A researcher visits our repository

Loretta Smith, Author

Original posted on the Facebook page Alice Anderson Garage Girl.

Alice Anderson in her Kew garage workshop, c1922
Alice Anderson in the Kew Garage workshop working at lathe, c1922, Frances Derham collection 1988.0061, University of Melbourne Archives, OSBA/918

For those who have ever done research, have you experienced the wonder of discovering something unexpected in an unlikely place that stops your heart? I’ve had a few experiences like this through the course of discovering Alice’s story but what I’m about to tell you was the most arresting:

Alice’s eldest sister was Frances Derham, an expert in child art and education. Frances’ archival collection is stored at the University of Melbourne, and I knew from the descriptive list that there Alice material also existed there, as well as private letters etc. written by Alice and Frances’ father, JTN Anderson to their mother, Ellen Mary. Every few days I would take myself off to the Baillieu Library, having ordered a few boxes from the repository—until the staff took mercy on me and gave me permission to visit the repository directly, where I had immediate access to any one of the 100 or so boxes in the collection and didn’t have to walk miles for a car park.

The repository is a bleak single story brick building in a semi-industrial area of Brunswick. Inside is a mishmash of 19th-century antiques and 1980s office furniture. I sat in a room too small for the ancient leather-inlaid boardroom table as men in industrial grey overcoats wheeled out box after box of material. Many researchers had gone before me, rustling up information on Frances Derham, her husband, Alfred Derham, her (and Alice’s) father, JTN Anderson etc. but I believe I was the first to dig around for material specifically connected to Alice.

The treasure I discovered happened to be in a random bag of material containing mementoes of Alice’s brother, Stewart, who had accidentally drowned in 1913, aged 20. There was a photo taken a few days before he died, a piece of red ribbon from his Royal Garrison Artillery uniform—things that had been collected but possibly not touched since they had been put there by a grieving family a hundred years ago. It was in this bag that I discovered two tiny, carefully folded, pieces of paper wrapped around what turned out to be a miniature photograph of Alice in a car. I gently opened the layers, sensing that I was the first to do so and knowing I was not the intended recipient. The writing was Alice’s. Love poems. One famous, written in ink; the other in barely legible pencil, almost a whisper, an original composition from Alice to a secret lover who probably never received them. Alice was 29 when she died suddenly in tragic circumstances. Publicly, Alice was never romantically connected to anyone.

Loretta Smith is an author currently researching and writing a biography of Alice Anderson. Alice Anderson was the first woman garage proprietor in Australia and the sister of Frances Derham, whose papers are held at UMA.


Attitudes to the Ancients

The Grand Tour of the eighteenth century offered a continental education for many aristocrats and scholars, architects and artists. Although there was no set order to the Tour, many visitors chose to arrive in northern Italy from France before making the journey down to Rome, regarded as the pinnacle of the journey for studying classical remains. They would then go to Naples, the city for buying souvenirs. The discovery of the cities buried under lava at Herculaneum in 1738 and at Pompeii in 1748 created a surge of tourists and an explosion of interest in antiquities. Visiting Vesuvius added a new and terrifying experience to the itinerary of the Grand Tour. The fragment of a larger Map of the Bay of Naples (1772) displaying a spectacular eruption juxtaposed with ancient ruins, was designed for Grand Tourists, and dedicated to William Hamilton (1731-1803).

Antoine-Alexandre-Joseph Cardon after Giuseppe Bracci, [Fragment of] Map of the Bay of Naples, (1772), etching and engraving, Baillieu Library Print Collection, the University of Melbourne. Gift of Dr J. Orde Poynton 1959.
Antoine-Alexandre-Joseph Cardon after Giuseppe Bracci, [Fragment of] Map of the Bay of Naples, (1772), etching and engraving, Baillieu Library Print Collection, the University of Melbourne. Gift of Dr J. Orde Poynton 1959.
Sir William Hamilton, antiquarian and vulcanologist, settled in Naples 1764 where he was the British envoy. He led ascents of Vesuvius and as a collector he was best known for the ancient vases he amassed from the region. The Portland vase was the most significant object he obtained, which derived its name from its new owner, the Duchess of Portland who added it to her astounding museum. A sale catalogue of the Duchess of Portland’s collection after her sudden death is featured in the Rare Books collection of the Baillieu Library. [1]

Charles Knight after George Romney, Lady Hamilton, 1797, stipple engraving, Baillieu Library Print Collection, University of Melbourne. Purchased 1993.
Charles Knight after George Romney, Lady Hamilton, 1797, stipple engraving, Baillieu Library Print Collection, University of Melbourne. Purchased 1993.

