NGV 2011/12 ANNuAl RepoRt - National Gallery of Victoria

4 Contents5NGV International180 St Kilda RoadThe Ian Potter Centre:NGV AustraliaFederation SquareNational Gallery of VictoriaPO Box 7259St Kilda RoadMelbourne VIC 8004AustraliaPh: +61 3 8620 2222ngv.vic.gov.auOverview06 About the National Gallery of Victoria07 2011/12 Highlights08 President’s Review09 Director’s Review14 Strategic Framework2011/12 Performance report16 Collection and Exhibitions20 Community22 Creative Content23 Education25 Recognition26 Talent27 Funding29 Sustainability30 Report against Output TargetsFinancial INFORMATION32 Five Year Financial Summary34 Independent Auditor’s Report36 Financial StatementsAppendices69 Council of Trustees71 Council Committees72 Affiliated Groups73 Organisational Structure74 Staff Information76 Other Corporate Reports84 Additional Information Availableon Request85 Exhibitions88 Acquisitions101 NGV Publications102 Scholarly Publications by NGV Staff106 Donors111 NGV Foundation List of Members116 Felton Society Members117 Sponsors118 Disclosure IndexCover imageRanjani ShettarIndian 1977-Interplay 2011beeswax, lacquered wood,pigments, cotton thread441.3 x 435.6 x 497.8 cm (variable)Collection of Talwar GalleryNew York/New Delhi and the artist, Bangalore© Ranjani ShettarPhoto: Courtesy of Talwar Gallery,New York / New DelhiThis publication is 100% recyclable.Printed in Victoria with 100% vegetable inks onAustralian made, recycled, carbon neutral paper.

10 director’s review (cont’d)11and the Portrait of Fritza Riedler (from theBelvedere Museum in Vienna), which she hadnever seen exhibited together before, eitherin Austria or in any of the many internationalexhibitions on the subject.I commend in particular Frances Lindsay,our Deputy Director, and the many curatorialand other staff who worked so hard tocreate this beautiful, faultlessly installed,show. While the critical response to Viennawas uniformly glowing and all who saw theshow admired it greatly, the final number of172,000, slightly lower than planned.Overall, however, the NGV has donetremendously well at drawing large numbersof visitors to such exhibitions, therebysupporting the state economy and alsogenerating funds which can then supportother exhibitions. As a whole, our MWMseries has been highly successful attracting,some 2 million visitors since its inception in2004, with an independently estimated directeconomic benefit to Victoria of $145 million.Our major exhibition over the summermonths, and the perfect successor to Vienna,was The Mad Square: Modernity in GermanArt 1910–37, the most comprehensivecollection of German modernism ever seenin Australia. Undertaken in collaborationwith the Art Gallery of NSW, this powerfuland thought-provoking exhibition showcaseda tumultuous era of great experimentationand innovation, bringing to a close a trilogyof major shows tracing radical artisticdevelopments in central Europe which webegan in 2010 with European Masters: StädelMuseum, 19th–20th Century, followed bythe two major exhibitions exploring radicalpractice in Vienna before World War I, andBerlin in its aftermath.To celebrate the 40 th anniversary of CentralAustralia’s Papunya Tula movement, wepresented Tjukurrtjanu: Origins of WesternDesert Art, a powerful, once-in-a-lifetimeexhibition, which brought together some 200seminal paintings produced by the foundingWestern Desert artists in the early 1970s.This extraordinary exhibition, developedin collaboration with Museum Victoriaand Papunya Tula Artists, showcased arevolutionary period in Indigenous art thatchanged the way we see Australia. We arethrilled that this momentous exhibition will bethe first large-scale NGV exhibition to travelto Europe when it opens at the Musée du QuaiBranly in Paris in October 2012.In April we opened another great exhibition atNGV Australia, and like Tjukurrtjanu, one thatwe thought every Australian should see, FredWilliams: Infinite Horizons, a superb overviewof the career of one of this country’s mostimportant and influential artists. Williamswas always a great friend and supporter ofthe NGV, a bond enthusiastically continuedby his wife, Lyn, and we are very proud tostage this stunning exhibition, curated by theNational Gallery of Australia and the firstmajor retrospective of Williams’ work in morethan 25 years.The exhibition received extensive and verycomplimentary media coverage. We wereespecially delighted that Patrick McCaughey,former NGV Director and author of the majormonograph on Williams, participated in theopening events and lectured to a capacityaudience on 11 April.As always, we closed the reporting yearwith the opening of our new MWM show,which offers a rare glimpse into theextraordinarily powerful and glamorous worldof Napoleon’s empire, which emerged fromthe chaos of the French Revolution.Organised in partnership with the FondationNapoléon in Paris, Napoleon: Revolution toEmpire includes some 300 works inall media – paintings, watercolours anddrawings, engravings, sculpture, furniture,textiles, porcelain, glass, gold and silver,fashion, jewellery and armour – drawn fromboth the Fondation’s own collection andfrom museums and private collectionsthroughout Europe.Held on 29 May as part of the opening weekfor Napoleon, the NGV’s Annual Dinner was avery well attended and successful event, withover 250 guests raising $240,000 in donationsto the art acquisitions fund.During my presentation at the dinner I wasable to announce that we had reached $120million of the $150 million we set out to raisefor our Masterpieces for Melbourne campaign– a very good result in a time of greateconomic uncertainty. I also introduced someof the acquisition highlights of the previousyear and, in response to interest expressedby a number of guests, some of the artworksfor which we were hoping to raise funds. Toour great surprise and delight, nearly everyone of them has now been acquired, thanksto the outstanding generosity and support ofour friends.On behalf of the NGV, I would like to thankmost warmly everyone who has contributedto our fundraising campaign. These generousdonations have enabled us to acquire manyexceptional masterpieces for Victoria.New spaces: Contemporary and Asian artMuch of the work of the past year has beendedicated to completing aspects of ourimportant 150 th anniversary renewalprogram, begun in 2011 using funds fromboth the Government of Victoria andphilanthropic sources.As part of this program, in November weopened a new gallery space for contemporaryexhibitions on the ground floor of NGVInternational, with the opening exhibitionsgenerously supported by Joan and PeterClemenger, who have done so much overmany years to promote the presentation ofcontemporary Australian visual culture atthe NGV.For nearly 20 years, the triennial ClemengerContemporary Art Award, establishedthrough Joan and Peter’s generous donationto the NGV in 1991, fostered creativity andinnovation by offering support and recognitionto outstanding emerging artists at pivotalmoments in their careers. When this Awardcame to an end in 2009, the Clemengers,again with great prescience, were keen tofind a new way in which they could continueto support contemporary art and we aredeeply grateful to them for their vision andremarkable generosity in funding these newcontemporary exhibitions.Our inaugural exhibition in the new spacewas Dewdrops and Sunshine, an intriguinginstallation show by Ranjani Shettar, atalented young sculptor and installationartist from Bangalore, India, who has alreadymade a name for herself internationally, andfor good reason. This captivating exhibitionexplored the interplay between environmentalelements and living things through soaringlyrical forms comprised of natural andindustrial materials.This was followed by UnexpectedPleasures: The Art and Design ofContemporary Jewellery, curated byacclaimed jewellery designer and NGVTrustee Susan Cohn (the arrangements forwhich had been made in advance of Susanjoining the Council of Trustees). Stagedin collaboration with the London DesignMuseum, the exhibition featured innovativelocal and international contemporarypieces that challenge our conventionalunderstanding of the form and function ofjewellery, focusing instead on the power ofpersonal adornment and the collaborativemeanings created by both maker and wearer.Another major renewal project that hasoccupied our time over the past 12 monthshas been the expansion and redesign of ourAsian galleries, scheduled to reopenin October.The new suite of rooms will include thePauline Gandel Gallery, our first gallerydedicated entirely to Japanese art, which,I am delighted to say, will finally allow usto showcase the breadth and depth of ourgrowing Japanese collection in a mannerthat befits it, in a spacious and very beautifulcontext. It is our aim to present withinthe gallery a number of separate displaysfocusing on different aspects of the collection,including Buddhist art, lacquerware, paintings,ceramics, woodblock prints, Noh theatre andthe tea ceremony.We are grateful to John and Pauline Gandeland to the Government of Victoria forgenerously funding this important addition.We are also deeply indebted to the Presidentof our Council of Trustees, Allan Myers,and his wife, Maria, whose astute andexceptionally generous gifts of major works ofart have transformed our Japanese collectionin recent years. Since we reported on theexquisite 12 th century Sho Kannon Bosatsusculpture they acquired for the NGV’s 150 thanniversary – a masterpiece of great qualityand rarity – Allan and Maria have purchasedseveral additional items for us, including agroup of highly important 17 th and 18 th centuryNoh theatrical masks, certain to be highlightsof the new gallery. I would also like to thankTrustee Jason Yeap, who presented us with alate 17 th century screen, Tales of Genji, anothernotable addition to our holdings of Japaneseart, and for his invaluable assistance inhelping to forge new relationships and buildsupport for our Asian collections.In addition, we are finalising an equallyexciting rethink of the Myer Family Gallery,which will now be divided into a sectiondedicated to Chinese works, particularlyceramics and paintings, and a section focusingon the visual cultures of Southeast Asia andIndia. This will allow us to concentrate, inparticular, on the great religions of the regionand to tell the story of their development,artistic representation and influence. The NGVthanks the Myer family funds for theircontinuing support.While the Asian galleries were closed forthis major refurbishment, we installed a freeexhibition on level 2 of NGV Internationalof key works from our collection, tracingthe history of Buddhism and its expansionthroughout Asia. Featuring items from India,Gandhara, Burma, Thailand, Laos, Vietnam,Japan, China, Tibet, Nepal and Bhutan, theexhibition was extremely popular, drawingclose to 340,000 visitors during its almostsix-month season. This clearly demonstratesthe keen interest that the Victoriancommunity takes in Asian art, and we lookforward to an even more enthusiastic publicresponse when the new galleries are unveiledlater in the year.An innovative and important feature of thenew galleries will be that all didactic panelswill be bilingual – in English and Chinese –and many will be trilingual, with Japaneseincluded in the Japanese gallery, and Hindi,Indonesian, Vietnamese and other Asianlanguages incorporated, as appropriate, inrelation to particular works or displays.Significant visitors and visitsIt has been a very busy time in terms ofofficial visits and we welcomed somedistinguished and important guests at theNGV during the year.Perhaps the greatest highlight of the 150 thanniversary celebrations was the visit ofH.M. Queen Elizabeth II and H.R.H. the Dukeof Edinburgh to Federation Square and NGVAustralia on 20 October. The Queen was

12 director’s review (cont’d)13particularly interested in the outstandingIndigenous exhibition Living Water:Contemporary Art of the Western Desert,which formed the major part of the FeltonBequest’s 150 th anniversary gift, and had theopportunity to speak with several artists whohad travelled to Melbourne to attendthe occasion.While the visit was necessarily brief, itwas a great honour and very muchappreciated, as the royal couple’s time inMelbourne was very limited. Their visit was aclear acknowledgement of the important rolethe NGV has played in our nation’s culturalhistory. Also in October, a delegation headedby NGV President Allan Myers – includingTrustee Jason Yeap, Senior Curator ofAsian Art Dr Mae Anna Pang and myself,along with the Director of the Hamilton ArtGallery, Danny McGowan, former Trusteeand independent artist Sally Smart andthe Director of AsiaLink at the Universityof Melbourne, Lesley Alway – made a veryinformative and productive visit to China.Organised by Jason Yeap in collaborationwith the Chinese Consulate in Melbourne,with funding from the Ministry for Culturein Beijing, the busy program included visitsto Shanghai, Xi’an and Beijing, after whichJason Yeap and I continued on to GuangzhouProvince, where I was keynote speaker at aconference to open the new Kingold Museum.In addition, Deputy Director Frances Lindsaywas invited to Korea on a cultural exchangehosted by the Korean Foundation, to helpcelebrate the Korea Australia Year ofFriendship, meeting with many directors ofKorean art museums as well as a number oflocal artists.These visits represented important stepsforward in forging stronger culturalrelations with China and Korea, with a viewto promoting collaborative projects andexhibition exchanges in future.Financial sustainabilityThe 2011/12 financial year saw revenuesincrease by nearly 8% over the previous year,largely as a result of the performance of theexhibition program. Despite external economicuncertainty, we were also able to increase ourrevenues from our retail operations and thecommercial sector through sponsorship andnew membership offers.As a result of these efforts, and the carefuland prudent management of our cost base,our reported operating deficit of $1.6 millionwas significantly better than budget.It should be acknowledged, however, thatpart of this was attributable to the fact thatthe Community and Public Sector Unionand the Victorian Government did not reachagreement in the year on a new enterpriseagreement. As a result, the NGV, which is ina nexus arrangement with this agreement,did not incur the cost of a staff pay rise inthe year. While this is now commonplacein the wider economy, it is clearly not idealand it says much for our teams here thatthey continue to display such unwaveringcommitment to the work of the NGV, and theexcellence of its exhibitions, programs andvisitor services and facilities.Looking forward, we are committed toensuring the NGV’s financial sustainability,through the ongoing support of the VictorianGovernment, the generation of new revenues,and the sound and responsible managementof costs. Further information on the financialperformance of this year, and previous years,is provided on pages 32 and 33 and theaudited financial statements which follow.Thank youAs this is my final report after 13 years, Iwould like to pay a special tribute to all thosewho work so hard to make the NGV the greatinstitution it is.Firstly, on behalf of the Gallery and theentire community, I would like to thank theState Government – in particular Ted BaillieuMLA, Premier and Minister for the Arts, andHeidi Victoria MLA, Parlimentary SecretaryAssisting the Premier with the Arts, theSecretary of the Department of Premier andCabinet, Helen Silver; and the Director of ArtsVictoria, Penny Hutchinson – whose ongoingcommitment to the arts portfolio enables us tocontinue collecting and presenting great art forthe people of Victoria. I would also like to thankthe Melbourne City Council and the Lord Mayor,Robert Doyle, in particular, for the personalinterest he has taken in supporting extendedNGV opening hours, providing a generous grantto enable late-night openings and subsidisedticket prices during our Napoleon season.We have a strong and effective Council, ledso adeptly by our President, Allan Myers,who has brought to the NGV a strong senseof governance and admirable rigour inmanaging our finances and aspirations; asmentioned earlier in this report, Allan (withhis wife Maria) has also been an exceptionallygenerous donor. I would like to thank Allanand all of our Trustees for their commitmentover the years and their inspiring personalgenerosity. We are extremely grateful for allthat they give the NGV in so many ways.I would also like to thank my ExecutiveManagement Team, who work tirelesslyto ensure great results for the Victoriancommunity. It’s been a privilege and apleasure to work with such a capable andcommitted team. I would especially like toacknowledge the enormous contributionmade by Frances Lindsay over 17 years inher two periods of service to the NGV, thelast 12 as Deputy Director, who announcedthat she will be leaving the NGV in August.We have all benefitted immensely fromFrances’ exceptional dedication to her role, herwillingness to put in whatever time and effortwere required, her attention to detail and herfaultless judgement in planning the installationof artworks. She will be greatly missed. I wouldlike to wish Andrew Clark all the best in hisnew role of Deputy Director.Several other colleagues left us during theyear, and in particular I would like to thankSue Coffey, our Head of Media and PublicAffairs, who worked with us with greatgusto and creativity in two stints for nearlya decade, and Leigh Mackay, who had beenthe knowledgeable and professional Head ofCorporate Office and Secretary to the Councilof Trustees since 2006.The staff of the NGV are an exceptionallydedicated and hard working group of peopleand are the key to our success. Their diligenceand creativity shine through, not only in thetemporary exhibitions in terms of the qualityof the research, curatorship and design, butalso in the permanent galleries, which arealways so well installed and so admiredby visiting directors and curators. As theoutgoing Director, I feel that this is a momentwhen I can unashamedly acknowledge thedepth and quality of professional skills offeredby the NGV, which relies entirely upon thecommitment and creativity of our staff. Ithank my Executive Assistant, ChristineBarraclough, supported by Marissa Cassin, forher huge dedication and loyalty.The NGV has always been, and continuesto be, a community facility, existing for thepeople of Victoria, reflecting their ideas andaspirations. We have many supporter groups,including our Members program (which, withmore than 41,000 members, continues to bethe largest membership of any museum orgallery in the country); our NGV Foundation, agroup of extremely generous friends, who againand again make the donations of artworksand money that enable the expansion anddevelopment of the collection; our VoluntaryGuides, who provide such a fantastic servicefor visitors both to the permanent collectionand to temporary exhibitions; and the NGVWomen’s Association, who continue to raisevital funds through tremendous events eachyear; and the Friends of the Gallery Librarywho devote so much time and energy to theShaw Research Library. We could not existwithout their invaluable support.Of course, the Felton Bequest continuesto play a major role in the expansion of thecollection, and in its first group of acquisitionsfollowing the wonderful Indigenous gifts forour 150 th anniversary, it has most generouslyacquired a group of Japanese antiquities ofexceptional quality in honour of Allan Myers’period as President of the Council. In addition,the Bequest has acquired from the Deanand Chapter of St Paul’s Cathedral a highlyimportant pair of carved Baroque chairs by thegreat Venetian furniture maker and craftsmanAndrea Brustolon, which had been on loan forsome time, and I feel touched that these arebeing been presented to the NGV in honour ofmy years as Director.I would like to take this opportunity once againto thank Sir Andrew Grimwade, Chairmanof the Felton Bequests Committee, for hisongoing support. We were very pleased thatin May this year, an anthology of his manyspeeches and writings was launched at NGVAustralia, which contained a substantialgroup of references to the NGV, gleaned fromAndrew’s rich experience as the longestserving President of our Council of Trustees.Over the past five years, we have raisedmore money than ever before from the privatesector, and many important works havebeen donated or acquired for the collection.We remain deeply grateful for the generoussupport of all our corporate partners anddonors, those individuals and organisationsin the community who have decided to investin the success of the NGV for current andfuture generations. We thank each and everyone of them.I have often said that when I returned toMelbourne in 1999 to become Director ofthe NGV, I was instantly reminded of thedeep interest, affection and care the wholecommunity takes in the NGV and in itssuccess. My experience here over 13 years hasonly reinforced that impression, particularlyduring the 150 th anniversary celebrations lastyear. The NGV holds a very special place inVictorians’ hearts; it is embraced with realaffection as a central part of our cultural life,and I know this will continue to strengthen.We were delighted that we regained ourposition as the most visited museum orgallery in the country in 2011 and were the25 th most visited in the world, based onThe Arts Newspaper’s annual survey of globalmuseum attendances. It is a great place to beand a wonderful note on which to sign off.In closing, I would like to thank everyone whohas supported me personally in my years asDirector, in particular my wife, Rose, who forso many years has been such a great supportand who has also made her own significantcontribution to the NGV’s life and success,and of course my children, Ali and Charlie.I wish our new Director, Tony Ellwood, allof my colleagues here, and every NGVstakeholder the greatest successes asthey go forward.Gerard VaughanDirectorJuly 2012

StrategIcFramework2011/12Performancereport14 15NGV Values• Excellence• Integrity• AccessNGV MissionTo illuminate life by collecting, conservingand presenting great artNGV VISIONAs Victoria’s cultural flagship and home toAustralia’s finest art collection the NGV isrecognised as one of the leading art museumsof the worldNGV OutcomesRealising our vision means achieving our eightoutcomes, as described in our draft StrategicPlan 2010/13:1: Collection and Exhibitions – Great“Must See” ArtTo develop, conserve and research theState Collection to ensure it remainsAustralia’s finest and to curate, or host,outstanding exhibitions3: Creative Content – QualityExperience for AllTo create opportunities for engagement andenjoyment of the NGV at the galleries, onlineand through other media4: Education – Centre for Learning ExcellenceTo provide challenging and high qualityexhibitions and educational training andprograms balancing curatorial reputation andbroad audience appeal5: Recognition – Excellent National andInternational ReputationTo be seen as a leading art museum in termsof our collections, our exhibitions and ourengagement with our community6: Talent – Magnet for the Brightest and BestTo support the achievement of the NGV’smission and vision through the selection anddevelopment of employees and volunteers7: Funding – Able to Fund AspirationsTo secure a broad and committed funding baseand nurture relationships with stakeholdersAlignment with budget outputframeworkThe NGV’s 2010/13 Strategic Plan addressesthe NGV’s obligations under its three yearSeries 3 Overarching Agreement with theState Government.The Arts Portfolio agencies’ output targetsfor 2011/12 (BP3) are set out in a table onpage 30.2: Community – Inclusive and HighlyAccessibleTo create opportunities for more broadlybased public attendance and participation8: Sustainability – Responsible Resource UseTo ensure the effective, efficient andresponsible use of all resources

1COLLECTION ANDEXHIBITIONS16 17AimTo develop, conserve andresearch the State Collectionto ensure it remains Australia’sfinest and to curate, or host,outstanding exhibitionsPerformance indicators• Value of 2011/12 acquisitions: $15.4 million(target: $17 million; 10/11: $23.8 million)• Visitors rating exhibitions as good or verygood 96% (target: 95%; 10/11: 90%)• Proportion of recent acquisitions (last 3years) displayed at the NGV or on loan: 26%(target: 20%; 10/11: 27%)• Exhibition tickets sold: 228,484 (target:254,591; 10/11: 208,676)• Loans to peer institutions: 744 (target: 500;10/11: 620)Acquisitions• Two magnificent High Renaissancemasterpieces: Correggio’s Madonnaand Child with infant St John the Baptistc.1514–15, with funds generously providedby NGV Trustee Andrew Sisson; andFrancesco Francia’s Virgin and Child withthe young St John in a garden of roses,c.1515, purchased with funds donatedby John Higgins, Paula Fox, Ken and JillHarrison, Alan and Mavourneen Cowen andother donors to the Francia Appeal• Two outstanding 17 th century portraits:Jacob Huysmans’ Edward Henry Lee, 1stEarl of Litchfield, and his wife, CharlotteFitzroy, as children 1674 and Peter Lely’sSir John Rous, 1st Baronet of Henham Hall1660 donated, respectively, by MontahHoldings Pty Ltd and the Countessof Stradbroke• Tony Tuckson’s Untitled–Yellow, 1970–73,acquired through the Loti & VictorSmorgon Fund; and Sean Scully’s Queen ofthe night 2008, purchased through the NGVFoundation with the assistance of GregWoolley and NGV Contemporary• Transforming the NGV’s 20th centurycollections, Colin McCahon’s The fivewounds of Christ no.1 1977–78 purchasedthrough the NGV Foundation with theassistance of Dame Jennifer Gibbs• Gift by the artist of John Olsen’s Theflood – Towards Lake Eyre 2008–2012,also in honour of Gerard Vaughan’sdirectorship. A further important work,Orazio Gentileschi’s The Mocking of Christ1628–35, made possible through thegenerosity of many donors, and also inhonour of Gerard Vaughan’s directorship,was also secured and will be accessionedto the State Collection in 2012/13• An outstanding painting by renowned Frenchartist Bernard Buffet, Still life with fireplace(Nature morte à la cheminée), 1952, acquiredthrough the Bequest of Eugénie Crawford,one of the original NGV Voluntary Guides,who served the NGV for 20 years• 79 artworks, valued at $3,519,793,acquired through the Federal Government’sCultural Gifts ProgramHighlight Exhibitions• Broke new ground with our eighthMelbourne Winter Masterpieces exhibition,Vienna: Art & Design, featuring worksby Gustav Klimt, Egon Schiele, JosefHoffmann and Adolf Loos alongside theNGV’s exceptional Viennese decorative artscollection, drawing 172,000 visitors, 95%of whom rated their visit as good or verygood, and international acclaim• Presented, in collaboration with the ArtGallery of NSW, the most comprehensiveexhibition of German modernism everseen in Australia – The Mad Square:Modernity in German Art 1910–37, whichexplored one of the most fascinating andinnovative artistic periods through morethan 200 works drawn from internationaland Australian collections• Highlighted the work of one of Australia’smost important artists in Fred Williams:Infinite Horizons, the first comprehensiveexhibition to focus on Williams in morethan 25 years, a National Gallery ofAustralia exhibition• Celebrated, in a collaboration withMuseum Victoria, the 40 th anniversary ofthe Papunya Tula movement in CentralAustralia with Tjukurrtjanu: Origins ofWestern Desert Art, an unforgettableexhibition of more than 200 paintings fromthe early years of this revolutionary period,seen by an estimated 200,000 visitors• Traced the development of one ofAustralia’s leading contemporary artists inBrent Harris, encompassing more than 70works exploring themes of life, death, fear,doubt, spirituality and sexuality• Celebrated the role of Linda Jackson inthe development of a distinctly Australianapproach to fashion design over more than40 years of practice in Bush Couture, thefirst major solo exhibition of the artist’swork in a public gallery• Held 12 innovative shows at NGV Studio,featuring a new generation of artistscreating cutting-edge installations, fromgraffiti and street art, to skate culture,comic zines, gaming and multimedia,generating positive publicity and extensivesocial media exposure• Showcased the impressive talents of a newgeneration of artists in Top Arts, whichexhibited works by 54 VCE Arts and StudioArts students (selected from an initial fieldof more than 1,800) in a diversity of media,including painting, drawing, sculpture,multimedia and installation• Achieved one of the highest satisfactionratings ever attained for ticketedexhibitions for the Eugene von Guérardexhibition, which opened in the previousyear, with 99% of visitors rating their visitto the exhibition as good or very good• Held the first exhibition in the NGV’snew contemporary exhibition space,Ranjani Shettar: Dewdrops and Sunshine,viewed by an estimated 200,000 visitorsand followed this with UNEXPECTEDPLEASURES: The Art and Design ofContemporary Jewellery• Opened Napoleon: Revolution to Empire,the ninth show in the Melbourne WinterMasterpieces series, a panoramic exhibitionof more than 300 works exploring thisfascinating historical figure and periodCollection display• Displayed the NGV’s acclaimed collectionof British watercolours, including someimportant recent acquisitions, in BritishWatercolours 1760–1900: The Age ofSplendour, which looked at the mediumin its golden age and its evolution into anindependent art form• Explored the spread of Buddhist imageryacross Asia through In the steps ofthe Buddha, a highly popular specialcollection display held in expectation ofour refurbished Asian galleries, opening inOctober 2012• Focused on the early years of settlementin Melbourne in This Wondrous Land,which depicted colonial art alongside earlyperspectives of Aboriginal communities,as well as a comprehensive survey of thework of Fred Kruger in Fred Kruger: IntimateLandscapes, whose distinctive photographicstyle and compelling images provide a rareinsight into a time of great upheaval forVictoria’s Indigenous people• Explored the photographic gaze in Lookingat Looking, and the creative and emotivepotential of photograms, large-scaleinstallations and digital technologies in LightWorks, both exhibitions featuring works byinternational and Australian artists drawnentirely from the State Collection• Showcased new acquisitions by DavidNoonan, Tom Nicholson and Richard Lewerin 10 ways to look at the past, an exhibition ofcontemporary works exploring history andmemory, drawn entirely from theState Collection• Conducted permanent collectionchangeovers across 27 gallery spaces atNGV International and 11 spaces at NGVAustralia to accommodate scheduledexhibitions and light-sensitive changeovers,involving the de-installation and installationof approximately 1,500 artworks• Showed Russell Drysdale’s 1948masterpiece, The cricketers, on loan fromthe Liberman collection, alongside some ofthe NGV’s own major Drysdale paintings,with cricketing greats Max Walker, KeithStackpole, Dean Jones and Paul Sheahanjoining in to unveil this highly popularAustralian painting• Publicly displayed an Evening Gown fromthe Callot Soeurs’ 1921 summer collectionfor the first time since its acquisition in1979 following complex treatment aheadof its inclusion in the forthcoming Art Decofashion and textiles exhibitionCollection research andconservation• Unveiled the Nicolas Poussin masterpiece,The Crossing of the Red Sea 1632–34 togreat acclaim following a 12-month periodof extensive restoration, sponsored byBNP Paribas and the BNP Paribas Foundation• Carried out extensive wet treatmentsand significant repairs to a collectionof Japanese wood-block prints, whichwill feature in the opening display of theredesigned Asian Galleries in 2012• Commenced research into two 15 th centuryItalian stucco reliefs and the NGV’scollection of Italian Renaissance maiolicaware, including ultraviolet and radiographicanalysis of selected objects in the collection• Assessed objects from the Pre-Columbianand Greek & Roman collections to establishtheir conservation needs and beganresearching new methods for the storageof antiquities• Completed stabilisation treatment onthe lacquer and wood Gyodo mask ofBodhisattva for display in In the stepsof the Buddha• Continued developing a technique forimaging paint layers using synchrotronradiation and presented a paper onthe NGV's research practice to theSR2A Synchrotron Radiation in Art andArchaeology Conference in New York• Completed anoxic pest treatment of anumber of indigenous objects• Began conservation treatment of severalkey works, including the 12 th centuryJapanese sculpture Sho-Kannon Bosatsu,the newly acquired Correggio paintingMadonna and Child with infant St John theBaptist c.1514–15, The finding of the TrueCross c.1516 by Cola dell’Amatrice, theMaster of the Legend of Saint Catherine’sTriptych with the miracles of Christ 1479–1491, John Peter Russell’s Almond tree inblossom c.1887 and George Rickey’s ThreeMs and one W IV, gyratory 1990Key national and international loans• International loans included three pieces ofJosef Hoffmann furniture to the BelvedereMuseum in Vienna for inclusion in GustavKlimt and Josef Hoffmann: Pioneers ofModernism, Perino Del Vaga’s The HolyFamily c.1545–1546 to Fondazione RomaMuseo and Johan Zoffany’s Self-portrait asDavid with the head of Goliath 1756 to theYale Center for British Art (New Haven)• Provided ten paintings and six works onpaper by Fred Williams to the NationalGallery of Australia for inclusion in itstravelling exhibition Fred Williams: InfiniteHorizons, twelve paintings and eight workson paper to the National Portrait Galleryin Canberra, and four paintings to the ANUDrill Hall Gallery in Canberra for inclusionin the touring exhibition Yulyurlu LornaFencer NapurrurlaThe Shaw Research Library• Undertook the first comprehensivestocktake of the library’s 52,000catalogued items with the assistance oflibrary volunteers who donated over 200hours of their time• Developed a new library policy to informfuture planning about facilities, servicedelivery and collection development

18 collection and exhibitions (cont’d)19Victorian Foundation for LivingAustralian ArtistsThe Victorian Foundation for Living AustralianArtists (VFLAA) was established in 2002with a grant of $5 million from the StateGovernment of Victoria, matched by anequal contribution from the NGV’s Council ofTrustees. It has the following objectives:• to increase support for living Australianartists by purchasing and exhibitingAustralian art, with an emphasis oncontemporary Australian visual art;• to enable public galleries throughoutVictoria to exhibit high quality examples ofcontemporary Australian visual art;• to expand the NGV’s purchasing capacityfor contemporary Australian visualart and enhance the State Collection’sholdings of such; and• to grow the VFLAA Fund in real termsover time.Works of art acquired by the VLFAA, now inits tenth year, extended the representationof Australian artists in the collection ofthe NGV, and supported and enhanced theexhibitions held at Victorian regional andmetropolitan galleries.The VFLAA Committee convened inAugust and December 2011, and Marchand June 2012.A total of 21 works across a range ofdisciplines, including photography, painting,prints, fashion and textiles, and new media,were acquired by the VFLAA during thisfinancial year.Regional representatives on the VFLAAcommittee, Anthony Camm, Director, AraratRegional Art Gallery, and Jane Alexander,Director, Mornington Peninsula RegionalGallery, have continued their term oncommittee for this financial year.The table opposite provides an overview ofthe performance of the VFLAA in 2011/12.VFLAA STATISTICSFinancial performanceIndicator 2011/12Annual growth in capital value of the VFLAA Endowed Fund -3.2%{Note 1}Annual value of acquisitions $212,851Market value of Endowed Fund (at year end) $8,206,965Artistic performanceIndicator 2011/12 2010/11Number of VFLAA works acquired - 21 39TargetNumber of artists whose art was acquired -Number of Victorian artists whose art was acquired -Result15 artists3 companies15 artists3 companiesVictorian artists as a percentage of total artists acquired 50% 100% 30.4%Number of Indigenous artists whose art was acquired 1 0 0% income spent in primary market 80% 100% 100%VFLAA/State Collection Access PerformanceIndicator 2011/12 2010/11VFLAA works displayed at NGV 40 79 141VFLAA works displayed on NGV website 40 247 187Regional/ outer metropolitan galleries which received VFLAA works 4 4 0VFLAA works loaned to regional/ outer metropolitan galleries 9 24 0Total number of VFLAA works loaned - 29 6NGV’s Management of VFLAA PerformanceTargetResult237Indicator 2011/12 2010/11Number of regional galleries having VFLAA membership 2 2Number of VFLAA acquisition meetings 4 3Publication of VFLAA report (activities, financial and artistic) in NGV Annual Report 1 1Notes:1 Reflects dimunition in value of invested funds as a result of market movements.

