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By Philip Jones
August 9 2002

Margaret Frances Carnegie
Writer, art collector
1910 – 2002

“Margaret Carnegie,” wrote John Reed in 1962 , “is shooting like a meteor through the art world, buying right and left.” Carnegie herself averred that she bought paintings as if they were hats. That is, until they became more expensive than hats.

Certainly, Margaret was a well-gowned and hatted woman of high social standing, but her claim was too modest. The shoal of shoes belonging to Imelda Marcos might have been a more appropriate comparison for her treasure trove.

The Carnegie collection of Australian art was as remarkable in its quality as its quantity. Its only rival as a comprehensive representation of the Australian modern idiom was the older Reed collection, now housed in Melbourne’s Museum of Modern Art at Heide. In 1966 Carnegie’s paintings became the first and only private collection to be exhibited in the National Gallery of Victoria.

Certainly it remains a matter for great regret that – unlike the John and Sunday Reed collection – Carnegie’s paintings and sculptures were dispersed as an entity when (for financial reasons) she was forced to sell in 1971. Christie’s auction house took a total of $500,000 for 460 works. In the boom times of the 1980s she might have fetched 20 times that amount.

Needing fresh involvement, Carnegie, then aged 65, took stock of her life and talents and commenced a 20-year career as a writer/historian. “Don’t be a fool,” she told herself, “you’ve done nothing with your own art so get cracking on the research.”

As with her art collection, she was ahead of her time. In Australia today more original history is written without, than within, academia. Carnegie published five books in her own right and worked in collaboration on six more. She also wrote scripts for films and libretti for opera.

Carnegie was a woman of prodigious energy. Raising four remarkable children, playing the role of hostess, and mustering horses on her husband’s cattle property might be viewed as optional extras.

The core of her identity resided in her cultural and intellectual involvements. She bought her first painting – an Arthur Streeton – for 15 guineas the year before she married Douglas Carnegie. By 1950 her collection numbered 100.

Carnegie was born in Melbourne, the daughter of Melbourne trader Henry Allen whose ancestors were of Huguenot and Irish origin. She was educated at Lauriston Girls School, then, at 17, a Swiss finishing school.

She became fluent in French and her interest in art was nurtured by visits to the great art museums of Europe. Cooking was not part of the curriculum although mountaineering was. The intrepid Margaret spent five days climbing a high peak. “I was not afraid,” she once remembered. “We girls were strapped together for safety.”

Margaret Allen returned to Melbourne and to the conventional social life of a wealthy young woman. At a coming-out party at her parents’ house in Toorak she met Douglas Carnegie, scion of a family whose fortune derived from a piano manufacturing company. “It was love at first sight,” she
recalled. Douglas was the same age and both were 20 when they married in 1931.

Two children were born before the war. Douglas pursued business interests and the family, almost inevitably, continued to live in Toorak. Carnegie’s creative instinct was nurtured by a garden designed in conjunction with the highly esteemed Edna Walling. Twenty years later Walling designed a very different – and largely native – landscape garden resting in the rich pastures of the Carnegie property in the southern Riverina.

In 1941 Douglas joined the AIF, was dispatched to the Middle East, and became one of the Rats of Tobruk. His army career was effectively ended when he contracted spinal meningitis and was repatriated to Australia on a hospital ship.

In the meantime Carnegie had studied for and obtained her matriculation. It might have become necessary, she reasoned, for her to earn a living. On his recovery, doctors advised Douglas to live in the country and in 1944 he purchased the 1000-hectare property Kildrummie.

Here he bred poll hereford cattle. Carnegie went along happily enough but warned her husband that she “would not milk a cow or bake a cake”. For all her 40 years on the land she retained the services of a cook. Two daughters were born in the late 1940s.

Carnegie accompanied her husband on frequent trips to Sydney and Melbourne, he to sell cattle, she to research in the Mitchell Library and the State Library of Victoria. “I am a good researcher, but a lousy writer,” she declared. Publishers and the reading public thought otherwise. Her best-known books were Friday Mount (a history of the settlement of the south-west slopes of NSW), Morgan – the Bold Bushranger and (with Frank Shields) In Search of Breaker Morant.

Carnegie was not always blessed with luck. Too late for publication she discovered that the saintly Irishwoman Daisy Bates (who for decades cared for Aborigines at Ooldea, South Australia) was legally married to Morant, rather than the hapless and innocent Mr Bates.

Philippe Mora, a Hollywood-based Australian film producer, writer and director, made a highly successful feature film, Mad Dog Morgan, with a script based on Carnegie’s biography. Dennis Hopper played the bushranger and much of the film was shot at Kildrummie.

