ist of Works

EAST WALL – GROUP 1James GLEESON, Paleolithic Landscape, 1939, oil on board, 37.6 x 45.5 cm William B. GOULD, Pheasant Still Life, c.1850, oil on canvas laid down on board, 57 x 64 cmWeaver HAWKINS, Self Portrait with Flowers, 1949, oil on board, 70 x 50 cm Janet LAURENCE, The Lie in the Lens – Styx Forest, From The Crimes Against the Landscape Series, 2008, duroclear, polished aluminium, acrylic, 70 x 100 cmClare McFARLANE, Lilt of the Firetail, 2012, acrylic and silkscreen on canvas, 45 x 100 cm Jon MOLVIG, Fallen Brumby, 1959, oil and enamel on paper laid down on hardboard, 75.8 x 100.8 cmGinger Riley, MUNDUWALAWALA, Limmen Bight Story, 1987, synthetic polymer on canvas, 118 x 135 cm Eric WILSON, Sheep Skull, Wantabadgery Station, 1946, oil on canvas, 36 x 46 cm

EAST WALL - GROUP 2Marion BORGELT, Cryptologist’s Memoir, No. 9, 2006, book, beeswax, satin ribbon, oil, 26 x 35.5 cm Donald Stuart Leslie FRIEND, The Infernal Air Machine, 1942, ink and wash, 26 x 35.3 cm Frank HODGKINSON, The Seed, 1978, colour lithograph, 57.5 x 57 cm Ashley JONES, Midnight Creeper, 1975, etching, 32.5 x 29.2 cmLes KOSSATZ, Bound Trophy and After Image, 1978, colour lithograph, 48 x 53 cm Mary MOORE, Charisma (The London Portfolio), 1980, 3 colour etching, 3 plate, 61.7 x 44 cm

EAST WALL Theo KONING, Sea Journey, 1985, oil on canvas, 145 x 100 cm Theo KONING, Head and Baggage, 1987, acrylic on canvas, 150 x 102 cmDanie MELLOR, Untitled, 2008, pastel, pencil, crayon, wash, glitter and Swarovski crystal on paper, 19.3 x 24 cm

SOUTH WALLPeter ELLIS, Travelling Companion, 1992, oil on canvas in brass and copper box, 63 x 56 x 14 cm Andrew HAYIM, The Month of August, 1989, oil on customboard, 25.5 x 30.5 cm eachVictor MAJZNER, Eroded Channels, 1985, watercolour on paper, 81 x 108 cm Eamon O’TOOLE, Sidchrome Tool Kit, 1990, sprayed plastic moulded form, 100 x 137 x 25 cm (open)

WEST WALLRick AMOR, The Turning Season II, 2000, oil on canvas, 97 x 130 cm, Paul Holmes à Court CollectionIsabel DAVIES, White Summer – Lake Mungo, 1986 – 1987, mixed media, 44.2 x 43 x 37.5 cm Peter ELLIS, The Analyst, 1985, oil on canvas, 152 x 182 cm Anne HAWKES, Claremont School of Art, 1982, ceramic, 22 x 26 x 6 cm UNKNOWN (Maningrida), Pandanus Skirt, 1987, woven pandanus palm, 90 x 110 cm Rick VERMEY, Beachgoer, 1991, wood assemblage (mask), 27 x 29 x 10 cm

WEST WALL – CABINET 1Barb ADAMS, The Heart Melody, 2011, handmade fibre paper, reclaimed sticks, piano hinge binding, 25.5 x 35 x 18cm Archie MOORE, Flat Top Duck, 1987, carving, rubberwood & ochres, 33 x 9.5 x 7 cm Bronwyn OLIVER, Listener, 1992, copper, 19 x 31 x 23 cm Louie PWERLE, Carved Dog, 1989-1990, carved and painted wood, 23 x 86 x 20 cmUNKNOWN (Egyptian), Hippopotamus Goddess Taweret, 300 – 100 BC, blue frit, 10.2 x 3 x 4 cm UNKNOWN (Egyptian), Seated Cat, 300 – 100 BC, bronze, 12 x 11.8 x 5.6 cm UNKNOWN, Feathered Whisk, n.d., wood, feathers, ochre, 75 x 50 x 20 cm UNKNOWN (Kimberley Region), Stone Plaque – Kalumburu, n.d., incised stone, 17 x 28 x 1 cmUNKNOWN, Ceremonial Head, 1963, natural earth pigments on carved soft wood, 22 x 9.5 x 9.5 cm

