writings was thus a good fit for the University’s collections, and complemented other Rare Books holdings including the Second Folio of Shakespeare’s works (1632) and the First Folio of Beaumont and Fletcher’s works (1647). The Jonson volumes also feature the bookplates of Alfred Henry Littleton and Estelle Doheny, the latter already represented in Baillieu holdings through her copy of Eusebius.

But the printing of the Jonson Second Folio is an extremely complex case. It typically exists in two volumes. The first is a second edition of Jonson’s 1616 First Folio. The second comprises additional material that had been assembled from as early as 1631, but was not published in this form until 1640 (three years after Jonson had died). Moreover, this second volume consists of four ‘parts’, which are bound in different orders in different copies. (The Baillieu’s is in the order: part I, part iv, part iii, part ii).

One of the distinctive features of the Second Folio is the presence of an engraved portrait of Jonson by Robert Vaughan, who flourished throughout the 1620s. On the face of it then, the Baillieu’s volume 1 looks like a copy from the Second Folio:

Title page opening from the Baillieu Library’s The works of Beniamin Jonson. Volume I. London: Will Stansby, 1616-40.
Title page opening from the Baillieu Library’s The works of Beniamin Jonson. Volume I. London: Will Stansby, 1616-40.

The first volume of F2 was meant to be a second edition of F1, including the reproduction of William Hole’s elaborately engraved titlepage featuring the allegorical figures of “TRAGŒDIA”, “COMŒDIA”, “TRAGICOMŒDIA”, “SATYR” AND “PASTOR”. The only difference was the imprint, which was burnished and now read “LONDON. | Printed by | Richard Biſhop, | and are to be ſold by | Andrew Crooke, | in S t, Paules, | Church-yard. | Ano D. 1640”, where it had earlier been marked with the name of another stationer, William Stansby, and the 1616 date.

Although the Baillieu copy clearly includes the Vaughan portrait usually found in F2, the imprint of the titlepage bears the 1616 date and Stansby’s name, not the 1640 date and the names of Bishop and Crooke, which ought to be present if this were a genuine F2. So clearly, one of these two pages does not belong. Is it a Second Folio augmented by the introduction of an excised titlepage from F1? Or is it a First Folio augmented by the addition of the Vaughan portrait created in the 1620s?

Close up of publisher’s imprint from the Baillieu Library’s The works of Beniamin Jonson. Volume I. London: Will Stansby, 1616-40.
Close up of publisher’s imprint from the Baillieu Library’s The works of Beniamin Jonson. Volume I. London: Will Stansby, 1616-40.

The bibliographical definition of a new “edition” turns on the fact that, rather than a printer simply re-inking an existing galley of type which had been previously set (for the first printing), more work is involved: the pieces of type need to be reset from scratch (well, at least half of them, if we want to be technical) [1]. Resetting by hand in this manner typically means changes will be introduced, either inadvertently or deliberately. In the case of the Jonson F2, the printer was keen to economise, as David Gants explains in his textual essay for the Cambridge edition: “In designing the second edition of F1, Bishop retained the same general layout as the first, although the number of lines per page increased from 47 to 50, which, along with other minor revisions, reduced the total number of sheets from 257 to 227”.

Sure enough, a quick line count of various pages of the Baillieu volume shows that it is more generously spaced, in line with the features of a First Folio. Differences in the prefatory material clinches it: a comparison with a genuine Second Folio via Early English books online shows a number of differences in the dedicatory poems but an exact correspondence to the prefatory material of a First Folio.

Contents page from the Baillieu Library’s The works of Beniamin Jonson. Volume II. London: Richard Meighen, 1640.
Contents page from the Baillieu Library’s The works of Beniamin Jonson. Volume II. London: Richard Meighen, 1640.

So someone – perhaps because they already owned this First Folio – did not see any point in purchasing the second edition (volume 1 of F2) but did bother to source the Vaughan portrait, and had it added to their F1. They did then proceed to acquire volume 2 of F2, which contains the additional material not printed in 1616. This included such plays as Bartholomew Fair, The Staple of News, and The Devil is an Ass, as well as various masques and the fragment of a play called “Mortimer, His Fall” which the author left unfinished at his death. These two volumes were then beautifully bound by Francis Bedford in the nineteenth century.

Guest blogger: Dr David McInnis, Gerry Higgins Lecturer in Shakespeare Studies (mcinnisd@unimelb.edu.au) and curator of the forthcoming After Shakespeare exhibition, Noel Shaw Gallery, Baillieu Library, 14 July 2016-11 February 2017.

Explore this link for further information about the After Shakespeare exhibition.

[1] Philip Gaskell. A new introduction to bibliography. Oxford : OUP, 1979, p. 313.


