Rescue. Revive. Reveal.

SUPPORT

The National Trust of Australia (NSW) is undertaking its largest art conservation project ever. Our significant art collection tells many stories and we need community support to continue sharing them into the future.

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Your Trust in Action – 2020

Rescue. Revive. Reveal.

Here we’ve listed significant pieces in our collection that are most in need of conservation. For each piece, we’ve also included a summary of the treatment required and the estimated cost of conservation to give them a new lease of life.

We invite you to explore our selected artworks, hear their stories, and learn more about their past. A glossary is provided towards the back as many terms are specific to the art conservation process.

We also ask you to generously support our Art Conservation Appeal raising funds for our greatest conservation project ever.

To make a donation to the Appeal, you can donate online at nationaltrust.org.au/donate-nsw.

The National Trust (NSW) collection contains more than 60,000 objects including thousands of paintings, drawings, engravings, prints, sculptures and object d’art. The collection of art is one of the most historically significant collections in Australia. These pieces adorn the walls of our heritage houses and galleries and offer a unique window into the early days of New South Wales.

If you’d like to sponsor a specific painting or paintings, contact Jessie Bodor at jbodor@nationaltrust.com.au or on (02) 9258 0131.

I thank you in advance for your generosity and support.

Caring for our collection, however, is a constant challenge. Right now, urgent conservation is needed to restore some of our most fragile treasures to their former glory, and protect them for the future.

David Burdon Director, Conservation

Conservation is also an opportunity to discover more about our artworks.

Our collection contains many mysteries.

This is a chance to uncover them.

Cover image: GREGORY, G.F. Seven Kookaburras, 1895, watercolour, 910 x 1230 mm

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EXPERIMENT FARM COTTAGE, PARRAMATTA John Eyre (b.1771), was convicted for housebreaking in England in 1799 and transported to Sydney in 1801. Granted a conditional pardon in 1804, he undertook documenting the topography of Sydney and its surroundings.

His four works were published in 1884, using the new printing techniques of chromolithography developed by bookseller and publisher, William Dymock. The original aquatints were first published in 1810 and form a panorama when placed side by side.

Unfortunately, the four prints are in poor condition being partially adhered to acidic backing board, showing yellowing and discolouration. Several issues are present including, foxing, surface dirt, metallic inclusions, and cockling. Conservation treatment requires removal from frames and dry cleaning to reduce created stains, mount burn, and discolouration.

Overall, the frames have areas of paint loss and indents which requires inpainting and infilling. The backing board is to be replaced and glazing replaced with new UV acrylic.

After treatment, all four will be permanently displayed at Harper’s Mansion in Berrima.

Estimated cost of conservation: $14,288

1. EYRE, John. New South Wales. View of Sydney from the East side of the Cove No. 1, views of Sydney in 1810, published Sydney: William Dymock, 1884, chromolithography, 378 x 498 mm (top)

3. EYRE, John. New South Wales. View of Sydney from the West side of the Cove No. 3, views of Sydney in 1810, published Sydney: William Dymock, 1884, chromolithography, 378 x 498 mm (middle)

2. EYRE, John. New South Wales. View of Sydney from the East side of the Cove No. 2, views of Sydney in 1810, published Sydney: William Dymock, 1884, chromolithography, 378 x 498 mm

4. EYRE, John. New South Wales. View of Sydney from the West side of the Cove No. 4, views of Sydney in 1810, published Sydney: William Dymock, 1884, chromolithography, 378 x 498 mm (bottom)

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LINDESAY, DARLING POINT This depiction of Queen Henrietta Maria, wife of Charles I, is painted in the style of Van Dyke. The large portrait, donated by Ken Bernard-Smith in 1955, is one of the earliest artworks to feature in the National Trust collection.

There is a discoloured varnish over the whole painting with major cracking and lifting to the paint, especially above the head of the sitter. Under ultraviolet light, it is evident that the majority of the background has been overpainted, indicating possible damage underneath.