 

 

 

William Hamilton purchased George Romney’s painting of Emma Hart in the role of a priestess of Bacchus while he was visiting England and returned to Naples with it. The Charles Knight stipple engraving, Lady Hamilton, 1797, reproduces this portrait. Emma Hart was then the mistress of William Hamilton’s nephew, and she was effectively acquired by William Hamilton and also moved into his villa in Naples. Here she found success as a performer and hostess. She began her career as a performer posing as a goddess on a pedestal outside a Dr Graham’s medical practice in England, an inspiring specimen of health, complete with antique costume. [2] Later becoming his wife, Lady Emma Hamilton she evolved her poses into what became ‘Attitudes’ or short performance montages, where she embodied figures from the ancient world. These were staged in the Hamilton residence for Grand Tourist. Among their guests was Johann Wolfgang von Goethe. In his Italian Journey, he described Emma Hamilton as the contemporary reincarnation of classical antiquity:

Sir William Hamilton…has had a Greek costume made for her which becomes her extremely. Dressed in this, she lets down her hair, and with a few shawls, gives so much variety to her poses, gestures, expressions etc., that the spectator can hardly believe his eyes. He sees what thousands of artists would have liked to express realized before him in movements and surprising transformations – standing, kneeling, sitting, reclining, serious, sad, playful, ecstatic, contrite, alluring, threatening, anxious, one pose following another without a break…In her, he has found all the antiquities, all the profiles of Sicilian coins, even the Apollo Belvedere. This much is certain: as a performance it’s like nothing you ever saw before in your life. [3]

Emma Hamilton’s attitude to the ancients was as original other artists, writers, historians and collectors of the eighteenth century who were rediscovering the wonders of antiquity during the age of the Grand Tour.

 

The fragment of the Map of the Bay of Naples and Lady Hamilton are on display at the Ian Potter Museum of Art as part of the exhibition Souvenirs of the Grand Tour: The Vizard Collection of Antiquities until 25 September 2015. They also feature in a new book released in August 2015: The Piranesi Effect edited by Kerrianne Stone and Gerard Vaughan, available through NewSouth Publishing.

Notes

[1]  A Catalogue of the Portland Museum: lately the property of the Duchess Dowager of Portland, deceased, which will be sold by auction by Mr. Skinner and Co. on Monday the 24th of April, 1786 … in Privy-Garden, Whitehall… [London?]: Catalogues may now be had … of Mr. Skinner and Co., Aldersgate-Street, 1786

[2] Andrei Pop, ‘Sympathetic spectators: Henry Fuseli’s Nightmare and Emma Hamilton’s Attitudes’, Art History, Nov 2011, Vol. 34, Issue 5, p. 942

[3]  J.W. Goethe, Italian Journey: (1786–1788) J.W. Goethe; translated by W.H. Auden and Elizabeth Mayer, Harmondsworth: Penguin, 1970, p. 208

 


Boxing, Ballroom dancing, and the Bishop of Coventry: Festival Hall and Stadiums Pty Ltd

Throughout most of the 20th century, Festival Hall in Dudley Street, West Melbourne was the focal point for the city’s entertainment business. The booking diaries for Stadiums Pty Ltd reveal an endless round of entertainers, sporting, cultural,  and political events. Inside its dark walls, Festival Hall hosted the Bishop of Coventry followed by a boxing tournament the following night. Billy Graham vied for booking space with the Waterside Workers’ Federation and the youthful, hedonistic festivals of early rock and roll. Stadiums Pty Ltd was established in 1899 by notorious Melbourne entrepreneur John Wren and his associate Dick Lean to enter the lucrative sport of boxing. Festival Hall (originally named West Melbourne Stadium) was built in 1912 for boxing promoter ‘Snowy’ Baker and was sold to Stadiums Pty Ltd in 1915.