2CommunIty20 21AimTo create opportunities formore broadly based publicattendance and participationPerformance indicators• Total visitors: 1.55 million (target: 1.55million; 10/11: 1.5 million)• Visitors to touring exhibitions: 138,056(target: 73,000; 10/11: 222,078)• Visitors from outside Victoria: 44% (target:30%; 10/11: 23%)• NGV members: 41,309 (target: 43,000;10/11: 43,927)• Collaborative projects with NGOs/agencies:43 (target: 20; 10/11: 30)Children and families• Celebrated the first anniversary of NGVKids Club, which has been a great success,with 520 dedicated young members joiningthe club since its launch in May 2011 and860 participating in activities in 2011/12• Installed three innovative displays andinteractive activities programs at NGV KidsCorner at Federation Square and the NGVKids Space at NGV International• Held the first ever Family Tweet-Up in theNGV Kids Space• Attracted more than 6,000 people to theNGV Kids drop-in area in the VictorianGovernment exhibition pavilion at theRoyal Melbourne Show, with hands-onarts workshops and displays outlining keyevents in the NGV’s 150-year history• Hosted the Government’s Awards forInnovation and Excellence in Early YearsPrograms for the fourth year running,in conjunction with the Departmentof Education and Early ChildhoodDevelopment (DEECD), and presented theNGV’s strategy for children and families• Also in association with DEECD, celebratedChildren’s Week with a full day of family funand art-making activities in the Great Hallfor more than 500 eager participantsCommunity and culture• With the help of renowned performer andartistic director Robyn Archer, transformedthe Great Hall and its surrounds intothe Vienna Lounge, with live music,performances and décor evoking themood and glamour of fin-de-siècle Viennaon Wednesday evenings as part of thevery popular art after dark series, whichattracted 18,230 visitors over the course ofthe Vienna exhibition• Celebrated the 550 th anniversary ofIkenobo Ikebana in Japan and the 20 thanniversary of its Melbourne chapter witha two-day program of master displaysand demonstrations by 45 th generationHeadmaster Sen’ei Ikenobo and a series offully booked workshops• Enthralled audiences of up to 600 peoplewith a series of public concerts, includinga program of Beethoven, Mozart andMahler by Orchestra Victoria, led byconcertmaster Adam Chalabi and guestconducter from the Taiwan PhilharmonicOrchestra, and a weekend of chambermusic, which included astoundingperformances by three internationalstandard chamber music groups from NewYork, Vienna and Oxford held in the NGV’s18 th century painting galleries as part ofChamber Music Australia’s 6 th MelbourneInternational Chamber Music Awards• Said ‘Goodbye Summer’ with a live musicevent in the Grollo-Equiset Garden at NGVInternational, held in collaboration withTriple R community radio, which attractednearly 5,000 visitors• Held another series of popular andhilarious talks by comedian HannahGadsby as part of the MelbourneInternational Comedy Festival• Presented a two-day program of freepublic activities, including tea ceremonies,lectures and demonstrations, attendedby around 300 people, in celebration ofthe Chado Urasenke Tankokai MelbourneAssociation’s 20 th anniversary• Launched the Contemporary TwilightSeries, offering after-hours access to thenew contemporary exhibitions gallery aswell as a bar and lounge, and featuringfree floor talks by curators, contemporaryartists and other expert local andinternational speakersOutreach• Held 57 Gallery Visits You outreachprograms during the year• As part of Social Inclusion Week, conductedgallery tours for people who would notnormally access the NGV and a stunningperformance by the very talented TheChoir, attracting more than 400 attendees• Provided three full days of art-makingworkshops for students as part of theWestbourne Grammar Outreach program,culminating in a mural celebrating theschool’s local Indigenous community andnatural heritage• In collaboration with the YMCA, organisedholiday workshops inspired by the StateCollection for 280 students as part ofthe Bushfire Relief Program for schoolcommunities affected by the BlackSaturday bushfires, including schoolsin Alexandra, Hurstbridge, Kinglake,Marysville, Redesdale, Wandong, Yea andYarra Glen• Explored art beyond the NGV’s walls aspart of an innovative three-year youthaccess program, WeR1, funded by VicHealth, working with participants, theirschools, including Kyneton and FitzroySecondary Colleges, the local communityand culturally diverse contemporary artiststo deliver a range of stimulating programsand art projectsTouring• Eugene von Guérard: Nature Revealedtravelled to the Queensland Art Gallery andNational Gallery of Australia following itshighly popular Melbourne season• Announced that the seminal exhibitionTjukurrtjanu: Origins of Western Desert Artwill be shown at the Musée du Quai Branly,in Paris in 2012, the first NGV exhibition totravel to Europe• Continued to provide support and servicesin kind, including office accommodationto National Exhibition Touring ServicesLtd (NETS)Regional engagement• Deputy Director Frances Lindsay was thekeynote speaker at the first MuseumsAustralia Victoria State Conference, heldin Ballarat, speaking on leadership inregional arts• Frances also officially opened theWangaratta Art Gallery’s Silver exhibitionin celebration of its silver jubilee year• Eugene von Guérard: Nature Revealedreceived one of the highest attendancelevels among regional Victorians (18% ofvisitors) ever recorded, demonstratingthe success of the regional marketinginitiatives undertaken• Lent two Nicholas Chevalier paintings tothe Gippsland Art Gallery for inclusionin Nicholas Chevalier: Victorian Journeys,five Robert Baines works to the Glen EiraCity Council Gallery, twelve Micky Allanphotographs to the Monash UniversityMuseum of Art for inclusion in A DifferentTemporality, three Greek vases to theIan Potter Museum of Art for inclusionin Treasures: Antiquities from MelbournePrivate Collections, nine Michael O’Connelltextiles and an object, along with twopieces of Fred Ward furniture, to theBendigo Art Gallery, a Wesley Staceyphotograph to the Monash Gallery of Artfor inclusion in Brummels: Australia’s firstgallery of photography and eight paintingsand a work on paper to the BundooraHomestead Art Centre• Following its successful showing at NGVAustralia, Stormy Weather, an exhibitionof contemporary landscape photography,travelled to the Swan Hill Regional Galleryin December 2011• Continued to provide support and servicesin kind, including office accommodation,to the Public Galleries Association ofVictoria (PGAV)NGV Members• Maintained the largest membership of anyart gallery or museum in Australia with41,309 members• Responded to feedback from members,by introducing new after-hours events, aweekend lecture series and drinks in theMembers’ lounge, and changing the formatof the Members’ annual Melbourne WinterMasterpieces gala party• Surveyed premium members to gaugetheir views and revised premium benefitsin response to feedback received, includingintroducing special ‘behind the scenes’access opportunities• Launched an online survey of ArtbeatMembers, the results of which will helpinform our future Artbeat events andcommunications strategy• Introduced a Members’ joining form andbenefits listing as a regular feature ofGallery magazine• Established a permanent site at NGVInternational for the promotion and sale ofmemberships in a high-profile location nextto the main entrance to the NGV Shop onthe ground floor

5RecognItIon24 education (cont’d)25AimTo be seen as a leading artmuseum in terms of ourcollections, our exhibitionsand our engagement with ourcommunityPublic programs• Conducted 896 public programs throughoutthe year and 3,372 guided tours by NGVVoluntary Guides for 109,124 visitors andprogram participants• Held a fully subscribed symposium tocoincide with the This Wondrous Landexhibition, featuring local and interstatecolonial art experts addressing a rangeof topics relating to the exhibition,including early wildlife illustrations, earlyperspectives of Aboriginal communities andearly settlement in Melbourne• Artist Marco Luccio delivered a seriesof popular drawing classes at the NGVfocusing on works from the State Collection• As part of a floor talk on Renaissanceart for Easter, offered an extremely rareopportunity to see the closure of themagnificent Flemish Carved retable ofthe Passion of Christ c.1511–20, oncecustomary during Lent.• The 2011 Thinker of the Year, Peter Singer,addressed a crowd of 250 attendees,sharing insights about the intriguing andlayered history of his family in Vienna at thetime of Freud• A capacity audience filled the ClemengerAuditorium to hear a lecture by renownedGerman photographer Thomas Demand– regarded as one of the most importantcontemporary artists working today –generously arranged by John Kaldor aspart of the Melbourne leg of the 25 th KaldorPublic Art Project• Dr David Rathbone, from the Universityof Melbourne, presented a four-weekphilosophy program to 435 enthusiasticparticipants focused on the art of Klimtand the philosophies of LudwigWittgenstein and Sigmund Freud, tocoincide with the Vienna exhibition• Patrick McCaughey, former NGV Directorand highly regarded authority on FredWilliams, lectured to a capacity audienceas part of opening events for the InfiniteHorizons exhibitionConferences and festivals• Hosted 40 delegates from the WorldSummit on Art and Culture for tours of theIndigenous collections, NGV Kids Spaceand international collections, providinginsights on teaching and learning strategiesfor cross-cultural education programs, theNGV’s early years educational frameworkand hands-on and technology basedinteractivity in the children’s gallery• Hosted the seventh Biennial InternationalMuseum Theatre Alliance conference with80 delegates participating in an excitingprogram of presentations and paneldiscussions on research indicating thattheatre and performance can profoundlyenhance the experiences of visitors tocultural institutions• Attracted more than 100 people to theannual lecture in memory of NGV curatorand researcher Ursula Hoff, which this yearwas presented by Professor Mark Ledburyand focused on Francois Boucher as ahistory painter• Attended Reprogramming the Art Museum:Curatorial & Education Strategies forthe 21st Century, a two-day symposiumcoordinated by UNSW and COFA, whichpresented current international andAustralian perspectives on curatorship,education and public programming• Co-hosted a range of events celebratingart, illustration and visual storytellingduring the very popular annual MelbourneWriter’s Festival, with more than 400people attending festival programs at theNGV, which included Betty Churcher inConversation, Irresistible Book Design andthe Art of InsightNational and internationalrecognition• Welcomed H.M. Queen Elizabeth II andH.R.H the Duke of Edinburgh to NGVAustralia on 20 October 2011 as part of theNGV’s 150 th anniversary celebrations• Reclaimed the title of Australia’s mostvisited gallery and was ranked the 25 thmost visited gallery in the world accordingto the annual survey by The Art Newspaperof museum and gallery attendances aroundthe world• Won first prize in the scholarly journalscategory of the American Association ofMuseums Awards for the 150 th anniversaryedition of the NGV Art Journal, volume 50• NGV Director Gerard Vaughan was nameda National Fellow of the Institute of PublicAdministration Australia (IPAA) at its 2011National Conference in HobartArts Portfolio Leadership Awards• Hosted this year’s annual Arts PortfolioLeadership Awards, established by ArtsVictoria to recognise the achievements ofindividuals or teams who have contributedto the performance of arts agencies withinthe arts portfolio• Won the Leadership in Community award forthe 150 th anniversary weekend activities• Won the Leadership in Collaborationaward jointly with Museum Victoria for theTjukurrtjanu: Origins of Western DesertArt exhibition• Was highly commended in the Leadershipin the Business Improvement category forheating, ventilation and air conditioning trialsand implementation at NGV Internationaland in the Leadership in Marketing/AudienceDevelopment category for NGV Studio atFederation Square• Barbara Kane was awarded a VolunteerCertificate of Appreciation for her valuedcontribution to many areas of the NGVsince 1994, including the NGV Women’sAssociation and NGV MembersMedia Profile• Achieved an unprecedented level of mediainterest and positive coverage for the NGV’snew Correggio acquisition, with more than100 separate reports across all major TV,print and electronic media• Garnered extensive and very positivemedia coverage for Eugene von Guérard,gaining more attention than any exhibition,other than those in the MelbourneWinter Masterpieces Program, in the lastyear, including a very positive review byPatrick McCaughey in the Times LiterarySupplement and a favourable article in TheAustralian newspaper declaring it to be ‘theexhibition of the year’• Generated a great deal of interest in theTjukurrtjanu exhibition, resulting in Channel10 visiting Papunya to film the communityas part of a report on the show• Editorial media coverage of Vienna: Art &Design achieved an outstanding result,comprising 2,022 media items valued atover $17 million, making Vienna the NGV’smost successful exhibition to date in termsof media coverage, with extensive coveragegenerated in both print and electronic mediaInterstate and globalcollaboration• NGV President Allan Myers, Trustee JasonYeap and Director Gerard Vaughan led adelegation of visits to key galleries andmuseums in China, in collaboration withthe Chinese Consulate in Melbourne withsupport from the Ministry for Culture inBeijing, forging strong friendships andyielding very positive discussions aboutpossible exhibition exchanges and othercollaborative projects• Gerard was also invited to be one oftwo keynote speakers at the openingceremony of the new Kingold Museum inGuangzhou Province in southern China,addressing the theme of Museums as aPlatform to Amalgamate Historical Art andContemporary Culture• Deputy Director Frances Lindsay travelledto Korea on an exchange as part of a groupof cultural and business leaders, hosted bythe Korean Foundation to help celebratethe Korea Australia Year of Friendshipand promote discussion of possible futureinitiatives and collaborations, the first ofwhich will be a co-authored article to bepublished by Art Monthly, Australia• Welcomed many significant visitors anddignitaries during the year, includingthe Chinese Minister for Justice; theHigh Commissioner of New Zealand; theAmbassador, Delegation of the EuropeanUnion to Australia and NZ, European Union;the French Cultural Attaché, the FrenchAmbassador and the Consul-General ofFrance; the German Cultural Attaché, theRussian Ambassador, the Consul-Generalof Japan, the Deputy Director and a groupof colleagues from the Palace Museum inBeijing, colleagues from the ShanghaiArt Museum; the Director of the TateNational; the Director of the DesignMuseum in London and the President of theFondation Napoléon• NGV Director Gerard Vaughan gave thekeynote address at the 2011 MuseumsAustralia National Conference in Perth,speaking on museum leadership and keymoments of profound change that shapedthe NGV’s history. Gerard also gave thekeynote address at the Committee forMelbourne’s Annual Dinner, The ArtsDinner, focused on the theme of Melbourneas an artistic centre, which was wellreceived by members of the businesscommunity in attendance

6talent26 27AimAim7fundIngTo support the achievementof the NGV’s mission andvision through the selectionand development ofemployees and volunteersTo secure a broad andcommitted funding base andnurture relationships withstakeholdersPerformance indicators• Training and development spend per FTE:$1,060 (target: $1,000; 10/11: $1,131)• Volunteer hours given: 27,953 (target:20,000; 10/11: 21,377)Leadership• Thanked retiring Trustees Maureen Plavsicand Vince FitzGerald for their service on theNGV Council over the past nine years, andwelcomed new Trustees, Naomi Milgromand Michael Ullmer• Farewelled NGV Director Gerard Vaughanand Deputy Director Frances Lindsay, wholeft the NGV in July 2012 after 12 years and13 years in their respective roles, and alsoLeigh Mackay, Head of Corporate Office andSecretary to the Council of Trustees• Welcomed the new leadership team of TonyEllwood and Andrew Clark, who will join theNGV on 1 August 2012Staff highlights• Congratulated the following staff onachieving career milestones:° 10 Years – Victoria Garton, Ted Gott,Jo Hawley, Kathy Horvat, Melissa Obeid,Julietta Park, Lisa Sassella, Tony vanNoordenburg, Danielle Whitfield,Jane Zantuck° 15 Years – Toby Pola, Judy Williams° 20 Years – Darren Lloyd° 25 Years – Robert Cirelli, Eamon O’Toole• Farewelled the following seniormanagement team members: KristenEckhardt (Marketing Manager); RebeccaLim (Exhibitions Manager); Ben Nancarrow(Head of Corporate Partnerships); SueCoffey (Head of Media and Public Affairs);Alex Baker (Senior Curator ContemporaryArt); and Andrew O’Brien (Head ofCommercial Operations)• Welcomed the following to their new roles:Georgina Russell (Marketing Manager);Sasha Iwanick (Head of CorporatePartnerships); and Erin Reeve (Head ofMedia and Public Affairs). Welcomed back,from maternity leave, Nicole Monteiro(Exhibitions Manager)• NGV Educator David Menzies wasnominated for a Youth Now EmployerChampion Award for significantcontributions to workplace learning bystudents in Melbourne’s western suburbsthrough work experience opportunities atthe NGVProfessional development• Nine Elizabeth Summons Research andTravel Grants were given in the year, inrecognition of the NGV’s 150 th anniversary:° Marika Strohschnieder (Senior ConservatorObjects) – maiolica ware collections° MaryJo Lelyveld (Conservator) – framemakingin preparation for the restoration ofNicolas Poussin’s Crossing of the Red Sea1632–34° Yvette Pratt (Family and CommunityProgram Co-ordinator) – interactive familyexperiences in international institutions° Emma Henderson (Marketing and SocialMedia Officer) – social media in NewYork museums° David Thurrowgood (Senior ConservatorMetals & Conservation Science) – technicalconservation of Rodin sculptures° Julia Jackson (Cataloguer) – provenanceof selected paintings in the State Collection° Jenny Yang (Junior Exhibition Designer) –exhibition design in German museumsThese grants are funded through a bequestby the late Elizabeth Summons in memoryof her son, Nicholas Draffin• Staff also continue to benefit from theexceptional generosity of Peter andJoan Clemenger through the ClemengerTravel Awards. In 2011/12, Narelle Wilson(Photographer) went to the US to trainin reflectance transformation imaging atCultural Heritage Imaging in San Franciscoand to visit several museums which areusing it in practice. This will enable theNGV to pioneer the technique’s usein Australia• Two NGV curatorial staff also undertookNGV Women’s Association ElizabethSummons Curatorial Travel Scholarshipsin 2011/12: Humphrey Clegg (AssistantCurator, Australian Art), who visited majorcollections of Impressionist works inthe UK, Europe and the US; and LaurieBenson (Curator, International Art), whosescholarship focused on researchingJoseph Wright of Derby, including reviewingWright’s account books at the NationalPortrait Gallery in London• Held the first in a series of ‘CuratorialConversations’ master classes aimedat encouraging open discussion aroundcuratorial practice and the role of artmuseums and galleries in researching,collecting and displaying art, which wasled by highly experienced Curator DanielThomas and received positive feedbackfrom participantsTraining• Delivered the first stage of training onrespect for others and early conflictresolution to managers and supervisors• Completed the first year of a successfulprogram of information managementinduction sessions for more than 50 staffmembers, achieving an average satisfactionrating among participants of 90%Voluntary Guides• Congratulated 35 trainees who completedtheir 18-month training course andgraduated as Voluntary Guides duringthe year• 23 dedicated NGV Kids Team volunteersbegan volunteering in the NGV KidsSpace and assisting with NGV Kidspublic programsPerformance indicators• Donations for the immediate purchase ofworks of art: $8.3 million (target: $5 million;10/11: $5 million)• Proportion of Masterpieces for Melbournecampaign target achieved: 87% (target:100%; 10/11: 76%)Fundraising and philanthropy• Raised over $32 million in new philanthropicdonations and pledges• Reached over $125 million in theMasterpieces for Melbourne campaign forthe acquisition of new works of art for theState Collection, an exceptional result giveneconomic pressures• Significant donations were also made byAndrew Sisson, Allan and Maria Myers,Paula Fox, Alan and Mavourneen Cowen,Edith Gordon, the Estate of KennethGraham Milburn, the Imelda and GeokWong Foundation, Peter Farrell, the estateof Maxwell G Chapman, Bruce Parncuttand Robin Campbell, Edith Burgess, theSpotlight Stores Charitable Foundation, theFred P Archer Charitable Trust and JasonYeap• 30 gifts were made through the PatronsProgram, providing over $115,000 for theimmediate purchase of works of art• Notable donations were also received fromJoan and Peter Clemenger, Pauline Gandeland Gordon Moffatt to help fund renewalprojects and new exhibitions• Closed the 150 th anniversary year with aState Dinner to thank major benefactors,hosted by the Governor of Victoria andattended by the Premier• Hosted the NGV Annual Fundraising Dinnerfor 268 guests, raising a total of $240,000in donations• Enhanced the NGV’s fundraising processes,organisational structure and systems tobetter capture future opportunitiesNGV Foundation• Held the 35 th annual meeting of the NGVFoundation, where it was announced thatfor 2010/11, cash gifts for both art andspecial projects, gifts of works of art andnew notified bequests amounted to $30million – a very significant effort in theNGV’s 150 th anniversary year• Under the banner ‘Celebrating Philanthropy’,held a special dinner for past and currentmembers of the NGV Foundation Board tocelebrate the philanthropy and contributionof the Foundation to the success of the NGVsince its establishment in 1977• Raised $101,100 and a total of 438 gifts,with 212 first-time donors, through the 2011Annual Appeal to NGV MembersFelton Society• Gratefully acknowledged 11 new notifiedbequests and welcomed many newmembers to the Felton Society, which waslaunched in 2004 to honour the specialgroup of people who support the NGV byincluding a bequest in their willSupporters of Asian Art• Sponsored by the Bank of Melbourne, the2012 Supporters of Asian Art annual dinnerwas an exceptional evening, with EmeritusProfessor Kwong Lee Dow AO launchingthe NGV’s new Asian Art EducationResource kit (developed with funds raisedat last year’s dinner) along with guestspeaker Dr John Yu AC (a formerAustralian of the year)• Copies of the kit have been delivered to allVictorian schools, providing a comprehensiveintroduction to the NGV’s Asian artcollection and an invaluable teaching andlearning resource for understanding thediversity of cultures, art forms, styles,materials, techniques, inspiration andinfluences of art and artists from this region• The fundraising target of this year’s dinnerwas the acquisition of a 17 th centuryscholar’s – or Ying – rock, traditionallyproduced in Yingde, Guangdong, tosymbolise the garden rockeries in whichChinese scholars have sought spiritualrefuge and solace from the demands ofpublic life for thousands of yearsNGV Contemporary• Benefactors Joan and Peter Clemengersupported the new contemporary exhibitionspace at NGV International with a series ofexceptionally generous gifts• NGV Contemporary supporters wereinvited to preview the first exhibition in thenew space, a spectacular body of work byinternationally renowned contemporaryartist, Ranjani ShettarSupporters of Decorative Arts• Supporters raised over $55,000 throughoutthe year towards the purchase of a superbmirror by the Wiener Werkstätte masterof ornament, Dagobert Peche, which wasa key feature of the recently installedViennese gallery on level 3 of NGVInternational• Held a small reception to acknowledgethe promised gift of twelve 18 th centuryceramic works, a gift of Sydney collectorKen Reed, which are now on display in theDecorative Arts gallery on level 2 of NGVInternational• Patricia Begg, President of the Ceramicsand Glass Circle of Australia, gave afascinating evening lecture on 26 April,entitled ‘Unravelling the mystery of aunique piece of 18 th century porcelain inMelbourne’• The NGV promoted the Decorative Artscollection and the Napoleon: Revolution toEmpire exhibition at the Australian Antiqueand Art Dealers Association Melbourne FairSupporters of Indigenous Art• The fourth annual Supporters of IndigenousArt fundraising dinner raised new fundsfor the acquisition of a superb group ofMilingimbi, Maningrida and BathurstIsland sculptures from the GabriellePizzi collection

8SustaInabIlIty28 recognition (cont’d)29AimTo ensure the effective,efficient and responsible useof all resources• A special viewing of Tjukurrtjanu: Origins ofWestern Desert Art was held for supportersprior to the exhibition’s close in February andits forthcoming tour to Paris• Supporters were invited to hear renownedYorta Yorta opera singer DeborahCheetham speak about her magnificentnew show, Pecan Summer, for which shewas the composer, librettist, director andmajor soloist. This lecture was particularlysignificant for NGV Supporters ofIndigenous Art, as Deborah also reflectedon the culture and turbulent history of theYorta Yorta peopleSupporters of Prints and Drawings• Supporters gathered to thank donors andcelebrate recent gifts to the collection,including Thomas Girtin’s The steppingstones on the wharfe, above Bolton Abbey,Yorkshire 1801, acquired with fundsgenerously provided by an anonymousdonor and Margaret Stones, as well as thenewly arrived Hans Hartung print, Workno. 22 (Oeuvre no. 22) 1953, generouslysupported by Eric Harding, Athol Hawke,Alison Ingles and Mike Josephson• The Girtin work was a major feature ofThe Age of Splendour exhibition, whichshowcased the NGV’s exceptionalcollection of British watercoloursCorporate partnerships• Secured over $3 million in cash and contrasupport from corporate partners• Welcomed new sponsors Rio Tinto,Maddocks, Adshel and APN Outdoor• Confirmed sponsorship renewals forMercedes-Benz (Principal Partner –Melbourne Winter Masterpieces), Ernst &Young (Principal Partner – InternationalArt), Qantas (NGV Partner – IndigenousArt), Macquarie Group (NGV MajorExhibition Partner), Sofitel MelbourneOn Collins (Official Hotel), RepucomInternational (Research Partner), Mercer,Avant Card, Crumpler, Micador, Lavazza,JCDecaux, BlueScope Steel, DuluxAustralia, Blue Star Group, IndependentSchools Victoria, Victorian Curriculumand Assessment Authority, the City ofMelbourne, the Department of Educationand Early Childhood Development,Goldman Sachs, Tourism Victoria,Melbourne Airport, The Age, the CatholicEducation Office, Yarra Trams and V/Line• Confirmed hospitality partners Clayton Utz,Honeywell and Equity Trusteescorporate members• Completed a strategic review of theCorporate Memberships program resultingin a two-tiered program with a broadervalue proposition and art-viewing privileges,and a more targeted sales strategy• Welcomed almost 20 new members• Premium Members include: SinclairKnight Merz, Molino Cahill Lawyers,JWT Australia, Hall & Wilcox, NortonGledhill, Centric Wealth, Equity Trusteesand FitzroysNGV Business Council• Warmly welcomed 11 new Business Councilmembers whose annual support of theNGV’s fundraising activities is so valued:Corrs Chambers Westgarth, Transurban,CSL, Pact Group, Grollo Group, TreasuryWine Estate, Bulgari Australia, Citibank,KPMG, Commonwealth Bank andInvestec BankNGV Women’s Association• The Association’s biggest event of the year,the annual Garden Day, raised in excess of$45,000 for the NGV• Held a Spring Lunch in the Great Hall inSeptember, with guest speaker StephanieAlexander and support from BulgariAustralia Pty Ltd, which was attended by427 guests and raised $18,000• Welcomed three new members: SarahManifold, Elizabeth Simpson andKatherine StroverFRIENDS OF THE GALLERY LIBRARY• Expanded the Friends of the GalleryLibrary lecture series, trialling Sundayafternoon lectures• Enjoyed a special evening with guestlecturer, Michael Clarke, Director,National Galleries of Scotland – FromTitian to TartanPerformance indicators• Collection stored to industry standards:66% (target: 65%; 10/11: 60%)• Additions to complete State Collectioncatalogue records: 2015 (target: 2000;10/11: 913)• Milestones met in line with asset strategy:71% (target: 100%; 10/11:56%)• Waste recycled: 66% (target: 80%;10/11: 73%)• Reduction in electricity consumptioncompared with 2009/10: 14%(new indicator)Strategy• Developed submissions for a number ofFederal Government initiatives, includingproposed legislation for immunity fromseizure for cultural objects on loan, reviewof public sector support for the arts,chaired by Harold Mitchell, and a discussionpaper on national cultural policy• Participated in the 2020 Tourism andEvents Industry Strategic Meeting, hostedby the CEO of Tourism Victoria, LeighHarry, to discuss the potential for greaterpromotion of the State’s cultural offerings,including those of the the NGV• Along with other stakeholders, continuedactively participating as a member theSouthbank Arts Precinct Working Partyand began documenting specific plans forthe NGV’s aspirations and ambitions for theproposed redevelopment• Acknowledged the allocation of $15 millionover three years in the 2012/13 StateBudget to support an interim collectionstorage solution for the arts portfolio, tobe managed by Arts Victoria, which willalleviate pressures on current collectionstorage while a more permanent solutionis found• Developed a revised Disability Action Planfor 2012–15, which was lodged with theHuman Rights Commission and is availableon the NGV websiteEnvironment• Celebrated an exceptional 9.4% reduction inthe NGV’s greenhouse gas emissions since2009/10, and by 18.5% since 2008/09.• Continued to reduce our energy usagethrough a series of innovative measuresdeveloped by the new in-houseengineering teamInformation management• Made significant improvements todocumentation standards in the CollectionManagement System, with over 18,400records verified in consultationwith curatorial and cataloguing staff• Completed a major upgrade of networkcommunications infrastructure, a$1 million investment by the NGV, deliveringan improved communications platformand a first stage wireless network at bothNGV buildings to support strategic andoperational objectives• Commenced a refresh of the standarddesktop environment for all NGVcomputers to upgrade to the latest versionof Microsoft Windows and Office, and bringsignificant improvements in workflow• Upgraded the corporate intranet to thelatest version of the Microsoft SharePointcontent system, which will enhancecollaboration through internal blogging,external social media feeds, socialbookmarking (tag cloud, tags and notes)and will also enable more effectiveindexing and searching for documentsand information• Completed a comprehensive review of ourbusiness systems and software for venuemanagement, including ticketing, programbookings, memberships and retail point-ofsalesystem, with a view to upgrading thesoftware in future yearsFacilities Management• Completed major building and fit outworks as part of the opening of the newcontemporary gallery and the renewal ofthe Asian galleries• Completed a public tender for facilitysupport services and for the supply ofsignage services and products, bothexpected to generate savings andoperational efficiencies• Transferred to the whole-of-governmentcontract for office supplies, substantiallyreducing costs• Achieved the highest possible rating inthe Victorian Managed InsuranceAuthority’s Site Risk Survey for 2011/12,which assessed the risk exposure ofthe NGV’s physical assets and providedunderwriting information, including lossestimates, for re-insurance• Introduced a new model for the in-housedelivery of key building services includingelectrical services, carpentry, paintingand plumbingHealth and wellbeing• Delivered a comprehensive program oftraining for all managers and supervisorson their occupational health and safety(OH&S) responsibilities, with a particularfocus on forthcoming legislative changesand introducing the concept of ‘safetyleadership’, enabling participants toidentify strategies for improving theircommunication of OH&S with their teams• In consultation with key staff, developednew safe handling procedures for artworkscontaining hazardous substances, whichidentify various risk control optionsby assessing the risk of exposure inparticular tasks and also address theneed to review display options for certainmaterial types

eport againstOUTPUT TARGETSfinancialINFORMATION30 31PORTFOLIO AGENCIES OUTPUT – 2011/12 STATE BUDGET PAPER NO:3 TARGET2010/11 actual 2011/12 target 2011/12 actual NoteQuantityAccess – visitors / users number 1,523,325 1,550,000 1,548,309Access – online visitors to website (usersessions) - using browser-based webanalytics toolnumber 959,114 1,100,000 1,330,174Members and Friends number 25,250 25,000 24,382 1Volunteer hours number 21,377 20,000 27,953 2Students participating in education programs number 90,072 94,000 89,157QualityCollection stored to industry standard per cent 60 65 66Visitors satisfied with visit overall per cent 97 95 97Notes:1 This shows the number of financial memberships. Duos and Family Memberships are multiplied to establish the number of NGV members (41,309), a figure used elsewhere in the report.2 The increase in volunteer hours reflects a change in the basis of measurement to include time spent by Voluntary Guides on research and preparation and an increase in volunteer activityby NGV members.

