Download pdf - Object Report for Managing Collections & Heritage Sites Unit (MMHS, Sydney Uni)

1

2015 Semester 2

MHST6903 – Managing Collections and Heritage Sites

Unit Coordinator: Dr Helena Robinson

Research Project: Object Report of a drawing by Russell Drysdale with regard

to acquisition by the AGNSW.

(Fig.1)

By Antony Skinner St ID 19844664

Words: 2250

2

Table of Contents

Images:

Fig.1: Page 1.

Fig.2: Page 10.

Fig.3: Page 10.

Title Page: Page 1.

Table of Contents: Page 2.

1. Introduction to Object Report: Page 3.

2. Description of the Object: Pages 3-4.

3. Provenance & History of the Object: Pages 4-5.

4. Condition Reporting: Pages 5-6.

5. AGNSW Collection Policy: Pages 6-7.

6. Assessment of Significance: Pages 7-9.

7. Conclusion: Page 9.

Images: Page 10.

Condition Report 7.10.15: Pages 11-14.

Bibliography: Pages 15-16.

3

1. Introduction to Object Report

This report will examine one of four original artworks by the artist Russell Drysdale

gifted to my grandfather, Clement Clarton during their friendship and whether it is

suitable for acquisition by the Art Gallery of New South Wales (AGNSW). Firstly,

the report will give a description of the object (Fig.1), in accordance with the

AGNSW categories of information listed for the collection online. Secondly, trace the

history and provenance of the object, vital to prove its authenticity and valid

ownership. Thirdly, summarise guidelines to condition reporting and complete a

report using Te Papa’s template. Fourthly, provide an overview of the acquisition

policy of the AGNSW relevant to the artwork. Finally, a significance assessment of

the object to determine whether it is suitable for acquisition by the AGNSW.

2. Description of the Object

Mattassa briefly states how classification is needed by museums for recording

different types of information or categories of data on objects for their collections.1

The CIDOC Information Categories, titled ‘International Guidelines for Museum

Object Information’ published in 1995, clearly states its purpose in its title and

thoroughly documents the categories of information for all the processes of an

object’s life in an institution and also the requirements of recording that information

or data. Although it is possibly due for review, given that it is now over 20 years old.

For the purposes of this report the types of information recorded will be taken from

categories of information used online to describe artworks in the AGNSW

collections.2 Object details include:

Title Untitled, (portrait of a stockman)

Date Undated, likely post-1960.

Artist Russell Drysdale, England, Australia

7 Feb 1912 – 29 Jun 1981

1 Matassa, Freda. ‘Documentation’, Museum Collections Management: A Handbook. London: Facet publishing, 2011, pp.78-79. 2Drysdale, Russell, ‘Stockman’, Collection, AGNSW, http://www.artgallery.nsw.gov.au/collection/works/9325/, (Accessed 6.10.15).

4

Place of Production Australia

Media Category Drawing

Materials Used Brown ink and brown wash on parchment paper

Dimensions Mount: W144mm H220mm Image: W134mm H200mm

Signature & date ‘Russell Drysdale’ bottom right / ‘For Clem’ bottom left

Collection Area Australian Art

Period 20th century

Credit (Purchase, Donation, or Bequest)

Accession number Temporary IRN

Location Not on display

Object description, includes the material, and subject:

The subject is a portrait of a stockman, perhaps Aboriginal, but it is difficult to

determine. It shows the stockman with a slouch hat, shirt and neck-scarf from the

shoulders up. It is signed on the bottom right or proper left by the artist and dedicated

to my grandfather on the proper right. The paper is camel coloured parchment paper

on a floating mount of dark brown paper. The figure is drawn in brown pen ink and

coloured in brown wash (Fig.1).

3. Provenance & History of the Object

The object was a gift from the artist to my grandfather from the dedication on the

bottom proper right (left). Unfortunately the work is undated, but it is likely to have

been created after the early 1960s. There are three other original works from Drysdale

that were in my grandfather’s possession, also all undated (two are shown in Figs.2-3,

page 10), as well as13 Christmas cards and one letter dated 1980, the year before

Drysdale died. The Christmas cards are all marked from Drysdale’s property at

Bouddi Farm. It is possible that the cards date from 1967 or earlier to 1980. It is

recorded that Drysdale and his wife rented a friend’s house in Double Bay in 1964.3

My grandfather was the manager of a shop called ‘The Household Supply P/L’ from

the later 1940s or early 1950s until his retirement in the mid-1980s (?) and one of

Drysdale’s Christmas cards postmarked 1978 is sent to the address of the shop: 394