There is significant surface dirt, particularly on the verso between the stretcher bar and the canvas. Five missing keys are in the top left corner, top right corner, and bottom left corner of the frame.

The frame is in a very poor and unstable condition, showing significant losses to the ornamentation. It is loose and unsound in sections with rusted nails currently securing the painting into the frame.

The artwork will be assessed with high resolution photography, cleaned and the lifting and flaking paint consolidated. All discoloured varnish will be removed. The substantial losses to paint will be infilled and the areas of loss and abrasions inpainted before a final varnish is applied. The artwork will be reframed with conservation-grade backing board. The frame will be stabilised, cleaned and ornamentation losses replaced before being reframed.

Estimated cost of conservation: $26,760

5. UNKNOWN. Queen Henrietta Maria, 18th c., oil on canvas, 975 x 805 mm

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OLD GOVERNMENT HOUSE, PARRAMATTA John Cliffe Watts (1786–1873) was an Irish military officer, personal aide-de-camp to Governor Macquarie, and architect.

He designed some of the first permanent public buildings in New South Wales including the former military hospital on Sydney’s Observatory Hill, now occupied by the National Trust (NSW).

The two images of Captain John Cliffe Watts appear to have been taken during the same sitting. The second sitter is his wife, Jane Watts, nee Campbell, and niece of Governor Macquarie’s second wife, Elizabeth.

The ambrotypes were created using chemical coated glass to produce a negative image that becomes visible when the glass has a black backing, often black velvet. Ambrotypes were introduced in the 1850s and were outdated shortly thereafter by tintypes.

These three ambrotypes are all unique, non-replicable photographs which, typical of the era, have been placed in protective, decorative leather cases.

The leather casings have suffered abrasion and require cleaning. The velvet lining is discoloured and the clasps are loose and rusted. Treatment also includes the removal and cleaning of the glass image and consolidation and inpainting of the damaged leather.

Estimated cost of conservation: $4,040

6. UNKNOWN. Portrait of Captain John Cliffe Watts, circa 1860s, ambrotype on glass, leather, metal, velvet, 80 x 60 mm (top) 7. UNKNOWN. Portrait of Jane Watts, circa 1860s, ambrotype on glass, leather, metal, velvet, 92 x 80 mm (middle) 8. UNKNOWN. Portrait of Captain John Cliffe Watts, circa 1860s, ambrotype on glass, leather, metal, velvet 70 x 60 mm (bottom)

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NATIONAL TRUST CENTRE, MILLERS POINT

NORMAN LINDSAY GALLERY, FAULCONBRIDGE

British-born artist, Neville Henry Cayley (1854–1903), contributed greatly to public awareness of Australia’s bird life through accurate and attractive artworks. This iconic image is a powerful yet graceful depiction of a bird moments away from falling into the grasses below.

The artwork features a principal goddess to her lesser rival and surrounded by a coterie of immortals, including Zeus.

The piece, part of the original bequest to the National Trust (NSW) by Norman Lindsay, was held by the artist in his home for over 40 years before his passing in 1969.

The artwork is fully adhered to an acidic backing board which needs to be removed.

The frame is broken in several places, dirt has built up on its surface, there is paint loss and it was previously framed with acidic materials. Conservation will require touching in losses to paint, reconstruction of the frame and providing new archival quality backing boards.

Due to substantial damage, the frame cannot be repaired and will be replaced in the gold gilt style of the original.

Estimated cost of conservation: $3,000

Estimated cost of conservation: $6,300 9. CAYLEY, Neville. Dying woodcock bird, 1897, watercolour and ink on board, 750 x 620 mm

10. LINDSAY, Norman. The Rival Goddesses, 1928, oil on canvas, 880 x 755 mm

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RIVERSDALE, GOULBURN

SAUMAREZ HOMESTEAD, ARMIDALE

Caroline Twynam (1839–1874) was the sister of Edward Twynam, New South Wales Surveyor-General, who purchased Riversdale in 1875. This portrait of Caroline, shows a serious young woman in a fashionable dress gazing resolutely at the viewer.