32 Five year financial33summaryBasis of preparationThe table opposite distinguishes betweenthe NGV’s operating and non-operatingactivities, a distinction not readily seen inthe comprehensive operating statement onpage 37. This distinction is important as thecomprehensive operating statement includessignificant income and expenditure which relateto the management of the NGV’s capital cycle.In particular, the NGV raises substantial funds,including grants, donations and bequests, whichare not available for operating purposes but arecommitted for the purchase of works of art orfor building works. These funds also generateinvestment income for the NGV. In addition, theNGV also accounts for depreciation charges inrespect of its property, plant and equipment.At present, the output price from Government,which determines the annual recurrent grant,does not include an allowance for depreciation.Review of operating performanceThe operating result for 2011/12, beforeaccounting for depreciation and beforerecognising the net income from non-operatingactivities, was a deficit of $1.6 million (2010/11:deficit of $2.2 million). This deficit was betterthan the budget for the year, which hadenvisaged that most major revenues, includingthe recurrent State Government grant, wouldeither stay flat, or fall. In practice, theseimpacts were significantly lessened by thedeferral of expenditure and by the carefulmanagement of other costs.Overall, operating expenses increased by only0.5% over 2011/12, with increases in coststo deliver significant parts of two major, andcomplex, Melbourne Winter Masterpiecesexhibitions (Vienna: Art & Design and Napoleon:Revolution to Empire) and unavoidableincreases in energy, and other contractedcosts, being almost fully compensated for bysavings in other areas. Human resource costsfell by 5% during the year. This reduction hasbeen amplified by the fact that the CPSUand the Victorian Government did not reachagreement on a new enterprise agreement,with which the NGV is linked in respect of payrates, until after the year end. As a result, nopay rise was paid to NGV staff during 2011/12.Other savings were made through the carefulmanagement of staff vacancies, casual staff,leave levels and the implementation of othermeasures to improve operations.Revenue from trading activities was 7.6%, or$1.4 million, better than 2010/11 principallyas the result of revenues generated from alarger exhibition program than the previousyear, including admissions, retail sales andcommercial sponsorship. Overall, nearly230,000 tickets were sold for NGV exhibitionsin 2011/12, a 9.5% increase on the previousyear. Targeted strategies to increaseparticipation from corporate members andthe NGV Business Council also succeeded ingenerating additional revenue, despite externaleconomic pressures.After accounting for depreciation and similarcharges, the operating deficit for the yearwas $13.9 million, an increase on the previousyear’s deficit of $12.3 million. This largelyreflects the annual charge for depreciationwhich increased in the year, reflecting highercarrying values for building assets followingtheir revaluation in 2010/11. As describedabove, the NGV, in common with many otherGovernment departments and agencies is notfunded for the cost of depreciation.Review of non–operatingperformanceThe fundraising performance in 2011/12,as measured by income received, did not,overall, reach the heights of 2010/11, the150 th anniversary year, in which an exceptionalamount of $29.2 million was generated.Nevertheless, the 2011/12 total of $18.9 millionwas a significant achievement and the secondbestfundraising year since 2003/04. While giftsin kind were lower than 2010/11, cash giftswere higher and reached over $10.4 million.Net resultThe overall result for the year of a surplusof $4.97 million takes into account all theresults from operating and non-operatingperformance (2010/11: surplus of $16.9 million).Balance sheetThe balance sheet (page 38) is dominatedby the State Collection to which works ofart to the value of $15.3 million were addedduring the year. Included in property, plantand equipment are additions of $2.8 millionrepresenting the final stages of the 150 thanniversary gallery renewal project, includingthe new Contemporary exhibitions galleryand the Asian galleries at NGV International.These initiatives are being largely fundedthrough State Government grants andprivate philanthropy.The balance sheet also includes cash and otherfinancial assets of $48.8 million (2011: $49.9million). These funds are largely held for thepurchase of works of art, or other purposesas restricted by the donor or grantor. Thebalance of funds is available to meet the NGV’soperating and capital expenditure needs.FutureLooking forward to future years, the NGVis committed to increasing its revenuesfrom all sources, including exhibitionsand programming, and to managing itscost base carefully and prudently. Whileexternal economic factors are difficult topredict, it is intended that these strategieswill ensure a return to operating surplusesin future years. This is important as theNGV has accumulated operating deficits,primarily related to depreciation chargesnot covered by Government grants, andthe majority of revenue from fundraisingactivities is transferred to the Collection andInfrastructure Reserves. Accordingly, the NGVhas limited capacity to fund future operations,or any significant capital expenditure, fromits reserves.FIVE YEAR FINANCIAL PERFORMANCEOperating revenueNotes2012$ '000s2011$ '000s2010$ '000s2009$ '000s2008$ '000sGovernment grants 1 42,834 43,216 41,628 41,645 40,267Trading revenue 19,303 17,939 21,273 19,374 18,144Operating expenses62,137 61,155 62,901 61,019 58,411Employee costs ( 23,085 ) ( 24,324 ) ( 22,495 ) ( 20,921 ) ( 19,625 )Other operating costs ( 40,652 ) ( 39,060 ) ( 38,398 ) ( 40,060 ) ( 39,284 )Operating result before depreciationand similar charges( 63,737 ) ( 63,384 ) ( 60,893 ) ( 60,981 ) ( 58,909 )( 1,600) ( 2,229 ) 2,008 38 ( 498 )Net depreciation and similar charges 2 ( 12,284 ) ( 10,071 ) ( 10,607 ) ( 11,166 ) ( 11,163 )Operating result after depreciationand similar charges and before netincome from non-operating activitiesNet income from non-operating activities 3Fundraising activities – cash gifts,bequests and other receipts( 13,884 ) ( 12,300 ) ( 8,599 ) ( 11,128 ) ( 11,661 )10,444 9,825 6,102 12,174 11,707Fundraising activities – gifts in kind 4 3,520 17,197 6,731 2,559 3,302Investing activities 5 2,044 1,501 ( 1,199 ) ( 4,828 ) ( 1,759)Capital grants and similar income 6 2,847 688 ( 1,000 ) 2,380 22118,855 29,211 10,634 12,285 13,471Net result 4,971 16,911 2,035 1,157 1,810Other economic flows, other nonownerchanges in equity7 ( 2,326 ) 433,775 5,663 -Comprehensive result 2,645 450,686 7,698 1,157 1,810Notes1. Excludes Government grants for Depreciation Equivalent Revenue, Capital AssetsCharge, works of art purchases and capital works.2. Comprises depreciation and other adjustments to the value of non-current assets(excluding investments) which have no cash effect.3. Represents net revenue streams related to the purchase of works of art or to capital works.4. Includes gifts of works of art and of other goods and services.5. Includes realised profits/losses on the sale of investments, dividends, interest and marketvalue movements required to be recognised in the comprehensive operating statement.6. Includes grants and other funding for capital works. The year ended 30 June 2012 includesfunding for the 150 th anniversary Gallery Renewal Project. The year ended 30 June 2009includes a grant from the Victorian Government for the purchase of John Brack’s The barand the years ended 30 June 2010 and 30 June 2011 include the repayments of this grant.7. Represents unrealised gains in respect of the revaluation of cultural assets, physical assetsand financial assets available-for-sale. Prior to 2009/10, these, and other non-ownerchanges in equity, were not disclosed as part of the operating statement. 2010/11 includesthe adjustment to reflect the result of the revaluation of the State Collection in that year.

FInancIalstatements36 37for the year ended 30 June 2012for the financial year ended 30 June 2012ComprehensIveoperatIng statementIn our opinion,(a) the attached comprehensiveoperating statement, balancesheet, statement of changesin equity, cash flow statementand notes to the financialstatements present fairly thefinancial transactions for theyear ended 30 June 2012 andthe financial position of theCouncil of Trustees of theNational Gallery of Victoria asat 30 June 2012;(b) the accounts have beenmaintained in accordancewith the National Galleryof Victoria Act 1966 andregulations made thereto;(c) the financial statements havebeen prepared in accordancewith Standing Direction 4.2of the Financial ManagementAct 1994, applicable FinancialReporting Directions,Australian AccountingStandards and othermandatory professionalrequirements; and(d) at the date of signing thesefinancial statements theCouncil of Trustees is notaware of any circumstancesthat would render anyparticular included in thesestatements misleading orinaccurate.Comprehensive operating statementContinuing operationsIncome from transactionsNotes2012($ thousand)2011($ thousand)State Government - recurrent appropriation 40,749 39,890State Government - capital assets charge grant 3,954 3,954Other grants from State Government entities 2(a) 4,812 4,014Operating activities income 2(b) 19,180 17,001Fundraising activities income 2(c) 13,964 27,022Income from financial assets classified as available-for-sale 2(d) 3,094 2,363Total income from transactions 85,753 94,244Expenses from transactionsEmployee expenses 3(a) (23,085) (24,324)Depreciation 3(b) (12,284) (10,071)Use of premises provided free of charge (540) (540)Supplies and services 3(c) (40,203) (38,102)Capital assets charge (3,954) (3,954)Total expenses from transactions (80,066) (76,991)Allan MyersPresident30 August 2012Tony EllwoodDirector30 August 2012Elizabeth Grainger FCAChief Financial Officer30 August 2012Net result from transactions (net operating balance) 5,687 17,253Other economic flows included in net resultNet gain/(loss) on financial instruments 4(a) (528) (464)Net gain/(loss) on non-financial assets 4(b) (48) 114Other gains/(losses) from other economic flows 4(c) (140) 8Total other economic flows included in net result (716) (342)Net result 4,971 16,911Other economic flows – other non-owner changes in equityChanges to physical assets revaluation reserve 17 - 9,682Changes to cultural assets revaluation reserve 17 - 422,241Changes to financial assets available-for -sale reserve 17 (2,326) 1,852Total other economic flows – other non-owner changes in equity (2,326) 433,775Comprehensive result 2,645 450,686The comprehensive operating statement should be read in conjunction with the accompanying notes on pages 41 to 67.

Balance sheet38 39as at 30 June 2012Statement ofchanges In equItyfor the financial year ended 30 June 2012Balance sheetAssetsFinancial assetsNotes2012($ thousand)2011($ thousand)Cash and deposits 16.1 6,473 7,231Receivables 5 3,012 1,567Financial assets classified as available-for-sale 6 39,375 41,148Total financial assets 48,860 49,946STATEMENT OF CHANGES INEQUITYCollection reserve($ thousand)Infrastructure reserve($ thousand)Physical asset revaluation surplus($ thousand)Cultural assets revaluation reserve($ thousand)Financial assets available-for-salereserve($ thousand)Accumulated surplus/ (deficit)($ thousand)Contributed capital($ thousand)Total($ thousand)Non financial assetsInventories 7 1,519 1,770Prepayments and other assets 1,327 1,587Property, plant and equipment 8 238,740 248,238Cultural assets 9 3,752,312 3,736,933Total non-financial assets 3,993,898 3,988,528Total assets 4,042,758 4,038,474LiabilitiesPayables 10 6,460 4,912Provisions 11 5,466 5,375Total liabilities 11,926 10,287Net assets 4,030,832 4,028,187Balance at 1 July 2010 194,142 43,785 85,029 3,138,182 5,663 (48,645) 159,345 3,577,501Net result for the year - - - - - 16,911 - 16,911Other comprehensiveincome for the yearTransfer to/ (from) accumulatedsurplus/ (deficit)- - 9,682 422,241 1,852 - - 433,77527,452 2,840 - - - (30,292) - -Balance at 30 June 2011 221,594 46,625 94,711 3,560,423 7,515 (62,026) 159,345 4,028,187Net result for the year - - - - - 4,971 - 4,971Other comprehensiveincome for the yearTransfer to/ (from) accumulatedsurplus/ (deficit)- - - - (2,326) - - (2,326)15,975 2,847 - - - (18,822) - -Balance at 30 June 2012 237,569 49,472 94,711 3,560,423 5,189 (75,877) 159,345 4,030,832The statement of changes in equity should be read in conjunction with the accompanying notes on pages 41 to 67.EquityAccumulated surplus/(deficit) (75,877) (62,026)Reserves 17 3,947,364 3,930,868Contributed capital 159,345 159,345Total equity 4,030,832 4,028,187The above balance sheet should be read in conjunction with the accompanying notes on pages 41 to 67.

42 1. Summary of significant accounting policies (cont’d)43system of government finance statistics: concepts, sources andmethods 2005 (see Note 22).Balance sheetAssets and liabilities are presented in decreasing liquidity orderwith assets aggregated into financial and non-financial assets.Current and non-current (i.e. those expected to be recovered orsettled after 12 months) assets and liabilities are disclosed in thenotes, where relevant.Statement of changes in equityThe statement of changes in equity presents reconciliations of eachnon-owner and owner changes in equity opening balance at thebeginning of the reporting period to the closing balance at the end ofthe reporting period, showing separately movements due to amountsrecognised in the comprehensive operating result and amountsrecognised in equity related to transactions with owners, in theircapacity as owners.Cash flow statementCash flows are classified according to whether or not they arisefrom operating activities, investing activities, or financing activities.This classification is consistent with requirements under AASB 107Statement of Cash Flows.(E) Income from transactionsAmounts disclosed as income are, where applicable, net of returns,allowances and duties and taxes. Revenue is recognised for each of theNational Gallery of Victoria’s major activities as follows:(E)(i) State Government - recurrent appropriation and othergrants from State Government entitiesState Government appropriation and other grants from StateGovernment entities are recognised on receipt in accordance withAASB 118 Revenue and AASB1004 Contributions. Grants from thirdparties are recognised as income in the reporting period in which theNational Gallery of Victoria gains control over the underlying asset. Forreciprocal grants, (i.e. equal value is given back by the National Galleryof Victoria to the provider), the National Gallery of Victoria is deemedto have assumed control when the National Gallery of Victoria hassatisfied its performance obligations under the terms of the grant. Fornon-reciprocal grants, the National Gallery of Victoria is deemed tohave assumed control when the grant is receivable or received.(E)(ii) State Government - capital assets charge grantThe State Government capital assets charge grant represents theopportunity cost of capital invested in the non-current physical assetsused in the provision of outputs. The grant is calculated on the carryingamount of non-current physical assets (excluding heritage and culturalassets) and is matched by an equivalent government charge.(E)(iii) Operating activities income(a) Revenue from exhibition and program admissionsRevenue arising from exhibition and public program admissions isrecognised at the point of sale.(b) Revenue from retail shop salesRevenue arising from retail shop sales is recognised when the followingconditions have been satisfied:• the significant risks and rewards of ownership of the goods havetransferred to the buyer;• the National Gallery of Victoria retains neither continuing managerialinvolvement to the degree usually associated with ownership noreffective control over the goods sold;• the amount of revenue can be reliably measured; and• it is probable that the economic benefits associated with thetransaction will flow to the National Gallery of Victoria; and thecosts incurred or to be incurred in respect of the transaction can bemeasured reliably.(c) Revenue from membership feesRevenue from membership fees is recognised when received andrevenue from multiple year memberships is recognised over the periodof the membership.(d) Cash sponsorship and contra sponsorshipRevenue from sponsorship contracts, both cash and contra, isrecognised as revenue over the period during which the contractual andservicing obligations of the National Gallery of Victoria are discharged.The National Gallery of Victoria enters into contra sponsorshipcontracts to receive sponsorship in various forms other than cash inexchange for promoting the provider as a corporate sponsor. Thesecontracts are treated as contracts for the provision of services.(e) Other revenueRevenue from retail and function catering, advertising, functions fees,booking fees, venue hire fees and work of art loan fees are recognised inthe period in which the service was provided.(E)(iv) Fundraising activities income(a) Donations and bequestsDonations and bequests are recognised on receipt.(b) Donated cultural assetsDonated cultural assets are recognised when the gift is accepted bythe National Gallery of Victoria and is recorded at fair value. Fair valueis determined by either an average of independent valuations, for worksdonated under the Cultural Gifts Program, or by a curatorial or otherassessment by the National Gallery of Victoria.Revenue arising from the contribution of assets is recognised when thefollowing conditions have been satisfied:• control of the contribution or right to receive the contribution exists;and• it is probable that the economic benefits comprising the contributionwill be realised.(E)(v) Income from financial assets classified as available-forsaleactivitiesIncome from financial assets classified as available-for-sale isgenerally recognised when receivable. Dividends are recognised whenthe right to receive payment is established.(F) Expenses from transactions(F)( i) Employee expensesEmployee expenses include all costs related to employment includingwages and salaries, leave entitlements, redundancy payments andsuperannuation contributions. These are recognised when incurred. Theamount charged to the comprehensive operating statement in respectof superannuation represents the contribution paid or payable by theNational Gallery of Victoria to the superannuation funds of employees.(F)(ii) DepreciationProperty, plant and equipment, including freehold buildings but excludingland have finite lives and are depreciated. Depreciation is calculatedon a straight line basis at rates that allocate the asset’s value, less anyestimated salvage value, over its estimated useful life.Leasehold improvements are depreciated over the period of the leaseor the asset’s estimated useful life, whichever is the shorter, using thestraight line method. The estimated useful lives, residual values anddepreciation method are reviewed at the end of each annual reportingperiod. Note 8 provides details on the estimated useful lives that areused in the calculation of depreciation on property, plant and equipment.Where it is determined that the estimated useful life of an asset haschanged, the depreciation rate for that asset is adjusted accordingly.(F) (iii) Supplies and servicesSupplies and services expenses are recognised as an expense in thereporting period in which they are incurred. The carrying amounts ofany inventories held for distribution are expensed when distributed.(F) (iv) Capital assets chargeThe capital assets charge is imposed by the Department of Treasuryand Finance and represents the opportunity cost of capital invested inthe non-current physical assets used in the provision of outputs. Thecharge is calculated on the budgeted carrying amount of applicablenon-current physical assets (excluding heritage and cultural assets)and is matched by an equivalent government grant.(G) Other economic flows included in the net resultG)(i) Net gain/(loss) on financial instrumentsNet gain loss on financial instruments comprises:• changes to the provision made in regards to the collection ofoutstanding debts; and• gains or losses on foreign exchange contracts, excluding foreignexchange hedges, as a result of changes in exchange rates from thedate of commitment to the date of payment.G)(ii) Net gain/(loss) on non-financial assetsNet gain loss on non-financial assets comprises:• changes to the provision made in regards to the slow-moving stockG)(iii) Other gain/(loss) from other economic flowsOther gain/(loss) from other economic flows comprises:• gains or losses on foreign exchange hedge contracts as a result ofchanges in the exchange rate from the rate fixed under the contractto rate which would have been paid on settlement, if a foreignexchange hedge contract had not been entered into; and• gains or losses, as a result of changes in bond rates from theprevious 12 months, in determining the present value of the longservice liability.(H) Financial Assets(H) (i) Cash and depositsCash and deposits, including cash equivalents, comprise cash on hand andcash at bank, deposits at call and highly liquid investments with an originalmaturity of three months or less, which are readily convertible to knownamounts of cash and are subject to insignificant risk of changes in value.(H) (ii) ReceivablesReceivables consist of:• Statutory receivables, which include amounts predominantlyowing from the Victorian Government and GST input tax creditsrecoverable; and• Contractual receivables, which include debtors in relation to goodsand services.(H) (iii) Financial assets classified as available for saleInvestments held by the National Gallery of Victoria are classified asbeing available for sale and are stated at fair value. Gains and lossesarising from changes in fair value are recognised directly in equity untilthe investment is disposed of or is determined to be impaired, at whichtime the cumulative gain or loss previously recognised in equity isincluded in profit or loss for the period. Fair value is determined in themanner described in Note 15(g).(I) Non-Financial Assets(I)(i) InventoriesInventories are held for sale in the ordinary course of businessoperations and are measured at the lower of cost and netrealisable value.A provision for stock obsolesence is made when there is objectiveevidence that an inventory item may be economically impaired.(I)(ii) Prepayments and other assetsPrepayments and other assets represent payments in advance ofreceipt of goods or services or that part of expenditure made in oneaccounting period covering a term extending beyond that period.(I)(iii) Property, plant and equipmentLand and buildings are measured initially at cost, and subsequentlyat fair value. Assets such as heritage assets are measured at fairvalue with regards to the property’s highest and best use after dueconsideration is made for any legal or constructive restrictions imposedon the asset, public announcements or commitments made in relationto the intended use of the asset. The fair value of the heritage assetsthat the State intends to preserve because of their unique historicalattributes is measured at the replacement cost of the asset lesswhere applicable accumulated depreciation calculated on the basis ofsuch cost to reflect the already consumed or expired future economicbenefits of the asset and any accumulated impairment.

46 1. Summary of significant accounting policies (cont’d)47New accounting standards and interpretationsNew accounting standards and interpretationsStandard/InterpretationSummaryApplicablefor annualreportingperiodsbeginning onImpact on public sector entityfinancial statementsStandard/InterpretationSummaryApplicablefor annualreportingperiodsbeginning onImpact on public sector entityfinancial statementsAASB 9 Financial instrumentsAASB 13 Fair Value MeasurementAASB 119 Employee BenefitsAASB 2009-11 Amendments to AustralianAccounting Standards arising from AASB9 [AASB 1, 3, 4, 5, 7, 101, 102, 108, 112,118, 121, 127, 128, 131, 132, 136, 139, 1023and 1038 and Interpretations 10 and 12]This standard simplifies requirementsfor the classification and measurementof financial assets resulting fromPhase 1 of the IASB’s project toreplace IAS 39 Financial Instruments:Recognition and Measurement(AASB 139 Financial Instruments:Recognition and Measurement).This Standard outlines the requirementsfor measuring the fair value of assets andliabilities and replaces the existing fairvalue definition and guidance in other AASs.AASB 13 includes a ‘fair value hierarchy’which ranks the valuation technique inputsinto three levels using unadjusted quotedprices in active markets for identicalassets or liabilities; other observableinputs; and unobservable inputs.In this revised Standard for defined benefitsuperannuation plans, there is a changeto the methodology in the calculation ofsuperannuation expenses, in particularthere is now a change in the split betweensuperannuation interest expense (classifiedas transactions) and actuarial gains andlosses (classified as ‘Other economic flows– other movements in equity’) reported onthe comprehensive operating statement.This Standard gives effect toconsequential changes arisingfrom the issuance of AASB 9.Beginning1 Jan 2013Detail of impact is stillbeing assessed.1 Jan 2013 Disclosure for fair valuemeasurements using unobservableinputs are relatively onerouscompared to disclosure for fairvalue measurements usingobservable inputs. Consequently,the Standard may increase thedisclosures for public sector entitiesthat have assets measured usingdepreciated replacement cost.1 Jan 2013 Not-for-profit entities are notpermitted to apply this Standard priorto the mandatory application date.While the total superannuationexpense is unchanged, the revisedmethodology is expected to havea negative impact on the netresult from transactions of thegeneral government sector and forthose few Victorian public sectorentities that report superannuationdefined benefit plans.1 Jan 2013 No significant impact is expectedfrom these consequentialamendments on entity reporting.AASB 2010-7 Amendments to AustralianAccounting Standards arising from AASB9 (December 2010) [AASB 1, 3, 4, 5, 7,101, 102, 108, 112, 118, 120, 121, 127, 128,131, 132, 136, 137, 139, 1023 & 1038 andInterpretations 2, 5, 10, 12, 19 & 127]AASB 2011-8 Amendments to AustralianAccounting Standards arising from AASB 13[AASB 1, 2, 3, 4, 5, 7, 9, 2009-11, 2010-7, 101,102, 108, 110, 116, 117, 118, 119, 120, 121,128, 131, 132, 133, 134, 136, 138, 139, 140,141, 1004, 1023 & 1038 and Interpretations2, 4, 12, 13, 14, 17, 19, 131 & 132]AASB 2011-9 Amendments to AustralianAccounting Standards – Presentation ofItems of Other Comprehensive Income[AASB 1, 5, 7, 101, 112, 120, 121,132, 133, 134, 1039 & 1049]AASB 2011-10 Amendments toAustralian Accounting Standards arisingfrom AASB 119 (September 2011)[AASB 1, AASB 8, AASB 101, AASB124, AASB 134, AASB 1049 & AASB2011-8 and Interpretation 14]These consequential amendments are inrelation to the introduction of AASB 9.This amending Standard makesconsequentical changes to a range ofStandards and Interpretations arisingfrom the issuance of AASB 13. Inparticular, this Standard replaces theexisting definition and guidance of fairvalue measurements in other AustralianAccounting Standards and Interpretations.The main change resulting from thisStandard is a requirement for entitiesto group items presented in othercomprehensive income (OCI) on thebasis of whether they are potentiallyreclassifiable to profit or loss subsequently(reclassification adjustments). Theseamendments do not remove the optionto present profit or loss and othercomprehensive income in two statements,nor change the option to present itemsof OCI either before tax or net of tax.This Standard makes consequentialchanges to a range of otherAustralian Accounting Standards andInterpretations arising from the issuanceof AASB 119 Employee Benefits.1 Jan 2013 No significant impact is expectedfrom these consequentialamendments on entity reporting.1 July 2012 Disclosures for fair valuemeasurements using unobservableinputs is potentially onerous,and may increase disclosuresfor assets measured usingdepreciated replacement cost.1 Jan 2013 This amending Standard couldchange the current presentationof ‘Other economic flows- othermovements in equity’ that will begrouped on the basis of whetherthey are potentially reclassifiableto profit or loss subsequently.No other significant impactwill be expected.1 Jan 2013 No significant impact is expectedfrom these consequentialamendments on entity reporting.

