Fletcher Jones Archive

Fletcher Jones Factory, Pleasant Hill Warrnambool, photograph taken by Melinda Barrie May 2012.
Fletcher Jones Factory, Pleasant Hill Warrnambool, photograph taken by Melinda Barrie May 2012.

The Fletcher Jones collection held at the University of Melbourne Archives provides insight into the events, people and places that shaped the career of this charismatic business entrepreneur and philanthropist; from his early days as a hawker of goods in the Western District, until his retirement in the early 1970s as Managing Director of his successful clothing retail chain, Fletcher Jones & Staff. The company has a special significance to the Warrnambool community, where everybody knows somebody who had been connected to the business. Beyond Warrnambool the clothing brand Fletcher Jones is a household name.

The records documenting this innovative manufacturing business will be available for research access later in 2014. A news release about the Fletcher Jones collection was published in the Warrnambool Standard earlier this week.


Altering Shakespeare: An Interleaved Copy of Antony and Cleopatra

On 23 February 1855, the steamship Pacific docked in Melbourne harbour. Descending the gangway for his first tour of Australia was the Irish actor Gustavus Brooke, along with his wife Marianne, Brooke’s leading lady Fanny Cathcart, and his stage manager Richard W. Younge.

How Younge worked up a play for performance can been seen in his interleaved copy of Antony and Cleopatra, A Tragedy ([London?], ca. 1800), highlighted in this week’s post, along with some commentary on its provenance and use.

 

Half-title signed by R. W. Younge
Half-title inscribed by Richard Younge

 

The inscription shown above reads ‘R. W. Younge Theatre Royal Melbourne Feby 1856’. By ‘Theatre Royal’, Younge is most likely referring to Queen’s Theatre, also known as Queen’s Theatre Royal, where Brooke’s company opened with Othello to wide acclaim, and not the Theatre Royal owned by John Black. At the time of Younge’s February 1856 inscription, Black was in direct competition with the man responsible for Brooke’s Australian tour: the entrepreneurial actor-manager George Coppin, lessee of Queen’s Theatre and owner of the prefabricated Olympic. It was not until June 1856 that Coppin took over the Theatre Royal from his then insolvent rival, and so it is highly doubtful that Younge would have infringed upon his contractual obligations by being in the Theatre Royal before then.[1]

Potential confusion about the inscription aside, what makes this copy particularly interesting are Younge’s notes and textual edits.

 

Opening scene of play with annotations and notes.
Opening scene of play with annotations, notes, and a second inscription by Younge (p. [1])

Not a single page of printed text escaped his pen. Younge crossed out text, jotted down stage notes, cut entire scenes, changed characters, such as Demetrius and Philo being replaced by Enobarbus and Eros at the opening of Act 1, Scene 1 (see above image), and made numerous smaller alternations throughout the play in order to adapt the text to suit the production.

 

Younge's changes to Act 2, Scene 2, with a further inscription
Younge’s changes to Act 2, Scene 2, with a further inscription (p. 26)

 

Younge clearly made good use of the interleaving. His notes range from single lines to full pages of text, including many explanations and interpretation of phrases, definitions of words, musical accompaniment and stage directions, and even the occasional sketch of the set.

 

Sketch of set with stage notes.
Sketch of set with stage notes (p. 50)

 

Further stage notes (p. 51)
Further stage notes (p. 51)

 

Despite the amount of editing and annotation, no evidence could be found that Brooke and his company ever performed Antony and Cleopatra in Australia. Contemporary newspapers record the group performing scenes from Othello, Hamlet, Richard III, Macbeth, and Merchant of Venice. According to the Dictionary of the Australian Theatre, 1788-1914, Antony and Cleopatra was not performed at Melbourne’s Theatre Royal until 1867, six years after the actors returned to England.[2] 

 

Final page with notes.
Final pages (p. 141).