Interior of Festival Hall, undated, photographer unknown, University of Melbourne Archives, Stadiums Pty Ltd Collection, 1984.0094.0006
Interior of Festival Hall, undated, photographer unknown, University of Melbourne Archives, Stadiums Pty Ltd Collection, 1984.0094.0006

The recently listed Stadiums Pty Ltd collection holds a large amount of boxing memorabilia dating from the 1930s to the 1960s. There are many photographs of Indigenous boxers who broke through the constraints placed on them by the prejudices of the industry and society at large to become champions. Among these one can see the likes of Lionel Rose in full swing, autographed portraits of George Sands of the famous Sands family, and a cartoon poster advertising a fight with George Bracken.

Portrait of George Sands
Autographed portrait of George Sands, 1948, photographer unknown, University of Melbourne Archives, Stadiums Pty Ltd Collection 1987.0094 Unit 9.

The booking diaries of Stadiums Pty Ltd provide a glimpse into the vibrant Melbourne entertainment scene. Music concerts pitted big band sounds from America and Australia in a ‘dance-off’ style show whilst the next day Lady Baden Powell greeted girl guides in a 1967 reception. The Australian Dancing Championships in 1956 were just as at home in Festival Hall as The Price is Right  was shooting live in the 1980s. In addition to the weekly boxing tournaments, Festival Hall hosted the tours of international stars such as Louis Armstrong, Chuck Berry and Cliff Richard in the 1950s and 60s. Devo, The Kinks, and Queen in the 1980s played to sell out crowds. Today Festival Hall remains a hub of entertainment activity,  with major Australian and International acts continually billed alongside corporate events, conferences and Christmas parties.

The Stadiums Pty Ltd Collection contains material of interest to researchers of Melbourne’s live music scene, sport and the entertainment industry, as well as historic buildings of Melbourne’s cityscape. Whilst the material is open access, some photographs are not currently available due to their fragility. The collection has been listed at box level and the finding aid is available online http://ow.ly/H1K84

This post is an adaptation of the 2010 article by Katie Wood which appears in Primary Sources: 50 years of the Archives.


Farewell to Christine Elias

Suzanne Fairbanks, Deputy Archivist
Sophie Garrett, Assistant Archivist

Christine Elias, Project Archivist, June 2015
Christine Elias, Project Archivist, hard at work on the locations project in the UMA repository. Photographer: Sophie Garrett. June 2015

At the end of June 2015 the University of Melbourne Archives (UMA) will say farewell to Christine Elias who has been with us on a project contract since August 2013. During the almost two years that she has been with us, Christine has been the backbone of the Locations Upgrade Project Team (LUP) which has transformed aspects of how the Archives manages its holdings and provides access to material by researchers.

In 2009 the UMA upgraded its collection management database to KE EMu and a range of new access and collection management functions became possible. EMu is capable of displaying our digitised finding aids online, enabling researchers for the first time to access many details of our holdings without visiting the Reading Room. A generous Ross Trust grant enabled UMA to digitise and expose over 600 finding aids by 2012. EMu is capable of a range of behind the scenes collection management functions as well, such as recording the location of every storage unit in our 20 kilometres of holdings. Prior to 2013 our locations were recorded in a range of inefficient manual ways separate from EMu, so the LUP was conceived and an application for support submitted to the Miegunyah Committee.

The initial goals of the Project were to record location data in EMu to achieve efficiencies of staff time behind the scenes, and to build the possibility that researchers may be able to order material online. The LUP has achieved this and much more. Moving location data into EMu has confronted us with the peculiarities and inconsistencies of old systems and enabled us to create a new set of standards and procedures. It has effectively required us to audit and relabel each box; to identify estrays; repackage where absolutely necessary; shelve boxes in a more logical way; and most importantly devise efficient ways to bulk upload data which we now use constantly.