4. Other economic flows included in net result6. Financial assets classified as available-for-sale50 514. Other economic flows included in net result(a) Net gain/ (loss) on financial instruments2012($ thousand)2011($ thousand)Increase/ (decrease) in provision for doubtful debts (a) (10) 24Net gain/ (loss) on foreign exchange transactions 33 (52)Net realised gain/ (loss) on sale of financial assets at fair value (551) (436)Total net gain/ (loss) on financial instruments (528) (464)(b) Net gain/ (loss) on non financial assetsDecrease/ (increase) in provision for slow-moving stock (38) 1146. Financial assets classified as available-for-saleCurrent investments2012($ thousand)2011($ thousand)Investment in externally managed unitised trusts 1,680 2,931Total current investments at market value 1,680 2,931Non-current investmentsInvestment in externally managed unitised trusts 37,695 38,217Total non-current investments at market value 37,695 38,217Total investments at market value 39,375 41,148Write off from Shaw Research Library collection (10) -Total net gain/ (loss) on non-financial assets (48) 114(c) Other gain/ (loss) from other economic flowsNet gain/ (loss) on foreign exchange hedge contracts - (7)Net gain/ (loss) arising from revaluation of long service leave liability (b) (140) 15Total net gain/ (loss) on non financial assets and liabilities (140) 8Notes:(a) (Increase)/ decrease in provision for doubtful debts from other economic flows.(b) Revaluation gain/(loss) as a result of changes in bond rates.5. ReceivablesThe National Gallery of Victoria holds cash, deposits and investmentsto provide for future operating and capital purposes, including thepurchase of works of art for the State Collection. Funds are classifiedas current or non-current.Current funds represent funds held either in transactional bankaccounts, or invested in order to reduce volatility in value and optimisethe investment income earned.Non-current funds represent funds held in perpetuity (endowed funds)and invested with the intent of maximising their long term value. As aresult, these funds may experience more volatility in value.a) Ageing analysis of financial assets classified as available-forsaleand cash and depositsRefer Table 15.4 in Note 15 for ageing analysis of financial assetsclassified as available-for-sale.5. ReceivablesCurrent receivables2012($ thousand)2011($ thousand)ContractualTrade receivables (a) 1,781 644Provision for doubtful receivables (39) (6)Other receivables 512 3462,254 984StatutoryGoods and Services Tax input tax credit recoverable 234 143Victorian Government Departments and Agencies 524 440Total current receivables 3,012 1,567Total receivables 3,012 1,567Notes:(a) The average credit period for sales on credit is 30 days. Recovery of late outstanding amounts is managed on a case by case basis through credit management procedures.5.1 Movement in the provision for doubtful recEIvables2012($ thousand)2011($ thousand)Balance at beginning of the year (6) (47)Reversal of unused provision recognised in the net result - 17Increase /(decrease) in provision recognised in balance sheet (23) -Increase (decrease) in provision recognised in the net result (10) 246.1 Analysis and purpose offinancial assets classified asavailable-for-sale and cashand depositsGeneralfunds2012($ thousand)Dedicatedfunds2012($ thousand)Total funds2012($ thousand)Generalfunds2011($ thousand)Dedicatedfunds2011($ thousand)Total funds2011($ thousand)Cash and deposits (a) 655 5,818 6,473 2,006 5,225 7,231CurrentFinancial assets classifiedas available-for-saleNon-currentFinancial assets classifiedas available-for-saleTotal financial assets classifiedas available-for-sale- 1680 1680 - 2931 2931- 37,695 37,695 - 38,217 38,217- 39,375 39,375 - 41,148 41,148Total financial assets 655 45,193 45,848 2,006 46,373 48,379Notes:(a) Refer Note 16 for further information.General funds have been generated by the National Gallery of Victoriafrom operating activities and are applied to the achievement of theNational Gallery of Victoria’s future strategic objectives, includingexpenditure on property, plant and equipment.Dedicated funds have been granted, donated or bequeathed to theNational Gallery of Victoria and are dedicated to the purchase of worksof art, or other specific purposes, as expressed by the original grantor,donor or testator.Balance at end of the year (39) (6)

7. Inventories8. Property, plant and equipment52 537. InventoriesCurrent inventories2012($ thousand)2011($ thousand)Goods held for resale – at cost 2,094 2,307Less: provision for slow moving stock (575) (537)Total current inventories 1,519 1,770Movement in the provision for slow moving stockBalance at the beginning of the year (537) (1,424)Amounts written off during the year - 773(Increase) / decrease in allowance recognised (38) 114Balance at the end of the year (575) (537)8. Property, plant and equipment Notes2012($ thousand)2011($ thousand)LandAt fair value (a) 1(L)iii 51,673 51,673BuildingsAt valuation (b) 1(L)iii 32,920 32,920Less: accumulated depreciation (378) -32,542 32,920Total land and buildings 84,215 84,593Building plantAt fair value 57,238 57,231Less: accumulated depreciation (3,342) -53,896 57,231Building fit-outAt fair value 96,361 94,396Less: accumulated depreciation (6,266) -90,095 94,396Leasehold improvementsAt fair value 13,614 13,614Less: accumulated depreciation (10,510) (9,632)3,104 3,982Plant and equipment(General plant and equipment)At fair value 17,163 15,970Less: accumulated depreciation (12,310) (11,182)4,853 4,788Capital works-in-progressAt cost 2,577 3,248Total plant and equipment 154,525 163,645Total property, plant and equipment 1(L)iii 238,740 248,238Aggregate depreciation recognised as an expense during the year:Buildings 378 389Building plant 3,342 3,652Building fit-out 6,266 4,825Leasehold improvements 866 873Plant and equipment (general plant and equipment) 1,432 3321(L)iii 12,284 10,071Notes:(a) A valuation of land was undertaken as of 30 June 2011.(b) A valuation of buildings and building fit-out was undertaken as of 30 June 2011.

54 8. Property, plant and equipment (cont’d)55The following useful lives of assets are used in the calculation of depreciation:Buildings 100 years Leasehold improvements 13-15 yearsBuilding plant 20-25 years Plant and equipment 3-30 yearsBuilding fit-out 15-20 yearsAn independent valuation of the National Gallery of Victoria’s land waslast performed by Urbis Valuations Pty Ltd as at 30 June 2011. Anindependent valuation of the National Gallery of Victoria’s buildingswas last performed by Charter Keck Cramer as at 30 June 2011. Bothvaluations were performed on behalf of the Valuer-General Victoria.In accordance with FRD 103D Non-Current Physical Assets, a fairvalue assessment was undertaken by management during the yearended 30 June 2012 in order to determine whether the fair value ofland, property, plant and equipment had changed materially from thecarrying amount as at 30 June 2011. The result of this assessmentwas that the fair value of land, property, plant and equipment hadnot changed by more than 10% from the carrying amount as at 30June 2011 and, consequently; an interim managerial revaluation wasnot required as at 30 June 2012. The land is subject to a heritageoverlay and the National Gallery of Victoria is included on the VictorianHeritage Register under the Heritage Act 1995.2012Land($ thousand)Buildings($ thousand)Building plant($ thousand)Building fit-out($ thousand)Leasehold improvements($ thousand)Plant and equipment($ thousand)Capital works-in progress($ thousand)Total($ thousand)9. Cultural assets9. Cultural assetsCultural assets2012($ thousand)2011($ thousand)Carrying amount atthe start of the year51,673 32,920 57,231 94,396 3,982 4,788 3,248 248,238Additions - - 43 1,965 - 1,497 (671) 2,834Depreciationexpense- (378) (3,342) (6,266) (866) (1,432) - (12,284)Disposals - - (36) - (12) - - (48)Carrying amount atthe end of the year51,673 32,542 53,896 90,095 3,104 4,853 2,577 238,740State Collection of works of art – at fair value 3,748,931 3,733,576Shaw Research Library collection – at fair value 3,381 3,3579.1 Movements in Cultural assets 2012State Collection ofworks of art($ thousand)3,752,312 3,736,933Shaw ResearchLibrary($ thousand)Total cultural assets($ thousand)Carrying amount at the start of the year 3,733,576 3,357 3,736,933Additions 15,355 34 15,3892011Land($ thousand)Buildings($ thousand)Building plant($ thousand)Building fit-out($ thousand)Leasehold improvements($ thousand)Plant and equipment($ thousand)Capital works-in progress($ thousand)Total($ thousand)Write off of Shaw Research Library collection - (10) (10)Carrying amount at the end of the year 3,748,931 3,381 3,752,3129.2 Movements in Cultural assets 2011State Collection ofworks of art($ thousand)Shaw ResearchLibrary($ thousand)Total cultural assets($ thousand)Carrying amount at the start of the year 3,287,886 3,002 3,290,888Carrying amount atthe start of the year43,250 37,730 56,661 97,569 4,855 4,692 942 245,699Additions - - 4 197 - 428 2,306 2,935Depreciationexpense- (390) (3,651) (4,825) (873) (332) - (10,071)Disposals - - (8) - - - (8)Revaluationincrement/(decrement)Carrying amount atthe end of the year8,423 (4,420) 4,217 1,463 - - - 9,68351,673 32,920 57,231 94,396 3,982 4,788 3,248 248,238Additions 23,796 32 23,828Revaluation increment 421,894 323 422,217Carrying amount at the end of the year 3,733,576 3,357 3,736,933In order to determine its fair value an independent valuation of theFor the year ended 30 June 2012, in accordance with FRD 103D Non-National Gallery of Victoria’s Shaw Research Library collection was last Current Physical Assets, a fair value assessment was undertaken byperformed as at 30 June 2011 by Sainsbury’s Books Valuers Pty Ltd, a management in order to determine whether the fair value of the culturalmember of the Antiquarian Booksellers Association. In order to determine assets had changed materially from the carrying amount as at lastits fair value an independent valuation of the State Collection of works of revaluation. The result of this assessment was that the fair value of theart was last performed by Simon Storey Valuers, as at 30 June 2011. Mr cultural assets had not changed by more than 10% from the carryingSimon Storey, a director of Simon Storey Valuers, is an approved valuer amount at the time of the last revaluation and consequently an interimunder the Commonwealth of Australia Taxation Incentives for the Arts managerial revaluation was not required as at 30 June 2012.Scheme and a member of the Auctioneers and Valuers Association ofAustralia. The result of the valuation of the State Collection was a totalvaluation of $3,733,576,000. The result of the valuation of the ShawResearch Library collection was a total valuation of $3,357,000.

10. Payables12. Superannuation56 5710. PayablesCurrent payables2012($ thousand)2011($ thousand)Supplies and services 1,177 792Other payables 3,584 2,853Income in advance 1,699 1,267Total payables 6,460 4,912The National Gallery of Victoria has several staff who are members of the public sector superannuation schemes listed below. As at 30 June2012, these schemes were carrying total liabilities, including liabilities for members’ benefits, in excess of the value of the schemes’ assets. In linewith Government policy, the unfunded superannuation liabilities have been reflected in the financial statements of the Department of Treasuryand Finance. Superannuation contributions for the reporting period are included as part of employee benefits in the comprehensive operatingstatement. There were no contributions outstanding at the year end and there have been no loans made from the funds (2011 – nil). The details ofthe major employee superannuation funds and contributions paid or payable by the National Gallery of Victoria are as follows. The total amount ofsuperannuation excludes amounts paid under salary sacrifice arrangements.12. SUPERANNUATION(a) Maturity analysis of contractual payablesPlease refer to Table 15.5 in Note 15 for the maturity analysis of contractual payables.(b) Nature and extent of risk arising from contractual payablesPlease refer to Note 15 for the nature and extent of risks arising from contractual payables.FundGovernment SuperannuationOffice (Revised Scheme)PlanEmployeecontributionrate (%)Employercontributionrate (%)Contributionfor the year2012 ($)Contributionfor the year2011 ($)Defined benefit 9.5 17.6 70,593 70,50211. ProvisionsGovernment SuperannuationOffice (New Scheme)Defined benefit 0,3,5,77.4, 8.7,9.5, 10.3108,962 103,785Vic Super Pty Ltd Defined contribution - 9 1,294,658 1,428,571Various other Defined contribution - 9 323,199 273,56511. Provisions2012($ thousand)2011($ thousand)Total 1,797,412 1,876,423Current employee benefitsEmployee benefits - annual leave- Unconditional and expected to settle within 12 monthsEmployee benefits - long service leave (a)1,299 1,38813. Commitments for expenditure- Unconditional and expected to settle within 12 months 192 208- Unconditional and expected to settle after 12 months 2,745 2,485Non-current employee benefitsConditional long service leave entitlements 374 377Total employee benefits 4,610 4,458Employee benefit on-costsCurrent on-costs 809 867Non-current on-costs 47 50Total on-costs 856 917Total employee benefits and related on-costs 5,466 5,375The following commitments have not been recognised as liabilities in the financial statements:13. Commitments for expenditureBuilding occupancy services under contractPayable:2012($ thousand)2011($ thousand)Not longer than one year 5,584 5,606Longer than one year and not longer than five years 21,658 21,424Longer than five years 55,779 60,033Operating leases83,021 87,062Payable:11.1 Movement in provisionsOn-costs($ thousand)Employee benefits($ thousand)Total($ thousand)2011 2011 2011Opening balance at the start of the year 917 4,458 5,375Additional provisions recognised 222 2,130 2,352Reductions arising from payments (301) (2,118) (2,419)Change due to variation in bond rates 18 140 158Closing balance at the end of the year 856 4,610 5,466Current 809 4,236 5,045Not longer than one year 351 890Longer than one year and not longer than five years 709 6101,060 1,500Outsourced services contract commitmentsPayable:Not longer than one year 9,516 9,510Longer than one year and not longer than five years 3,513 11,34713,029 20,857Non-current 47 374 421Notes:(a) The provision for long service leave represents expected future payments discounted to their present values excluding the current portion within 12 months which is at a nominal value.

60 15. Financial instruments (cont’d)61(c) Liquidity riskLiquidity risk would arise if the National Gallery of Victoria is unable tomeet its financial obligations as they fall due. The National Gallery ofVictoria operates under the Government fair payments policy of settlingfinancial obligations within 30 days and in the event of a dispute,making payments within 30 days from the date of resolution. It alsocontinuously manages risk through the monitoring of future cash flowsand maturities planning to ensure adequate holding of high quality liquidassets and dealing in highly liquid markets.The National Gallery of Victoria’s exposure to liquidity risk is deemedinsignificant based on prior periods’ data and the current assessment ofrisk. In the event of any unexpected event cash would be sourced fromliquidation of available-for-sale financial investments.Maximum exposure to liquidity risk is the carrying amounts of financialliabilities as disclosed in the face of the balance sheet. The followingtable discloses the contractual maturity analysis for the NationalGallery of Victoria’s financial liabilities.15.6: Price risk sensitivity offinancial assets2012Financial assetsCarryingAmount+5%($ thousand)NetResultEquity-5%($ thousand)NetResultEquity+10%($ thousand)NetResultEquity-10%($ thousand)NetResultCash and cash equivalents 6,473 - - - - - - - -Receivables 2,254 - - - - - - - -Equity15.5: Maturity analysis of financialliabilities2012Payables:Carryingamount($ thousand)Nominalamount($ thousand)Less than 1MonthMaturity dates($ thousand)1-3months3 months –1 yearAmounts payable to other government agencies 147 147 147 - -Other payables 6,313 6,313 5,993 286 356,460 6,460 6,140 286 35Other financial assets classifiedas available-for-sale39,375 1,969 1,969 (1,969) (1,969) 3,938 3,938 (3,938) (3,938)Total increase/(decrease) 1,969 1,969 (1,969) (1,969) 3,938 3,938 (3,938) (3,938)2011Financial assetsCash and cash equivalents 7,231 - - - - - - - -Receivables 1,009 - - - - - - - -Other financial assets classifiedas available-for-sale41,148 2,057 2,057 (2,057) (2,057) 4,115 4,115 (4,115) (4,115)Total increase/(decrease) 2,057 2,057 (2,057) (2,057) 4,115 4,115 (4,115) (4,115)2011Payables:Amounts payable to other government agencies 42 42 42 - -Other payables 4,870 4,870 4,391 479 -4,912 4,912 4,433 479 -(d) Market riskMarket risk is the risk that market rates and prices will change and thatthis will affect the operating result, or value of assets and liabilities,of the National Gallery of Victoria. The main exposures to market riskarise through price risk, interest rate risk and foreign currency risk.The principal financial instruments affected by these risks are financialThe National Gallery of Victoria recognises that market activity,particularly in equity markets, can give rise to significant volatility in thevalue of financial assets and this risk is accepted and managed withinthe objectives of the investment strategy. In the 2009/10 financial year,global equity markets suffered significant declines with losses commonin most markets, including Australia.assets classified as available-for-sale, held in externally managedunitised trusts.This fall was reflected in the fair value of the National Gallery ofVictoria’s financial assets during the reporting period. In the subsequentThese funds are invested and managed in accordance with the NationalGallery of Victoria’s investment strategy, which includes a variety oftwo financial years the market values of the financial assets classifiedas available-for-sale have shown some recovery.equity assets, inflation-sensitive assets, income assets and absolutereturnassets and distinguishes between the differing objectives andrisk profiles of funds held for the medium term and for the longer term.Such assets are stated at fair value which is generally approximated bymarket value. Gains and losses arising from the changes in fair valueTaking into account the current and future economic climate, the tablebelow discloses the sensitivity of the National Gallery of Victoria’sfinancial assets to movements in the pricing of managed investmentsby shifts of +/- 5% and +/- 10%.are recognised in the carrying value of the assets.e) Interest rate riskInterest rate risk arises from the potential of changes in interestrates to affect the reported result. A fluctuation in interest rates mayalso give rise to changes in the fair value of financial instruments.The interest rate risk on cash at bank and bank deposits at call is notconsidered material to the reported result. The interest rate risk oncash managed funds is managed as part of the overall investmentstrategy which includes a variety of equity assets, inflation-sensitiveassets, income assets and absolute-return assets. Equity and propertymanaged funds have been excluded from this interest rate sensitivityanalysis due to these investments not being directly affected bychanges in interest rates. The National Gallery of Victoria’s exposure tointerest rate risks and the effective interest rates of financial assets andfinancial liabilities are as follows:

62 15. Financial instruments (cont’d)6315.7: Interest rate analysis offinancial instruments2012Financial assetsCash and cash equivalents:Weightedaverageeffectiveinterest rate%Carryingamount($ thousand)Fixedinterest rate($ thousand)Interest rate exposureVariableinterest rate($ thousand)Non-interestbearing($ thousand)Cash at bank and on hand 3.28% 738 - 609 129Cash deposits at call 4.68% 694 - 694 -Cash deposits at call (investment inexternally managed unitised trusts)4.7% 5,041 - 5,041 -Receivables - 2,254 - - 2,254Other financial assets (investment in externallymanaged unitised trusts-fixed interest)Financial liabilities11.92% 1,680 1,680 - -10,407 1,680 6,344 2,383Payables - (6,313) - - (6,313)(6,313) - - (6,313)Net financial assets/(liabilities 4,094 1,680 6,344 (3,930)2011The sensitivity analysis below discloses the impact on the operatingresult and equity of changes in interest rates on the National Gallery ofVictoria’s financial assets by +/- 50bp and +/- 100bp.15.8: Interest rate sensitivity of financial assets2012Financial assetsCarryingamount+50bp($ thousand)NetresultEquity-50bp($ thousand)NetresultEquity+100bp($ thousand)NetresultEquity-100bp($ thousand)NetresultCash and cash equivalents 6,473 32 32 (32) (32) 65 65 (65) (65)Receivables 2,254 - - - - - - - -Financial assets classifiedas available-for-saleEquity1,680 8 8 (8) (8) 17 17 (17) (17)Total increase/(decrease) 40 40 (40) (40) 82 82 (82) (82)2011Financial assetsCash and cash equivalents 7,231 36 36 (36) (36) 72 72 (72) (72)Receivables 1,009 - - - - - - - -Financial assets classifiedas available-for-sale2,931 15 15 (15) (15) 30 30 (30) (30)Total increase/(decrease) 51 51 (51) (51) 102 102 (102) (102)Financial assetsCash and cash equivalents:Cash at bank and on hand 3.52% 461 - 357 104Cash deposits at call 4.88% 20 - 20 -Cash deposits at call (investment inexternally managed unitised trusts)4.94% 6,750 - 6,750 -Receivables - 1,009 - - 1,009Other financial assets (investment in externallymanaged unitised trusts-fixed interest)Financial liabilities5.94% 2,931 2,931 - -11,171 2,931 7,127 1,113Payables - (4,870) - - (4,870)(4,870) - - (4,870)Net financial assets/(liabilities) 6,301 2,931 7,127 (3,757)f) Foreign currency riskForeign currency risk arises from changes in the value of assetsand liabilities denominated in foreign currencies as exchange ratesfluctuate. The National Gallery of Victoria makes purchases andsales in foreign currencies and reduces its risk by, wherever practical,preferring a certain outcome over an uncertain outcome and byminimising its exposure to exchange rate movements. Material foreigncurrency commitments, where the amount and timing of paymentare known, are hedged through the Treasury Corporation of Victoria.The National Gallery of Victoria’s investment strategy also allowsfor investment in international equities (hedged and unhedged) andoverseas securities. This foreign currency risk is managed as part of theoverall investment strategy which includes a variety of equity assets,inflation-sensitive assets, income assets and absolute-return assets. Atthe year end, payables included the following balances denominated inforeign currencies:2012 2011$ $Euro 66,172 76,243USD 69,839 -(g) Fair valueThe fair values and net fair values of financial assets and financialliabilities are determined as follows:The fair value of financial assets and financial liabilities with standardterms and conditions and traded in active liquid markets are determinedwith reference to quoted market prices; and the fair value of otherfinancial assets and financial liabilities are determined in accordancewith generally accepted pricing models based on discounted cash flowanalysis. The National Gallery of Victoria considers that the carryingamount of financial assets and financial liabilities recorded in thefinancial statements to be a reasonable approximation of their fairvalues, either because of their short-term nature, or because they arevalued and can be traded in an active market.15.9: Comparison between carrying amount andfair valueThe National Gallery of Victoria considers the carrying amount offinancial instrument assets and liabilities recorded in the financialstatements to be an approximation of their fair values, because of theshort-term nature of the financial instruments and the expectationthat they will be paid in full. Cash and deposits and financial assetsclassified as available for sale are classified as level 1. Financialinstruments are deemed level 1 where the fair value of the financialinstrument, with standard terms and conditions and traded in activeliquid markets, are determined with reference to quoted market prices.All other financial instruments are classified as level 2 where fair valueis determined using inputs other than quoted prices that are observablefor the financial asset or liability, either directly or indirectly.

16. Cash flow information17. Reserves64 6516.1 Cash and deposits2012($ thousand)2011($ thousand)Cash at bank and on hand 738 461Bank deposits on call 5,735 6,770Total cash and deposits 6,473 7,23117. Reserves Note2012($ thousand)2011($ thousand)Collection reserveBalance at beginning of financial year 221,594 194,142Transfer from accumulated surplus 15,975 27,452Balance at end of financial year 1(K) 237,569 221,59416.2 Reconciliation of net result for the year tonet cash flows from operating activities2012($ thousand)2011($ thousand)Net result for the year 4,971 16,911Non-cash movements:Depreciation of property, plant and equipment 12,284 10,071Donated cultural assets (3,520) (17,197)Infrastructure reserveBalance at beginning of financial year 46,625 43,785Transfer from accumulated surplus 2,847 2,840Balance at end of financial year 1(K) 49,472 46,625Physical asset revaluation surplusBalance at beginning of financial year 94,711 85,029Movements in assets and liabilities:(Increase)/decrease in current receivables (1,445) (19)(Increase)/decrease in current inventories 251 (408)(Increase)/decrease in other current assets 260 (357)(Decrease)/increase in current payables 863 (375)(Decrease)/increase in current provisions 91 777Net cash flows from/(used in) operating activities 13,755 9,403(Decrement)/increment during the year - 9,682Balance at end of financial year 1(K) 94,711 94,711Cultural assets revaluation reserveBalance at beginning of financial year 3,560,423 3,138,182Increment during the year - 422,241Balance at end of financial year 1(K) 3,560,423 3,560,423Financial assets available-for-sale reserveBalance at beginning of financial year 7,515 5,663Increment during the year (2,326) 1,852Balance at end of financial year 1(K) 5,189 7,515Balance at end of financial year 3,947,364 3,930,868Net change in reserves 16,496 464,06718. Responsible personsDuring the reporting period the following people held a positiondesignated as a “responsible person”, as defined by the FinancialManagement Act 1994: All responsible persons held a position for thefull financial year, unless otherwise stated.Ms M Plavsic (term expired 14 May 2012)Mr A SissonMr M Ullmer (appointed 22 November 2011)Mr J Sau Lee YeapMinister for the Arts:The Hon. E. Baillieu MLA (appointed 2 December 2010)Trustees who served during the year were:Mr A Myers (President) (term expired 14 May 2012,re-appointed 15 May 2012)Ms S CohnMr P EdwardsDr V FitzGerald (term expired 14 May 2012)Ms N Milgrom (appointed 12 July 2011)Dr A NdalianisMr B ParncuttDirector: Dr G VaughanRemunerationNo benefits or remuneration were paid to responsible persons otherthan to the Director (Accountable Officer) whose remuneration isdisclosed in Note 19.Amounts relating to the Minister are reported in the financialstatements of the Department of Premier and Cabinet.Related party transactionsThere were no related party transactions during the year (2011 - nil).

19. Remuneration of executives22. Glossary of terms66 67The number of executive officers and their total remuneration during thereporting period are shown in the first two columns in the table belowin their relevant income bands. The base remuneration of executiveofficers is shown in the third and fourth columns. Base remuneration isexclusive of bonus payments, long service leave payments, redundancypayments and retirement benefits. The total annualised employeeequivalent provides a measure of full time equivalent executive officersover the reporting period. One executive officer resigned part way during2010/11 and was not replaced. This has had a significant impact on totalremuneration figures.19. Remuneration of EXECUTIVES Total Remuneration Base Remuneration2012 2011 2012 2011Income Band No. No. No. No.$90 000 – 99 999 - - - 1$100 000 – 109 999 - 1 - -$150 000 – 159 999 - - - 1$160 000 – 169 999 - 1 1 1$170 000 – 179 999 1 - 1 1$180 000 – 189 999 - 1 1 -$190 000 – 199 999 1 1 - -$200 000 – 209 999 1 - - -$290 000 – 299 999 (Accountable Officer) - - - 1$300 000 – 309 999 (Accountable Officer) - - 1 -$320 000 – 329 999 (Accountable Officer) - 1 - -$330 000 – 339 999 (Accountable Officer) 1 - - -Total numbers of executives 4 5 4 5Total annualised employee equivalents (a) 4 5 4 5Total amount $954,885 $1,013,768 $866,249 $944,924Note:(a) Annualised employee equivalent is based on working 37.6 ordinary hours per week over the year.20. Remuneration of auditors20. Remuneration of auditorsVictorian Auditor General’s Office2012($ thousand)2011($ thousand)Audit of the financial statements 56 5121. Subsequent eventsThere were no significant events occurring after the reporting date in 2012 (2011 – nil).56 51Comprehensive resultTotal comprehensive result is the change in equity for the period otherthan changes arising from transactions with owners. It is the aggregateof the net result and other non-owner changes in equity.Capital asset chargeThe capital asset charge represents the opportunity cost of capital investedin the non current physical assets used in the provision of outputs.CommitmentsCommitments include those operating, capital and other outsourcingcommitments arising from non-cancellable contractual orstatutory sources.Employee expensesEmployee expenses include all costs related to employment includingwages and salaries, leave entitlements, redundancy payments andsuperannuation contributions.Financial assetA financial asset is any asset that is:• c a s h ;• an equity instrument of another entity;• a contractual right:- to receive cash or another financial asset from another entity; or- to exchange financial assets or financial liabilities with another entityunder conditions that are potentially favourable to the entity; or• a contract that will or may be settled in the entity’s own equityinstruments and is:- a non-derivative for which the entity is or may be obliged to receivea variable number of the entity’s own equity instruments; or- a derivative that will or may be settled other than by the exchangeof a fixed amount of cash or another financial asset for a fixednumber of the entity’s own equity instruments.Grants and other transfersTransactions in which one entity provides goods, services, assets (orextinguishes a liability) or labour to another entity without receivingapproximately equal value in return. Grants can either be operating orcapital in nature. While grants by governments may result in the provisionof some goods or services to the transferor, they do not give the transferor aclaim to receive directly benefits of approximately equal value. Receipt andsacrifice of approximately equal value may occur, but only by coincidence.For example, governments are not obliged to provide commensuratebenefits, in the form of goods or services, to particular taxpayers in returnfor their taxes. For this reason, grants are referred to by the AASB 118Revenue, as involuntary transfers and are termed non-reciprocal transfers.Grants can be paid as general purpose grants which refer to grants thatare not subject to conditions regarding their use. Alternatively, theymay be paid as specific purpose grants which are paid for a particularpurpose and/or have conditions attached regarding their use.Financial statementsDepending on the context of the sentence where the term ‘financialstatements’ is used, it may include only the main financial statements(i.e. comprehensive operating statement, balance sheet, cash flowstatements, and statement of changes in equity); or it may also be usedto replace the old term ‘financial report’ under the revised AASB 101Presentation of Financial Statements (Sept 2007), which means it mayinclude the main financial statements and the notes.Net resultNet result is a measure of financial performance of the operations forthe period. It is the net result of items of revenue, gains and expenses(including losses) recognised for the period, excluding those that areclassified as ‘other non-owner changes in equity’.Net result from transactions/net operating balanceNet result from transactions/net operating balance is a key fiscal aggregateand is revenue from transactions minus expenses from transactions. It is asummary measure of the ongoing sustainability of operations. It excludesgains and losses resulting from changes in price levels and other changes inthe volume of assets. It is the component of the change in net worth that isdue to transactions and can be attributed directly to government policies.Other economic flowsOther economic flows are changes in the volume or value of an assetor liability that do not result from transactions. It includes gains andlosses from disposals, revaluations and impairments of non-currentphysical and intangible assets; actuarial gains and losses arising fromdefined benefit superannuation plans; fair value changes of financialinstruments and agricultural assets; and depletion of natural assets(non-produced) from their use or removal. In simple terms, othereconomic flows are changes arising from market re measurements.PayablesIncludes short and long term trade debt and accounts payable, grantsand interest payable.Sales of goods and servicesRefers to revenue from the direct provision of goods and services andincludes exhibition and program admissions, retail sales, membershipsand sponsorships.Supplies and servicesSupplies and services represents the costs of running the NationalGallery of Victoria excluding employee benefits, depreciation ofproperty, plant and equipment, use of premises provided free of chargeand the capital asset charge. These costs include costs of facilities,information services, cost of publications and merchandise sold,exhibitions, education and public programs.TransactionsTransactions are those economic flows that are considered to arise asa result of policy decisions, usually an interaction between two entitiesby mutual agreement. They also include flows within an entity such asdepreciation where the owner is simultaneously acting as the ownerof the depreciating asset and as the consumer of the service providedby the asset. Taxation is regarded as mutually agreed interactionsbetween the government and taxpayers. Transactions can be in kind(e.g. assets provided/given free of charge or for nominal consideration)or where the final consideration is cash. In simple terms, transactionsarise from the policy decisions of the government.

AppendicesAppendix 1:council oftrustees68 69as at 30 June 2012Council LegislationThe Council of Trustees of the NationalGallery of Victoria is constituted by s.5 ofthe National Gallery of Victoria Act 1966 (theAct). The Act specifies that ‘in carrying outits functions, the Council must endeavour tocontribute to the enrichment of the cultural,educational, social and economic life ofthe people of Victoria.’ Section 6 of the Actstipulates that the Council shall consist of11 members appointed by the Governor-in-Council. The Council’s composition is:a) a person holding a senior academic officein the visual arts in a university in Victoria;b) a person having relevant experiencein relation to regional art gallerieswithin Victoria;c) a person who, in the opinion of the Ministerfor the Arts, is distinguished in the field ofbusiness administration;d) a person who in the opinion of the Ministeris distinguished in the field of finance; ande) seven others nominated by the Minister.Trustees are appointed for a term notexceeding three years and may serve upto three consecutive terms. Trusteesdo not receive remuneration for theirCouncil activities.Council CommitteesAll Council Committees are establishedunder s.11A of the Act. They generallycomprise a sub-set of trustees and nontrusteesbased on their respective areas ofinterest and expertise. Relevant executiveand senior managers attend Committeemeetings. The Committees are generallyresponsible for developing policies in relationto their respective areas and for makingrecommendations to the Council. The minutesof Committee meetings are circulated forconsideration at the next Council meeting.Council MeetingsThe Council meets formally at least seventimes a year and Committees meet betweenthree and eight times a year.COUNCIL OF TRUSTEESAllan Myers AO QC (President)Appointed a trustee in May 2003; reappointed2006, 2009 and 2012; appointed Presidentin June 2004.Allan has had a long and distinguished careerin commercial law, has lectured in law atuniversities in Melbourne, England andCanada, and has written many legal articlespublished in Australia and abroad. He hasa long history of supporting professionalorganisations and charitable foundationsincluding the Howard Florey Institute.Susan CohnAppointed a trustee in June 2010Susan Cohn is a leading contemporary artistworking across the art-craft-design divide.She has post-graduate qualifications infine art from RMIT University, and a Doctorof Philosophy in fine art theory from theUniversity of New South Wales. In addition toher ongoing contribution to the arts, she hasexhibited extensively, won several awards,and worked on interdisciplinary projects inAustralia and overseas.Peter EdwardsAppointed a trustee in May 2008;reappointed in 2011Peter Edwards is Managing Director ofthe Victor Smorgon Group. The Group’sventures include property, consumer retail,recycling and renewable manufacturing, andsustainable agriculture. Peter is a trustee ofthe Julian Burton Burns Trust, and a boardmember of SECUREcorp Pty Ltd and theJewish Museum of Australia.Naomi Milgrom AOAppointed a trustee in July 2011As Executive Chair and CEO of the Sportsgirl/Sussan Group, Naomi is recognised as oneof Australia’s top 25 business leaders andentrepreneurs, and is a pivotal figure in theAustralian retail and fashion industries. Sheis a distinguished philanthropist, leader andmentor to a wide range of arts, scientific andcommunity organisations.