3 Klepac, Lou, Russell Drysdale, Murdoch Books, Sydney, 1983, p. 167

5

New South Head Road, Double Bay. So it is possible they first met at the shop in

1964. Unfortunately, all the original parties have died. I remember seeing three of the

artworks (Figs.1-3) framed in my grandparents’ house in Chatswood (with other

paintings) when my family used to visit them every weekend until I was in my early

twenties. My grandfather bequeathed his estate to my mother as his only child when

he died in 1994. They were then hung in my parents’ house. After my mother’s death

in 2012 her estate went to my father and he is currently the legal owner of the

artworks, which are currently in the possession of my eldest brother. ICOM Code of

Ethics for Museums, states that a museum needs to be satisfied that valid title exists

before acquiring an object, and legal title alone is not necessarily valid title.4 Valid

title requires indisputable right to ownership of property.5 Under ICOM the AGNSW

is required to conduct provenance checks and due diligence to ensure the object has

not been illegally obtained, so a full history of the item is necessary.6 From the

object(s) passing from Drysdale to my grandfather and so forth the provenance is

unbroken and it is clear that my father has legal and valid title.

4. Condition Reporting

Demeroukas identifies two types of condition reports for objects: one that is used by

either a registrar, curator or collections manager as a collections management tool to

record detailed information on the objects and the second used by a conservator to

determine any damage and subsequent strategies for object treatment.7 Matassa

provides a useful list when condition reporting is required, namely: from acquisition,

to loans, to moves, exhibitions, insurance assessment, to accident, and deaccession.8

Demeroukas’ article describes a conservator’s condition report to assess damage and

determine action. It considers whether damage is historical or contemporary and if it

is due to an inherent fault or ‘inherent vice’, biological damage, physical damage, or

chemical damage.9 Damage information should include: types, extent, location, form,

dates, reasons; while damage itself can be described in terms of texture, colour, shape,

4 ICOM Code of Ethics for Museums, ICOM, Paris, 2013, p.3 5 Ibid. p.16 6 Ibid. p. 3 7 Demeroukas, M., ‘Condition Reporting’. In Buck, R.A., Allman Gilmore, J., (eds.), The New Museum Registration Methods. American Association of Museums, 1998, p. 53. 8 Matassa, Freda. ‘Documentation’, p. 86. 9 Demeroukas, M., ‘Condition Reporting’, p. 54.

6

odour, or other physical properties.10 For location: use either the zone or grid system

with, eg proper left = viewer’s right; or the matrix system using x and y axes or plot

damage on Mylar overlay on photos of objects. In describing location use: direction,

object side (obverse/reverse or recto (front)/ verso (back)), and range.11 In extent use

degrees of severity. Demeroukas also provides a useful glossary of terms to describe

types of damage.12 AICCM online has useful guides prepared by the Heritage

Collections Council on all aspects of condition reporting and collection care, although

the guides were published in 1998 and could need review in light of changes by some

museums to best practice. Other resources are also available via AICCM’s website,

such are their useful ‘Visual Glossary’.13

For the purpose of this object report a condition report at time of acquisition is

appropriate, as well as information on damage to the object. Therefore a condition

report template used by Te Papa (Museum of New Zealand) will be used, which is

useful as it includes significance assessment and recommendations.14 Please see

Condition Report dated 7.10.15 on pages 11-14 for: object details; damage; storage

and display options; treatment; and recommendations.

5. AGNSW Collection Policy

The gallery unveiled a new strategic vision on 6 March 2013, labelled ‘Sydney

Modern’, which is predominately about structural expansion and recognises that the

current building is insufficient to exhibit the gallery’s collections, inhibits temporary

exhibitions from abroad, and prevents expansion of the collections. A comparison is

made to other art museums and the necessity of their expansion.15 One can think of

the NGV as an example, now with it’s two separate buildings, which focus on two

distinct collections, the Australian and International collections. Therefore there is the 10 Ibid. p. 55. 11 Ibid. p. 56. 12 Ibid. pp.57-60 13 Visual Glossary, Conservation, AICCM (Australian Institute for the Conservation of Cultural Material), <http://aiccm.org.au/conservation/visual-glossary>, (Accessed 6.10.15). 14 Condition Reporting Form Template National Services Te Paerangi, Museum of New Zealand Te Papa Tongarewa, 2010. 15 Gallery unveils strategic vision and masterplan, Media office – Archived releases, AGNSW, 6 March 2013, http://www.artgallery.nsw.gov.au/media-office/agnsw-unveils-strategic-vision/ , (Accessed 6.10.15).