Grainger Museum takes on art

The current exhibition Water, marks and countenances: Works on paper from the Grainger Museum collection, is an innovative take on two themes: portraiture and depictions of water and maritime culture.

Exhibition curator explains portraits in the show.
Exhibition curator explains portraits in the show.

The exhibition encompasses two galleries of the striking Grainger Museum which is located on the Royal Parade entrance to the University of Melbourne campus. The Grainger Museum collection holds more than 600 works of art and the selection of prints, watercolours, drawings and sketches in the exhibition are some of the many fascinating offerings to explore within the building.  The variety of artists represented and the works of art in this exhibition range vividly from the formal to the light-hearted. Included are an abundance of portraits documenting the megastar of the stage, Percy Grainger, and even some moving examples of his own paintings and drawings of watercraft.

Exhibition curator explores maritime art in the show.
Exhibition curator explores maritime art in the show.

For more information about visiting the Grainger Museum, discovering the collection and to learn more about the current exhibition and associated programs, visit the website: http://grainger.unimelb.edu.au/home

WM-And-C-promo-image-2


125 years of horticultural education – celebrating Burnley Campus

Jane Wilson
Volunteer Archivist, Burnley Archives
Friends of Burnley Gardens

The last few weeks have been very busy for me, the Volunteer Archivist for the Burnley Archives Collection. The Burnley Campus is celebrating this year 125 years of continuous horticultural education and it has been 25 years since the Archives were formally set up. The Archives were established when A. P. Winzenried was commissioned to write a history of the Burnley Gardens and material had to be gathered and put together for him to use. All past students and staff who could be found were asked to send in memorabilia and what a treasure trove arrived. Hundreds of photographs, letters, documents, artefacts, registers and student work had to sorted and stored. The book was written and cataloguing started but there was far too much to be dealt with quickly. Elizabeth Hill became the first Volunteer Archivist and established the cataloguing system. Two former Principals endeavoured to describe the old photographs and recall events from the past. Joss Tonkin, another volunteer, assisted Elizabeth Hill and later took over when Elizabeth retired from her voluntary position.

At this time the Archives were stored under the roof in an old wooden building that had once been the Dairy. It was very hot in the summer and cold in the winter; not ideal conditions. I remember as a trainee Guide for the Friends of Burnley Gardens in about 2005 visiting Joss and having to put on white gloves while she showed us some of the treasures like enormous registers with handwritten lists of the hundreds of fruit trees that had been planted in the Orchard in the 1870s or the jodhpurs that the girls wore as their uniform in the 1920s.
By 2009 Joss wanted to give up her voluntary position and I offered to take over. It was a daunting prospect – there was so much work still to be done and it had been decided to move the material to the Main Administration Building where conditions were better. They are now housed in what had been the girls’ changing rooms. My first task, after moving everything out of the Dairy, was to catalogue onto a spreadsheet and digitise the photographs. I have been doing this for over six years now and I am still not finished as I have been encouraging people to keep donating material to the Archives and every time an office is cleared out I go in searching for more. One particularly hot summer found me in the former Egg Curator’s house rummaging through the recycling bins to find things I thought worth archiving.

The other reason why cataloguing is such a slow process is that the Burnley Archives are used by staff, students, museums and the general public on a regular basis. The University of Melbourne Archives is progressively cataloguing descriptions of the Burnley Archives holdings into its database but most of the catalogues and photographs are still not accessible other than from the computer in the Burnley Archives. There are, however, more volunteers working in the Archives now. Judith Scurfield, former Head of Maps at the State Library, does cataloguing and helps me with general advice, Mary Eggleston, a former science teacher helps with general packaging of maps and sorting, and Ala Shtrauser, former Assistant Librarian at Burnley sorts photographs and identifies people in them.

A typical day would have me looking for and emailing photographs of someone’s mother who had been a student in the 1930’s – and reading the grateful email in reply. A student might ask me for plans of a garden area and any additional documents we had. A staff member might ask me to talk to a group of students to let them know what was available for them to use. A very regular visitor to the Archives is the Garden Co-ordinator, Andrew Smith. The Burnley Gardens are Heritage Listed and he has to maintain them under strict controls. This means that every time he replaces a plant or does any work in the Gardens he has to refer to the Archival documents and photographs. We can literally spend hours looking at photographs deciding where and when they were taken and whether that area could be restored to its original condition.
We are continually adding to our knowledge of the history of the Gardens and College. So much of it is oral history and it has to be recorded now while those with memories are still alive. The Friends of Burnley Gardens was set up in the late 1990s in part to provide funds for the maintenance of the Gardens. In recent years much work by the FOBG has gone into gathering together information, much of it oral, on the people who have been involved in designing different parts of the Gardens.
As a joint venture between the University and the Friends an app is being prepared to enable visitors to Burnley Gardens to walk around listening to the rich history of the Gardens and College and descriptions of some of the interesting plants.
At the moment I am also assisting staff prepare for their entry in the Melbourne International Flower and Garden Show in March where they are presenting a snapshot of Burnley’s influence on garden design. I also conduct tours for the Friends of Burnley Gardens: http://www.fobg.org.au. Come and visit us.