Appendix 2:CouncIlCommIttees70 71as at 30 June 2012Angela NdalianisAppointed a trustee in July 2004;reappointed in 2007 and 2010Angela is Associate Professor in ScreenStudies in the School of Culture andCommunication at the University ofMelbourne. She specialises in the cinema andits interconnections with other visual mediaof the past and present and is especiallyinterested in the re-emergence of Baroqueaesthetics beyond the eighteenth century. Herpublications focus on media histories and theconvergence of popular forms including films,television, computer games, comic books andtheme park spaces, and include Neo-BaroqueAesthetics and Contemporary Entertainment(MIT Press 2004), The Contemporary ComicBook Superhero (Routledge 2009), ScienceFiction Experiences (New Academia Publishing2010) and The Horror Sensorium: Media andthe Senses (McFarland 2012).Bruce ParncuttAppointed a trustee in March 2005;reappointed in 2008 and 2011Bruce has had a long and varied career infinancial services. He is Principal of LionCapital, a private investment managementand corporate advisory firm and a director ofa number of public and private companies. Hewas previously Chief Executive of McIntoshSecurities, Senior Vice President of MerrillLynch, a director of Australian Stock ExchangeLtd, and a member of the Council of MelbourneGrammar School. He has extensive experiencein fundraising for not-for-profit organisations.Andrew SissonAppointed a trustee in May 2010Andrew is the Managing Director of BalancedEquity Management Pty Limited, a shareinvestment manager. He previously workedfor National Mutual managing share portfoliosin Australia and the UK. He is also a memberof the Save the Children Australia Board, theTakeovers Panel and the Supreme Court ofVictoria Investments Review Panel to SeniorMaster (Funds in Court).Michael UllmerAppointed a trustee in November 2011Michael is a director of Lend LeaseCorporation and Woolworths Limited. He waspreviously Deputy CEO of National AustraliaBank Limited. Other roles include Directorof the Melbourne Symphony Orchestra andChairman of the Business Working withEducation Foundation. He is also a member ofthe Nomura Australia Advisory Board.Jason Yeap OAMAppointed a trustee in June 2005;reappointed in 2008 and 2011Jason is the Chairman of Mering CorporationPty Ltd, and a Director of HerbaceuticHoldings Limited, China, and is a memberof the Board of Directors of the MurdochChildrens Research Institute.RETIRED TRUSTEESVince FitzGeraldAppointed a trustee in May 2003; reappointedin 2006 and 2009Vince was a former director of the AllenConsulting Group. Previously he was a seniorCommonwealth official in the Departments ofTreasury, Prime Minister and Cabinet, Finance,Trade (Secretary) and Employment, Educationand Training (Secretary). He is a director ofETF Securities Ltd and subsidiaries, includingASX-listed ETFS Metal Securities Ltd; amember of the Council of the AustralianNational University and a Trustee of the Finkeland Tuckwell Foundations.Maureen PlavsicAppointed a trustee in May 2003; reappointedin 2006 and 2009Maureen has more than 25 years’ executiveexperience in media, advertising and brandmarketing. She is currently a non-executivedirector of Pacific Brands Limited andMacquarie Radio Network, and is involvedin fundraising for various non-profitorganisations. She was CEO and a Directorof Seven Network Limited and a Director ofOpera Australia.AUDIT, RISK AND COMPLIANCECOMMITTEE(incorporating the Gift Fund Committee)Members: Michael Ullmer (Chair), Jason Yeap,Andrew SissonExternal members: Jane Harvey, Tam Vu,Stephen RidgewayManagement: Gerard Vaughan, Liz GraingerCOLLECTION MANAGEMENT COMMITTEEMembers: Allan Myers (Chair), AngelaNdalianis, Jason Yeap, Andrew Sisson,Michael Ullmer, Naomi MilgromManagement: Gerard Vaughan,Frances LindsayVFLAA COMMITTEEMembers: Allan Myers (Chair), AngelaNdalianis, Susan CohnExternal Members: Anthony Camm,Jane AlexanderManagement: Gerard Vaughan,Frances LindsayEXHIBITION MANAGEMENT COMMITTEEMembers: Angela Ndalianis (Chair), PeterEdwards, Susan CohnManagement: Gerard Vaughan, FrancesLindsay, Liz Grainger, Lisa Sassella,Nick PalmerPERFORMANCE AND REMUNERATIONCOMMITTEEMembers: Bruce Parncutt (Chair), AllanMyers, Naomi MilgromManagement: Gerard Vaughan, Liz GraingerNGV MEMBERS COMMITTEEMembers: Peter EdwardsManagement: Gerard Vaughan, Lisa SassellaNGV FOUNDATION BOARDMembers: Bruce Parncutt (Chair), AllanMyers, Jason Yeap, Naomi Milgrom,Peter EdwardsExternal members: Ian Hicks (Deputy Chair),John Higgins, Paula Fox, Leigh Clifford, MorryFraid, Bill BownessManagement: Gerard Vaughan, Nick PalmerINVESTMENT COMMITTEEMembers: Andrew Sisson (Chair), BruceParncutt, Michael UllmerManagement: Gerard Vaughan, Liz Grainger,Nick PalmerCOMMERCIAL INITIATIVES COMMITTEEMembers: Peter Edwards (Chair), Allan Myers,Jason Yeap, Susan Cohn, Angela NdalianisManagement: Gerard Vaughan, Nick Palmer,Lisa SassellaDigital Initiatives CommitteeMembers: Angela Ndalianis (Chair), PeterEdwards, Michael UllmerExternal members: David Adam,Vince DziekianManagement: Gerard Vaughan, FrancesLindsay, Liz Grainger, Nick PalmerCollection Policy AND HoldingsReview CommitteeMembers: Bruce Parncutt (Chair), Jason YeapManagement: Gerard Vaughan

74 Appendix 5:75staffinformationSTAFF STATISTICSThe NGV started 2011/12 with 302.1 full-time equivalent employees (FTE) and ended it with 293.0.Employees(Headcount)ONGOING EMPLOYEESFull Time(Headcount)Part Time(Headcount)FIXED-TERM& CASUALTOTAL FTEFTE FTE FTEJune 2012 226 159 67 201.4 91.6 293.0June 2011 235 164 71 208.4 93.7 302.1Notes:In reporting employee numbers the following assumptions have been applied:- Casual FTE is based on the hours worked in the last pay period of the financial year.- Ongoing employees includes people engaged on an open ended contract of employment who were active in the last pay period of June.Gender:Employees(Headcount)2012 2011Ongoing Fixed-term & Casual Ongoing Fixed-term & CasualFTEFTEEmployees(Headcount)Male 81 77.1 26.7 80 75.5 22.7Female 145 124.3 64.9 155 132.9 71.0Total 226 201.4 91.6 235 208.4 93.7Age:Under 25 1 1.0 6.0 3 2.6 12.225–34 60 53.9 51.7 73 64.4 41.435–44 83 70.0 15.2 87 73.8 20.945–54 54 51.1 11.2 43 40.6 14.755–64 24 22.2 5.9 26 24.4 2.9Over 64 4 3.2 1.6 3 2.6 1.6Total 226.0 201.4 91.6 235 208.4 93.7Classification:VPS1 1 1.0 5.3 2 1.6 6.2VPS2 48 37.5 34.9 58 45.1 37.9VPS3 71 64.7 27.4 73 66.7 27.2VPS4 57 52.7 13.0 57 53.3 9.8VPS5 30 27.6 5.0 23 20.4 5.8VPS6 19 17.9 2.0 22 21.3 2.8Executive Officer 0 0.0 4.0 0 0.0 4.0Total 226.0 201.4 91.6 235 208.4 93.7FTEFTEEMPLOYMENT AND CONDUCT PRINCIPLESThe NGV is committed to ensuring that merit and equity principles areintegral to all aspects of human resource development. Its strategy forensuring this includes:• recruitment, selection and probation procedures;• induction processes;• grievance resolution processes;• a performance development and progression (PDP) system; and• the application of Disability Action Plan initiatives, as appropriate.WORKFORCE DATAAll NGV Employees have been correctly classified in workforcedata collections.UPHOLDING PUBLIC SECTOR CONDUCTAll NGV employees are provided with induction andorientation covering:• NGV Values — Excellence, Integrity and Access;• Code of Conduct for the Victorian Public Sector;• Policy information and training in relation to Equal Opportunityand Respect for Others;• Grievance processes;• Whistleblower’s Protection Policy and Guidelines;• Privacy, Confidentiality and Intellectual Property;• Financial Code of Practice; and• Other NGV policies.REVIEWING PERSONAL GRIEVANCESFor the year ended 30 June 2012 there were no formalgrievances lodged.OCCUPATIONAL HEALTH AND SAFETYIn 2011/12, 53.44 days were lost as a result of work-related accidents,compared with 23.84 days in 2010/11.CategoryPolicy Currency(Review Cycle 3years)ProvisionalImprovementNotices (PINs)Health and SafetyRepresentive(HSR) TrainingWorkSafeInteractionsWorkCover ClaimsManagementMeasure2011/20122010/2011OH&S Policy Current Yes YesNumber of PINs issued byHSRs% of identified issuesactioned% of HSRs trained0 00 060%Note 1100%Notifiable Incidents 0 6Notices Received 0 2Visits (excluding as a resultof Notifiable Incidents)% of identified issuesactionedNumber of StandardClaimsNote 42Note 21100% 100%3 5Rate per 100 FTE 1.02 1.66Number Lost Time Claims 3 1Rate per 100 FTE 1.02 0.33Number claims exceeding13 weeks1 0Rate per 100 FTE 0.34 0Fatality Claims 0 0Average Cost per StandardClaim% claims with a RTW plan

76 Appendix 6:77otherNGV Schools Programs Supporting Language Teaching andperformance by Indigenous dance group, Jindi Worabak held in late MaycorporateIntercultural Studies. NGV Schools presented a range of programs to coincide with National Reconciliation Week and which attracted overand workshop activities for students of all levels that enhanced300 people. Free floor talks celebrated the Barak Commissions in thelearning in Languages in Other than English. Students viewed original NGV Collection and examined the work of contemporary artists Vernonreportsworks of art from countries, regions and communities where LOTE is Ah Kee, Brook Andrew and Jonathan Jones, as they paid homage to theA. Education & Public ProgramsNGV Education and Public Programs researched, developed andimplemented a range of programs and activities on site at the NGV,off site through outreach programs and online through virtual forumswhich focussed on or related to themes, ideas and issues of CulturalDiversity, Indigenous Culture, Youth and Women. In 2011/12 more than27,000 visitors participated in guided tours, 81,867 people engaged inpublic programs and 89,867 students and 11,400 teachers explored theNGV through education and learning programs.B. Valuing Cultural Diversity InitiativesNGV Asian Art Learning Resource was launched at the NGV AsianArt Supporters Group Chinese New Year celebrations in February2012. The resource comprises teaching and learning focused on theNGV Collection of Asian Art which supports the focus on ‘Asia andAustralia’s engagement with Asia in the Australian curriculum’. Twoprint versions of the resource were distributed to all Victorian schoolsand the online resource is accessible nationwide and globally throughthe NGV website.2012 Melbourne Winter Masterpieces: Vienna Art & Design40,855 people participated in a diversity of programs, events andactivities over the four months of the 2012 Melbourne WinterMasterpieces exhibition (June – October). 5,000 children’s and familydiscovery trails Vibrant Vienna were printed for use in the exhibition anda PDF of the trail was downloadable on-line. The education resourcetargeted to middle and later years students and teachers of art, studioart, design and technology, history and visual communications was alsoaccessible on line.Ikenobo Ikebana: Beauty of Living Flowers celebrated the 550 thanniversary of Ikenobo Ikebana in Japan and the 20th anniversary ofthe Ikenobo Melbourne Chapter with a two day program of masterworks and demonstrations on 2-4 September. Featuring a display inthe Great Hall of over 40 traditional and modern Ikebana, the eventwas opened by the Ikenobo Ikebana Headmaster Sen’ei Ikenobo fromJapan and the Deputy Lord Mayor of Melbourne. This was followedby a demonstration of Ikebana given by the visiting Headmaster andworkshops presented by Ikebana expert Yukako Braun, President of theMelbourne Chapter.The World Summit on Art and Culture was held in Melbourne in earlyOctober and the NGV provided delegates with tours of the IndigenousCollection and NGV Kids Space with insights to cross culturallearning programs.Urasenke Tea Ceremony and Demonstration. The Chado UrasenkeTankokai Melbourne Association celebrated its 20 th anniversary on5 – 6 November with free public activities including tea ceremoniesand a lecture and demonstration by the 16 th generation grandmaster Sen Soshitsu. More than 230 people attended the lecture anddemonstration and 336 people participated in the tea ceremony in theGreat Hall.Social Inclusion Week featured a concert by Jonathon Welch and TheChoir for 400 people in the Great Hall on 20 November and tours wereoffered for people who had never visited the NGV attracting a diversityof people from different backgrounds to this free and popular event.In the Steps of the Buddha. A range of programs were offered inconjunction with the exhibition December - June, with the aim ofexploring the development of Buddhist and Hindu imagery acrossAsia, engaging with Buddhist and Hindu communities locally andinternationally and raising awareness of the diversity of faiths,beliefs and religions in our community. Programs included LiveZazen demonstrations by Seikan Čech, traditional butter sculptingdemonstrations by Gen Khedup, Zen Calligraphy demonstrationsby Kim Hoa Tram and free floor talks delivered by noted speakersexploring the Kalachakra Tantra, The Tsongkhapa painting, worshipand rituals to Buddhist deities, and the historical development of thisimagery and the different styles of art associated with the Theravada,Mahayana and Vajrayana Buddhist schools. The highlight program wasthe Maitreya Project Heart Shrine Relic Tour, held in March as part ofCultural Diversity Week. This program attracted 3,540 visitors overthe weekend and was a rare opportunity to view sacred relics found inthe cremation ashes of great Buddhist masters from Burma, Thailand,Tibet, India, Korea and Taiwan.Lecture & Demonstration on the art of Chinese calligraphy washeld on 19 February featuring Professor Zhang Guohong, a ShangaiUniversity lecturer & author of Chinese calligraphy, who spoke aboutthe evolution of Chinese characters and demonstrated different stylesof calligraphy by famous calligraphers and authors. This programattracted 150 people.NGV Studio: MoNow was an exhibition of innovative multidisciplinaryworks of art that inspired new ways of seeing contemporary Australianidentity. MoNow was presented from the 7-26 April and featuredfree artist talks ranging from prominent artists such as Bindi Cole toemerging artists such Sapna Chandu, each of whom embodied qualitiesthat make up our contemporary Australian identities. A highlight of thisrapid response installation was a free public forum exploring the role ofart in the 21 st Century.spoken to develop intercultural knowledge and awareness. Programsincluded Vive La France, Hola Spain, Wunderbar Germany, Tour Italyand Carnevale and Tea and Zen workshops. An Oceanic Odysseytour was offered to introduce students to the Oceanic collection oftraditional and contemporary works from the Pacific area. Programsdesigned for English as Second Language (ESL) students were alsopresented at NGV Australia. More than 54,000 students and teachersparticipated in these programs which explored themes, ideas, issues,art, culture, lifestyle, languages and histories of a diversity of people,place and era.C. Valuing indigenous Victorians InitiativesVoluntary Guides Tours of Indigenous Art. Throughout the yearNGV Voluntary Guides conducted free daily tours of the Indigenousgalleries and exhibitions providing in excess of 370 tours for morethan 3,000 visitors.Bunjil’s Nest is a collaborative sculpture created by students thatcelebrates Bunjil the Eagle, creator spirit of the Kulin Nation. Thissculpture was placed in the foyer of NGV Australia on 2 July 2011 aspart of NAIDOC Week celebrations and remained on display until earlyMarch 2012. The sticks used to build the nest were gathered fromKulin Nation country and each stick carried a message from a Victorianschool student. The acclaimed environmentalist David Suzuki andWurundjeri elder Aunty Joy Murphy-Wandin wrote the first messagesfor this sculpture followed by more than 600 student contributors.During the visit to Melbourne in October 2011, H. M. Queen ElizabethII visited Bunjil’s Nest at the NGV and was presented with a messageon a eucalypt stick by a student from Bendigo South East SecondaryCollege. Through online professional learning programs (March 2012)and an outreach program supported by Regional Arts Victoria (May2012), Victorian schools and other organisations including regionalgalleries and the Royal Children’s Hospital have now created their ownBunjil’s nest sculptures.Tjukurrtjanu: Origins of Western Desert Art displayed at NGVAustralia from 30 September 2011 – 12 February 2012 providedopportunity for a range of public and school programs exploring theart and culture of western desert artists and their work. A highlightprogram was a symposium on 12 November which was an historicevent bringing together leading international and Australian specialistsand practitioners in Indigenous art to explore and consider the historyand development of the Papunya Tula movement and the challengesand issues facing Indigenous artists today. A total of 10, 837 students,teachers and the wider public participated in Education, Members andPublic Programs and Guided Tours for this exhibition.Fred Kruger: Intimate Landscapes inspired a range of programsdrawing out Kruger’s documentation of life at Coranderrk AboriginalStation in 1876 and 1883. These programs explored the complex periodof transition and the significance of these events to the Wurundjeri peopletoday. A highlight program was a key address by Bill Nicholson and a livehighly celebrated Wurundjeri artist, William Barak.NGV Schools Programs – Indigenous Art and Culture. NGV Schoolsoffered a range of student and teacher professional learning programslinking the Indigenous collection and exhibitions to Victorian curriculumframeworks. Programs included introductory tours and workshopsheld on site and in schools through NGV outreach activities engaging inexcess of 10,000 students and teachers.D. Valuing Youth InitiativesYouth Now Employer Champion Awards 2011. David Menzies,NGV Educator was nominated for an Employer Champion Awardfor significant contributions to workplace learning of students inMelbourne’s western suburbs. In 2011/12 twenty students had workplace opportunities with the NGV Schools and Public Programs team.VCE Art Start Holiday Program. A three day intensive program(January 18-20) was conducted to support students preparingfor VCE Art and Studio Arts providing opportunity for practicalworkshops, ‘behind the scenes’ tours and dialogue with artists andart industry experts.Top Arts 2012 The annual student exhibition opened on 22 March andwas on display at NGV Australia until 15 July. A feature of the VCESeason of Excellence, Top Arts celebrates and showcases outstandingwork completed by students as part of their assessment for VCE Artand Studio Arts. Associated programs included student and publicintroductory talks, presentations by exhibiting students, viewings ofstudent support work and developmental material, behind the scenesstudy days, professional learning programs for teachers, holidayworkshops and family activities that attracted in excess of 14,500students, teachers and public participants.NGV Studio: The Greater Asia Co-Prosperity Sphere representedcollaborations between young Perth-based artists Abdul Abdullah,Casey Ayres and Nathan Beard which capitalised on their Asian-Australian heritages and the opportunity for a diverse cultural programof live events as part of the 2012 Next Wave Festival. Workshops,traditional and non-traditional Asian music and dance performances,Ikebana and an opening blessing and closing ceremony explored howmulticulturalism operates in contemporary Australian society andencourages participants to reflect and challenge their perceptionson hybrid cultural experiences of Asian-Australians. These programsattracted over 1,000 attendees.WeR1 Youth Access Program. Funded by VicHealth, WeR1 is anexciting arts project which utilises the State Collection, staff, artistsand resources, to explore and promote cultural diversity in Victoria.Designed to reduce ethnic and race-based discrimination amongyoung people from Indigenous, non-English-speaking communitiesand Anglo-Australians ‘Sayings – some people we talked to’ wasa program for students from the Fitzroy Secondary College in

78 other corporate reports (cont’d)79association with the Queens Parade Traders Association, Clifton Hill,conducted from June to December, which resulted in an exhibition inselected shop front windows of the portrait photographs with sayingsthat explored culture diversity. The program was then conducted inFebruary to June in regional Victoria with students from KynetonSecondary College and their local community to produce theirversion of ‘Sayings – some people we talked to’ along Piper Streettrading precinct.E. Valuing Women InitiativesNGV Studio: Fluoresce was an all-female artist group residency,from 11 February to 8 March, through which visitors were invitedto engage with the visual potential of fluorescent colour throughprojection, painting, adhesive murals and craft-based processes. FreeThursday night artist talks were presented throughout the exhibition,and a highlight program was an In conversation with the NGV StudioCoordinator and the Fluoresce artist Yandell Walton on 8 March incelebration of International Women’s Day.NGV Studio: Nobody Was Dirty was an exhibition of worn jeansstaged between 10 March and 1 April, curated, designed and presentedby women to privilege the concept of personal smells. The curatorTullia Jack is concerned about water and energy consumption in boththe manufacture and cleaning of clothes and as part of her researchengaged 30 people to wear the same jeans without washing themfor 3 months to explore and push social norms around cleanliness.Programs developed in association with the exhibition included a shorttalks evening on 15 March with female fashion designers and curatorsfrom the NGV, London College of Fashion and MATERIAL BYPRODUCTand a series of lunchtime floor talks and conversations exploringsustainability in fashion.F. Disability Action PlanThe NGV’s Disability Action Plan (DAP) was approved by the Councilof Trustees in March 2009 and registered with the Australian HumanRights Commission. The NGV DAP Project team is made up ofrepresentatives from a broad range of departments.The following outcomes were achieved under the DAP during 2011/12:• Launched the Smart Auslan accessible Audio Guide for theNapoleon: Revolution to Empire exhibition, incorporating captionsand Australian sign language• Consulted with visitors with a disability during the planning andimplementation stages of NGV exhibition design• Trialled and reviewed of a range of accessible labels ingallery spaces• Commissioned an external accessibility audit of the NGV website• NGV Management, staff and volunteers attended a range ofinformation and training sessions throughout the year including:° Audio Description training with Vision Australia° Awareness training for teachers of deaf students° Positive School Conference which provided access to currentinitiatives and strategies for improved awareness and workplacepractices in adolescent and child mental health• Coordinated and hosted an Art and Memories training workshop for27 personnel from dementia-specific aged care centres. The two daytraining program was developed in conjunction with Alzheimer’sAustralia and National Gallery of Australia. NGV staff participated inthis training workshop.• Partnered with Alzheimer’s Australia in the launch of an arts-basedactivity manual for people living with dementia. 250 peopleparticipated in the launch held at the NGV• Conducted 53 “Art and Memories” tours for residents and theircarers living with dementia in aged care centres and individualsliving at home• Tailored and conducted two gallery tours for people with terminalillness. NGV Voluntary Guides provided an ongoing communityservice through their Gallery Visits You program resulting in 48 visitswith virtual tours and art-based programs conducted in aged carefacilities for residents living with disabilities• Worked with staff from Scope on the NGV Kids Space and Scope’sKaleidoscope art program• The NGV and The Song Room’s art and music program included 20students from Sunshine Special Developmental School whofeatured in a choir performance in the NGV’s Great Hall• Offered 12 free Visual Describing tours and 12 free Auslan toursthroughout the year in conjunction with NGV ticketed exhibitions• Developed and hosted public programs for Social Inclusion Weekfeaturing a free public concert by Jonathon Welch and the Choir for300 people and 3 guided tours for homeless people• Conducted four gallery tours for adults with intellectual disabilitiesincluding people with schizophrenia• Worked with students with a diversity of abilities and needs as partof the daily schools program of classes, workshops, lectures, toursand activities. More than 80,000 students participated in ticketedprograms at the NGV• Hosted a group of intellectually disabled students from ConcordSchool for an Italian art tour and workshop• Provided ongoing professional support to teachers working indevelopmental and specials needs schools with all programsopen to and inclusive of students and teachers with diverse abilitiesand needs• The Royal Children’s Hospital Education Unit accessed the NGVSchools online ning and visited the NGV to explore the visual arts asinspiration for their hospital-based projects and programs• Dodi Rose, NGV Voluntary Guide, received an International DementiaExcellence Award 2012 for her service to the community throughthe NGV’s Art and Memories programG. Freedom of Information (FOI)The Freedom of Information Act 1982 enables members of the public toobtain information held by the National Gallery of Victoria. FOI requestsshould be made in writing describing the documents requested andincluding payment of the statutory application fee and further chargesmay apply (which can be waived) if the request is a routine request orfor access to a document related to the applicant’s personal affairs.The application fee can also be waived or reduced if the applicantwould be caused hardship because he/she had to pay the fee. Requestsare forwarded to the FOI Coordinator, National Gallery of Victoria, POBox 7259, St Kilda Road Victoria 8004.For the 12 months ended 30 June 2012, three requests for non-personalinformation were received. All requests were finalised during the year.H. PrivacyThe NGV has complied with all requirements under the InformationPrivacy Act 2000. For the 12 months ended 30 June 2012, there wasone complaint against the National Gallery of Victoria in relation tobreaches of privacy. After investigation the Privacy Commissionerheld that there has been no breach and the matter was satisfactorilyresolved through conciliation.I. WHISTLEBLOWERS PROTECTIONThe Whistleblowers Protection Act 2001 encourages and assists peoplein making disclosures of improper conduct by public officers and publicbodies. The Act provides protection to people who make disclosuresin accordance with the Act and establishes a system for the mattersdisclosed to be investigated and rectifying action to be taken.The NGV does not tolerate improper conduct by employees, nor thetaking of reprisals against those who come forward to disclose suchconduct. It is committed to ensuring transparency and accountabilityin its administrative and management practices and supports themaking of disclosures that reveal corrupt conduct, conduct involving asubstantial mismanagement of public resources, or conduct involvinga substantial risk to public health and safety or the environment. TheNGV will take all reasonable steps to protect people who make suchdisclosures from any detrimental action in reprisal for making thedisclosure. It will also afford natural justice to the person who is thesubject of the disclosure.Reporting proceduresDisclosures of improper conduct or detrimental action by theNational Gallery of Victoria or its employees may be made to thefollowing officer:The Protected Disclosure CoordinatorAndrew ClarkDeputy DirectorPhone: (03) 8620 2279Alternatively, disclosures of improper conduct or detrimentalaction by the NGV or its employees may also be made directly tothe Ombudsman:The Ombudsman VictoriaLevel 9, 459 Collins Street (North Tower)Melbourne VIC 3000Telephone: (03) 9613 6222Toll free: 1800 806 314Internet: www.ombudsman.vic.gov.auEmail: ombudvic@ombudsman.vic.gov.auFurther informationWritten guidelines outlining the system for reporting disclosures ofimproper conduct or detrimental action by the NGV or its employeesare available for public perusal.Disclosures under the Whistleblowers Protection ActThe current procedures established by the NGV under Part 6 areavailable upon request.For the 12 months ended 20 June 2012 no disclosures were made inaccordance with the Act (2011-nil).J. ENVIRONMENTAL MANAGEMENT Programme1. Environmental PolicyThe NGV Environmental Sustainability Policy was first adopted by theCouncil of Trustees on 11 November 2008. In May 2012 a revised andupdated Policy was approved by the Council.2. ProgramsThe NGV Environmental Management Plan, first developed in 2007under the State’s ResourceSmart programme, was revised in 2011 tocover the period 2011-13. It addresses the following key elements:• NGV policy, organisational structures and responsibilities forenvironmental management;• Environmental sustainability outputs, measures, targets andaction plans;• Management of systems and data for measurement and analysis ofthe NGV’s environmental impacts and improvements, and;• Periodic internal and external reporting of the NGV’s sustainabilityperformance, including reviews by the Council of Trustees andcommunications with NGV staff.3. Actions and InitiativesKey environmental actions and initiatives in 2011/12 were:• The ongoing delivery of the NGV’s Environmental Management Plan,including the activities of the NGV Environmental SustainabilityCommittee (ESC) and specialised Working Parties for InternalCommunications, Waste Management, Print and Paper, ExhibitionDesign and Installation, and Environmental Conditions (airconditioningperformance and efficiencies)• Continued development of systems for tracking the NGV’senvironmental impacts• An audit and verification of sustainability data from the 2011/12 year• Continued use of accredited renewable electricity (“GreenPower”) for20% of total electricity consumption• A major reduction in energy usage at NGV International, throughthe implementation of a revised air-conditioning program, takingadvantage of the thermal efficiencies identified in the trials whichtook place in the previous year• Evaluation of LED lighting for art display spaces. It is currentlyplanned that the refurbished Asian galleries at NGV International willbe equipped with state of the art LED lights after July 2012• Achieved waste recycling at 66% of total waste, despite the increasein the proportion of reconstruction waste materials due to the 150 thanniversary Renewal Programme at NGV International• Commenced the Internal Communications Action Plan, designed topromote NGV staff awareness of the NGV’s environmental activitiesand achievements• Continued use of 100% recycled office paper and increased focus onother sustainable office products• Delivered science, sustainability and environment tours and studentprogrammes, including Water Trail- a Sustainable Future, EnvironmentTrail: The Changing Land, Crossing Cultures and Caring for Country