7

need to expand the superstructure of the AGNSW to allow a flow-on to increased

collecting, exhibiting, facilities, and visitors.

This new vision expands on the gallery’s existing acquisition policy for Australian art.

The policy emphasises the strength of the gallery’s collection of Australian art from

the nineteenth and twentieth centuries and how it ‘will continue to acquire Australian

art of all periods and in all media’.16 However, the policy emphasises ‘highly

significant’ works and gaps in the existing collection. It also outlines the procedures

for acquisition and emphasises the importance of establishing title and provenance.

This is relevant given the recent scandal the gallery was involved in (and more so the

NGA) with the purchase of stolen Indian artefacts from New York art dealer, Subash

Kapoor, particularly the Ardhanarishvara statue of Shiva.17 The gallery revised its

acquisition policy as a result, in relation to due diligence and provenance making the

procedures more stringent. Assessing the physical condition and care required is also

important and any works considered for acquisition require a condition report by the

curator.18

6. Assessment of Significance

A full significance assessment of the object in line with Significance 2.0 is out of

scope for this report, however the first eight steps is a useful procedure to gather and

assess information.19 In terms of steps 1. Collate, 2. Research, and 3. Consult – this

has been done in sections 1, 2 and 3 above. Although consulting a curator, art critique

or expert in Australian art or Russell Drysdale would be helpful for step 4. Explore.

Step 5. Analyse – has been completed in section 4 above. For step 6. Compare – a

succint overview of Drysdale’s works in the gallery’s collections is required.

16 Art acquisitions policy for the collection, Corporate Information, AGNSW, < http://www.artgallery.nsw.gov.au/about-us/corporate-information/policy-documents/art-acquisitions/>, (Accessed 5.10.15). 17 Taylor, Andrew, Stolen statue: Art Gallery of NSW checks its collection, Entertainment, SMH, October 17, 2013, < http://www.smh.com.au/entertainment/art-and-design/stolen-statue-art-gallery-of-nsw-checks-its-collection-20131017-2vosk.html> , (Accessed 6.10.15). 18 Art acquisitions policy for the collection, Corporate Information, AGNSW 19 Russell, Roslyn, & Winkworth, Kylie, Significance 2.0 – a guide to assessing the significance of collections, Collections Council of Australia Ltd, 2009, p.23.

8

Thus an online search of the AGNSW’s collection returns 36 artworks by Drysdale,

including: 1 book, 19 drawings, 14 paintings, 2 prints, 1 textile, and 2 watercolours.

This gives a total of 39 artworks, thus one can assume that some works are classified

in more than one media type. Four of Drysdale’s paintings are indicated as collection

highlights and are some of the most iconic works of his oeuvre.20 Drysdale primarily

painted figurative works and landscapes focusing on rural towns and the outback,

with a particular interest in depicting characters from the bush and as art critique

Robert Hughes noted, ‘the first to make the Australian aborigine (sic.) a major theme

of his art’.21 Hughes who has been quite harsh on Australia’s artistic tradition,

labelled Drysdale, as innovative, vigorous, and ‘the first widely known Australian

artist with a real alternative to pastoral landscape.’22 His imagery was anchored in his

experience on the land where he often integrated his figures both indigenous and non-

indigenous into the landscapes of his paintings. His style has been labelled surrealism

to social realism. The addition of a smaller work depicting a stockman is

representative of some of Drysdale’s most figurative types and would help

complement the existing drawings in the collection and perhaps provide further

background to his more prominent pieces.

In terms of step 7. Identify – the person or place in the object cannot be identified but

is associated with some of Drysdale’s other artworks in the collection by the subject,

such as: Stockman (circa 1957), Billy (circa 1957), The barman (circa 1957), Two

drinkers (circa 1980-81).23 These drawings are typical of pencil and ink and wash

sketches that Drysdale produced of characters of the land and may be more a detailed

character study than some of his figurative paintings, excluding his portraits.

For step 8. Assess – significance against primary criteria and determine degree against

comparative criteria. From the previous sections the primary significance of the object

is artistic and aesthetic as it is a competently executed example of ink drawing and

wash by the artist. The provenance of the object is established as being a gift from the

artist to my grandfather, as dedicated on the artwork, although not separately 20 Artists with profiles, (Russell Drysdale), Collection, AGNSW, < http://www.artgallery.nsw.gov.au/collection/works/?date_from=1900&artist_name=Drysdale&date_to=1990&sort_by=artist&artist_country=australia> , (Accessed 5.10.15) 21 Hughes, Robert, The Art of Australia, Ringwood, Penguin Books, 1981, p. 199. 22 Ibid. p. 191. 23 Artists with profiles, (Russell Drysdale), Collection, AGNSW

9

documented. Also no documentary evidence identifies it nor records indicate chain of

ownership in my family history other than verbal history and Grants of Probate for

estates which are legal documents. However, other material evidence establishes a

relationship between my grandfather and Drysdale, such as 13 Christmas Cards sent

by the artist and one letter before his death. The object is not rare for its subject and

media but representative of this type of work by the artist. It is in good condition but

as the condition report section states it requires treatment conservation for cockling.