Surface grime, yellowing and discolouration are present across the watercolour. It is fully adhered to an acidic backing mount, with adhesive residues around its edges with some foxing. The frame is in poor condition with water damage, mould, and chips to the frame.

The White family, prominent members of the Armidale community from the late 1880s, were keen travellers. This set of 40 travel posters, discovered in 2020, shows a vibrant and joyful Europe in the interwar period. Saumarez Homestead, the 30 room White family home, is furnished with engravings and ornaments purchased during the family’s many overseas visits.

The posters were collected in 1938 when the eldest daughter, Mary (1882–1948), was travelling in Europe. Mary was instrumental in the establishment of the first Armidale branch of the Country Women’s Association.

Treatment required includes cleaning, removal of adhesive residues and acidic backing.

The frame will be cleaned, losses filled and painted before being re-mounted with a new backing board and archival materials, and new UV acrylic applied.

A selection of the works will be conserved and prepared for exhibition. The frames will be re-usable and suitable for alternating the prints. All materials will be of a conservation standard with rag mat backing boards and mats, and Japanese tissue hinges.

Estimated cost of conservation: $5,250

Estimated cost of conservation: $6,750

11. UNKNOWN. Caroline Twynam, circa 1857, watercolour on paper, 525 x 428 mm

12. UNKNOWN. Central and Northern European travel posters, circa 1930s, ink on paper, 620 x 950/1000 mm

After traveling to Australia and India, Caroline perished at sea with her husband and young family on their return to England.

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S.H. ERVIN GALLERY, MILLERS POINT The three watercolour drawings of Mr Wiseman’s Villa in New South Wales are by an unknown artist or artists.

All drawings feature the villa and agricultural land of Solomon Wiseman, a convict who was granted a 200-acre lease on the Hawkesbury River in the area now known as Wisemans Ferry. Wiseman was an ancestor of author Kate Grenville and his story, as well as these watercolours, served as inspiration for her critically acclaimed novel, The Secret River.

These watercolours are important as a primary source for evidence of settlement in the early years of the colony.

One of the watercolours appears to be an architectural rendering of Wiseman’s villa. The other two pieces are naive images, either of the completed villa or interpretations of it, suggesting there were possibly three different artists.

The three artworks present a variety of issues including tears to the paper, paint loss, foxing, surface dirt, and creasing.

North View of Wiseman’s Villa specifically requires washing to reduce discolouration.

Estimated cost of conservation: $2,500

13. UNKNOWN. Wiseman’s Villa New South Wales, circa 1835, watercolour on paper, 295 x 488 mm (top) 14. UNKNOWN. North View of Wiseman’s Villa New South Wales, circa 1835, watercolour on paper, 220 x 289 mm (middle) 15. UNKNOWN. East View of Wiseman’s Villa New South Wales, circa 1835, watercolour on paper, 408 x 548 mm (bottom)

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WOODFORD ACADEMY, WOODFORD

Threads of canvas and tears will be realigned and flattened where possible, then a coat of varnish will be applied to prevent further movement. Several damaged areas will be filled and losses retouched with paint. Finally, a protective surface coating will be applied.

These two large 19th century paintings depict maritime scenes and are fitted to heavy gilt ornate frames. They form part of the original contents of the Woodford Academy collection.

Both are signed ‘P. van Houten’ but mystery surrounds the identity of the artist. Enquiries are currently being made to the Gerrit van Houten Foundation in the Netherlands to determine any connection to this famous artist.

Both frames need to be surface-cleaned and dismantled so that broken pieces can be repaired and reconstructed. Paint losses will be touched in and wax applied to revive the frames’ finish. The frames will then be re-hinged on to cotton rag board before being reframed with new backing boards.

The rear of the frames will be reconstructed for support and longevity.

The work required to both works and their frames is extensive. The artworks present numerous areas of actively flaking paint and have accumulated substantial grime and dirt.