 

Perhaps Brooke and Younge found the existing repertoire sufficiently successful and did not feel the need to introduce scenes from another play.[3] Regardless of the reasons why Antony and Cleopatra was not used, this copy, with its copious notes and amendments, offers a fascinating study in nineteenth-century stage production and a fine connection with a booming Melbourne during Victoria’s early gold rush years.

Anthony Tedeschi (Deputy Curator, Special Collections)

—-

Antony and Cleopatra; A Tragedy by William Shakespeare; Accurately Printed from the Text of Mr Steeven’s Last Edition ([London?], ca. 1800); from the library of Dr John Chapman with his bookplate; purchased by the University of Melbourne from the Chapman sale, Melbourne, 24-25 February 2004 (lot 340)

[1] According to Brooke’s entry in the Australian Dictionary of Biography, when the juvenile lead Robert James Heir married Fanny Cathcart the pair left Brooke’s company for an engagement at Black’s Theatre Royal. They were brought back by a court injunction. See H. L. Oppenheim, ‘Brooke, Gustavus Vaughan (1818–1866)’, Australian Dictionary of Biography, National Centre of Biography, Australian National University, http://adb.anu.edu.au/biography/brooke-gustavus-vaughan-3064/text4519, published in hardcopy 1969, accessed online 26 March 2014.

[2] Eric Irvin, Dictionary of the Australian Theatre, 1788-1914 (Sydney: Hale & Iremonger, 1985), 28.

[3] Along with the inscription, the fact the play went unused suggests Younge bought the book in Melbourne where he had it interleaved and bound. His working up of the text for a potential addition of Antony and Cleopatra to an already full programme seems more probable after the company’s arrival in Australia than having such plans in place at the start of the tour and then dropping them.


Stories Amongst the Vines: Viticultural Society of Victoria New Acquisition

Viticultural Society of Victoria, 2013.0070. Photograph annotated as '1908 Wine Judging Royal Melbourne Show', Left to Right W.E. Lillie, W.J. Seabrook, Wine Steward, Stewart Johnson, W.E. Senior
Viticultural Society of Victoria, 2013.0070. Photograph annotated as ‘1908 Wine Judging Royal Melbourne Show’, Left to Right W.E. Lillie, W.J. Seabrook, Wine Steward, Stewart Johnson, W.E. Senior

The Viticultural Society of Victoria (VSoV) played an important role in popularising the fine art of wine drinking in the twentieth century. The VSoV was formed in 1905 when wine consumption and the wine industry were at their lowest ebb – plagued by the debilitating  effects of phylloxera disease on vineyards, a powerful temperance movement and the public preference for tea drinking. University of Melbourne Archives acquired the VSoV collection in 2013 further enhancing its wine industry holdings – it will be available for research use during the first half of 2014. In the meantime an article about the Viticultural Society of Victoria will be published in the next UMA Bulletin highlighting the VSoV research value.

2013.0070 Viticultural Society of Victoria


Department of Accounting: Professor Colin Brian Ferguson (1949-2014)

Professor Colin Ferguson Department of Accounting http://fbe.unimelb.edu.au/accounting/staff/academic/colin_ferguson
Professor Colin Ferguson
Department of Accounting
http://fbe.unimelb.edu.au/accounting/staff/academic/colin_ferguson