In 1979 the Carnegies sold the cattle station and moved to a white, bright and elegant high-rise apartment in Spring Street, Melbourne.

“From the sublime to the ridiculous,” was Carnegie’s comment. She continued her research and published four books over the following 13 years. She was made a fellow of the Victorian Royal Historical Society and a patron of the Friends of the La Trobe Library and received an honorary degree from the Riverina College of Advanced Education.

After Carnegie sold her collection of Australian modernists she invested in Aboriginal art. Before the Bicentenary of 1988 she campaigned for an official treaty between white and black Australians. She was adopted as a full sister of the tribal elder and artist Nelson (Nosepeg) Tjaparula and became Margaret Naparulla of Spring Street, Melbourne.

In 1992, aged 82, Carnegie published the biography of the Edwardian Queensland sugar millionaire William Knox D’Arcy, who led an international consortium for the exploration of oil in Persia. She was distressed at his bad manners, but undeterred when the last shah of Iran failed to respond to her request for information.

Her last book was Pacific Gold – California 1848: Australia 1851, about a group of larrikin gold-diggers who cut up rough in the goldfields adjacent to San Francisco. “There’s actually a place outside San Francisco called Sydney Town. Now, did you know that?” she challenged more conventional historians. She wrote a film synopsis and sent it off to Hollywood via Philippe Mora.

Douglas died in 1998 and Carnegie spent her last years in a nursing home. In 2001 her daughter Jane nominated her for inclusion inPeoplescape, a cavalcade of significant, contemporary Australians, commemorated with cut-out “sculptures”. Carnegie’s portrait was executed by artist Asher Bilu.

Margaret Carnegie is mourned by her children, Roderick, Susan, Jane and Georgina, five grandsons and seven great-grandchildren.

Source: http://www.smh.com.au/articles/2002/08/08/1028157988188.html

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The Kluge-Ruhe Aboriginal Art Collection of the University of Virginia is the only museum in the United States dedicated to the exhibition and study of Australian Aboriginal art. Our mission is to advance knowledge and understanding of Australia’s Indigenous people and their art and culture worldwide. Working with living artists, international scholars and arts professionals, we provide a wide range of learning experiences to the University community and the public through exhibition, research and educational programs.

The Kluge-Ruhe Collection came into being in 1997 through a gift by American businessman, John W. Kluge (1914-2010). Influenced by the Dreamings exhibition in New York, Mr. Kluge began collecting Aboriginal art in 1988. Over the next decade he compiled one of the finest private collections of Australian Aboriginal art in the world.

In 1993, Kluge purchased the collection and archives of the late Professor Edward L. Ruhe (1923-1989) of Lawrence, Kansas. Ruhe began collecting Aboriginal art while visiting Australia as a Fulbright Scholar in 1965. He built a collection of the highest quality and exhibited it widely in the United States between 1965 and 1977. Ruhe’s research on Aboriginal art resulted in the publication of several exhibition catalogues and articles. His archives comprise the core of the Kluge-Ruhe Study Center.

In addition to exhibiting works from the collection at our Pantops location, there are always works from the Collection viewable on U.Va. Grounds and we regularly send work on loan to museums nationally and internationally.

The Kluge-Ruhe Collection reports to the Vice-Provost of the Arts at the University of Virginia, Jody Kielbasa.

The Kluge-Ruhe Collection acknowledges the traditional owners of the land on which its building rests, the Monacan Indian Tribe. We pay our respects to their elders, past and present, and the elders from other communities who may be here today.

SOURCE: http://www.kluge-ruhe.org/about/about-the-museum

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After being nominated by Adam Knight Fine Art, Gabriella Possum Nungurrayi has won selection to transform a Melbourne tram into dynamic public artwork as part of Melbourne Festival’s 2014 visual arts program.

“Gabriella Possum Nungurrayi – eldest daughter of acclaimed artist Clifford Possum Tjapaltjarri, internationally renowned in her own right – Gabriella takes her tram design from her painting ‘Grandmother’s Country’ depicting an important meeting place.”

Eight artists were announced for 2014 Melbourne Art Trams. The winning works were selected from more than 150 proposals from artists across the State. They were chosen by a panel comprising, Hon Heidi Victoria MP Minster for the Arts; Clement Michel CEO Yarra Trams; Josephine Ridge Creative Director Melbourne Festival; and artist Michael Leunig whose work was featured on a tram in 1986 as part of the original Transporting Art program.

The other seven 2014 artists are: Jeff Makin, Callum Croker, Rone, Janine Daddo, Christian Thompson, James Cattell and Kristin Headlam.

Arts Victoria, Melbourne Festival and Yarra Trams are the creative partners behind this successful public art project that transforms Melbourne’s iconic trams into moving works of art travelling across the city.

