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NEW ACQUISITIONS
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COLLECTION STRENGTHS
Tamworth Regional Gallery is home to the Tamworth Textile Triennial which showcases the best of textile art from across the country every three years. Guest curators devise a theme based exhibition from artists working in the textile medium. Tamworth Regional Gallery has a long held association with fibre textile art dating back to the 1970’s. Early 20th century Australian and European works are another strength of Tamworth Regional Gallery with two significant bequests establishing the gallery in the early 1900’s. The John Salvana Collection (1919) contains over one hundred paintings and works on paper. The Burdekin Bequest (1961) is a significant collection of works collected locally by the Burdekin family and includes works by Hans Heysen, Nora Heysen, Will Ashton, Elioth Gruner and Sidney Long. In 1963 the Lyttleton Taylor family of Tamworth donated the Regan Silver Collection, which contains some of the best known examples of early Australian silver. Significant works by Evan Jones, Christian Ludwig Quist and HS Steiner are included. This collection is on permanent display in the gallery foyer. The Utopia Collection Bequest Like many other public galleries in Australia Aboriginal art had no part in the earliest history of the Tamworth Regional Gallery collection. Therefore the Utopia Collection Bequest which was received in 1999 is not only a unique collection of historically and culturally important works from Utopia, but also a significant development for the gallery. The Utopia Collection Bequest consists of thirteen batik silks, four acrylic paintings on paper, five silk screen prints, six etchings and acquatints, and six wooden carved ceremonial figures.
From the Collection
Charles Sidebotham Gould (aka Strom Gould) Supermarket Dated 1962 Oil on board 895 x 1205 mm Gift of Tamworth Art Society 1967. Charles Sidebotham Gould (also known as Strom Gould), was a cartoonist, illustrator, printmaker, painter and teacher. Gould was born in Letchworth, England on 2 August 1910. Whilst living in England he studied at St Albans School of Art, St Martins' School of Art and the Central School of Arts and Crafts in London. In 1935 Gould travelled from London to Australia aboard the Ormonde, disembarking at Melbourne on the 14th January 1936. By 1944 he was appointed as the Sydney Morning Herald's first art director; he drew their first comic strip, an untitled gag sequence first published in December 1944. He went on to work as a freelance artist across a wide variety of media. Gould then returned to England for a number of years between 1946 and 1951; upon his return to Australia he took up a teaching role with East Sydney Technical College (now known as the National Art School) until 1968. It was here he met John Coburn, who was also an artist and taught at the same institution. Gould printed Coburn’s lithograph Garden in 1960 and went on to become a founding member and vice president of the Sydney Printmakers from 1962. Due to his reputation as an illustrator and cartoonist, in 1953 Gould was commissioned to paint a series of Australian birds in natural surroundings for a series of twelve dinner menus for the new P&O liner, Arcadia. He also supplied them with a series for luncheon menus: a set of famous London scenes, and a set of amusing sketches of sea shanties. During his career Gould was awarded many prizes in exhibitions, including the Currabubula Art Show for his works The Laird of Cliffdale and Pittwater Southerlies, both landscapes. Supermarket is an abstract painting; Gould has applied oil to board with contrasting textures; smooth brushwork juxtaposed with chunky impasto, large blocks of shadowy colours etched over what appears to be fine skeletal figures. Dated 1962, this work would have been created whilst Gould was teaching at East Sydney. Strom Gould died at Port Douglas, Queensland, on 31 July 1992. KS Image above, image below
Fibre Textile Collection
Margaret Grafton B 1930 England arrived Australia 1955, died 2004 Jabbawocki 1975 Woven fibre sculpture, free form weaving natural wool 218 x 382 x 50cm Gift of the Tamworth Art and Craft Society Thirty five years ago members of the Tamworth Art and Craft Society conducted the first Fibre exhibition, with a major prize of $1,000 to be awarded to the winning work. The prize was acquisitive with the winning works in all sections being acquired by the Tamworth Art and Craft Society (TACS). A woven sculpture described as “beautifully designed” was awarded the major prize. The work was Jabbawocki by Margaret Grafton of Sydney. The judge Mr Dennis Colsey of Melbourne, said “The work was an example of craft technique being used to make an art object which therefore becomes a woollen sculpture. The work was not only beautifully designed, but has superb colour: white, yellow, mauve, natural wool colours and natural dyes.” Cosley was greatly impressed with the high standard of the works the exhibition had attracted. He recommended and expressed a hope that the TACS would continue to run the exhibitions. TACS agreed with Colsey and in 1982 the then Tamworth City Gallery and Council took control of the exhibition. detail above image below Margaret Grafton B 1930 England arrived Australia 1955, died 2004 Jabbawocki 1975 Woven fibre sculpture, free form weaving natural wool 218 x 382 x 50cm
Regan Silverware Collection
Jochim Matthias Wendt Born 1830 Denmark, arrived in South Australia 1854 – died 1917 Adelaide Ewer circa 1880 Silver, Marked on the foot ring:- “J.M.Wendt”, “Adelaide”, a crown, and the lion passant. Jochim Matthias Wendt, Adelaide circa 1880. Weight 675 grs, height 40 cm. Donated by Mr and Mrs J.C. Lyttleton Taylor in 1970 TRG 1970.06 ( detail above and image below. This week’s feature work Ewer, is one of two pieces of silverware crafted by Jochim Matthias Wendt in the gallery’s Regan Silverware Collection. Jochim Matthias Wendt was the son of Jochim Matthias Wendt Sr and his wife Christina, nee Schlichting. Wendt, was born in the village of Dageling, near Itzehoe in Denmark on 26 June 1830. Wendt completed his apprenticeship with the village watchmaker, having learning the crafts of watch making and silver smithing. He immigrated to South Australia arriving in Adelaide in 1854. Within a year of his arrival, Wendt had established his business as J.M.Wendt, watchmaker and jeweller in Pirie Street, Adelaide and later became a naturalised British subject. Wendt’s natural talent, good training and delicate craftsmanship led him to become an internationally recoginsed jeweller, watchmaker and gold / silver smith. In 1864 and 1865 his silverware and jewellery gained first prizes at the Dunedin Exhibition in New Zealand, whilst also receiving awards and medals in Australia. In 1867 he was appointed Jeweller to HRH the Duke of Edinburgh and gained two gold medals for his work from South Australia. By this time he had moved his business to Rundle Street, Adelaide and had employed 12 silversmiths as well as watch makers, jewellers and shop assistants. Wendt also submitted a pair of prize-winning epergnes to the Paris Universal Exhibition of 1878. Wendt's silverwork included extravagant naturalistic creations, stylish Edwardian domestic designs and pieces which showed restrained Regency taste which is evident in Ewer. His pieces rank amongst the finest produced in Australia during the second half of the nineteenth century. Wendt married in1869 to Johanna Maria Caroline, late Koeppen, née Ohlmeyer, a widow with four children, to whom he had a son and two daughters. Wendt retired in 1903 when his son Julius and stepson Hermann Koeppen-Wendt became partners in the firm and took control of the business. Wendt died in his in Wakefield Street, Adelaide on 7 September 1917, survived by his wife and children. Image above, image below by Lou Farina, Farina Fotographics, Tamworth



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