PROFESSOR COLIN BRIAN FERGUSON (1949–2014)
Professor Colin Ferguson passed away peacefully after a short illness in his native Warrnambool at
the age of 64. Colin had an international reputation for work encompassing auditing, forensic
accounting, and accounting information systems. Raised in Warrnambool where he completed his
secondary education at the Christian Brothers (now Emanuel) College, he commenced tertiary studies
at what was then the Warrnambool Institute of Advanced Education (now Deakin University),
graduating with a Diploma of Business Studies in 1971. This was the modest start to what turned out
to be a brilliant academic career. After working in the Melbourne office of Peat Marwick Mitchell &
Co (now KPMG)
in the early 1970s, he commenced teacher training and taught commercial subjects, including typing,
for two years in state secondary-schools before completing a Bachelor of Business degree at
Swinburne University.  A Master of Economics at the University of New England followed in 1980 and
a Graduate Diploma of Computing at Deakin University in 1985. The die was cast – Colin had entered
the nexus of computing and accounting, a sub-discipline of accounting that has been described
affectionately by more than one scholar as “lunatic- fringe”. In the meantime, he had obtained a
lectureship at Deakin where he completed his PhD in 1994, under the supervision of Professor Peter
Wolnizer, who went on to become an eminent Dean of Business at the University of Sydney.  Colin’s
interest in both accounting and computing was reflected in his choice of PhD topic –“An
investigation of the effects of microcomputers on the work of professional accountants”. It was
hardly a surprise when Colin was recruited by the University of Queensland (UQ) the following year
– one of his examiners was Professor Ron Weber, an eminent professor at UQ in the field of
information systems and accounting.

Drawing on his PhD and with the stimulus of one of Australia’s leading departments in accounting
and information systems at UQ, he commenced publishing prolifically in top-tier accounting and
information systems journals, leading to a professorial appointment as Professor of Accounting
Information Systems in 2001.  At UQ, he had the top echelon of professors with which to work,
including Frank Finn, Ian Zimmer (whom he had known at Swinburne  and Deakin in the 1970s), Paul
Bowen, Fiona Rhode, Peter Green, and of course Ron Weber, to name but a few. At the same time, he
maintained a close relationship with Deakin university, continuing to work with his close friend,
Professor Graeme Wines, where he held an Honorary Professorship from 2003.While happy in
Queensland, Colin always maintained that he was an avowed ‘Victorian living in Queensland’. He said
this once too often to Professor Stewart Leech at a meeting of the Institute of Chartered
Accountants in Australia’s (ICAA) Education Board in Sydney in 2003, who promptly replied: “if we
create a Chair of Business Information Systems at the University of Melbourne, will you move to
Melbourne?” The chair was created and the move was made, despite some misgivings at the time from
his wife Yvonne, who was also happy in Queensland.

At the University of Melbourne, Colin continued to publish regularly in top-ranking journals,
facilitated by his outstanding success in gaining competitive linkage research grants (with
industry partners) through the Australian Research Council. To his Melbourne colleagues he was
known as an excellent teacher, higher-degree supervisor, program director and mentor to junior
staff.  He played a major role in strengthening the ‘town and gown’ links of the University’s
Department of Accounting and Business Information Systems (now Department of Accounting) through
his Directorship of the Department’s Centre for Accounting and Industry Partnerships  and his
instrumental roles in the creation of the Australian Accounting
Hall of Fame  and the highly successful executive-in-residence program. He served on a
variety of University committees, including positions as Associate Dean Research and Associate Dean
Knowledge Transfer in the Faculty of Economics and Commerce (now Business and Economics), as well
as Deputy Head of the Department of Accounting.

Colin was always in demand to present his research at a wide range of seminar programs, symposia
and conferences. He had a natural brilliance about him – often it was more about his research
philosophy than the topic at hand – often frustrating a session chair to keep him on track! But his
depth of knowledge and highly-tuned presentation skills always meant that the audience was
entertained and rewarded. At one academic conference, his co-author, who was to present the paper,
was missing.  Colin presented the research – no paper, no PowerPoint slides, no notes (in fact it
was doubtful if he had seen the paper for six months or so). The resulting oration held the
audience in awe – it was no less than brilliant.

A long-time friend of historian Dr Peter Yule, he was interested in a broad range of histories and
initiated the publication of a history of the University of Queensland’s Department of Commerce.
At Melbourne he was similarly supportive of histories of the University’s accounting discipline and
of its longest-running annual lecture series: the University of Melbourne – CPA Australia Annual
Research Lecture.