Sue Fairbanks
Deputy Archivist – University of Melbourne Archives
Research and Collections, Academic Services and Registrar

In the long loop of the Yarra River where Riversdale Road continues as Swan Street, with the noise of the Monash Freeway as a constant backdrop, lies one of Melbourne’s peaceful and beautiful gems. The Burnley Gardens, part of the Burnley Campus of the University of Melbourne’s School of Ecosystem & Forest Sciences, is an oasis known to generations of Melbourne’s garden enthusiasts both amateur and professional. Indeed it is where horticulturalists and garden designers have been educated since the inception of the Burnley School of Horticulture by the Victorian Department of Agriculture 125 years ago.

Teaching of horticulture commenced in 1891, but the site itself was established long before. Here in 1836 a Richmond Survey paddock was reserved to graze Survey Department animals, and in August 1862 most of the area was reserved as public parkland known as Richmond Park. In late 1860 the Minister of Lands granted the (later Royal) Horticultural Society 25 acres of the eventual Park for the purpose of testing and acclimatising introduced fruit trees, vegetables and exotic garden plants for producing crops in Victorian conditions. The Gardens themselves were opened in January 1863 and the Horticultural Society continued their development until in late 1890 it handed back the grounds to the Victorian Government and its Department of Agriculture in return for cancellation of its debts.  When the Burnley School of Horticulture was opened in May 1891 it was the first Horticultural College in the Southern Hemisphere and one of the first in the world.

This year the School of Ecosystem & Forest Science is celebrating the 125th Anniversary of continuous horticultural education at Burnley with a program of gardening events detailed at http://ecosystemforest.unimelb.edu.au/burnley125years. But there is another, smaller, anniversary which deserves to be remembered this year: the 25th Anniversary of the establishment of the Burnley Archives (BA), repository of photographs and documents which help us remember and celebrate the last 125 years. Volunteers catalogued the approximately fifteen metres of archival records using a standard designed by the first archivist and this system was used consistently since the inception. The Archives contain a mixture of official records (principals’ administrative records and student registers), photographs, deposits from former students including student clubs, and ‘artefacts’ such as ploughs, jodhpurs and a leadlight window.

In 2011 Jane Wilson and supporters of the Archives at Burnley contacted the University of Melbourne Archives (UMA) for advice. The BA needed support for preservation materials and electronic cataloguing of the many volumes of handwritten entries that formed the main finding aid. UMA agreed to supply preservation storage materials, and also to analyse and advise on producing a machine readable catalogue. Supporters of the Burnley Archive made it clear that they wanted the material retained at Burnley and not whisked off to the UMA store in Brunswick. Thus was born a cooperative project to hold the archival material at Burnley, but to catalogue it in the database of the UMA and make it discoverable through their online interface. In the language of the day, it became part of the ‘distributed archive’ of the University.  Jane Wilson and her volunteers began typing the handwritten catalogues into spreadsheets for upload into the UMA database. So far six collections from the Burnley Archive are described in it; all except the photographs are described in detail.

The most interesting of these are undoubtedly the photographs, but the Registers and Books are fascinating. This series contains the earliest record of the fruit planted at Burnley initially by the Royal Horticultural Society of Victoria and later by the Burnley School of Horticulture. The registers are in the main handwritten and detail the planting and harvesting of currants, almonds, figs, nectarines, peaches, apricots, cherries, plums, apples, pears in the garden often with their original locations. Later registers cover eggs, milk and livestock. Plant records are also found in the Student Registers where both plants and students have been recorded in the same volumes. The books also described in this series are generally gardening or botany books used by the early staff and give an insight into gardening trends through the century.

To see the catalogue entries and lists of material held and accessible in the BA, go to the University of Melbourne Web Site at http://archives.unimelb.edu.au/ and search on Burnley Archives in the Catalogue. Note that access to the Archives at Burnley is by appointment on a Tuesday. It is well worth a visit not only to meet Jane and research the Archives but also to sit in the Summer House and contemplate the Lilly Ponds. You will feel amazingly refreshed.

Title UMA Reference Number
Artefacts Of Burnley School Of Horticulture 2015.0058
Photographs Of Burnley School Of Horticulture And Subsequent Entities 2011.0023
Maps And Plans Of Burnley Gardens And Campus 2015.0068
Horticultural And Livestock Registers And Books 2015.0059
Registers Of Student Enrolment And Results 2015.0060
Certificates And Report Cards 2015.0065

 


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