A10889 Scrimshaw, depicting Maori people and native animals and plants, bullock horn / wood,, 1860-1870. Collection: MAAS
Scrimshandering, Schrimshonter, schrimshander or scrimshaw as we know it, is the art of carving or decorating whale bone, whales teeth and walrus tusks.
The Museum has eclectic and fascinating collections from parasols to fans, netsuke and scrimshaw. The earliest examples of scrimshaw were acquired around the 1900s. The bullock horn pictured above was carved by a member of the New Zealand Royal Artillery in the 1860s. Often pieces are unsigned and difficult to date but, fortunately the Museum has some information about this piece.
2011/109/56 Quilt, Australian AIDS Memorial Quilt, remembering Lainie Kathrine Hattam, Yumba Mandandanji (Tim Zurvas), Elizabeth Anne, Lizzie MacFarlane, John Warnock, David John Thomson and Anthony Charles Carden, various makers and places of manufacture, Australia, about 1995. Collection: MAAS
“Unless we tell their stories, they are not there.”*
Since it began on 1 December 1988, World AIDS Day has put strong focus on the global fight to remove the threat of HIV and AIDS.
First diagnosed in 1981, the HIV and AIDS epidemic remains one of the most significant public health issues, particularly in less affluent countries. In Australia, original safe sex messages have lost their impact. This is leading to a gradual increase in infection rates.
2013/80/1 Brooch, ‘Samurai Fish’, sterling silver / stainless steel, designed and made by Sheridan Kennedy, Sydney, 2005. Collection: MAAS. Purchased with funds from the Yasuko Myer Bequest, 2013
One of the most intriguing pieces on display in A Fine Possession: Jewellery and identity is this ‘Samurai Fish’ brooch created as part of Sheridan Kennedy’s PhD exhibition The Specious Voyages at the Museum of Brisbane in 2005. The show included a collection of specimens and photographs that resulted from the fantastical, imaginary journey to the ‘New Hybridies’ (sic) undertaken by Kennedy’s alter ego Dr Diane Nhele Keynes. This tongue-in-cheek exhibition explored similarities between the realms of art and science, with Kennedy provocatively stating “It seems that Darwin’s theory of evolution, which is proving so valuable to us in the field of natural sciences, might as readily apply in the cultural sciences… an acquired knowledge adaption, a kind of survival of the fittest ideas… might not Herbert Spencer’s interpretation of Darwin’s theory apply as readily to culture as to nature?” Continue reading
N11162 Badge, Australia:Victoria. Anzac Remembrance Day, 25 April 1915, celluloid on paper.Collection: MAAS.
Every year, on 11 November at 11 am – the eleventh hour of the eleventh day of the eleventh month – we pause to remember those men and women who have died or suffered in all wars, conflicts and peace operations. Initially this day marked the end of World War One (WWI).
Neckpiece, ‘Semi-breve’, guitar string / stone / paint, Margaret West, Sydney, New South Wales, Australia, 1996. Collection MAAS
“At present I am concerned with certain metaphysical, psychological and social aspects of jewellery-with its ability to inform and transform’. Margaret West, 1982 *
Margaret West was an influential jeweller, lecturer as well as poet and writer. The Museum had a long professional association with Margaret West and holds two pieces by her. The one featured above was made in the 1990s and is on display in the Museum’s major exhibition A Fine Possession :Jewellery and Identity
Photograph, ‘Gough Whitlam pouring soil into the hands of traditional owner Vincent Lingiari’, by Mervyn Bishop, Northern Territory, Australia, 1975. Collection: MAAS
Former Prime Minister of Australia, Gough Whitlam led Australia through a period of massive social change from 1972 to 1975 before his ousting by governor-general Sir John Kerr. The photograph above was taken in 1975 at a land hand back ceremony for the Gurindji people in the Northern Territory. The then Prime Minister Gough Whitlam pours soil into the hands of traditional land owner Vincent Lingiari as a symbolic gesture of the return of land. This photograph signifies the Australian Government giving back land to Indigenous people after Vincent Lingiari and four other traditional owners petitioned the Governor-General in 1967 in Australia’s first Aboriginal land rights claim.
Candlestick with removable insert, commemorative, ‘Baulkham Hills to Parramatta tramway’, made by Walker and Hall, Shefield, England, 1890-1900
When people from the Hills District catch the new North West Rail Link in 2019 it will not be the first time a railway has come through the area. In 1901 construction began on a tramline that ran between Parramatta and Baulkham Hills with the primary purpose of carrying fruit and goods, as the Hills District was well-known for its plentiful orchards. The purpose of the tramway was to change after an embarrassing mistake that prevented goods being carried through the township of Parramatta, the man who turner the first sod, Minster for Public Works, Mr. E. W. O’Sullivan, tried to rectify the situation to no avail, this resulted in the tramway being used to carry passengers.
In the collection is a commemorative table candlestick that marks the first sod turned at the Baulkham Hills to Parramatta portion of the line gifted to the Minister for Public Works, Mr. E. W. O’ Sullivan, on March 19th, 1901
Conservator Rebecca Ellis working on Safe no. 7 neckpiece, by Susan Cohn,1995. Lent by the National Gallery of Australia, Canberra: Image Marinco Kojdanovski, Powerhouse Museum
Pictured on-site, amidst the installation of A Fine Possession, Rebecca Ellis is seen positioning the mount for the neckpiece by Susan Cohn. Once the mount had been positioned and fixed into place on the fabric covered PET panel, the neckpiece was secured onto the mount. The panel was then attached vertically to the back of the showcase using split battens to complete the display.
It’s good to give conservators a challenge and there were a few in the jewellery exhibition A fine Possession. With over 700 beautiful pieces of jewellery on display there is a diversity of materials to be managed. The jewellers used paper to plastic (recycled and 3D printed), metals including gold, ceramics, gems, glass, bone, feathers, cotton, insects, hair and nylon. Much thought and planning has gone into the management, care and display of these objects, drawn both from the Museum’s own collection and institutional and individual lenders.
H5025 Pendant, set with gouache miniature on cardboard depicting a hot-air balloon flight of the Montgolfier Brothers, gilt metal cannetille, paste (glass), maker unknown, France, about 1783-1815. Collection Powerhouse Museum.
Every now and again when working with a Museum’s collection, you will come across an object that was acquired so long ago that little is known about its provenance. There are a few meagre clues to help uncover what you hope will turn out to be an enriching and surprising story, something that shows that this piece is special. And once and a while, the story exceeds your expectations.
Interchangeable Pendant System series 3, prototype 2 (2013):
One of the striking things I have discovered while researching Australian and international jewellery in preparation for the exhibition A fine possession: jewellery and identity, is the way in which the contemporary Australian jewellery scene has been shaped by European tradition. Beginning my research as a complete novice on the subject of jewellery, I came in with the big (and unconscious) assumption that contemporary jewellery generally, and contemporary Australian jewellery in particular, is a craft far removed from traditional concepts and practices of jewellery making. To my surprise and fascination I found that contemporary Australian jewellery has been influenced by a number of innovative Europeans who visited and lectured in Australia and who immigrated to here in late 20th century, bringing with them ideas and skills. My assumptions were completely blown out of the water when I discovered more about jeweller Johannes Kuhnen’s and his piece, the Interchangeable Pendant System 3.2.