WEST WALL – CABINET 2Brad COVENTRY, Bird in Flight, 1984, bronze, 10.8 x 12.5 x 9 cm George GARAWUN, Diver Bird, 1990, carved wood, 100.5 x 17 x 15 cm Anne HAWKES, Production Line Rear View No. 2, 1983, printed and lustred porcelain, press moulded, mirror, 12 x 50 x 5 cm Helen JENNINGS, The Other Ceramic Bowl, 1993, decoupage on ceramic bowl, 29.6 x 9 cm Emily Kame KNGWARREYE, Watering Can, n.d., acrylic on found object (metal watering can), 37 x 51 x 22 cm Janice KNGWARREYE, Wombat, 1989, carved mulga wood, 18 x 43 x 16 cm Theo KONING, Man Pushing His Load, 1992, wood and oil stick, 25 x 41 x 20 cm Robert MOORE, 1964 Pontiac Convertible, 1989, olive oil tin, plywood, oil paints, timber base, 12.5 x 48 x 20 cmJorge José MUNGUAMBE [MAKOLWA], Untitled, n.d., melted down guns from Mozambique, 26 x 16 x 20 cm, private collectionUNKNOWN (Papua New Guinea), Chambri Pot, n.d., low fired clay, 14 x 14 x 14 cmUNKNOWN (Papua New Guinea), Chambri Pot, n.d., low fired clay, 12 x 12 x 12 cm

WEST WALL – CABINET 3Deborah COCKS, Fruit Beetle, 1987, glass, 56 cm (diameter)Brian McKAY, Duck, 1986, painted carved palm frond, 15.5 x 37 x 13 cm Jonathan “Colonel” MUSTARD, Polo Vs Khan, 2009, mixed media with music box, 46.5 x 35 x 22 cmPerdita PHILLIPS, Chimera, 2009, digital inkjet print on archival matt paper, 14.2 x 25 cm Lena PWERLE, Figure, 1990, carved and painted softwood, 67.5 x 26 x 12 cm UNKNOWN (Central Australia), Echidna, n.d., wood carving, 14 x 42 x 16.5 cm UNKNOWN (Marribank), Porcupine, n.d., carved and poker worked timber, 11 x 24 x 12.5 cm UNKNOWN, Pukuti, n.d., woven hair and feathers, 13 x 19 x 3 cm

WEST WALL – CABINET 4Su BAKER, Silky Veils, 1988, oil on paper on board, 14.5 x 19.5 x 2.5 cm Michelle H. ELLIOTT, Portable Meat Safe with Built in Tenderiser, 1996, 21 x 32 x 20.5 cm Therese HOWARD, Waltzing Maurizio, 2005, cold painted bronze, wire, wood, Sheoak veneer and musical piece, 30.5 x 22 x 14 cm Therese HOWARD, Singing for Her Supper, 2006, cold painted bronze, wire, wood, 24 x 20 x 13 cm Siobhan KELLY, Untitled, 1996, mixed media, 21 x 35 x 23 cmNora KEMARRE, Male Eagle, 1994, painted wood carving, 26.5 x 7.5 x 7.5 cmNora KEMARRE, Female Eagle, 1994, painted wood carving, 25 x 7.5 x 7.5 cmEmily Kame KNGWARREYE, Inentye Man, 1989-1990, synthetic polymer paint on carved wood, 53 x 10 x 9.5 cm Fred, NANGANARRALIL, Untitled, n.d., painted baler shell, 14 x 30 x 16 cmGeoff RICARDO, Roo, 1994, bronze, 22 x 14.5 x 11.5 cmFrancella TUNGALTALUM, Yirrikapai (The Saltwater Crocodile), 1993, kapok wood, bouganvillia thorns (teeth) and synthetic polymer paint, 13 x 102 x 14.5 cm UNKNOWN (Tiwi), Buffalo, c.1983, ironwood, 48.5 x 18 x 6 cm UNKNOWN, Feathered Whisk, n.d., wood, feathers, ochre, 74 x 20 x 15 cm

