27 April 2024

British travellers on Grand Tour: C18th

The term Grand Tour first appeared in the Voyage or a Com­pleat Journey through Italy 1670, by Fr­enchman Rich­ard Lassels. Pub­lish­ed in Lond­on, the book became a guide for sch­olars, artists and art col­l­ect­ors who were planning a trip to Italy. Lassels added an important motive for parents who might have been worried about sending their sons (rarely daughters) away: “Tr­avelling pres­er­v­es my young nob­le­man from surfeiting of his pa­r­ents, and weans him from the dan­g­erous fondness of his moth­er. It teaches him wholesome hard­ship; to lie in beds that are none of his ac­quain­tance; to speak to men he never saw bef­ore; top travel in the morn­ing bef­ore day, and in the evening after the day”. But he also warn­ed that Italy is able to “depr­ave the best natures if one will aban­don himself to plea­sure and become a prey to dissol­ute courses and wanton­ness”. Lassels praised the value of stoic endurance whilst abroad.

The Grand Tour was fascinating to me for distinct reasons:
A] Young Grand Tour­ists brought back new, refined tastes in paint­ing, ar­ch­i­tect­ure, furniture, gard­ens and music.
B] Our students loved to read beautiful books like Grand Tour: Lure of Italy in the C18th, by Wilton & Bignamini.
C] My own gap year abroad (pre-university) was a special year of maturity and independence – Lassels was right!

By 1690 the upper classes knew that the orig­ins of true nob­il­ity lay in the pursuit of wisdom and virtue, not in war. Ed­ucat­ion was necess­ary to create a gov­ern­­ing class; educ­a­t­ion that included gramm­ar, geometry and class­ics, plus rel­igion, the arts, languages and man­ners. Once formal education was completed, the young man’s infor­m­al ed­uc­ation was polished by, and integrated with travel. And since only Italy and France had ancient glory, The Grand Tour to Italy and France replaced univ­ersity life as the final freedom al­lowed bef­ore settling down to marriage and running the family estate.

cultivated Grand Tourists painted by Pompeo Batoni, 
Rome, 1774

Only the oldest son could inherit the parents’ estate. So many not-first-born young noblemen saw their future among the growing number of permanent dip­lomats at for­eign courts. Would-be British dip­lo­m­ats were well advis­ed to be familiar with the Continent and to speak French fluently.

Now a new book has been published which I really enjoyed. News From Abroad: Letters Written by British Travellers on the Grand Tour 1728–71, was edited by James T Boulton and T.O McLoughlin and published by Liverpool UP in 2013.

The book acknowledged that Grand Tour was a rite of passage for much of Britain’s upper class during the very late C17th and throu­gh­out the C18th. In News from Abroad, the editors gathered letters from five different travellers as they left Britain en route to Rome, via Paris and the Alps. Since there was no rush to get back home to earn a living, these fortunate young people had the luxury of exploring contemporary European life as it existed in the C18th, AND of analysing history and ancient and Renaissance art.

The first decently sized book to bring diverse letter-writers togeth­er into a single site, News from Abroad is an excellent collection of prim­ary sources that bloggers, teachers and historically-minded trav­ellers rarely get to read. George Lyttelton’s letters were written 1728–30; he came from a fam­ily of aristocrats who wanted George to complete his education abroad. Joseph Spence, tutor to a young noble trav­eller, was almost Lyttel­ton’s contemporary: 1730–3.

The last 3 of the book’s stars travelled and wrote the letters 35 years later: James Boswell 1764–6, James Barry 1765–71 and Caroline Lennox 1766–7. The party only ended at the time of the Napoleonic Wars across Eur­ope; parents seemed unwilling to allow their precious sons to travel abroad.

Although some of these private letters have been published previous­ly, I presume they were originally intended only for the eyes of their families back in Britain. Perhaps that made for more honesty and less self-censorship eg when the original budget ran out, young travellers whined and wheedled extra money out of their long suffering parents.

Another thing.... I would have chosen more broadly amongst the Grand Tourists. James Barry was certainly interested in his own art but I’d have loved to read about would-be professional painters, architects and landscape designers for whom Rome represented the last word in design classicism. I wonder if Thomas Coke, 1st Earl of Leic­ester, left any letters; apparently he spent the equivalent of Australia’s national budget on art during his long tour: 1712-8.