There are many advantages for staff behind the scenes; however one of the most pleasing outcomes is visible to researchers. During the LUP we discovered many more hard copy finding aids that have now been updated and made available online. Christine was able to create box lists for some of our largest and most interesting collections which are also now available online. Long before computer data bases, previous archivists recorded contents on the front of boxes before or instead of creating an inventory or finding aid. This practice was workable in the days when the storage repository and the Reading Room were in the same building and the collection was much smaller. If there was no detailed list of the contents of a collection, archivist and researcher could peruse the boxes to identify material for research use. This became a major problem after 1999 when the Reading Room and repository were physically separated. It resulted in reference staff travelling to the Repository to select material for researchers. At the instigation of Fiona Ross, Christine recorded this box front information creating close to 400 extra box lists that are now visible to the public. Due to the LUP and the creation of finding aids for new acquisitions since 2012, there are now over 1660 finding aids online.

While the task of uploading box locations will not finish when the LUP ends in late June, the Project has turned around the way UMA manages its locations, improved efficiency and standardised our practices. Staff have uploaded location data on over 68,700 boxes, Christine alone uploading 46,600.

Other Team members are Sue Fairbanks, Sophie Garrett, Rolf Linnestad, Fiona Ross, Melinda Barrie, Jane Beattie and Emma Hyde. The directing Committee has been chaired by Dr Katrina Dean.

So we thank Christine for all this work undertaken so cheerfully and we wish her well.
We will follow her work organising a collection management system for the records and artefacts of archaeological research stored at the British Institute in Amman with great interest. Having worked with Christine we know that, like us, the British Institute will be very lucky and grateful to have her on their team.

Christine Elias has a Diploma in Law and Collections Management from the Institute of Art and Law, UK; Master of Arts (Classics and Archaeology) from the University of Melbourne; and a Graduate Diploma of Museum Studies from Deakin University. She is very experienced in a range of collection management roles, and has worked as an archaeological registrar on excavations in Jordan.


Motoring and Travelling with Shell – Digital Images Online

The University of Melbourne Archives (UMA) is pleased to announce that a selection of photographs and items from the Shell Historical Archive 2008.0045 have now been digitised and are available for viewing online. This collection is a rich source of photographs, images, souvenirs, artefacts and correspondence which offer insight into Australia’s motoring history.

Discover Australia With Shell Australian Wildflowers Springtime in the Grampians, Shell Historical Archive 2008.0045.0305, Shell Historical Archive, 2008.0045, University of Melbourne Archives.
Discover Australia With Shell Australian Wildflowers Springtime in the Grampians, Shell Historical Archive 2008.0045.0305, Shell Historical Archive, 2008.0045, University of Melbourne Archives.

In the post war years Shell produced a number of series of educational swapcard albums, calendars, posters and tour maps. They attracted many well known artists to work on these road side souvenir sets which later became sought after collectables – luckily many samples of these works have survived and are now available for access via UMA.

An example is  Ralph Malcolm Warner who had formerly been well known for his work as a war artist  who undertook a commission with Shell in 1959 to create a Discover Australia with Shell (DAWS) series of souvenir posters. This particular set of posters show various natural Australian settings featuring their wildflowers. Other poster series include illustrations of Australia’s unique shells and bird life. The DAWS campaign was a promotional program designed to advertise the company’s services, in particular the Shell Touring Service. The posters were available to all travellers who stopped at select Shell service stops to fill up their cars or plan their trip.

The image featured in this post is one of a set of twelve posters that depicts the Victorian Grampians in the springtime. It shows off Warner’s distinctive use of bright colours to highlight his wildflowers against the majestic Grampians setting. Notes about the place are conveniently added to the bottom of the poster which advise the traveller that ‘Among the natural features that make Australia a motorists wonderland are the Grampians’. In addition there is a handy reference guide to what the wildflowers are called.

To see Warner’s Australian Wildflower poster series and much more visit the University of Melbourne Archives website at http://archives.unimelb.edu.au/ If you wish to obtain publication standard copies of the images please refer all requests to archives@archives.unimelb.edu.au


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