NORTH WALLRew HANKS, The Hunter and Collector, 2010, linocut, 121 x 84 cm Louis LE BRETON, Koala Brun, c.1841 – 1855, etching, 41.2 x 27.8 cm (Print after) Charles Alexandre LESUEUR, Nouvelle Hollande: Ile Decres. Casoar De La Nouvelle Holland, c.1807 – 1816, coloured engraving with hand colouring, 24.5 x 31.9 cm (Print after) Charles Alexandre LESUEUR, Nouvelle Hollande: Nouvelle Galles Du Sud [Brown and Red Platypus], c.1807 – 1816, coloured engraving with hand colouring, 24.5 x 31.9 cm (Print after) Charles Alexandre LESUEUR, Echidna, Lyre Bird, Kangaroo, Tree Kangaroo, Wombat, n.d., coloured engraving with hand colouring, 24.5 x 31.9 cm Clare Elise McFARLANE, Caladema Project: Part I, II and III, 2009 acrylic and silk screen on board, 16 x 26 cm each John PEART, Soundings, 1988 – 1995, oil and acrylic on canvas, 183 x 90 cm Jan SENBERGS, Barthelme’s Diagram, c.1971, synthetic polymer on canvas, 167.5 x 182.5 cm (After) Adrien TAUNAY, Nouvelle Hollande: Baie Des Chiens-marins-nid Gigantesque Trouvesur L’ile Dirk- hartichs, 1818, 1825, copper engraving, hand coloured, 24 x 32 cm

DISPLAY TABLE Hans ARKEVELD, Conscience Box, 1995, mixed media, 9.3 x 29.3 x 20 cm (closed) Hans ARKEVELD, Conscience Box, 1995, pencil and ink on paper, 29.6 x 21 cm Helen BRITTON, Brooch, 2013, silver (925), paint, glass, plastics, 16 x 7 x 0.5cm Sarah ELSON, Rapier Lehmani, 2011, recycled silver, copper, bronze, brass and gold, 4.5 x 4.5 x 3.5 cm Sharleen KING, Windborne Epitaph, 2013, teabags and mixed media, 7 x 24 x 7 cm (dimensions variable on display)Sue LORRAINE, In God We Trust, 1984, silver, 13 x 26.5 x 3 cm (together displayed)Helen MALONE, Back to the Front, 2014, manipulated photographs on paper, charcoal draw-ing, foil tooling on leather (cover), 10 x 29 x 1 cm (closed)Clyde McGILL, Agents of Redemption - 1/10, 2005, poem etched on glass, 15 x 9.9 x 0.2 cm Clyde McGILL, Edie’s Story Book, 2005, mixed media, paper, string, ink and varnish, 22.3 x 10 x 1.5 cm Christian THOMPSON, To Make You Feel This Way, 2012, metal medallion in velvet box, 12 x 12 x 9 (closed)Kate THOMPSON, Not all People Become Monastic and Bitter when Love Goes Long Distance, 2011, videoflex on workman’s threads, 31 x 29 x 3 cm (closed) Margaret WEST, Casket for an Ice Crystal, c.1987, mixed media, 7.3 x 9 x 9 cm (closed)Margaret WEST, Casket for a Stone – One Can Play, c.1987, mixed media, 12.5 x 15.3 x 15.3 cm (closed)

SCULPTURE - FREE STANDING Stuart ELLIOTT, Nursery II, 2010, painted wood, 62 x 32 x 44 cm Diego GIACOMETTI, Chat Maitre-d’hotel: Version au Plateau Creux, c.1967, bronze with brown and green patina, 30 x 23 x 10 cm Gabrielle HANSEN, America’s Cup, 1987, ceramic, 35.5 x 16.5 x 11 cm Anthony (Tony) JONES, Engineer’s Dream 2, 1999, patinated and waxed bronze on wood plinth, 128 x 29 x 21.5 cm Danie MELLOR, Hunter Gatherer, 2008, mixed media with shopping trolley, 50 x 87 x 19 cm Peter PHILLIPS, Man and Machine, 1974, mixed media, 110 x 117 x 56 cm Mick WARD, Table and Chair, c.1989, timber and acrylic, 130 x 90 x 41 cm

Images below:Clare McFarlane, Lilt of the Firetail, 2012, acrylic and silkscreen on canvas, 45 x 100 cm (detail)Unknown, Feathered Whisk, n.d., wood, feathers, ochre, 75 x 50 x 20 cm (detail)Hans Arkeveld, Conscience Box, 1995, pencil and ink on paper, 29.6 x 21 cm (detail)Unknown (Maningrida), Pandanus Skirt, 1987, woven pandanus palm, 90 x 110 cm (detail)

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Like all good cabinets of curiosity, the gallery walls at Vasse Felix have been filled with an impressive accumulation of the bizarre, wondrous and obscure. These have been sourced from the Janet Holmes à Court Collection, now in its 50th year of collecting. This exhibition is not actually representative of the collection, instead the lesser seen and unusual works have been selected for display.

Early wunderkammer, or cabinets of curiosity, filled with natural history, geology, ethnography, relics, artworks and antiquities emerged across Europe during the Renaissance. Later collections became more defined as either collections of naturalia (derived from nature) or artificialia (human made) which became the precursors to today’s modern museums filled with classification and strong collecting focus.