Josephine Ridge, Creative Director of Melbourne Festival said: “The large number of submissions we received this year shows how much interest there is in the compelling idea of bringing art onto the streets in celebration of the Melbourne tram.

“Like last year, the quality and diversity of ideas has been outstanding and I congratulate the eight artists who have been selected.”

Clement Michel, Yarra Trams Chief Executive Officer said: “Trams are Melbourne icons and Yarra Trams is very proud to be part of our thriving arts community.

“The calibre of the artwork is sensational and we look forward to these mobile pieces of art being part of our tram network.”

The 2014 Melbourne Art Trams will feature in the visual arts program of this year’s Melbourne Festival, which runs from 10 to 26 October. They will remain on the tracks until April 2015.

A People’s Choice award will be announced following the release of all eight trams onto the network. The public will be able to vote for their favourite at: melbournefestival.com.au/ trams in October.

Gabriella’s Tram will be on the Tracks next Friday PM (October 3^rd) and operate on routes 48 North Balwyn to Docklands and 109 Port Melbourne – Box Hill.

So if you see a Possum on the tracks make sure to check it out!

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It was wonderful to see the newly refurbished Tangentyere Artists studio filled with an equally refreshing display of unique Indigenous art. The exhibition “Selfies: representations of self by Town Camp artists” was a bold display of Selfie styled portraits that captured the personalities and environments of the Tangentyere Artists. The opening was a packed out event with collectors and admirers filling all available space. Drum Atwerne, the town camp youth drumming troupe provided the delightfully enjoyable and energetic entertainment.The exhibition runs through October 10^th and is a must see for anyone traveling to Alice Springs.

Invitation

Milly Knight at Tangentyere Artists opening

Drum Atwerne, the town camp youth drumming troupe.

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No one can deny there has been a significant slowdown–shall we say- an arts recession, on that basis I would suggest it was the “Recession we had to have”. At its peak before the GFC the Indigenous arts industry had in some cases become propelled by greed and the desire to earn a quick money. Many participants on all levels adopted this indulgent philosophy,this includes gallerist’s, auction houses, dealers and artists.

Artists created a multitude of inadequate artworks and expected to be paid handsomely as they knew the overvaluation of their mediocre works continued through to retail galleries all over the world. Many dealers closed their discerning eye and were prepared to accept anything produced on canvas. All due to the insatiable appetite to secure works by big name artists regardless of quality. Primary and secondary market buyers gormandized themselves on the availability of big name artists and many neglected basic collecting criteria.

I am of the opinion that the ‘Recession we had to have” has not been the bust of a boom but an essential ‘Kick in the backside” to an industry in desperate need of restitution. The effects of the arts recession are many, including the desertion of poorly motivated industry participants. The industry has purged the many Johnny come lately‘s who were of the opinion the Aboriginal Arts Industry was a get rich quick scheme. Long-term participants know this not to be the case.

Artists are again encouraged to produce exceptional, high quality works, as poor works do not find buyers, certainly not at the unrealistic prices of the past. Another effect is recalibration between quality and value; poor works are poor works and should be valued as such regardless of the artist. High calibre works are still in high demand and selling well for large but fair values.

I would go as far to suggest that the value of high-end, high quality, desirable indigenous art sales currently occurring in the private/dealer market are already at adequate levels.

This industry is leaving adolescence after a somewhat troubled period (as most adolescents experience). The high quality of the artistic output occurring now is undeniable and in the end the art will do the talking. People in the know are buying not selling Aboriginal Art. There has never been a better time to buy! To the doomsayers – I say get ready for round two.

“the last great art movement of the 20th century” Robert Hughes, Art Critic

“Australia’s Aborigines may have created one of the World’s oldest art forms and have certainly created one of the newest.” Tony Clifton The New York Times 2003

Copyright Adam Knight 2014

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Video ©  Adam Knight, 2007

Further Reading:

www.abc.net.au/news/2007-07-25/clifford-possum…record…/2512732

http://www.news.com.au/national/clifford-possum-art-sells-for-24m-record/story-e6frfkp9-1111114031762

www.smh.com.au/news/arts/aboriginal…record…/1185043149747

http://www.theage.com.au/news/national/24m-for-possum-painting-that-once-fetched-1200/2007/07/24/1185043120918.html

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Benefactors

‘This new category was created to recognise the ongoing and significant contributions of these generous Benefactors,’ said Patrick Corrigan, Life Benefactor and Chairman of the City Gallery who, with Chairman Kerry Watson, co-hosted a special dinner in the Panorama Room at The Arts Centre on 18 February, to launch the new category.

View Queensland Art Gallery Press Release here

More info:

http://www.theartscentregc.com.au/support/our-benefactors

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