80 other corporate reports (cont’d)81• Included strong environmental sustainability themes in thepresentation of many exhibitions, including Eugene von Guerard:Nature Revealed, and Living Water: Contemporary Art of the FarWestern Desert.4. Energy Usage Reductions: Air-conditioning StandardsThe NGV’s adopted standard temperature and humidity ranges forstorage and display of artworks is a key factor in the consumption ofenergy and water. The standard is:• Relative Humidity: 50 RH +/-5 %, with no more than 10% changewithin 24 hours• Temperature: 20 - 24 degrees C (set point 21.5) with no more than 4degree C change within 24 hours.In 2010, trials on overnight shut-off of air-conditioning systems (HVAC)in selected spaces at NGV International investigated the use of thebuilding’s thermal mass to maintain the standard environmentalconditions while reducing HVAC energy use. In the past, spacescontaining works of art at both NGV International and NGV Australiawere air conditioned and humidity-controlled 24 hours a day, 7 daysa week. The trials demonstrated that risk to the collections at NGVInternational from overnight shut-off of HVAC is no different than thatin the full-time operating environment.The implementation of a new HVAC operating regime at NGVInternational commenced in 2011, following work to ensure thesystems are capable of restarting whenever the upper or lower limitsof temperature and humidity ranges are approached.7. Environmental performance indicators: 2009/10 to 2011/127.1 Energy consumption/Greenhouse emissionsA. Total energy usage segmented by primary source,including GreenPowerStationary Energy GJ (Electricity & Natural Gas)2009/2010 2010/2011 2011/2012124,236 GJ 117,692 GJ 112,483 GJB. Scope 1 & 2 greenhouse gas emissions (tonnes CO 2-e)Stationary Energy 1 22009/2010 2010/2011 2011/1223,506 tCO2-e 22,634 tCO2-e 20,488 tCO2-e1excluding refrigerant leakage2excluding vehicles - refer sections 8 and 10C. Energy Offsets purchased: noneD. Percentage of electricity purchased as Green Power1. Pre July 2008: None2. 1 July 2008 to 1 August 2008: 10%3. 1 August 2008 to 30 June 2009: 15%4. 1 July 2009 to 30 June 2012: 20% (NGV International)1 October 2009 to 30 June 2012: 20% (The Ian Potter Centre:NGV Australia)7.3 Waste productionA. Total units of waste disposed of by destination (kg per year)2009/2010 2010/2011 2011/2012Landfill KG 108,817 KG 95,796 KG 102,613 KGRecycled KG 232,879 KG 254,658 KG 195,881 KGB. Normalised waste disposalLandfill KG/VisitorRecycled KG/VisitorLandfill KG/Operating HourRecycled KG/Operating HourC. Recycling rate: 66% (2010/11: 72.6%))2009/2010 2010/2011 2011/20120.07 KG 0.06 KG 0.07 KG0.14 KG 0.17 KG 0.13 KG12.42 KG 10.97 KG 11.71 KG26.58 KG 29.08 KG 22.36 KG8. Supplementary reportingDevelopment of data and benchmarking relating to use of the NGV’svehicles commenced in 2008-2009. There are 2 cars, 1 van and aspecialised art transport truck:NGV Vehicles 2009/2010 2010/2011 2011/2012tCO2-e 25.36 tCO2-e 28.76 tCO2-e 20.25 tCO2-eMost, but not all data, comes from supplier invoices andreports supplied to the NGV staff members responsible for theservices concerned.Prior to July 2010, only landlord-provided estimates of water andutilities usage at NGV Australia were available. Due to the significantincompleteness of the data, a 3rd party audit was carried out and asa result necessary adjustments to the data from previous years isincluded in this report.11. Completeness of information providedMost of the data contained in this report relates to buildings operatedby the NGV (refer section 9 above).12. Normalising factorsThe NGV’s environmental impacts are not primarily office-based. Thechart shows the range of normalising factors which are relevant to theNGV’s functions and activities in 2011/12:Normalising Factor NGV International NGV AustraliaAverage number offull-time buildingoccupants (thenumber variesthrough the year)Number of visitors832,476 (2011/2012)787,124 (2010/2011)904,883 (2009/2010)350 50715,833 (2011/2012)736,201 (2010/2011)702,493 (2009/2010)5. External verification: NGV Environmental Management PlanThe NGV Environmental Management Plan 2011-13 has been reviewedand accepted by Sustainability Victoria.6. External verification: NGV Environmental Sustainability DataThe NGV’s sustainability database is provided and managed by a thirdparty specialist supplier, and is independently audited for accuracy.Some changes from the previous years’ report have been madefollowing the audit carried out in July 2012 to ensure consistency (seesection 10 below).The database uses the internationally acceptedGreenhouse Gas Protocol and other calculations formulae basedon authoritative and accepted standards. Sustainability Victoria isregularly consulted regarding database methodology and standards.E. Normalised energy usage and greenhouse gas emissions2009/2010 2010/2011 2011/2012GJ/Visitor 0.077 GJ 0.077 GJ 0.073 GJtCO2-e/Visitor 0.015 tCO2-e 0.015 tCO2-e 0.013 tCO2-eGJ/OperatingHourtCO2-e/Operating Hour14.182 GJ 13.435GJ 13.841 GJ2.683 tCO2-e 2.584 tCO2-e 2.339 tCO2-eNoteSee section 12 below for definitions and further information on normalising factors.7.2 Water consumptionA. Total units of metered water consumed by water source , includingair conditioning cooling towers (KL)2009/2010 2010/2011 2011/201248,615 KL 46,448 KL 52,775 KLB. Normalised water usageWhere public transport is not appropriate, NGV staff members usetaxis:Taxi travel 2009/2010 2010/2011 2011/2012tCO2-e 1 21.91 tCO2-e 20.79 tCO2-e 15.95 tCO2-e1calculated in accordance with EPA Vic guidelines9. GeneralThe data reported here principally relates to activities based at NGVInternational, 180 St. Kilda Rd, Melbourne and The Ian Potter Centre:NGV Australia, Federation Square, Melbourne, which are purpose-builtart galleries displaying and storing works from the State Collectionand other works on loan. The special nature of activities carried outparticularly affects the consumption of water and energy, as notedin correspondence from the Chief Executive Officer of SustainabilityVictoria to the Director of the NGV:“It is understood that maintaining appropriate temperature and humiditylevels for artwork is a key factor in the consumption of energy and water”.Number ofair-conditioningoperating hoursper annumNumber of hoursopen to public perannum (2011/2012)8,760(Except for the TheEric WestbrookBuilding of 2,996m2 which operates4,680 hours peryear and is used foradministration)2,357(Not including afterhoursfunctions)13. Submission of ResourceSmart StrategiesRefer section 5 above.8,7602,45514. Reporting requirements for other environmental programsData which has been reported by the NGV under other programmes isconsistent with the data provided here. Refer to sections 5, 6 and 10above for comments on missing, incomplete and additional data.2009/2010 2010/2011 2011/2012KL/Visitor 0.030 KL 0.030 KL 0.034 KLKL/OperatingHour5.55 KL 5.3 KL 6.2 KL10. Missing data/Historical comparisonBest efforts have been used to collect complete and accurate data.However, this report shows some changes in consumption levels andmeasures that are due to the discovery of additional data. For thepurposes of this report, some data has been estimated due to exactusage information not yet being available.

82 other corporate reports (cont’d)83K. Compliance with Building Act 1993During 2011/12, the NGV owned and controlled premises at NGVInternational, 180 St Kilda Road, Melbourne, 3004 and complied withall provisions of the Building Act 1993, in respect of these premises.As at 4 July 2012, an independent review confirmed that essentialsafety measures were compliant with the requirements of theOccupancy Permit for these premises.During 2011/12, the NGV continued building works at NGVInternational, as part of the 150 th Anniversary Renewal Project.These works, the total budget for which is $5.1 million, were partiallycompleted in the period.All building works, of more than $50,000 in value, were subject tocertification of plans, mandatory inspections of the works and issue ofoccupancy permits or certificates of final inspection.At least annually, the NGV conducts condition inspections of allbuildings, plant and equipment to ensure service requirements arebeing met. Where maintenance or renewal work is required, this isincluded in future maintenance and capital plans and undertaken,taking into account assessments of risk and availability of financial,and other, resources.No building was required to be brought into conformity during the year.There were no cases or circumstances where registered buildingpractitioners became deregistered, of which the NGV was aware.As a tenant, the NGV also occupied premises at the following locations:• The Ian Potter Centre: NGV Australia, Federation Square,Melbourne, 3000• NGV Kids Corner, Federation Square, Melbourne, 3000• NGV Studio, Federation Square, Melbourne, 3000• 99 Shiel Street, North Melbourne, 3051• 20-40 Booker Street (part), Spotswood, 3015• Units 16 and 17, 136 Hall Street, Spotswood, 3015L. NATIONAL COMPETITION POLICYThe NGV is committed to competitive neutrality principles ensuringfair and open competition. Many activities such as cleaning of facilities,buildings maintenance, security and catering services have beenoutsourced through open and competitive procurement processes.M. IMPLEMENTATION OF THE VICTORIAN INDUSTRYPARTICIPATION POLICYNo contracts commencing during 2011/12 were required to be reportedunder the VIPP reporting guidelinesN. ATTESTATION ON COMPLIANCE WITH THE as/Anz iso31000:2009 RISK MANAGEMENT STANDARDI, Allan Myers, certify that the Council of Trustees of the NationalGallery of Victoria has risk management processes in place consistentwith the AS/NZS ISO 31000:2009 Risk Management Standard (or anequivalent designated standard), and that an internal control systemis substantially in place that enables the executive to understand,manage and satisfactorily control risk exposures. The Council ofTrustees of the National Gallery of Victoria is committed toenhancing the management of risk and is working towards bestpractice. A particular focus is ensuring a comprehensive understandingand application of risk management across the organisation, throughtraining and education. The Audit Risk and Compliance Committeeverifies this assurance and that the risk profile of the Council ofTrustees of the National Gallery of Victoria has been criticallyreviewed within the last 12 months.Allan MyersPresident30 August 2012O. CONSULTANCIES ($10,000 ormore in value, excluding GST)Consultant Purpose of consultancy Start date End dateTotalapprovedproject feeexcludingGST$Expenditure2011/12excludingGST$Futureexpenditure(post2011/12)excludingGST$Corrs Chambers Westgarth Employment law advice Aug-11 Sep-11 22,065 22,065 -Brownell Holdings Pty Ltd Corporate strategic advice Jan-11 Dec-11 50,000 16,708 -DSW Consulting Pty Ltd Emergency management review May-11 Jul-11 13,000 11,050 -Egon Zehnder International Pty Ltd Executive search services Nov-11 Feb-12 55,000 (a) 30,000 25,000Egon Zehnder International Pty Ltd Executive search services May-12 Aug-12 50,000 (a) 8,334 41,666Emery Studio Pty Ltd Visitor experience review Mar-12 Mar-12 30,000 30,000 -Ernst & Young Economic and social benefit study Mar-11 Aug-11 87,000 13,050 -GDP Property Services Pty Ltd Site survey review Nov-11 Mar-12 11,560 11,560 -Norman Disney & Young Electrical engineering services Jan-12 Mar-12 10,000 10,000 -Price Waterhouse Coopers Internal audit services Jul-11 Jun-12 72,000 64,500 7,500Repucom International Pty LtdStrategic marketing analysis andadviceJul-11 Jun-12 100,000 (a) 100,000 -Simon Storey Valuers State Collection valuation Nov-11 Jun-12 88,200 7,400 -Steensen Varming (Australia) Pty Ltd Lighting design services Feb-11 Sep-11 36,000 11,294 24,706Steensen Varming (Australia) Pty Ltd Lighting design services Feb-11 Sep-11 18,500 4,050 14,450Workshop Architecture Pty Ltd Architectural services Dec-11 Sep-11 76,500 52,308 24,192WSP Buildings Pty Ltd Electrical engineering services Jan-11 Sep-11 15,100 4,500 10,600In 2011/12 , the National Gallery of Victoria engaged 98 consultancies where total fees payable to theconsultants were less than $10,000, with a total expenditure of $248,433 (excluding GST).Note:(a) These project fees were partially, or fully, covered by contra-sponsorship arrangements with the consultant.

appendix 7:additionalinformationavailable onrequestappendix 8:ExhIbItIonsTHE IAN POTTER CENTRE:NGV AustralIaOpen at any point within the2011/12 Financial Year84 85In compliance with the requirements of the Standing Directions of theMinister for Finance, details in respect of the items listed below havebeen retained by the NGV and are available to the relevant Ministers,Members of Parliament and the public on request (subject to theFreedom of Information requirements, if applicable):• a statement that declarations of pecuniary interests have been dulycompleted by all relevant officers of the NGV;• details of shares held by senior officers as nominee or heldbeneficially in a statutory authority or subsidiary;• details of publications produced by the NGV about the activities ofthe NGV and where they can be obtained;• details of changes in prices, fees, charges, rates and levies chargedby the NGV for its services, including services that are administered;• details of any major external reviews carried out in respect of theoperation of the NGV;• details of any other research and development activitiesundertaken by the NGV that are not otherwise covered either in theAnnual Report;• details of overseas visits undertaken including a summary of theobjectives and outcomes of each visit;• details of major promotional, public relations and marketingactivities undertaken by the NGV to develop community awarenessof the services provided by the NGV;• details of assessments and measures undertaken to improve theoccupational health and safety of employees, not otherwise detailedin the Annual Report;• a general statement on industrial relations within the NGV anddetails of time lost through industrial accidents and disputes, whichare not otherwise detailed in the Annual Report;• a list of NGV’s major committees, the purposes of each committeeand the extent to which the purposes have been achieved; and• details of all consultancies and contractors including:– consultants/contractors engaged;– services provided; and– expenditure committed to for each engagement.ManStyle (NGV Australia)11 March 2011 – 27 November 2011Fashion & Textiles Gallery, Level 2, The IanPotter Centre: NGV AustraliaSupport SponsorsSofitel Melbourne On CollinsLavazzaSanpellegrinoEugene von Guérard: Nature Revealed16 April 2011 – 7 August 2011Temporary Exhibitions, Level 3, The Ian PotterCentre: NGV AustraliaPrincipal SponsorMacquarie GroupSupport SponsorsSofitel Melbourne On CollinsThe AgeV/LineDulux AustraliaJCDecauxFelton Grimwade & Bosito’sThis Wondrous Land: Colonial Art on Paper16 July 2011 – 27 November 2011Temporary Exhibitions, Level 2, The Ian PotterCentre: NGV AustraliaTjukurrtjanu: Origins of Western Desert Art30 September 2011 – 12 February 2012Temporary Exhibitions, Level 3, The Ian PotterCentre: NGV AustraliaIn collaboration with Museum Victoria, and inpartnership with Papunya Tula Artists Inc.Support SponsorQantas AirwaysFred Kruger: Intimate Landscapes4 February 2012 – 8 July 2012Temporary Exhibitions, Level 3, The Ian PotterCentre: NGV AustraliaTop Arts 201222 March 2012 – 15 July 2012Principal SponsorGoldman SachsEducation SupportersDepartment of Education and Early ChildhoodDevelopmentVictorian Curriculum and AssessmentAuthorityCatholic Education OfficeIndependent Schools VictoriaSupport SponsorAvant CardFred Williams: Infinite Horizons7 April 2012 – 5 August 2012Temporary Exhibitions, Level 3, The Ian PotterCentre: NGV AustraliaA National Gallery of AustraliaTravelling ExhibitionPrincipal SponsorRio TintoSupport SponsorsMercerDulux AustraliaThe AgeV/LineEverfresh11 June 2011 – 11 July 2011NGV Studio, Federation SquareGame/Play24 September 2011 – 6 November 2011NGV Studio, Federation SquareBoard12 November 2011 – 2 February 2012NGV Studio, Federation SquareFluoresce11 February 2012 – 8 March 2012NGV Studio, Federation SquareNobody Was Dirty10 March 2012 – 1 April 2012NGV Studio, Federation SquareMoNow7 April 2012 – 26 April 2012NGV Studio, Federation SquareCHAZ: L. A. Hand Styles28 April 2012 – 6 May 2012NGV Studio, Federation SquareThe Greater Asia Co-Prosperity Sphere17 May 2012 – 27 May 2012NGV Studio, Federation SquareFuture Bookshop2 June 2012 – 17 June 2012NGV Studio, Federation Square30 portraits 30 days23 June 2012 – 29 July 2012NGV Studio, Federation SquareThe information is available on request from:Andrew ClarkDeputy DirectorPhone: (03) 8620 2279Email: enquiries@ngv.vic.gov.auTime Catcher26 January 2012 – 11 November 2012NGV Kids Corner, Federation SquareLinda Jackson Bush Couture26 January 2012 – 9 September 2012Fashion & Textiles Gallery, Level 2, The IanPotter Centre: NGV AustraliaSupport SponsorSofitel Melbourne On CollinsInherent vice16 July 2011 – 16 August 2011NGV Studio, Federation SquareConsultancy20 August 2011 – 18 September 2011NGV Studio, Federation Square

ExhIbItIonsNGV InternatIonal86 87Open at any point within the2011/12 Financial YearExhIbItIonsNGV TourIngOpen at any point within the2011/12 Financial YearManStyle (NGV International)11 March 2011 – 30 October 2011Fashion & Textiles Gallery, Level 2,NGV InternationalSupport SponsorsSofitel Melbourne On CollinsLavazzaSanpellegrinoDeep Water: Photographs 1860 – 20002 April 2011 – 11 September 2011Photography Gallery, Level 3,NGV InternationalSupport SponsorCrumplerThis Wondrous Land: Colonial Art on Paper29 April 2011 – 2 October 2011Robert Raynor Gallery Prints & Drawings,Level 3, NGV InternationalKaleidoscope: Art and Colour28 May 2011 – 5 Feb 2012NGV Kids Space, Ground Level, NGV InternationalSupport SponsorDulux AustraliaMelbourne Winter Masterpieces 2011Vienna: Art & Design18 June 2011 – 9 October 2011Temporary Exhibitions, Ground Level,NGV InternationalExhibition organised with the Belvedere,Vienna and the Wien Museum, ViennaPrincipal PartnerMercedes-BenzNGV Partner International ArtErnst & YoungSupport SponsorsSofitel Melbourne On CollinsThe AgeTourism VictoriaQantas AirwaysCity of MelbourneJCDecauxMelbourne AirportAustrian National Tourist OfficeLooking at Looking: The Photographic Gaze30 September 2011 – 4 March 2012Photography Gallery, Level 3,NGV InternationalSupport SponsorSofitel Melbourne On CollinsBritish Watercolours 1760-1900: The Ageof Splendour14 October 2011 – 19 February 2012Robert Raynor Gallery Prints & Drawings,Level 3, NGV InternationalRanjani Shettar: Dewdrops and Sunshine4 November 2011 – 26 February 2012Contemporary Exhibitions, Ground Level, NGVInternationalExhibition generously supported by the Joanand Peter Clemenger Trust.The Mad Square: Modernity in GermanArt 1910–3725 November 2011 – 4 March 2012Temporary Exhibitions, Ground Level,NGV InternationalAn Art Gallery of New South Walestravelling exhibitionSupport SponsorsThe AgeJCDecauxDulux AustraliaIn the steps of the BuddhaAsian Collection Contemporary Display17 December 2011 – 3 June 2012Level 2, NGV InternationalBrent Harris10 March – 12 August 2012Robert Raynor Gallery Prints & Drawings,Level 3, NGV InternationalLight Works23 March – 16 September 2012Photography Gallery, Level 3,NGV InternationalSupport SponsorCrumplerAn Excellent Adventure31 March 2012 – 3 February 2013NGV Kids Space, Ground Level,NGV InternationalUNEXPECTED PLEASURES: The Art andDesign of Contemporary Jewellery20 April – 26 August 2012Contemporary Exhibitions, Ground Level, NGVInternationalA London Design Museum touring exhibitionExhibition generously supported by the Joanand Peter Clemenger Trust.Melbourne Winter Masterpieces 2012Napoleon: Revolution to Empire2 June – 7 October 2012Temporary Exhibitions, Ground Level,NGV InternationalExhibition organised with FondationNapoléon, Paris.Principal PartnerMercedes-BenzNGV Partner International ArtErnst & YoungSupport SponsorsSofitel Melbourne On CollinsMaddocksAlliance Française de MelbourneTourism & Media SponsorsTourism VictoriaMelbourne AirportV/LineYarra TramsThe AgeAdshelAPN OutdoorSeven NetworkCity of MelbourneStormy WeatherSwan Hill Regional Art Gallery16 December 2011 – 29 January 2012Eugene von Guérard: Nature RevealedQueensland Art Gallery17 December 2011 – 4 March 2012Eugene von Guérard: Nature RevealedNational Gallery of Australia27 April 2012 – 15 July 2012

88 appendix 9:89AcquIsItIons2011/12AUSTRALIAN ARTAboriginal and TorresStrait Islander ArtGiftsDeclan Apuatimi (Tiwi 1930–85), Bima 1978, earth pigmentson Ironwood (Casuarina sp.),resin, string, human hair. Giftof Samantha Pizzi in memoryof Gabrielle Pizzi and Max DeRossi through the AustralianGovernment’s Cultural GiftsProgram, 2012Jack Britten (Joolama) (Gijac. 1925–2002), Untitled (OrdRiver Country) 1990, earthpigments and natural binderon canvas. Presented bythe Mering Corporation PtyLtd through the AustralianGovernment’s Cultural GiftsProgram, 2012Nyanyani Davidson(Ngaanyatjarra born 1933),Pupilitji 2002, synthetic polymerpaint on canvas. Gift of MiltonRoxanas through the AustralianGovernment’s Cultural GiftsProgram, 2012Jeannie Nungarrayi Herbert(Warlpiri born 1953), NgarlkirdiJukurrpa (Witchetty grubDreaming) 1989, earthenware.Gift of Claire Larrivée, 2012Pantjiti Mary Jackson(Ngaanyatjarra 1940–2005),Kungkarrakalpa (Seven Sisters)2005, synthetic polymer paint oncanvas on canvas. Gift of MichaelMoon through the AustralianGovernment’s Cultural GiftsProgram, 2012Reggie Jackson (Ngaanyatjarra1935–2007), Parrtjartanya2005, synthetic polymer paint oncanvas on canvas; Parrtjartanya2007, synthetic polymer painton canvas on plywood. Giftof Michael Moon through theAustralian Government’s CulturalGifts Program, 2012Joyce McLean (Ngaanyatjarraborn c. 1940), Minyma KutjaraTjukurpa (Two Sisters Dreaming)2008, synthetic polymer painton canvas. Gift of MichaelMoon through the AustralianGovernment’s Cultural GiftsProgram, 2012Cliff Reid (Ngaanyatjarra1947–2010), Wati Kutjarra2003; Patupirri 2005; MinymaTjintu 2006, synthetic polymerpaint on canvas. Gift of MichaelMoon through the AustralianGovernment’s Cultural GiftsProgram, 2012Pegleg Tjampitjinpa (Pintupic. 1920–2006), Untitled(Tingarri designs associatedwith Tarkulnga) 1996; Untitled(Tingarri designs associatedwith Tarkulnga); Untitled(Tingarri designs associatedwith Tarkulnga); Untitled(Tingarri designs associated withWartunuma) 1998, syntheticpolymer paint on canvas. Giftof Marina Strocchi and WayneEager through the AustralianGovernment’s Cultural GiftsProgram, 2012Ray James Tjangala (Pintupiborn c. 1958), Untitled (Tingarridesigns associated withTjulyuru) 1999, syntheticpolymer paint on canvas. Giftof Marina Strocchi and WayneEager through the AustralianGovernment’s Cultural GiftsProgram, 2012Limpi Tjapangati (Luritja/Arrernte c. 1930–85), Waputi andTatupa 1979, synthetic polymerpaint on canvas. Gift of MarySchwartz through the AustralianGovernment’s Cultural GiftsProgram, 2012Tjayanka Woods (Pitjantjatjaraborn c. 1930), Minyma kutjara(Two Sisters) 2004, syntheticpolymer paint on canvas. Giftof Milton Roxanas through theAustralian Government’s CulturalGifts Program, 2012PurchasesSandy Brumby (Pitjantjatjaraborn c. 1935), Walyatjatjara2010, synthetic polymer painton canvas. Purchased, NGVSupporters of IndigenousArt, 2011Gawirrin Gumana (Dhalwanguborn c. 1935), Garrapara 2008,etching, ed. 12/30. Purchased,NGV Supporters of IndigenousArt, 2011Jocelyn Gumirrmirr(Liyagawumirr born 1974),Djirrididi 2009, earth pigmentson Stringybark (Eucalyptus sp.).Purchased, NGV Supporters ofIndigenous Art, 2011Raelene Kerinauia (Tiwiborn 1962), KayimwagakimiJilamara 2011, earth pigmentson Stringybark (Eucalyptus sp.).Purchased, NGV Supporters ofIndigenous Art, 2012Crusoe Kuningbal (Kuninjkuc. 1922–84), Mimih spirit; Mimihspirit; Mimih spirit; Mimih spirit;Mimih spirit 1979, earth pigmentson wood. Purchased, NGVSupporters of IndigenousArt, 2011Nonggirrnga Marawili(Madarrpa born 1939), Baniyalastory 2008, etching, ed. 27/30.Purchased, NGV Supporters ofIndigenous Art, 2011Kayi Kayi Nampitjinpa(Pintupi born c. 1945) MarleneNampitjinpa (Pintupi born c.1965) Yuyuya Nampitjinpa(Pintupi born c. 1946)Josephine Nangala (Pintupiborn c. 1950) Mantua Nangala(Pintupi born c. 1959) YinarupaNangala (Pintupi born c. 1958)Payu Napaltjarri (Pintupi bornc. 1952) Takariya Napaltjarri(Pintupi born c. 1965) YakariNapaltjarri (Pintupi bornc. 1960) Florrie WatsonNapangati (Pintupi born c. 1950)Nanyuma Napangati (Pintupiborn c. 1944) Yalti Napangati(Pintupi born c. 1973) YukultjiNapangati (Pintupi born 1970)Jessica Napurrula (Pintupiborn c. 1985) JosephineNapurrula (Pintupi born 1948)Kim Napurrula (Pintupi bornc. 1955) Lisa Napurrula(Pintupi born c. 1994) LorraineNapurrula (Pintupi born c. 1980)Ninguma Napurrula (Pintupiborn c. 1938) Sylvia Napurrula(Pintupi born c. 1980) MaraJurra Nungurrayi (Pintupi bornc. 1987) Naata Nungurrayi(Pintupi born c. 1932), Kanaputa2010, synthetic polymer painton canvas. Purchased withfunds donated to the KanaputaAppeal, 2011Kunmanara Palpatja(Pitjantjatjara c. 1920–2012),Wati Wanampi Tjukurpa 2010,synthetic polymer paint oncanvas. Purchased in memoryof Graeme Marshall with fundsdonated by Harriet and RichardEngland and Anne and IanMcLean, 2011Yhonnie Scarce (Kokatha/Nukunu born 1973), The collected2010, glass, wood, transparentsynthetic polymer resin.Purchased, NGV Supporters ofIndigenous Art, 2011Don Ellis Tjapanangka (Ngaliya/Kukatja c. 1925–76), Untitled(Boys Ceremony) 1972, syntheticpolymer paint on compositionboard. Purchased with fundsdonated by Judith and Leon Gorr,Crispin Gutteridge and AlisonPyle, 2011Bobby West Tjupurrula (Pintupiborn c. 1958), Untitled 2011,synthetic polymer paint oncanvas. Purchased with fundsdonated by Vicki and WayneMcGeoch, 2012Johnny Yungut Tjupurrula(Pintupi born c. 1930), Tjulnga,Pinari and Pinari 2010, syntheticpolymer paint on canvas.Purchased, NGV Supporters ofIndigenous Art, 2011Gali Yalkarriwuy (Galpu bornc. 1948), Bänumbirr (Morningstar pole); Bänumbirr (Morningstar pole); Bänumbirr (Morningstar pole); Bänumbirr (Morningstar pole); Bänumbirr (Morningstar pole) 2011, earth pigmentson wood (Hibiscus sp.), butju(feathers), raki (bush string).Purchased, NGV Supporters ofIndigenous Art, 2011Gulumbu Yunupingu (Gumatj1945–2012), MangatharraMiny’tji 2008, etching, ed. 24/30.Purchased, NGV Supporters ofIndigenous Art, 2011Australian CeramicsPurchasesJanet Beckhouse (bornAustralia 1955), The protector2011, stoneware. Kenneth HoodBequest Fund, 2011Arthur Merric Boyd Pottery,Murrumbeena, Melbournemanufacturer (1944–62) JohnPerceval potter (Australia1923–2000) Neil Douglasdecorator (born New Zealand1911, arrived Australia 1912,died 2003), Lyrebird, bowl1949; Carafe (c. 1950),earthenware. Kenneth HoodBequest Fund, 2012Arthur Merric Boyd Pottery,Murrumbeena, Melbournemanufacturer (1944–62) NeilDouglas decorator (born NewZealand 1911, arrived Australia1912, died 2003), Kangaroo,platter (c. 1950); Spottedpardalote, teapot (c. 1950),earthenware. Kenneth HoodBequest Fund, 2012Hermia Boyd (Australia1931–2000, lived in Europe1950–55, 1962–75), Coffee pot1959, stoneware. Kenneth HoodBequest Fund, 2012Merric Boyd potter (Australia1888–1959) Doris Boyddecorator (Australia 1889–1960), Landscape vase 1932,earthenware. Kenneth HoodBequest Fund, 2012Merric Boyd (Australia 1888–1959), Jug (c. 1934), stoneware.Kenneth Hood BequestFund, 2012Pippin Drysdale (born Australia1943), Twilight cinders, tanamimapping 2011, from the Tanamimapping series 2009–11,porcelain. Kenneth Hood BequestFund, 2011Belinda Fox (born Australia1975) Neville French (bornAustralia 1955), Limnonarivessel 3 (2011), porcelain.Kenneth Hood BequestFund, 2011Brendan Huntley (born Australia1982), Untitled (2010–11),stonware, porcelain, terracotta,linen; Untitled (2010–11),stoneware, linen; Untitled (2010–11), terracotta, stoneware,linen. Kenneth Hood BequestFund, 2011Australian Fashion andTextilesGiftsÉclarté, Melbourne textileworkshop (1939–62) CatherineHardress designer (born England1899, arrived Australia early1930s, died 1970) Mollie Groveweaver (Australia 1909–96),Pussy willows; Pussy willows;Pussy willows (1956), wool. Giftof Elizabeth Marian Hill, 2011Hall Ludlow, Melbourne fashionhouse (1948–60) Hall Ludlowdesigner (born New Zealand1919, arrived Australia 1947,lived in Hong Kong 1963–73, died2003), Evening gown (c. 1953),acetate, metal thread (lamé);Coat (c. 1957), wool, acetate,plastic; Day dress (c. 1957),cotton; Evening dress 1959, silk(organza). Gift of Peggy Stone inmemory of the artist, 2011House Of Merivale, Sydneyfashion house (1960– late 1980s)Merivale Hemmes designer(born Australia 1931), Weddingdress 1976, silk (chiffon), acetate,metal. Gift of Carol Martin, 2011Kenneth Pirrie, Melbournefashion house (1959–67) KennethPirrie designer (Australia1934–99), Jumpsuit (1964), wool,synthetic fabric. Gift of RebeccaHicks in memory of her motherBeverlie Hicks, 2011Mary Ann May Malseedmaker (Australia 1896–1940),Bedspread (1940), cotton. Gift ofMrs I. J. Blain, niece of Mary Ann