Sir Francis Bacon had recommended in Of Travel 1625 that the things to be ob­serv­ed were the courts of pr­inces, courts of just­ice, chur­ch­es and monas­t­eries, the walls and fort­if­i­c­ations of towns, as well as gar­d­ens, houses, armour­ies, ars­en­als, treas­ur­ies of jewels, robes, cab­in­ets and rarit­ies. Did the five young travellers in this book pay any attention to Bacon’s list of Must Dos?

Of course not. Young people, a long way from home, were possibly not going to be interested in landscape garden design or royal robes. Sometimes they were interested in chasing skirt or meeting ambass­adors or climbing into Vesuvius. Often times they were overwhelmed by the discomforts and dangers they met en route – poor food, dangerous mountain passes, poorly repaired roads, casual VD and broken bones. And occasionally they really wanted to collect treasures for their future homes, once they were married – books, furniture and art objects.

The Grand Tour
by Mike Rendell, 2022

The virtues of travel were great, but they were not a tot­al blessing. Ev­en in 1735 people were already debat­ing whether it was in the in­terest of Brit­ish cul­ture to be so eagerly adopting the taste of another nat­ion. And for the parents, the downside was snobbishness in the returned young­sters. Called Macaroni by fath­ers who no longer recognised their sons, some lads were overdressed and dandified. But we could not expect the young letter writers to make long term judgements on the basis of their own experiences - that was the job for later historians. The two appendices were very useful: A The Hazards of Collecting Renaissance Art on the Grand Tour and B: Advice to Travellers on the Grand Tour. Thanks Boulton & McLoughlin!




23 April 2024

Yoram Gross: best Aus children's films

Yoram Gross (1926–2015) was born in Krakow Poland, to a Jewish family. He lived during WW2 under the Nazis, with his family on Oskar Sch­in­d­ler’s list of humans rescued from slaughter in 1944, but the Grosses survived by moving hiding places dozens of times.

Dot and the Kangaroo, 
1977, yoramgrossfilms

The Camel Boy
1984, IMDb

Yoram’s first love was music, studying at Krakow Uni post-war. He then studied film under Jerzy Toeplitz at the Polish Film In­stitute. In 1950 he moved to Israel, working as a newsreel and docum­entary cameraman, and later as an independent film producer and dir­ect­or. His first full-length feature, Joseph the Dreamer 1961, be­ing successful at a number of international film festivals. His com­edy One Pound Only 1964 set the box office record of the year. 

Thanks to newscom.au, we know that in 1968 Yoram, Sandra and the children migrated to Sydney. They est­ab­lished Yoram Gross Film Studios which became into a respected prod­uc­er of animation for cinema and television. Then he produced film clips for my best weekly tv mus­ic show,  Bandstand. At Sydney Film Festival in 1970 he won an award for The Politicians in the Best Austral­ian-Made Film category. Realising that there were no Australian films for child­ren, he decided to fill that gap.

In 1977, Gross made his first animated feature. Dot and the Kangaroo used an aerial image technique of drawings over live action backgrounds, filmed in NSW’s Blue Mountains. Although the film was much like other animated children's musicals starring animals, the film was essentially Australian in its use of symbols and accents eg it referenced Indigenous Australian culture in scenes disp­lay­ing anim­ation of cave paintings and aboriginal dancing.

In 1992, Yoram continued his interest in animating Australian Children's Classics, with the release of "Blinky Bill", based upon the Australian children's classic by Dorothy Wall. This film introduced the popular Australian koala to the rest of the world as a "real personality", and Blinky Bill, already well loved by generations of Australians, has become Australia's Animated Ambassador to millions of children around the world. Blinky Bill has generated one of the most successful merchandising programs ever initiated in Australia, bringing in millions of dollars in export earnings to the country. 

Blinky Bill
1992,  yoramgrossfilms

Gross acknowledged his animation style was old fashioned and had been superseded by computer-generated imagery. But the Australian Cen­tre for the Moving Image said Gross’ animations were dis­t­inctive and offered a freshness and simplicity that could be lost in the more com­plex visual world of computer-generated imagery. And I say his animal characters are more lovable.