Although this contemporary cabinet of wonder firmly resides in the world of artificialia, echoes of the past reside in this exhibition. Like early wunderkammer it is mostly lacking heavy handed classification and didactic messages. It instead embraces the random nature of life and combines odd combinations and unusual arrangements of material.

Thematically there are similarities to the past with a fascination with the transitory nature of life, the exotic and the discovery of the natural world. Here the exotic is somewhat turned on its head as this is a wunderkammer from the Southern Hemisphere. What replaces European works of art are those from Australia and nearby islands. Australian sculptures and paintings are not seen as artefacts from a newly discovered far off land, but as examples of fine art from home featuring familiar animals skilfully executed. Examples that come to mind are George Garawun’s Diver Bird, and Francella Tungaltalum’s Yirrikapai (The Saltwater Crocodile). Instead the European gaze and rendition of familiar animals is somewhat peculiar. Despite careful examinations and skilful drawing, the strange versions of koalas, echidnas and platypus are probably due to them being drawn from long dead specimens that have travelled great distances, and lack of familiarity with the living animal.

einventing wunderkammer

The oddities from the natural world famed in the Renaissance past such as unicorns are now replaced with new fantastical hybrid creatures such as Perdita Phillips’ Chimera and Hans Arkeveld’s winged embryo in Conscience Box. Hybrids of animal and machine are revealed in the works of Anthony Jones’ Engineer’s Dream 2, Peter Phillips’ Man and Machine and Siobhan Kelly’s Untitled.

The surrealist movement, instrumental to the modern resurgence of the cabinet of curiosities in the early 1900s, is reflected in the selection of the ominous and barren surreal landscapes of Rick Amor and James Gleeson. It is also revealed within the dreamlike and hallucinatory works by Peter Ellis, Donald Friend and Victor Mazjner. All cloaked in mystery and closely guarding their secrets.

The gaze of contemporary artists has turned to the early collectors themselves in works by Danie Mellor Hunter Gatherer and Rew Hanks in his detailed, revealing etching of Joseph Banks The Hunter and Collector. Artists are interrogating collecting practices of the past and highlighting injustices with wry humour.

Like any good cabinet of wonders, there is a touch of whimsy and playfulness in the selection. Indeed you will find complete tool chests made of plastic, a bottle of charisma, a portable meat tenderiser and a book made of teabags. Plenty of treasures to make one stop, ponder and smile at artistic creativity and consider with incredulity those who collect them.

Megan Schlipalius Exhibition Curator

Janet Holmes à Court Collection

Acknowledgements

We would like to thank the following for their contribution to this project :

Janet Holmes à Court AC Paul Holmes à Court Megan Schlipalius Sharon Tassicker Elsie Metcalf Peter Usher David Feeney Vasse Felix Staff

ISBN 978-0-9946012-2-3

Published by Holmes à Court Gallery, on the occasion of the exhibition:

Objectillogica : a modern wunderkammer 21 May - 1 October 2017Editor: Megan Schlipalius Catalogue design by Megan Schlipalius and Elsie Metcalf Artworks © the artist. All rights reserved. All works are from the Janet Holmes à Court Collection unless otherwise stated.Cover Image: Perdita Phillips, Chimera, 2009, inkjet print on archival matt paper, 14.2 x 25 cm Curiosities Image by Robert Frith, Acorn Photography: Unknown, Ceremonial Head, 1963, natural earth pigments on carved soft wood, 22 x 9.5 x 9.5 cm Unknown (Kimberly Region), Stone Plaque – Kalumburu, n.d., incised stone, 17 x 28 x 1 cm Unknown (Egyptian), Hippopotamus Goddess Taweret, 300 – 100 BC, blue frit, 10.2 x 3 x 4 cm Unknown (Egyptian), Seated Cat, 300 – 100 BC, bronze, 12 x 11.8 x 5.6 cm Unknown (Papua New Guinea), Chambri Pot, n.d., low fired clay, 14 x 14 x 14 cm Unknown, Feathered Whisk, n.d., wood, feathers, ochre, 75 x 50 x 20 cm Back Cover Image: Danie Mellor, Hunter Gatherer, 2008, mixed media with shopping trolley, 50 x 87 x 19 cm

Holmes à Court Gallery at Vasse FelixCnr Caves Rd & Tom Cullity Drv, Cowaramup WA 6284T. +61 8 9756 5000www.holmesacourtgallery.com.auhacgallery@heytesbury.com.auGallery Hours: 10am-5pm, 7 days a week

Objectillogicaa modern wunderkammer

21 May - 1 October 2017

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