90 acquisitions 2011/12 (cont’d)91May Malseed, in memory of heraunt, 2011Miss Sergeant, Melbournedressmaker (active in Australia1940s), Evening dress and bolero1941, silk (crepe de chine), silk(velvet). Gift of Jill McLaughlinand Pat Diggerson in memory oftheir mother Jessie Owens, 2012Mr Individual, Melbournemillinery house (1960–76)William Beale milliner (Australia1929–92), Hat (c. 1985), wool,cotton, leather (patent), elastic.Gift of Rebecca Hicks inmemory of her motherBeverlie Hicks, 2011Olga Munro, Sydney fashionhouse (1926–42) Olga Munrodesigner (active in Australia1926–42), Robe (1932),embroidered silk. Gift of M.Ahearne, P. Ahearne and M.Leithhead, 2011Jessie Sconce maker (activein Australia 1940s), Dress 1943,silk (organdie), metal. Gift of PegBurchett, 2011Trent Nathan, Sydney fashionhouse (est. 1961) Trent Nathandesigner (born Australia 1940),Dress (1970), wool, plastic(buttons). Gift of Rebecca Hicksin memory of her mother BeverlieHicks, 2011Unknown, Australia maker(active in Australia c. 1900),Mantle (c. 1900), silk, linen, glass(beads), metal (hook and eye).Gift of Peg Burchett, 2011Unknown, Australia (active inAustralia early 20th century),Dress and jacket (c. 1910), cotton,metal. Gift of Lara Nichollsin memory of Dorothy IsabelMacIntosh, 2011Unknown, Australia (active inAustralia 1920s), Dress (c. 1925),silk (chiffon), glass (beads). Giftof Sue Crosby in memory of hermother Mrs Eileen Lucy Jones(née Neil), 2012Unknown, Australia (active inAustralia 1920s), Dress (c. 1925),silk (chiffon), glass (beads). Giftof Sue Crosby in memory of hermother Mrs Eileen Lucy Jones(née Neil), 2012PurchasesAlasdair Duncan Mackinnon,Melbourne fashion house(1985–89) Alasdair Mackinnondesigner (born Australia 1960)Mandy Murphy Millinery,Melbourne millinery house (est.1987) Brendan Dwyer shoemaker (born Australia 1962)Karl Millard metalsmith (bornAustralia 1962), Patchwork ofsociety 1989, wool, screenprintedsilk, silk, polyester, leather,plastic, screenprinted cotton,leather (buttons), copper(buttons). Purchased, VictorianFoundation for LivingAustralian Artists, 2012Pam, Melbourne fashion house(est. 2000) Misha Hollenbachdesigner (born Australia 1971)Shauna Toohey designer (bornAustralia 1976), Outfit 2008–09spring-summer, Space Facecollection, cotton, nylon, cottonelastaine, metallic thread; Outfit2010 spring-summer 2010–11,Garden of Earthly Delightscollection, cotton, leather, rubber,metal; Outfit 2011 autumnwinter,Wild life collection, cotton,cotton elastaine, lycra, polyester,rubber, glass, metal (pressstuds). Purchased, VictorianFoundation for Living AustralianArtists, 2012Australian JewelleryPurchasesPeter Tully (Australia 1947–92),Minties necklace (1977), plastic,metal and colour offset lithographon wood; Sandwich necklace(1977); plastic, metal. PurchasedNGV Foundation, 2011Australian PaintingGiftsPeter Clarke (born Australia1935), From the Escorial 1965,pigment, cement, sand, canvas,wood, lead on composition board.Gift of Simon Rosenthal throughthe Australian Government’sCultural Gifts Program, 2012Douglas Green (Australia 1921–2002, lived in England c. 1947– c.1950), The schoolyard 1960–61,casein and oil on compositionboard. Gift of Professor CharlesGreen in memory of his fatherDouglas Green through theAustralian Government’s CulturalGifts Program, 2012Hugh Ramsay (born Scotland1877, arrived Australia 1878,died 1906), Jessie with doll(1897), oil on canvas. Gift ofPatricia Fullerton in memoryof her mother, Nell Turnbullnée Ramsay, niece of the artistto commemorate the 150thAnniversary of the NationalGallery of Victoria, 2011Blair Trethowan (Australia1974–2006), Crying logos (2000),collage of synthetic polymerpaint on stickers on compositionboard. Gift from the Estate ofBlair Trethowan, 2012Blair Trethowan (Australia1974–2006) Anne Kearney(Australian active c. 2004),Detail of a mural; If I was to dothe mural today I’d use thesecolours; If I was to do the muraltoday I’d use these colours(2004), synthetic polymer painton canvasboard on screenprintand synthetic polymer paint onplywood; The painting that wasn’tstarted (2004), canvasboardon screenprint and syntheticpolymer paint on plywood;Portrait of friend Graham; Portraitof friend Wilma; School project,grade 5, 1; School project, grade5, 2; School project, grade 5, 3;Self criticism (2004), syntheticpolymer paint on canvasboardon screenprint and syntheticpolymer paint on plywood.Gift from the Estate of BlairTrethowan, 2012PurchasesAndrew Browne (born Australia1960), Near Kyneton (2011), oilon canvas. Purchased, VictorianFoundation for Living AustralianArtists, 2011Christian Capurro (born Australia1968), Outlier 2011, correction fluidon mirror, aluminium, syntheticrubber. Purchased, VictorianFoundation for Living AustralianArtists, 2012Brent Harris (born New Zealand1956, arrived Australia 1981), No.9; No. 21; No. 26 (The reassembledself) 2011, charcoal and gouacheon plywood. Purchased, VictorianFoundation for Living AustralianArtists, 2011Helen Maudsley (born Australia1927), That Crown that we Seek.The Worth of our Being. Our Eye ofDeceit. Our Foreboding. 2008–09,oil on canvas. Purchased, VictorianFoundation for Living AustralianArtists, 2012Hilda Rix Nicholas (Australia1884–1961, lived in Europe1907–18), Defiance (c. 1914), oilon canvas; Morocco: Market placewith pile of oranges (c. 1914), oil oncanvas on composition board. TheWarren Clark Bequest, 2012Tom Roberts (born England 1856,arrived Australia 1869, lived inEurope 1881–85, 1903–19, died1931), The violin lesson 1889, oil onwood panel. Purchased with theassistance of the K. M. Christensenand A. E. Bond Bequest and TheWarren Clark Bequest, 2012Tony Tuckson (born Egypt (ofEnglish parents) 1921, arrivedAustralia 1942, died 1973), Untitled– Yellow (1970–73), syntheticpolymer and enamel paint oncomposition board. Loti & VictorSmorgon Fund, 2011Peter Upward (Australia 1932–83, lived in England 1962–71),X 1971, synthetic polymer paintand polyvinyl acetate on canvas.Marie Therese McVeigh TrustFund, 2011Christian Waller (Australia1894–1954), Destiny 1916, oil oncanvas. Purchased with fundsdonated from the Estate of OuidaMarston, 2011Jenny Watson (born Australia1951), Sam 1980, oil oncanvasboard. Purchased NGVFoundation, 2012Australian PhotographyGiftsMartyn Jolly (born Australia1959), Untitled; Untitled; Untitled;Untitled; Untitled; Untitled;Untitled; Untitled; Untitled;(1997), printed 2011, from theNineteen sixty-three: News andinformation series 1997, inkjetprint. Gift of the artist, 2011Athol Shmith (Australia 1914–90), Misses Mary and Rae Plotkin,bridesmaids at the wedding ofMrs Edith Sheezel (1940), gelatinsilver photograph, watercolour;Miss Mary Plotkin on herengagement to Mr Philip Lipshut(1944), gelatin silver photograph;Wedding photograph of MrsMary Lipshut (1945), gelatinsilver photograph, watercolour;Wedding photograph of Mrs MaryLipshut (1945), gelatin silverphotograph; Wedding photographof Mrs Mary Lipshut, withbridesmaids Miss Rae Plotkin andMiss Edna Lipshut (1945), gelatinsilver photograph, watercolour.Gift of Mary Lipshut through theAustralian Government’s CulturalGift’s Program, 2012PurchasesBill Henson (born Australia1955), Untitled 2009/10; Untitled2009/10 2009–10, inkjet print.Purchased, Victorian Foundationfor Living Australian Artists, 2012Sam Shmith (born Australia1980), Untitled (In spates 2)(2011), from the In spates series2011, inkjet print. Purchased,Victorian Foundation of LivingAustralian Artists, 2011Australian Prints andDrawingsAustralian BooksGiftsGeorge French Angas (England1822–86, lived in Australia 1844–45, 1850–63), South AustraliaIllustrated, published by ThomasM’Lean, London, 1847, book:lithographs, printed with tintstone and hand-colouring, 126pages, embossed and gilt halfMorocco leather and cloth cover,stitched binding. Gift of RobertAlbert AO through the AustralianGovernment’s Cultural GiftsProgram, 2011PurchasesDavid Collins author (bornEngland 1756, lived in Australia1788–1796, 1803–1810, died1810), An Account of the EnglishColony in New South Wales: withRemarks on the Dispositions,Customs, Manners, & c. ofthe Native Inhabitants of thatCountry. To which are added,some particulars of New Zealand;compiled, by permission, fromthe Mss. of Lieutenant-GovernorKing, published by Cadell &Davies, London, 1798–1802, (a)book: letterpress text, etchings,683 pages, quarter vellum andpaper cover, stitched binding, (b)book: letterpress text, etchingsand hand-coloured etchings,335 pages, quarter paper cover,stitched binding. Joe WhiteBequest, 2012John Stockdale publisher(England 1750–1814), The Voyageof Governor Phillip to BotanyBay; with an Account of theEstablishment of the Colonies ofPort Jackson & Norfolk Island1789, book: letterpress text,etchings and hand-colouredetchings, 378 pages, 46 platesand 7 maps; embossed and giltleather cover , stitched binding.Purchased with funds donatedby Stuart Leslie Foundation tocelebrate the 150th Anniversaryof the National Gallery ofVictoria, 2012John White author (England c.1756–1832, lived in Australia1788–94), Journal of a Voyageto New South Wales: withSixty-five Plates of Non descriptAnimals, Birds, Lizards, Serpents,curious Cones of Trees and otherNatural Productions, publishedby John Debrett, London, 1790,book: letterpress text, hand-

92 acquisitions 2011/12 (cont’d)93coloured etchings, 354 pages,embossed and gilt calf cover,stitched binding. Purchasedwith funds donated by StuartLeslie Foundation to celebratethe 150th Anniversary of theNational Gallery of Victoria, 2012Australian DrawingsGiftsJohn Brack (Australia 1920–99),Afternoon tea 1946, pen andink; The aged 1946, gouache;Coming out of the theatre; Flush;In the café; In the pub 1946, penand ink; In the street 1946, blackpencil, pencil and pen and ink;Lame girl; Lunch; Mother anddaughter 1946, pen and ink;Portraits (Study for The aged)1946, pencil; (Two men) 1946,gouache; (Two women seatedon a tram) 1946, pencil; (Twowomen seated on a tram); Theunforgotten days 1946, pen andink; Who mourns for the dead?;Woman pram boy 1946, pen andink and white gouache; (Man andwoman talking) (c. 1946), penand ink; (Seated woman and manleaving café) (c. 1946), gouache;(Two women in a café) (c. 1946),pen and ink; (Woman and childentering tram); (Woman and childentering tram) (c. 1946), pencil,pen and ink and gouache; (Womanand child entering tram) (c. 1946),pen and ink, squared up withpencil; (Nude) (1950–52), pencil;(Nude in profile) (c. 1950–52),black crayon; (Nude on chair)(c. 1950–52), black crayon withscratching out and pencil; (Seatednude) (c. 1950–52), black crayonwith scratching out; Helen Ogilvie1954, pencil; (Study for The block)(1954), black crayon; (Portraitstudy of a woman) (1954–55),pencil; (Studies for The slicingmachine shop) (1955), fibre-tippedpen and pencil, squared up inorange pencil; (Study for Solandra)(1955), pencil; (Study for The car)(1955), black crayon; (Study forThe slicing machine shop) (1955),fibre-tipped pen and pencil;(Studies for The slicing machineshop) (c. 1955), black crayon;(Study for The slicing machineshop) (c. 1955), black crayonand pencil; (Study for The slicingmachine shop) (c. 1955), blackcrayon; (Study for The slicingmachine shop) (c. 1955), fibretippedpen; Jockey head (c. 1956),black crayon and gouache; (Studyfor The car); (Study for The car);(Study for The car); To the hills(Study for The car ) (c. 1956), blackcrayon; (Study for portrait of FredWilliams: hands) (1957–58), pencil;(Study for portrait of Anne Purves)(c. 1958), black crayon; (Study forportrait of Anne Purves) (c. 1958),pencil; (Study for portrait of AnnePurves: hand); (Study for portraitof Tam Purves) (c. 1958), blackcrayon; (Study for portrait of JohnPerceval) (1961–62), pencil. Gift ofHelen Brack, 2011Andrew Browne (born Australia1960), Coulisse and illuminatedgrid; Domed form, horizon andgrid 1993 oil on paper. Gift of theartist through the AustralianGovernment’s Cultural GiftsProgram, 2012Douglas Green (born Australia1921, lived in England c. 1947– c.1950, died 2002), The drinker1946, gouache and pen and ink;Poynings, Sussex Downs 1948,watercolour and pen and ink.Gift of Professor Charles Greenin memory of his father DouglasGreen through the AustralianGovernment’s Cultural GiftsProgram, 2012Brent Harris (born New Zealand1956, arrived Australia 1981),Working drawings for Boundary(A line in art) 1993, colour pencil,pencil and fibre-tipped pen;Troubled (Appalling moment)1994, charcoal; Study forAppalling moment 1995; Studyfor Appalling moment 1997,coloured pencil; No. 3 (Deluge);No. 7 (Deluge) 2007; No. 35(Deluge) 2008, from the Delugeseries 2007–08, charcoal. Gift ofan anonymous donor through theAustralian Government’s CulturalGifts Program, 2011Louise Hearman (born Australia1963), Untitled (Head on pole/parking meter) (c. 1997), pastelon brown paper. Gift of AndrewBrowne through the AustralianGovernment’s Cultural GiftsProgram, 2012Georgiana McCrae (bornEngland (of Scottish parents)1804, arrived Australia 1841, died1890), (Sketch of Cape Schanckhomestead) 1844; (Sketch ofCape Schanck homestead) 1848,pencil. Gift of Stuart Barker, 2011John Olsen (born Australia1928, lived in Europe 1956–60,England and United States1965–68), The flood – TowardsLake Eyre 2008–12, watercolour,gouache and chalk. Gift of JohnOlsen AO OBE in honour of DrGerard Vaughan AM through theAustralian Government’s CulturalGifts Program, 2012Blair Trethowan (Australia1974–2006), Don’t steal music2002, gouache and pencil.Gift from the Estate of BlairTrethowan, 2012PurchasesClifford Bayliss (born Australia1916, lived in England 1935–89,died England 1989), Manadjusting his spectacles and(verso) Aviators (1940s), penand brown ink; Spinning mobiles(1940s), pen and ink. PurchasedNGV Foundation, 2012Christian Capurro (bornAustralia 1968), Wastes (Studies#8); Wastes (Studies #9); Wastes(Studies #60) (2008–11); Wastes(Studies #14) 2011, correctionfluid on colour offset lithograph.Purchased, Victorian Foundationfor Living Australian Artists, 2012Richard Lewer (born NewZealand 1970, arrived Australia1997), Code blue (2006), fromthe Get well series 2006, pencil;Confession box (2009), charcoal.Purchased, Victorian Foundationfor Living Australian Artists, 2011Tom Nicholson (bornAustralia 1973), Drawing andcorrespondence 1 2008–11,charcoal, compressed charcoaland pastel. Purchased, VictorianFoundation for Living AustralianArtists, 2011Australian PrintsGiftsAndrew Browne (born Australia1960), Seven apparitions #1–72008, suite of 7 photopolymerphotogravures, ed. 1/12. Gift ofthe artist through the AustralianGovernment’s Cultural GiftsProgram, 2012Brent Harris (born NewZealand 1956, arrived Australia1981), Untitled (Landscape);Untitled (Landscape) 1983,etching, trial proof; Land’s End1988, aquatint and etchingon chine collé, ed. 7/20; Lux1988, etching and aquatint,ed. 16/20; Appalling moment1995, soft-ground etching,foul-biting and plate-tone onchine collé, artist’s proof. Giftof an anonymous donor throughthe Australian Government’sCultural Gifts Program, 2011;On becoming (Yellow no. 3) 1996,colour screenprint, ed. 16/20;Grotesquerie (Jigsaw) 2002,from the Grotesquerie series2001–09, colour woodcut,ed. 26/30; Heritage I and II2004, from the Grotesquerieseries 2001–09, lithograph,artist’s proof 2/3. Gift of MarkGrant through the AustralianGovernment’s Cultural GiftsProgram, 2011Mike Parr (born Australia 1945),The third imaginary (100 selfportraitetchings) 1991–94, set of100 etching and drypoints. Giftof an anonymous donor throughthe Australian Government’sCultural Gifts Program, 2012PurchasesJoseph Lycett (England1774/75–1828, lived in Australia1814–22), Lake Patterson, nearPatterson’s Plains, Hunter’s River,New South Wales 1824, plate 22from Views in Australia or NewSouth Wales and Van Diemen’sLand, published by John Souter,London, 1824–25, hand-colouredaquatint and etching printed indark brown ink; Distant view ofSydney, from the Light House atSouth Head, New South Wales1825, plate 3 from Views inAustralia or New South Wales andVan Diemen’s Land, published byJohn Souter, London, 1824–25,hand-coloured aquatint andetching; View of Lake George,New South Wales, from the NorthEast 1825, plate 19 from Views inAustralia or New South Wales andVan Diemen’s Land, published byJohn Souter, London, 1824–25,hand-coloured aquatint andetching printed in blue-green ink;View of Port Macquarie, at theentrance of the River Hastings,New South Wales 1825, plate23 from Views in Australia orNew South Wales and VanDiemen’s Land, published by JohnSouter, London, 1824–25, hand-coloured aquatintand etching printed in dark brownink. Joe WhiteBequest, 2011Australian SculptureGiftsClifford Last (born England 1918,arrived Australia 1947, died 1991),Untitled (c. 1964), wood, stone,steel. Bequest of Erwin and AnneMarie Herzenberg, 2004PurchasesCallum Morton (born Canada1965, arrived Australia 1967),Screen #23 cover up (2010),synthetic polymer paint onpolyurethane and wood,powder-coated steel, resinon composition board, metal,plastic. Purchased, VictorianFoundation for Living AustralianArtists, 2012INTERNATIONAL ARTAsian ArtGiftsBURMESE, Large standingBuddha (19th century), lacqueron wood, gilt. Gift of JohnMcCarthy through the AustralianGovernment’s Cultural GiftsProgram, 2012BURMESE, Manuscript chest(Sadaik) (late 19th century –early 20th century), lacqueron wood, gilt. Gift of JohnMcCarthy through the AustralianGovernment’s Cultural GiftsProgram, 2012BURMESE, Manuscript chest(Sadaik) (late 19th century –early 20th century), lacqueron wood, gilt. Gift of JohnMcCarthy through the AustralianGovernment’s Cultural GiftsProgram, 2012BURMESE, Pair of seatedbuddhas (19th century – early20th century), lacquer andpaint on wood. Gift of JohnMcCarthy through the AustralianGovernment’s Cultural GiftsProgram, 2012BURMESE, Seated monk,Sariputta (late 19th century– early 20th century), lacqueron wood, gilt. Gift of JohnMcCarthy through the AustralianGovernment’s Cultural GiftsProgram, 2012BURMESE, Seated prayingmonk, Moggallana (late 19thcentury – early 20th century),lacquer on wood, gilt. Gift of JohnMcCarthy through the AustralianGovernment’s Cultural GiftsProgram, 2012BURMESE, Betel-box (Kun-it)(1925–50), lacquer on bamboo.Gift of John McCarthy inmemory of Edwin and MargotMcCarthy through the AustralianGovernment’s Cultural GiftsProgram, 2012BURMESE, Betel-box (Kun-it)(1925–50), lacquer on bamboo.Gift of John McCarthy inmemory of Edwin and MargotMcCarthy through the AustralianGovernment’s Cultural GiftsProgram, 2012BURMESE, Betel-box (Kun-it)(early 20th century), lacquer onbamboo. Gift of John McCarthyin memory of Edwin and MargotMcCarthy through the AustralianGovernment’s Cultural GiftsProgram, 2012

94 acquisitions 2011/12 (cont’d)95BURMESE, Betel-box (Kun-it)(early 20th century), lacquer onbamboo. Gift of John McCarthyin memory of Edwin and MargotMcCarthy through the AustralianGovernment’s Cultural GiftsProgram, 2012BURMESE, Betel-box (Kun-it)(early 20th century), lacquer onbamboo. Gift of John McCarthyin memory of Edwin and MargotMcCarthy through the AustralianGovernment’s Cultural GiftsProgram, 2012BURMESE, Betel-box (Kun-it)(early 20th century), lacquer onbamboo. Gift of John McCarthyin memory of Edwin and MargotMcCarthy through the AustralianGovernment’s Cultural GiftsProgram, 2012BURMESE, Betel-box (Kun-it)(early 20th century), lacquer onbamboo. Gift of John McCarthyin memory of Edwin and MargotMcCarthy through the AustralianGovernment’s Cultural GiftsProgram, 2012BURMESE, Betel-box (Kun-it)(early 20th century), lacquer onbamboo. Gift of John McCarthyin memory of Edwin and MargotMcCarthy through the AustralianGovernment’s Cultural GiftsProgram, 2012BURMESE, Betel-box (Kun-it)(early 20th century) , lacquer onbamboo. Gift of John McCarthyin memory of Edwin and MargotMcCarthy through the AustralianGovernment’s Cultural GiftsProgram, 2012BURMESE, Betel-box (Kun-it)(early 20th century), lacquer onbamboo. Gift of John McCarthyin memory of Edwin and MargotMcCarthy through the AustralianGovernment’s Cultural GiftsProgram, 2012BURMESE, Betel-box (Kun-it)(early 20th century), lacquer onbamboo. Gift of John McCarthyin memory of Edwin and MargotMcCarthy through the AustralianGovernment’s Cultural GiftsProgram, 2012BURMESE, Betel-box (Kun-it)(early 20th century), lacquer,bamboo. Gift of John McCarthyin memory of Edwin and MargotMcCarthy through the AustralianGovernment’s Cultural GiftsProgram, 2012BURMESE, Betel-box (Kun-it)(early 20th century), lacquer onbamboo. Gift of John McCarthyin memory of Edwin and MargotMcCarthy through the AustralianGovernment’s Cultural GiftsProgram, 2012BURMESE, Betel-box (Kun-it)(early 20th century), lacquer onbamboo. Gift of John McCarthyin memory of Edwin and MargotMcCarthy through the AustralianGovernment’s Cultural GiftsProgram, 2012BURMESE, Betel-box (Kun-it)(early 20th century), lacquer onbamboo. Gift of John McCarthyin memory of Edwin and MargotMcCarthy through the AustralianGovernment’s Cultural GiftsProgram, 2012BURMESE, Betel-box (Kun-it)(early 20th century), lacquer onbamboo. Gift of John McCarthyin memory of Edwin and MargotMcCarthy through the AustralianGovernment’s Cultural GiftsProgram, 2012BURMESE, Betel-box (Kun-it)(early 20th century), lacquer onbamboo. Gift of John McCarthyin memory of Edwin and MargotMcCarthy through the AustralianGovernment’s Cultural GiftsProgram, 2012BURMESE, Betel-box (Kun-it)(early 20th century), lacquer onbamboo. Gift of John McCarthyin memory of Edwin and MargotMcCarthy through the AustralianGovernment’s Cultural GiftsProgram, 2012BURMESE, Betel-box (Kun-it)(early 20th century), lacquer onbamboo. Gift of John McCarthyin memory of Edwin and MargotMcCarthy through the AustralianGovernment’s Cultural GiftsProgram, 2012BURMESE, Betel-box (Kun-it)(early 20th century), lacquer onbamboo. Gift of John McCarthyin memory of Edwin and MargotMcCarthy through the AustralianGovernment’s Cultural GiftsProgram, 2012BURMESE, Thitta (box) with lid(early 20th century), lacquer onbamboo. Gift of John McCarthyin memory of Edwin and MargotMcCarthy through the AustralianGovernment’s Cultural GiftsProgram, 2012BURMESE, Votive food container(hsun-ok) (early 20th century),lacquer on wood and bamboo. Gift ofJohn McCarthy in memory of Edwinand Margot McCarthy through theAustralian Government’s CulturalGifts Program, 2012BURMESE, Betel-box (Kun-it)(mid 20th century), lacquer onbamboo. Gift of John McCarthyin memory of Edwin and MargotMcCarthy through the AustralianGovernment’s Cultural GiftsProgram, 2012BURMESE, Betel-box (Kun-it)(mid 20th century), lacquer onbamboo . Gift of John McCarthyin memory of Edwin and MargotMcCarthy through the AustralianGovernment’s Cultural GiftsProgram, 2012BURMESE, Betel-box (Kun-it)(mid 20th century), lacquer onbamboo . Gift of John McCarthyin memory of Edwin and MargotMcCarthy through the AustralianGovernment’s Cultural GiftsProgram, 2012BURMESE, Betel-box (Kun-it)(mid 20th century), lacquer onbamboo . Gift of John McCarthyin memory of Edwin and MargotMcCarthy through the AustralianGovernment’s Cultural GiftsProgram, 2012BURMESE, Betel-box (Kun-it)(mid 20th century), lacquer onbamboo . Gift of John McCarthyin memory of Edwin and MargotMcCarthy through the AustralianGovernment’s Cultural GiftsProgram, 2012BURMESE, Betel-box (Kun-it)(mid 20th century), lacquer onbamboo . Gift of John McCarthyin memory of Edwin and MargotMcCarthy through the AustralianGovernment’s Cultural GiftsProgram, 2012BURMESE, Betel-box (Kun-it)(mid 20th century), lacquer onbamboo . Gift of John McCarthyin memory of Edwin and MargotMcCarthy through the AustralianGovernment’s Cultural GiftsProgram, 2012BURMESE, Betel-box (Kun-it)(mid 20th century), lacquer onbamboo . Gift of John McCarthyin memory of Edwin and MargotMcCarthy through the AustralianGovernment’s Cultural GiftsProgram, 2012BURMESE, Betel-box (Kun-it)(mid 20th century), lacquer onbamboo . Gift of John McCarthyin memory of Edwin and MargotMcCarthy through the AustralianGovernment’s Cultural GiftsProgram, 2012BURMESE, Betel-box (Kun-it)(mid 20th century), lacquer onbamboo . Gift of John McCarthyin memory of Edwin and MargotMcCarthy through the AustralianGovernment’s Cultural GiftsProgram, 2012BURMESE, Betel-box (Kunit)(20th century), lacquer onbamboo. Gift of John McCarthyin memory of Edwin and MargotMcCarthy through the AustralianGovernment’s Cultural GiftsProgram, 2012JAPANESE, Tales of Genji(late 17th century), six panelfolding screen: ink, gold paintand pigments on gold leaf onpaper, lacquer on wood, paper,silk, metallic thread, brass. Giftof Jason Yeap OAM throughthe Australian Government’sCultural Gifts Program, 2011JAPANESE, Jingasa (Samuraihat) Edo period (1700–1868),lacquer, metal, silk, leather,mother-of-pearl. Gift of JoanGunn, 2011JAPANESE, Pair of cups Edoperiod 1750–70, porcelain,enamel, gilt (Arita ware). Gift ofIan and Barbara Carroll, 2011JAPANESE, Ainu people, Ainurobe (Attush) (19th century),elm bark fibre thread, cotton,indigo dyes. Gift of David Bardasin memory of Sandra BardasOAM through the AustralianGovernment’s Cultural GiftsProgram, 2011SUGANUMA Michiko (Japanese1940–), Tray (Bon) (1975–2000),lacquer on Katsura wood(Kamakura bori lacquer). Gift ofthe artist, 2011VIETNAMESE, Seated Buddhawith hand raised in gesture ofdiscord or kartari mudra (19thcentury – early 20th century),lacquer on wood, gilt. Gift ofJohn McCarthy through theAustralian Government’sCultural Gifts Program, 2012VIETNAMESE, Seated Buddhawith left hand in flower holdlinggesture or jataka mudra (19thcentury – early 20th century),lacquer on wood, gilt. Gift ofJohn McCarthy through theAustralian Government’sCultural Gifts Program, 2012VIETNAMESE, Standing figure(19th century – early 20thcentury), lacquer on wood, gilt.Gift of John McCarthy throughthe Australian Government’sCultural Gifts Program, 2012YAMAGUCHI Ryuun (Japanese1940–), Dawn (Yoake) 1969,bamboo. Presented by TheYulgilbar Foundation, 2012ZHANG Zhen (Chinese active late17th century – early 18th century),Deer in a pine forest (possibly1697), ink and pigments on silk. Giftof Jason Yeap OAM through theAustralian Government’s CulturalGifts Program, 2012ZHU Qizhan (Chinese 1892–1996), Pine and plum blossoms1991, ink and pigments on paper.Gift of Jason Yeap OAM throughthe Australian Government’sCultural Gifts Program, 2011PurchasesBURMESE, Rice container (20thcentury), lacquer and thayo onbamboo. Purchased with fundsdonated by Peter Chu, 2012BURMESE, Rice container (20thcentury), lacquer and thayo onbamboo. Purchased with fundsdonated by Peter Chu, 2012CHINESE, Scholar’s rockDevonian period (rock), 17thcentury (base), limestone, wood(Hongmu). Purchased, NGVSupporters of Asian Art, 2012DEME Hidemitsu (attributedto) (Japanese active 17th century–18th century), Noh mask,Ōbeshimi (Nōmen Ōbeshimi)early Edo period (17th century–18th century), pigments,ground shell and animal glue onCypress (Hinoki), silk thread cord.Purchased with funds donated byAllan Myers AO and Maria MyersAO, 2011DEME Mitsunaga (Japaneseactive 17th century), Noh Mask,Shakumi (Nōmen Shakumi)early Edo period (17th century),pigments, ground shell andanimal glue on Cypress (Hinoki).Purchased with funds donated byAllan Myers AO and Maria MyersAO, 2011DEME Toshimitsu (attributedto) (Japanese active 18thcentury), Noh mask, Kawazu(Nōmen Kawazu) early Edoperiod (17th century), pigments,ground shell and animal glueon Cypress (Hinoki), gilt-metal.Purchased with funds donated byAllan Myers AO and Maria MyersAO, 2011HATAKEYAMA Koji (Japanese1956–), Incense container (Kōgō)2011, patinated bronze, silverleaf. Purchased, NGV Asian ArtAcquisition Fund, 2011