He served on a variety of committees of CPA Australia and the ICAA and was President of the
Accounting and Finance Association of Australia and New Zealand for 2004–2005.
Earlier he had been president of the Western District Branch, Victoria, of CPA Australia.  His
academic activities also extended to the membership of several editorial boards, including the
International Journal of Accounting Information Systems and Accounting & Finance.

The son of a builder, Colin’s handyman skills were of tradesman standard and he had just completed
major renovations to the family’s historic Warrnambool house in preparation for retiring there with
his wife, Yvonne.   The couple’s gardening enthusiasms were evident in their frequent gifts of
fresh produce to friends and colleagues.  A fine golfer, his handicap had slipped out from
single-figures in recent years only due to other activities restricting him to occasional rounds of
golf.  He took great satisfaction from the performance on the US PGA tour of his Warrnambool
club-mate, Mark Leishman, and was sadly deprived of his ambition of returning his own handicap back
to single-figures.

Colin’s death is an enormous loss to academia and the accounting profession. A gentle person who
was always positive and could always see the best in people, he will be missed but never forgotten
by all his academic and professional colleagues, friends and ex-students.  All our sympathy is
extended to Yvonne, and their children, Sam, Katherine, Joseph and Patrick, and to the wider
Ferguson family.

Contributors Geoff Burrows and Stewart Leech
Department of Accounting
The University of Melbourne


EE Milston: Personal Records & Records of His Architecture Practice

The National War Memorial of Victoria Part of proposal submitted by EE Milston Ink and pencil on tracing paper EE Milston 1976.0025
The National War Memorial of Victoria
Part of proposal submitted by EE Milston
Ink and pencil on tracing paper
EE Milston 1976.0025

Victoria’s monument to those who served in the second world war was designed by a man whose personal experience of that war brought him to Australia.  Born in Czechoslovakia in 1893, Arnost Edward Mühlstein established his architectural practice in the modernist style and travelled widely in Europe to study architecture of all periods.  Mühlstein was Jewish – warned of his impending arrest, he fled Czechoslovakia in 1939.

Arriving in Adelaide in 1940, Mühlstein joined the practice of Lawson & Cheesman and began to settle in to a new city, taking an active role in local theatre.  He enlisted as a ‘friendly alien’ with the Royal Australian Engineers, which brought him to Melbourne in 1945.  At the end of the war he remained in Victoria, acquired Australian citizenship and anglicised his name to Ernest Edward Milston.

Following WWII, the Trustees of the Shrine of Remembrance sought concepts for a memorial to complement the WWI Shrine of Remembrance.  Two architects proposed a forecourt with EE Milston’s design selected.  Records held in the Milston collection at UMA reveal that his design had classical roots, to continue the concepts already embodied in the WWI Shrine (the Mausoleum of Halicarnassos and the Forecourt based on the Acropolis in Athens).  Milston’s design features flagpoles to represent the armed forces, an eternal flame and a cenotaph with sculpture created by George Allen.  Her Majesty, Queen Elizabeth II dedicated the Forecourt during her first visit to Australia.

In the 1950s, Milston designed many commercial properties and private residences, his clients included mining executive, AJ Keast, historian Geoffrey Blainey and artist Louis Kahan.  For CRA, Milston and partner Don Fulton, designed the Queensland town of Mary Kathleen following the discovery of uranium in the area in 1954.  Following the closure of the mine in 1982, everything in the town was auctioned and Mary Kathleen became a ghost town, remembered by those who lived there, a handful of buildings moved to new sites, and the records held at UMA.

The site plan shown here was exhibited in the exhibition, Wealth of Details in 2012, associated with Open House Melbourne (OHM).  In 2014, OHM will run over the weekend 27 and 28 July.
The National War Memorial of Victoria, Part of proposal submitted by EE Milston, Ink and pencil on tracing paper, EE Milston 1976.0025

Contributor: Sophie Garrett, University of Melbourne Archives


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