For interpretative capacity the object does fit within the AGNSW’s collection policy

for Australian art and it relates to other objects and themes in the collection, although

it is not necessarily significant nor fill gaps in the collection.24 It should be added that

Fig.1 was chosen for although not rare like Figs.2 and 3, its provenance is

indisputable, also it is in better condition, more representative and perhaps more

skilled in technique and finished in execution.

7. Conclusion

Having examined and described the object using established methods by museums

and their professionals; researched the provenance and history of the object using

available material and family knowledge; assessed its significance using the accepted

methodology of Signficance 2.0; and considered the object in relation to the AGNSW

acquisition policy one can say that it would be a worthwhile if minor enhancement to

the AGNSW’s collection of drawings of Russell Drysdale, building on his existing

figurative types of ‘outback’ stockmen.

24 Russell, Roslyn, & Winkworth, Kylie, Significance 2.0 – a guide to assessing the significance of collections, pp.39-40.

10

Fig.2

Fig.3

11

Condition Report 7.10.15

Page 1 Condition report - Te Papa template.

12


13


14


15

Bibliography

Art & Architecture Thesaurus® Online, The Getty Research Institute, <

http://www.getty.edu/research/tools/vocabularies/aat/>, 2015, (Accessed 5.10.15).

Art acquisitions policy for the collection, Corporate Information, AGNSW, < http://www.artgallery.nsw.gov.au/about-us/corporate-information/policy-

documents/art-acquisitions/>, (Accessed 5.10.15).

Artists with profiles, (Russell Drysdale), Collection, AGNSW, < http://www.artgallery.nsw.gov.au/collection/works/?date_from=1900&artist_name=Drysdale&date_to=1990&sort_by=artist&artist_country=australia> , (Accessed 5.10.15)

Gallery unveils strategic vision and masterplan, Media office – Archived releases, AGNSW, 6 March 2013, http://www.artgallery.nsw.gov.au/media-office/agnsw-unveils-strategic-vision/ , (Accessed 6.10.15).

Condition Reports – the essentials, Museums & Galleries of NSW, <

http://mgnsw.org.au/sector/resources/online-resources/collection-

management/condition-reports-essentials/>, (Accessed 5.10.15).

Condition Reports – a ‘how to’ guide, Museums & Galleries of NSW.

Condition Reporting Form Template National Services Te Paerangi, Museum of New

Zealand Te Papa Tongarewa, 2010.

Demeroukas, M., Condition Reporting. In Buck, R.A., Allman Gilmore, J., (eds.), The

New Museum Registration Methods. American Association of Museums, 1998, pp.

53-62.

Drysdale, Russell, ‘Stockman’, Collection, AGNSW,

http://www.artgallery.nsw.gov.au/collection/works/9325/, (Accessed 6.10.15)

16

Hughes, Robert, The Art of Australia, Ringwood, Penguin Books, 1981.

International Guidelines for Museum Object Information : The CIDOC Information

Categories, CIDOC, 1995.

ICOM Code of Ethics for Museums, ICOM, Paris, 2013.

Klepac, Lou, Russell Drysdale, Murdoch Books, Sydney, 1983.

Matassa, Freda. ‘Documentation’, Museum Collections Management: A Handbook.

London: Facet publishing, 2011, pp.67-93.

National Standards for Australian Museums and Galleries, Version 1.4, National

Standards Taskforce, Melbourne, October 2014.

Russell, Roslyn, & Winkworth, Kylie, Significance 2.0 – a guide to assessing the

significance of collections, Collections Council of Australia Ltd, 2009.

Taylor, Andrew, Stolen statue: Art Gallery of NSW checks its collection, Entertainment, SMH, October 17, 2013, < http://www.smh.com.au/entertainment/art-and-design/stolen-statue-art-gallery-of-nsw-checks-its-collection-20131017-2vosk.html> , (Accessed 6.10.15). Visual Glossary, Conservation, AICCM (Australian Institute for the Conservation of

Cultural Material), <http://aiccm.org.au/conservation/visual-glossary>, (Accessed

6.10.15).

17