In The Camel Boy (1984), young Ali and his camel-driver grandfather Moussa were part of an expedition through the Australian Outback. Aus­tralia has had camels since the mid-C19th but now they were faced with prejudice. Luckily Moussa's knowledge and the hardiness of his camels in the horrible desert conditions quickly proved vital to both the success of the expedition and the survival of its members.

Dot helped her native animal friends in Dot and the Koala (1984) when Bruce the koala told her of plans to build a massive dam that would destroy their environment. But the local farm animals believed that the creation of the dam would catapult their small country town into the C21st. With both sides fighting for what they believed was right, Dot's plans to wipe out the dam were jeopardised by the mayor Percy, a pig and local detectives Sherlock Bones the rat, and his mate Watson the cat.

In 1992 Gross' Blinky Bill film which quickly became a global success, and was soon awarded the prestigious Order of Aus­tralia for his contribution to the nation’s film industry. [Local woodlanders were carrying on with their life as normal.. when two men cleared the entire forest with their tractor. The an­imals evacuated as the trees fell down and homelessness continued. Bl­inky rescued the young female koala Nutsy from the fallen trees. They both run into Mr. Wombat who explained to him about his life].

Through their Yoram Gross Film Studios in Sydney, Gross had made 16 animated features and 12 TV series, bringing to life characters such as Dot and the Kang­ar­oo and the lovable Koala, Blinky Bill. Alas for me, my sons thanked me for taking them to the cinema for years, then said they'd be going by themselves from 1992!! 

Only in 1992 did Yoram Gross Film Studios start making animated TV ser­ies and in 1996 he sold a 50% stake in the company, with a view to expansion, to Australian exhibition and distrib­ut­ion comp­any Vill­age Roadshow Ltd. As his TV series and feature films sold in­ter­nat­ionally, German company EM.TV acquired the Village Roadshow stake in 1999, buy­ing out the founders in 2006 and renaming the company as Flying Bark Productions. Flying Bark continues to make films and TV series based on Gross creations.

Yoram Gross in Sydney, 2007

Australia's leading animation producer and director died in Sydney in 2015, aged 88. He was survived by his wife, 2 children and 5 grandchildren, a rare outcome for a Holo­caust sur­v­ivor. His legacy will live on with the Sydney Film Fest­ival’s annual award for the Best Animated Feature, named for Yoram Gross.



20 April 2024

Victorian-Edwardian pubs in West Australia

600 ks east of Perth, the City of Kalgoorlie was a unique expression of gold fever. Unlike most goldmining towns, which last for perhaps a dec­ade, Kalgoorlie includes the famous Golden Mile and has an economy driven by gold since 1893. The central area, Hannan St, has fine Victorian and Edwardian buildings. Here visitors can visit the Hannon Hotel, Ex­change Hot­el, Palace Hot­el, Old Aust­ral­ia Hotel and York Hotel. Imp­ortant civ­ic buildings in the area include the Town Hall (1908) and the School of Mines Building. 

York and Orient Hotels, 1898

The Exchange Hotel is central, with the Palace Hotel to right.

In the late 1890s, Kalgoorlie’s streets were full of progress as the wealth generated in the gold mines was displayed in grand, impres­s­ive architecture. As a result, the role of hotels was crucial to the gold­fields’ social and econ­om­ic life. If mines were the sources of the miner's wages, the hotels were the treasuries into which a lot of it was poured. They provided drinks, food and accommodation, AND provid­ed men with com­f­ort­­­able surroundings.

For a city that stretches just 67sq km with a current population of 30,000+ people, the volume of pubs in Kalgoorlie was excessive.. and is now impressive. In the early 1900s, when the Goldfields were dominant, there were 93 hot­els and 8 brew­er­ies in the town. C.Y O'Connor (1843-1902) was West Australia’s Chief Engineer who created the col­ony's railways, water supply, roads and harbours. Before O’Connor estab­lished the pipeline, water was scarce and beer was better!

Most interesting pubs, architecturally-speaking:
1] The Kal­goor­­lie Hotel in Hannon St was designed in the Federation architectural style (built 1897) and is one of the oldest build­ings with a balcony in town. After dark, Judd’s Pub is popular with reg­ul­ar live music and for touring bands. The name Judd refers to publican James Judd Mahony who ran the pub from the 1960s-80s.