The frames have significant grime on gilding, and have suffered multiple loses to the ornamentation with cracks in mitre joints.

Estimated cost of conservation: $19,000 each

Each artwork will be assessed with high resolution photographs and dry cleaned using a three-stage process. The discoloured varnish will be removed, and the stability of old patch repairs assessed and replaced.

16. VAN HOUTEN, P. Boarding from Rowboat, mid–late 19th c., oil painting on canvas, timber, gesso, gilt frame, 1430 x 1160 mm (left) 17. VAN HOUTEN, P. Shipwreck, mid- late 19th c., oil painting on canvas, timber, gesso, gilt frame, 1430 x 1160 mm (right)

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WOODFORD ACADEMY, WOODFORD

Past restoration treatment is visible, including retouching and application of an adhesive to consolidate the timber surface.

This oil painting sits across two panels of oak hardboard. It is a still life featuring a table setting of white tablecloth laid with food consisting of a mince pie, nuts, bread roll, silver goblet, and glassware in the style of 17th century Dutch painters. A conservation report in 2009 assessed it as most likely a 19th century work. However, due to its similarity to Willem Claesz. Heda (1594–1680), it is now being reassessed and chemically analysed to determine the true date of the work.

The piece is in desperate need of conservation. Treatment will start with the panels being assessed with high resolution photographs and dry cleaned using a 3-stage process. The panels will be re-adhered together and the discoloured varnish, overpaint and adhesive will be removed.

An isolating varnish, to prevent further wear, will be applied before those damaged areas are filled and losses retouched with paint.

Finally a protective final surface coating will be applied across the painted oak.

The two panels are currently separated and there is no frame. The lower panel has a slight curve and the paint layers are in poor condition with many areas of flaking paint occurring along the grain of the wood panel.

Discoloured varnish is present. There is also a heavy grime layer on top of this varnish.

Estimated cost of conservation: $29,540

18. UNKNOWN, Still Life, 17th c. or 19th c., oil on oak panels, 570 x 770 mm

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Glossary Cockling a planar distortion of paper, parchment or textile. It appears as wrinkles, puckers or ripples, often in parallel ridges, without creases.

Discolouration the act of changing the natural colour of something by making it duller or dingier or unnatural or faded. Often in works-on-paper, this results in a yellowing of the artwork.

Foxing an age-related process of deterioration that causes spots and browning on old paper objects. Caused by both mould growth or metal impurities within the paper and exacerbated by humidity, dampness and airborne acids.

Glazing is a cover of glass or another transparent material placed over the artwork for its protection.

Humidification

t he act or process of increasing the moisture content. This process is used as a method of washing artworks on paper with sensitive pigment and to remove creases and cockling to artwork.

Inpainting the restoration of missing parts of an image based on the background information.

Infilling where a small piece has been added to an object to replace a missing piece. Fills may be coloured and textured to blend in with the original surface.

Keys wedge-shaped timber pieces used to tighten the canvas.

Metallic inclusions a precursor to foxing which usually evolves as a result of metallic impurities and micro-organisms in the paper.

Mount or mat burn

a halo of yellow-brown discolouration around the edge of the exposed ‘window’ of the paper-based artwork. This is often cause by exposure to acid transfer from unsuitable framing materials.

UV acrylic an alternative to glass and is often used by museums and galleries.

Clear UV filtering acrylic is specifically formulated to reduce damaging ultraviolet light waves. Unprotected artwork and print media, such as paper and fabric, will fade, turn yellow, or become brittle when exposed to sunlight or artificial light for long time.

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Donate today Thank you for your generosity and support of the largest independent conservation charity in Australia.

Every gift, regardless of the size, will help us revive our art and let their stories live on.

TO DONATE Call Jessie Bodor on (02) 9258 0131 or visit nationaltrust.org.au/donate-nsw

Above: UNKNOWN. Landscape with horses, c.1665, oil on canvas, 390 x 510 mm National Trust of Australia (NSW), ABN 82 491 958 802

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Your Trust in Action – 2020