2] Paddy’s Irish Bar at the Exchange Hotel (1900) was designed for the Wilkie Bros who were cont­rac­t­ors for the Southern Cross to Kal­goorlie Railway line. The two complex storeys are made up of bricks, iron and a timber balustrade, a corner tower and corrugated galvan­ised iron gabled roof.

3] York Hotel opened in Feb 1901. Located over the road from the Govt Buildings Complex, this very ornate hotel was design­ed by Dan­iel Edmunds. He practised architecture in Kal­goorlie in 1899-1912 and was responsible for the City Markets. The eastern main entrance opened into a luxurious lounge hall, from which the main staircase led to the bedrooms above. Note the hand­some circular dome for light, stamped metal ceilings and finely carved woodwork.

4] One of the city's most historic pub is the Palace Hotel (1897) in Han­nan St, built for the huge sum of £17,000. Bec­ause the town was awash with gold money, Palace Hotel was designed to be the most lux­ur­ious hotel outside Perth, with its own electric­ity and wat­er proc­ess­ing plant. This two-storey hotel was made from stone quarried from the local Ashlar quarries, and the furn­it­ure was supp­lied from Melbourne. With its prominent corner position in the town, the Pal­ace Hotel has been the scene of many famous public speeches deliv­er­ed from the balconies to the street.

One of the Palace Hotel’s regulars in its early days was Her­bert Hoover (1874-1964), who as a young US mining engineer worked in the Gold­fields for several years. Hoover had fallen for a local barmaid before he returned home to marry his love and to continue his mining career in China. Long before Hoover became the U.S Presid­ent in 1929, his parting gift to the hotel was the elab­orate­ly carved mirror still in the foyer.

5] Boulder, now part of Kalgoor­lie, has 8 pubs. Tattersalls was built as a two-storey hotel on a corner site, designed in my favour­ite Fed­er­ation Fil­igree style c1890-c1915. The building once had a veranda and balcony that extended across the facades. The exterior features a balustraded parapet; and a triangular pediment that high­lights the entrance and the arched sash wind­ows. Importantly there is a bar named for the world-famous billiards star and Kalgoorlie local, Walter Lindrum (1898–1960).

6] Criterion Hotel was built in the Federation Free style, a small but imp­ortant part of the Hannan St streetscape. Built to the foot­path line with a balustraded parapet and highly decorative ped­i­ment, the timber ver­anda extends the length of the facade. It also has an unusual para­pet and some leadlight glazing in the street frontage.

7] At a licensing court in Jun 1900, plans for the stunning Vict­or­ian Oriental Hotel at Cassidy and Hannan Sts corner were pre­sented: a pub building with 12 bed­rooms near the York Hotel. Some money for the con­st­ruction came from the Wilkie Bros who built the rail line from South­ern Cross to Kalgoorlie, making it Kalgoorlie’s most exotic architecture.
  
The Australia Hotel, Kalgoorlie

York Hotel, Kalgoorlie

Exchange Hotel, Kalgoorlie

Kalgoorlie Hotel

Because of high maintenance costs, The Oriental Hotel was to be dem­olished in 1972 to make way for a car park, but within hours an in­jun­ct­ion was taken out; thousands of people had signed a petition to stop the destruction. Then fire erupted in the hotel and it could not be saved. Anger over the damage stopped further development.

The Kalgoorlie Race Riots started in Jan 1934 when min­er-sportsman George E Jordan was twice eject­ed from the Hannans Hotel by Italian barman Claudio Matta­boni. When Jordan re­turned to the hotel the fol­l­owing day to fight Mattaboni, he fell, broke his skull and soon died in hospital. Rumours that Mattab­oni had murd­ered Jordan sparked rioting, violence and looting of migrant-run facil­ities, the riots starting AT Hannans Hotel. The old Amalfi Restaur­ant was also burnt down.

Today the pubs are still flooded with miners (and tourists) after work, just as they were 120 years ago. And today Gold­fields Tourism Network runs excellent pub tours in Kalgoorlie and Boulder.

Photo credits




16 April 2024

Arts & Crafts Tassie: Markree House 1926

Cecil William Baldwin (1887–1961) was born in Melbourne and trained at the Burnley School of Horticulture, working as a landscape gar­d­ener until the outbreak of WW1. Cecil enlisted in the 40th Battalion of the Australian Imperial Forces and served as a lieutenant in France and Belgium. He was wounded and repatriated home in 1918.

Following the end of the war, Cecil Baldwin worked in the Repatriat­ion Department in Hobart where he was the officer in charge of voc­at­ional training. He also became active in community associations est­ablished for the welfare of ex-servicemen, and became president of the 40th Battalion Association. Objects from Cecil Baldwin's military service and work with returned soldiers are on exhibition at the Tasmanian Museum and Art Gallery.

Cecil married Ruth Maning (1878–1969) in 1918 at St George’s Church, Battery Point.

Front of the house

Markree stands on part of the c1820 Heathfield Estate located in Battery Point in inner city Hobart; the land and its sandstone wall were not sub­divided until the 1920s. Fortunately the sub­division created a small enclave of finely detailed houses and one of them, Markree, was built in 1926 for Cecil and Ruth Baldwin. It was designed by Bernard Ridley Walker in the Arts and Crafts style. [The firm Hutchison and Walker were prominent Tasmanian architects who were also responsible for other important structures around town. Walker had spent 1911–13 in London and was particularly influenced by the Arts & Crafts Movement].

Many years earlier, when the Arts & Crafts Society of Tasmania was founded in 1903, young Ruth Maning had gone to evening classes to study wood carving. Three of the pieces she created herself - an Art Nouveau bookcase, a blackwood desk carved with gum nuts and a picture frame carved with stylised firewheel tree branches can be seen in Markree's sitting room. Other pieces of furniture came from Ruth’s parents. The furniture is the finest part of the entire home and garden complex.

    Furniture made by Ruth Maning Baldwin

Hallway

Dining room

Markree has 4 bedrooms including a nursery. It is set on 3 levels with a broken back tiled roof and prominent eaves with exposed timber panelling underneath. The roof has 2 tall simple brick chimneys with terracotta pots. It has timber double hung sash windows and painted timber louvred shutters. The front entrance is enclosed in a brick portico with a wide, detailed brick arch and wide doorway. The interior is in near original condition with 3 ms high ceilings, and features such as the original picture rails, original brass hardware on doors and windows, solid doors, timber detailing and intact original wallpapers. There are portraits and family heirlooms from Ruth Baldwin’s ancestors who had come to Hobart in the 1820s as merchants and professionals. The nursery holds many of Henry Baldwin’s original toys.

Some of the objects were not originally from the family. There are ceramics, wooden carved furniture and silverware of the period that have been brought in to the house since eg the 1920s Tasmanian oak and blackwood furniture was made by local cabinet-makers Coogan and Vallance & Co.

There were a few changes over the decades. The Baldwins had a small room added and enclosed the open balcony on the ground floor in the mid 1930s. Son Henry installed new carpets, lights, curtains and wallpaper. However the dining and sitting rooms have been restored to their 1920s decoration through a grant from the Copland Foundation e.g the original 1926 wallpaper, a damask paper with an Art Deco leaf border, has been copied from a surviving panel. 

Their Arts and Crafts garden

The garden also reflects the Arts & Crafts influence. It was laid out by Cecil Baldwin himself. The leading Australian garden designer, Edna Walling, had studied at Burnley at the same time as Cecil, so it is possible that the two of them had worked on projects together. Today the garden is long and narrow with a central gravel path that leads from the house to the bottom of the garden. The elements typical of Arts and Crafts gardens are the roses, ponds, low stone walls, winding pathways and naturalistic plantings. There was no rigidly planned formality in this garden!

Cecil and Ruth Baldwin lived at Markree until their deaths when the property passed to their unmarried son, Henry Baldwin (1919-2007). It was Henry who bequeathed the house, contents and an endow­ment to the Tasmanian Museum and Art Gallery. This was one of the largest single bequests ever received by an Australian gallery.

Because of its design, location, original condition, history and ability to show the pattern of urban infill that occurred in Hobart in the first half of the C20th, Markree has been provisionally entered in the Tasmanian Heritage Register a couple of years ago and was permanently registered in 2023.

The house and gardens are open Saturdays (Oct-April) from 10am to 4:30pm. On the other days, visitors must pre-book at the Tasmanian Museum & Art Gallery; the guided tours start at 10:30 am and 2:30 pm.

The Baldwin family
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Many thanks to Lynne Merrett for sending this material.