96 acquisitions 2011/12 (cont’d)97JAPANESE, Noh Mask, Chujo(Nōmen Chūjō) early Edo period(17th century –18th century),pigments, ground shell andanimal glue on Cypress (Hinoki),silk thread cord. Purchased withfunds donated by Allan Myers AOand Maria Myers AO, 2011JAPANESE, Plate with the fiftythreestations of the Tokaido road(Tōkaidō Gojūsan-tsugizu ōsara),Edo period (1840–60), porcelain(Imari ware). Purchased withfunds donated by Allan Myers AOand Maria Myers AO, 2012JAPANESE, A miniature stagemodel of the kabuki performanceof Kozukappara 1893, colourwoodblock. Purchased, NGVAsian Art Acquisition Fund, 2011JAPANESE, A miniature stagemodel of the Kabuki performanceShirai Gompachi 1899, colourwoodblock. Purchased, NGVAsian Art Acquisition Fund, 2011Toyohara KUNICHIKA(Japanese 1835–1900), Aminiature stage model of thekabuki performance Kagamiyama1898, colour woodblock.Purchased, NGV Asian ArtAcquisition Fund, 2011Utagawa KUNISADA (Japanese1786–1865), Sumo wrestler,Kagamiiwa Hamanosuke; Sumowrestler, Takekuma Bunemon (c.1840); New edition, Kanjin sumotournament (Shinban kanjin ozumono zu); Sumo wrestler, ChoōzanMoriemon; Sumo wrestler,Wadagahara Jinshiro 1854, colourwoodblock. Purchased with fundsdonated by Allan Myers AO andMaria Myers AO, 2012TIBETAN / MONGOLIAN, Pairof temple banners (late 19thcentury – early 20th century),silk, silver thread, leather, cotton.Purchased, NGV Supporters ofAsian Art, 2012Entang WIHARSO (Indonesian1967–, worked in United States1990s–), Undeclared skin (2010),aluminium, brass. Purchased withfunds donated by Jason YeapOAM and Min Lee Wong, 2011Utagawa YOSHIIKU (Japanese1833–1904), Sumo Banzuke Edoperiod 1859, colour woodblock.Purchased with funds donated bythe Hon. Michael Watt and CecilieHall, 2011Utagawa YOSHIFUJI (Japanese1828–87), A miniature stagemodel of Ise Saburo’s hut fromthe kabuki play HatsuyukitoMimasu no Kagekiyo 1878, colourwoodblock. Purchased, NGVAsian Art Acquisition Fund, 2011International DecorativeArtsGiftsBOULANGER, HAUTINAND CO., Choisy-le-Roimanufacturer (France 1836–78)Paul COMOLERA modeller(France 1818–97), Cockatoo(c. 1870), earthenware(majolica). Gift of Mary andJim Allinson, 2012GEBRÜDER THONET, Viennamanufacturer (Austria est. 1849),Armchair; Side chair (c. 1880),Beech (Fagus sp.) (bentwood),cane, iron. Gift of the Blakeleyfamily in memory of WilliamHenry Blakeley, 2012GEORG JENSEN SØLVSMEDIE,Copenhagen manufacturer(Denmark est. 1904) HenningKOPPEL designer (Denmark1918–81), Teapot 1952 designed,(c. 1980) manufactured, sterlingsilver, wood. Gift of ProfessorA. G. L. Shaw AO in memory ofPeggy Shaw, 2012GEORG JENSEN SØLVSMEDIE,Copenhagen manufacturer(Denmark est. 1904), NannaDITZEL designer (Denmark1923–2005), Bracelet (no.151) 1960 designed, (c. 1974)manufactured, sterling silver. Giftof Professor A. G. L. Shaw AO inmemory of Peggy Shaw, 2012GEORG JENSEN SØLVSMEDIE,Copenhagen manufacturer(Denmark est. 1904) HenningKOPPEL designer (Denmark1918–81), Brooch (no. 368) 1968designed, (c. 1990) manufactured,sterling silver, steel. Gift ofProfessor A. G. L. Shaw AO inmemory of Peggy Shaw, 2012GEORG JENSEN SØLVSMEDIE,Copenhagen manufacturer(Denmark est. 1904) BentGabrielsen PEDERSEN designer(Denmark 1928–), Necklace (c.1979) manufactured, sterlingsilver. Gift of Professor A. G. L.Shaw AO in memory of PeggyShaw, 2012KERR AND BINNSWORCESTER PORCELAINFACTORY, Worcestermanufacturer (England 1851–62),Pair of pilgrim flasks (c. 1860),porcelain (bone china). Gift ofMary and Jim Allinson, 2012MINTON, Stoke-on-Trent,Staffordshire manufacturer(England est. 1793), Earl Grey,bust; Lord Brougham, bust (c.1832–40), porcelain. The DrRobert Wilson Collection. Gift ofDr Robert Wilson, 2012MINTON, Stoke-on-Trent,Staffordshire manufacturer(England est. 1793) JosephSMITH (attributed to) decorator(England active c. 1834–60s),Plate; Plate (1840–50), porcelain(bone china). The Dr RobertWilson Collection. Gift of DrRobert Wilson, 2012MINTON, Stoke-on-Trent,Staffordshire manufacturer(England est. 1793) HuguesPROTÂT designer (Franceactive mid 1850s – early 1860s),Centrepiece 1864, earthenware(majolica). Gift of Dr RobertWilson and Anne Kennedy inmemory of their parents RobertBruce Wilson and Ellen RaeFarmer, 2012MINTON, Stoke-on-Trent,Staffordshire manufacturer(England est. 1793) ChristopherDRESSER designer (England1834–1904), Match pot 1869,porcelain (bone china). The DrRobert Wilson Collection. Gift ofDr Robert Wilson, 2012MINTON, Stoke-on-Trent,Staffordshire manufacturer(England est. 1793), Charger1871, earthenware. The DrRobert Wilson Collection. Gift ofDr Robert Wilson, 2012MINTON, Stoke-on-Trent,Staffordshire manufacturer(England est. 1793) ChristopherDRESSER (attributed to) designer(England 1834–1904), Plate 1874,porcelain (bone china), The DrRobert Wilson Collection. Gift of DrRobert Wilson, 2012MINTON, Stoke-on-Trent,Staffordshire manufacturer(England est. 1793) John MOYRSMITH designer (England1839–1912), The ape, the cat andthe roast chestnuts, plate; Thedog and his shadow, plate; The foxand the crow, plate; The fox dineswith the stork, plate; The goat,calf and sheep in partnership withthe lion, plate; The hare and thetortoise run a race, plate (c. 1875),earthenware. The Dr RobertWilson Collection. Gift of DrRobert Wilson, 2012MINTON, Stoke-on-Trent,Staffordshire manufacturer(England est. 1793) EdwardHAMMOND decorator (Englandactive c. 1870–75), Plaque (c.1875), earthenware. The DrRobert Robert Wilson Collection.Gift of Dr Robert Wilson, 2012MINTON, Stoke-on-Trent,Staffordshire manufacturer(England est. 1793) HenriBOULLEMIER decorator(England active late 19th century– early 20th century) TIFFANY& CO., New York retailer (UnitedStates est. 1853), Plate; Plate1878, porcelain (bone china). TheDr Robert Wilson Collection. Giftof Dr Robert Wilson, 2012MINTON, Stoke-on-Trent,Staffordshire manufacturer(England est. 1793) DésiréLEROY decorator (England1840–1908) THOMAS GOODE& CO. LTD, London retailer(England est. 1827), Plate; Plate1878, porcelain (bone china). TheDr Robert Wilson Collection. Giftof Dr Robert Wilson, 2012MINTON, Stoke-on-Trent,Staffordshire manufacturer(England est. 1793) FelixBELLANGER decorator (Franceactive 1874–85) ESCALIERDE CRISTAL, Paris retailer(France 1802–1923), Plate 1880,porcelain (bone china). The DrRobert Wilson Collection. Gift ofDr Robert Wilson, 2012MINTON, Stoke-on-Trent,Staffordshire manufacturer(England est. 1793) ChristopherDRESSER (attributed to)designer (England 1834–1904),Plate (c. 1880), porcelain (bonechina). The Dr Robert WilsonCollection. Gift of Dr RobertWilson, 2012MINTON, Stoke-on-Trent,Staffordshire manufacturer(England est. 1793) Plate (1880–90), porcelain (bone china). The DrRobert Wilson Collection. Gift ofDr Robert Wilson, 2012MINTON, Stoke-on-Trent,Staffordshire manufacturer(England est. 1793) AntonBOULLEMIER decorator(England 1840–1900), ChristopherColumbus, plate (1893), porcelain(bone china). The Dr RobertWilson Collection. Gift of DrRobert Wilson in recognition ofGina Panebianco’s devotion to theNational Gallery of Victoria, 2012Michael POWOLNY designer(Austria 1871–1954) WIENERKERAMIK, Vienna manufacturer(Austria 1906–12), Summer,putto (1911–12), earthenware.Gift of David Sampietro, 2012WORCESTER ROYALPORCELAIN CO., Worcestermanufacturer (England est.1862), Spill vase (c. 1880),porcelain. The Dr Robert WilsonCollection. Gift of Dr RobertWilson, 2012WORCESTER ROYALPORCELAIN CO., Worcestermanufacturer (England est.1862) Walter SEDGLEY designer(England active 1889–1929),Bowl 1926, porcelain (parianware). Gift of Mary and JimAllinson, 2012W. T. COPELAND AND SONS,Stoke-on-Trent, Staffordshiremanufacturer (England 1867–1932), Plate; Plate 1875–90,porcelain (bone china). The DrRobert Wilson Collection. Gift ofDr Robert Wilson, 2012PurchasesDavid BIELANDER (Switzerland1968–), Blue python, necklace(Würgeschlange) (2011),titanium, silver. Purchased NGVFoundation, 2012ENGLAND (manufacturer),Punch bowl (c. 1756), glass(wheel-engraved). Purchasedwith funds donated by ElizabethMorgan, 2011MENNECY PORCELAINFACTORY, Mennecymanufacturer (France 1734–1812) François JOUBERTsilversmith (France active 1749–93) Louis SAMSON II silversmith(France 1710–81), Travellingchocolate service (Nécessairede voyage) (c. 1765), porcelain,glass, silver, leather, wood, brass,(other materials). Purchased,NGV Supporters of DecorativeArts, 2012Dagobert PECHE designer(Austria 1887–1923) Max WELZmanufacturer (Austria active1920s) WIENER WERKSTÄTTE,Vienna commissioning workshop(Austria 1903–32), Mirror(1922), gilt-wood, mirror, metal.Purchased with funds donatedby Peter and Ivanka Canet, Philipand Elizabeth Williams anddonors to the Peche Appeal, 2012WILLIAM GREATBATCHPOTTERY, Fenton, Stoke-on-Trent, Staffordshire manufacturer(England 1762–82), Teapot (c. 1770–82), earthenware (creamware).Purchased, NGV Supporters ofDecorative Arts, 2012

98 acquisitions 2011/12 (cont’d)99International Fashionand TextilesGiftsANNE MARIE BERETTA, Parisfashion house (est. 1974) AnneMarie BERETTA designer (bornFrance 1937), Dress (c. 1983), wool,metal. Gift of Beth Brown, 2012(ENGLAND), Evening coat (c.1925), silk (velvet), metallicthread, silk charmeuse (lining).Gift of Judy Rutherford, 2011(FRANCE), Shawl (c. 1870), silk,gauze. Gift of Eva Sweet, 2011(FRANCE), Tippet and muff (c.1935), colobus monkey fur, silk(crepe), silk (braid), bakelite. Giftof Jana Purcell, 2012H & M RAYNE, Londonshoemaker (1889–1994) EdwardRAYNE designer (England 1922–92), Shoes 1954, silk (satin),synthetic polymer paint, glass(rhinestones), diamantès. Gift ofDavina Mcintosh in memory ofher mother, 2011PurchasesCLAUDE MONTANA, Parisfashion house (est. 1979) ClaudeMONTANA designer (born France1949), Dress and trousers 1980spring-summer, cotton, plastic,metal. Purchased with fundsdonated by Bulgari Australia PtyLtd, 2012COMME DES GARÇONS, Tokyofashion house (est. 1969) ReiKAWAKUBO designer (bornJapan 1942), Dress 1982 springsummer,cotton. Purchasedwith funds donated by BulgariAustralia Pty Ltd, 2012PIERRE CARDIN, Paris fashionhouse (est. 1950) PierreCARDIN designer (born Italy1922, emigrated to France 1926),Jacket and mini dress ensemble1969, wool, acetate (lining).Purchased with funds donated byBulgari Australia Pty Ltd, 2012RACHEL AUBURN fashionhouse (c. 1982– c. 1986) RachelAUBURN designer (born England1957), Coat (c. 1985), wool.Purchased NGV Foundation, 2011THIERRY MUGLER, Parisfashion house (est. 1974) ThierryMUGLER designer (born France1948), Dress and belt (c. 1981),triacetate and polyester blend,metal. Purchased with fundsdonated by Bulgari Australia PtyLtd, 2012WORLD’S END, London fashionhouse (1979–84) VivienneWESTWOOD designer (bornEngland 1941) MalcolmMcLAREN designer (England1946–2010), Sweater and leggings1982 spring-summer, Savagecollection, wool. Purchased NGVFoundation, 2011Pacific ArtGiftsGreen River, West SepikProvince, Papua NewGuinea, Shield (c. 1970), earthpigments on wood. Gift of ChrisBoylan through the AustralianGovernment’s Cultural GiftsProgram, 2011Kewa people, Kagua area,Southern Highland Province,Papua New Guinea, Danceheaddress (c. 2008), earthpigments on cane and bark, fibre,cassowary feathers. Gift of ChrisBoylan through the AustralianGovernment’s Cultural GiftsProgram, 2011Mendi Valley, SouthernHighlands Province, PapuaNew Guinea ,Warrumbi shield (c.1950), earth pigments on wood,fibre. Gift of Chris Boylan throughthe Australian Government’sCultural Gifts Program, 2011Mendi Valley, SouthernHighlands Province, PapuaNew Guinea, Korkor shield (c.1980), earth pigments on wood,fibre. Gift of Chris Boylan throughthe Australian Government’sCultural Gifts Program, 2011Fate Savari (Ömie born c. 1933),Webo owo’gumine, vene vitwe,dewolor’e ohu’o ije bi’weje (Driedcuscus paws cooking in the fireplace, rope used to climb treesand boys chopping down treebranches); Worro worre nioge(buboriano’e, sabu deje,mi’ija’aheohu’o ije bi’weje) (Ancestor’s turtleshell pendant barkcloth design(with beaks of Blyth’s Hornbill,spots of the wood-boring grup,tailbone of the wallaby andgardens with boys chopping downtree branches) 2011, naturalpigments on nioge. Presented byÖmie Artists, 2012Wahgi Valley, WesternHighlands Province, PapuaNew Guinea, Sorcery trap figure(c. 2006), Tree Fern (Dicksoniasp.), earth pigments, wood, shells,feathers, teeth, fibre. Gift of ChrisBoylan through the AustralianGovernment’s Cultural GiftsProgram, 2011Wahgi Valley, WesternHighlands Province, PapuaNew Guinea, Sorcery trap figure(c. 2006), Tree Fern (Dicksoniasp.), earth pigments, wood, shells,feathers, teeth, fibre. Gift of ChrisBoylan through the AustralianGovernment’s Cultural GiftsProgram, 2011International PaintingGiftsGaspare DIZIANI (Italian1689–1767), Rebecca at the well(c. 1755), oil on canvas. Gift ofMargaret Mott in memory of hermother Lily Wilson through theAustralian Government’s CulturalGifts Program, 2012Jean-Philibert DUMET (Frenchactive 1808– c. 1814), Thegenerosity of the Chevalier Bayard(Générosité du chevalier Bayard)(1814), oil on canvas. Presentedby Patrick Matthiesen and TheMatthiesen Gallery, Londonto commemorate the 150thAnniversary of the NationalGallery of Victoria, 2011Jacob HUYSMANS (Flemish c.1630– c. 1696, worked in Englandc. 1660–96), Edward Henry Lee,1st Earl of Litchfield, and his wife,Charlotte Fitzroy, as children1674, oil on canvas. Presented byMontah Holdings Pty Ltd throughthe Australian Government’sCultural Gifts Program, 2012Peter LELY (Dutch/English1618–80), Sir John Rous, 1stBaronet of Henham Hall 1660, oilon canvas. Gift of the Countessof Stradbroke through theAustralian Government’s CulturalGifts Program, 2012John WALKER (English 1939–,worked in Australia 1979–87,United States 1987–), Untitled(1977), synthetic polymerpaint, chalk and gesso oncanvas on canvas. Gift of SimonRosenthal through the AustralianGovernment’s Cultural GiftsProgram, 2012PurchasesBernard BUFFET (French 1928–99), Still life with fireplace (Naturemorte à la cheminée) 1952, oil oncanvas. The Eugénie CrawfordBequest, 2011CORREGGIO (Italian 1489–1534),Madonna and Child with infantSt John the Baptist (c. 1514–15),oil on wood panel. Purchasedwith funds donated by AndrewSisson, 2011Francesco FRANCIA (Italian c.1450–1517) Giacomo FRANCIA(Italian c. 1486–1557) GiulioFRANCIA (Italian 1487–1545),Virgin and Child with the youngSt John in a garden of roses(c. 1515), oil on wood panel.Purchased with funds donatedby John Higgins, Paula Fox,Ken and Jill Harrison, Alan andMavourneen Cowen and donorsto the Francia Appeal, 2011Colin McCAHON (New Zealander1919–87), The five wounds ofChrist no. 1 1977–78, syntheticpolymer paint on canvas.Purchased, NGV Foundation withthe assistance of Dame JenniferGibbs and the proceeds of the2011 National Gallery of VictoriaAnnual Dinner, 2012; I applied mymind 1982, synthetic polymerpaint on canvas. Loti & VictorSmorgon Fund, 2012Reuben MEDNIKOFF (English1906–72, worked in United Statesand Canada 1940–46), October17, 1938. 10a.m. (The king of thecastle) 1938, oil on compositionboard. Purchased NGV Foundationwith the assistance of the DuncanElphinstone McBryde LearyBequest, 2011Sean SCULLY (Irish/American1945–), Queen of the night 2008,oil on canvas. Purchased NGVFoundation with the assistanceof Greg Woolley and NGVContemporary, 2011InternationalPhotographyGiftsRoger BALLEN (American1950–, worked in South Africa1982–), Terminus (2004),carbon print. Gift of BillBowness through the AustralianGovernment’s Cultural GiftsProgram, 2012YANG Yongliang (Chinese 1980–),Eclipse (2008), from the On thequiet water, heavenly city series2008, inkjet print. Presentedby the Mering Corporation PtyLtd through the AustralianGovernment’s Cultural GiftsProgram, 2012PurchasesAdam FUSS (English 1961–,emigrated to Australia 1962,worked in United States 1982–),Caduceus (2010), from theHome and the world series2010, gelatin silver photogramon canvas. Bowness FamilyFund for ContemporaryPhotography, 2011Fiona PARDINGTON (NewZealander 1961–), Portrait of alife-cast of Koe, Timor 2010, fromthe Ahua: A beautiful hesitationseries 2010, inkjet print. BownessFamily Fund for ContemporaryPhotography, 2011International Prints andDrawingsInternational DrawingsGiftsOtto MÖLLER (German1883–1964), Hilly landscape(Hügellandschaft) (1916),watercolour over pencil. Gift fromthe Marion and David AdamsCollection, 2011PurchasesEdward BURNE-JONES(English 1833–98), Study forfemale figure in The garden of Pan(c. 1886), pencil. Purchased NGVFoundation, 2012International PrintsGiftsErnst BARLACH (German1870–1938), The couple in thecrowd 2: Saint, straw bride andthe ragbag (Das Paar in derMenge 2: Heiliger, Strohbraut undLumpensack) 1917, printed 1919,from Der arme Vetter (The PoorCousin) by Ernst Barlach 1919,lithograph on buff paper; Thedogcart (Der Hundekarren)1921, from Der Findling (TheFoundling) by Ernst Barlach,published by Paul Cassirer,Berlin, 1922, woodcut. Gift fromthe Marion and David AdamsCollection, 2011Jan BOTH (Dutch c. 1618–52,worked in Italy c. 1638–41),The Ponte Molle (Die PonteMolle) (1640s), plate 1 from theLandscapes of the environs ofRome series (1640s), etching, 4thof 6 states. Gift from the Marionand David Adams Collection,2011Hans BURGKMAIR, the Elder(German 1473–1531), Drummers(1516–18), printed 1777, sheet 4from The Triumphal Processionof Emperor Maximilian I series1516–18, woodcut, 2nd edition.Gift from the Marion and DavidAdams Collection, 2011Jacques CALLOT (French 1592–1635, worked in Italy c. 1611–21),St Mansuy (St Mansuetus) 1616,etching, 8th of 9 states. Gift fromthe Marion and David Adams

appendix 10:NGV PublIcatIons100 acquisitions 2011/12 (cont’d)101Collection, 2011; The nobilityof Lorraine (La Noblesse) (c.1620–23), etchings. Gift of PhilipWilliams through the AustralianGovernment’s Cultural GiftsProgram, 2012Simone CANTARINI (Italian1612–48), St John the Baptist inthe desert (1630–48), etching.Gift from the Marion and DavidAdams Collection, 2011Marc CHAGALL (Russian/French1887–1985, worked in UnitedStates 1941–48), Moses with thetablets of the law 1956, colourlithograph, edition of 6500.Gift from the Marion and DavidAdams Collection, 2011Honoré DAUMIER (French 1808–79), A visit to the Turkish tent(Visite aux tente des Turcos) 1859,from the Au Camp de St Maur (Atthe St Maur Encampment) series,published in Le Charivari, August13, 1859. lithograph, 2nd of 4states. Gift from the Marion andDavid Adams Collection, 2011Giorgio GHISI (Italian 1520–82,worked in France c. 1556– c.1567) PERINO DEL VAGA(attributed to) (after), Venusand Vulcan seated on a bed(mid 1550s), engraving, 3rd of 3states. Gift from the Marion andDavid Adams Collection, 2011Hans HARTUNG (German 1904–89, worked in France 1935–89),L13 1957, lithograph printedin black and yellow ink on buffpaper, artist’s proof. Gift fromthe Marion and David AdamsCollection, 2011Erich HECKEL (German1883–1970), Men on a beach(Männer am Strand) 1919, fromDas Kestnerbuch (The KestnerBook) by Paul Erich Küppers (ed.),published by Heinrich BöhmeVerlag, Hanover, 1919, woodcut,2nd of 2 states. Gift fromthe Marion and David AdamsCollection, 2011Käthe KOLLWITZ (German1867–1945), Distress (Not) 1897,plate 1 from Ein Weberaufstand(The Weavers’ Revolt) series1893–97, lithograph printed inbrown ink on buff paper. Gift fromthe Marion and David AdamsCollection, 2011Otto LANGE (German 1879–1944), Bears (Bären) 1920,woodcut. Gift from the Marion andDavid Adams Collection, 2011Adolph MENZEL (German1815–1905), Visions of Italy 1889,etching. Gift from the Marion andDavid Adams Collection, 2011Marcantonio RAIMONDI (Italianc. 1470/82–1527/34), Mars, Venusand Eros 1508, engraving, 2nd of2 states. Gift from the Marion andDavid Adams Collection, 2011Auguste Théodule RIBOT(French 1823–91), The peelers(Les Éplucheurs) 1862, plate25 from Eaux-Fortes Modernes(Modern Etchings), 1st yr, 5thissue, 1 Jan 1863, etching. Giftfrom the Marion and DavidAdams Collection, 2011Christian ROHLFS (German1849–1938), Little couple (KleinesPaar) (c. 1915), reprinted 1963,woodcut printed in blue inkon Japanese paper. Gift fromthe Marion and David AdamsCollection, 2011Rudolf SCHLICHTER (German1890–1955), Dance (Tanz)1920, from Das Kunstblatt (TheArt Paper), vol. 4 no. 4, 1920,lithograph printed in brown inkon tan Japanese paper. Gift fromthe Marion and David AdamsCollection, 2011Giovanni Battista SCULTORI(Italian 1503–75, worked in France(c. 1556– c. 1567), The river god Poand a putto 1538, engraving. Giftfrom the Marion and David AdamsCollection, 2011Georg TAPPERT (German1880–1957), (Two seated girls)(Zwei sitzende Mädchen) (c.1911), from Der Sturm, vol. 3,no. 113/114 (1912), woodcuton Japanese paper, ed. 7/15.Gift from the Marion and DavidAdams Collection, 2011UNKNOWN AndreaMANTEGNA (after), Christ inlimbo (18th century), engraving.Gift from the Marion and DavidAdams Collection, 2011PurchasesAndré DERAIN (French1880–1954), Countryside (LeMorin) (Paysage (Le Morin)) (c.1910–11), drypoint. Purchased,NGV Supporters of Prints andDrawings, 2011Maurice de VLAMINCK (French1876–1958), At the brothel (AuBordel) (c. 1906), printed 1920,from Action, published by FlorentFels, Paris, no. 4, July 1920,woodcut, ed. of 100, 2nd of 2states; Head of a woman (Tête defemme) (c. 1906), woodcut, proof;The bridge at Chatou (Le pont àChatou) 1914, woodcut, ed. 2/30;Le Pecq (near Paris) (Le Pecq(près de Paris)) 1914, woodcut,proof. The Nigel Peck AM &Patricia Peck Fund, 2011Raoul DUFY (French 1877–1953),Boats (Bateaux) (c. 1907), handcolouredwoodcut. The Nigel PeckAM & Patricia Peck Fund, 2011Othon FRIESZ (French 1879–1949), Boat (Navire); Standingfemale nude (Femme nue debout)(c. 1910), woodcut. The Nigel PeckAM & Patricia Peck Fund, 2011Hans HARTUNG (German1904–89, worked in France1935–89), Work no. 22 (Oeuvre no.22) (1953), etching, ed. 27/100.Purchased, NGV Supporters ofPrints and Drawings, 2011Albert MARQUET (French 1875–1947), The widow (La Veuve) (c.1901–03), woodcut, ed. 4/12. TheNigel Peck AM & Patricia PeckFund, 2011Louis VALTAT (French 1869–1952), At the table (À table), fromL’Epreuve, no. 4, 1895, woodcut,ed. 174/225; Portrait of Renoir(Portrait de Renoir) (c. 1900),woodcut. The Nigel Peck AM &Patricia Peck Fund, 2011Major publicationsThis Wondrous Land: Colonial Art on PaperEdited by Alisa BunburyTjukurrtjanu: Origins of WesternDesert Artby Judith Ryan and Philip BattyFred Williams: The Pilbara Series(new edition)by Jennifer Phipps with Kirsty Grant andLyn WilliamsFred Kruger: Intimate Landscapesby Isobel CrombieTop Arts 2012by Merren RicketsonJeff Wall Photographsby Gary Dufour and Isobel Crombie with MarkBollandArt Journal of the National Gallery ofVictoria, edition 51edited by Jane Devery and Elena TaylorNapoleon: Revolution to Empire(hardback and paperback editions)by Ted Gott and Karine Huguenaud withcontributing authorsThe Adventures of Napoleon and Josephineby Phip MurrayCurious Cats in the National Galleryof Victoriaby Laurie BensonDashing Dogs in the National Galleryof Victoriaby Frances LindsayFlourishing Flowers in the National Galleryof Victoriaby Kirsty GrantNGV Asian Art Learning ResourceVarious authorsother publicationsLooking at Looking: The Photographic Gazeby Maggie FinchRanjani Shettar: Dewdrops and Sunshineby Alex BakerLinda Jackson: Bush Coutureby Laura JocicBrent Harrisby Jane DeveryPoussin: The Crossing of the Red Sea – AConservation Projectby Carl Villis with Laurie Benson, MaryJoLelyveld and John PayneThe Year in Review 2011: The NationalGallery of Victoria's 150th AnniversaryWhat’s On(Six editions)Gallery(Six editions)

102 appendix 11:103Scholarlypublications byngv staffBorig, J. "Mobigas at the National Gallery of Victoria, Australia and theStruggle for Recognition by Quarantine Authorities." In IntegratedPest Management for Collections. Proceedings of 2011: A PestOdyssey, 10 Years later, edited by P Winsor, D Pinninger, L Bacon, BChild, K Harris, D Lauder, J Phippard and A. Xavier-Rowe, 102-06.Swindon, UK: English Heritage, 2011.Bunbury, A. "Charles Rodius." In This Wondrous Land: Colonial Art onPaper, edited by A Bunbury, 96-97. Melbourne: National Gallery ofVictoria, 2011.———. "Conrad Martens." In Visions Past and Present: Celebrating 40Years, edited by C Menz, 36-37. Melbourne: Ian Potter Museum ofArt, 2012.———. "Eugene Von Guerard's Australian Landscapes." In ThisWondrous Land: Colonial Art on Paper, edited by A Bunbury, 154-55.Melbourne: National Gallery of Victoria, 2011.———. "Field Sports of the Native Inhabitants." In This Wondrous Land:Colonial Art on Paper, edited by A Bunbury, 91-93. Melbourne:National Gallery of Victoria, 2011.———. "Georgiana Mccrae." In This Wondrous Land: Colonial Art onPaper, edited by A Bunbury, 112-15. Melbourne: National Gallery ofVictoria, 2011.———. "Introduction." In This Wondrous Land: Colonial Art on Paper,edited by A Bunbury, 2-5. Melbourne: National Gallery ofVictoria, 2011.———. "James Wallis." In This Wondrous Land: Colonial Art on Paper,edited by A Bunbury, 52-55. Melbourne: National Gallery ofVictoria, 2011.———. "A New South Wales Bat." In This Wondrous Land: Colonial Arton Paper, edited by A Bunbury, 22-23. Melbourne: National Gallery ofVictoria, 2011.———. "Nicholas Chevalier." In This Wondrous Land: Colonial Art onPaper, edited by A Bunbury, 156-57. Melbourne: National Gallery ofVictoria, 2011.———. "Portrait of Bennelong." In This Wondrous Land: Colonial Arton Paper, edited by A Bunbury, 94. Melbourne: National Gallery ofVictoria, 2011.———. "Prints after John Webber." In This Wondrous Land: Colonial Arton Paper, edited by A Bunbury, 8-9. Melbourne: National Gallery ofVictoria, 2011.———, ed. This Wondrous Land: Colonial Art on Paper. Melbourne:National Gallery of Victoria, 2011.———. "Walter Preston & John Eyre." In This Wondrous Land: ColonialArt on Paper, edited by A Bunbury, 50-51. Melbourne: NationalGallery of Victoria, 2011.———. "Walter Preston & John Eyre." In Visions Past and Present:Celebrating 40 Years, edited by C Menz. Melbourne: Ian PotterMuseum of Art, 2012.———. "Watercolours by Unknown Artist(S)." In This Wondrous Land:Colonial Art on Paper, edited by A Bunbury, 177-79. Melbourne:National Gallery of Victoria, 2011.———. "Wondrous Prints at the NGV." Imprint Vol 46, no. No 3 (2011):p. 12.Cains, C. "A Selection of Indonesian Art at the National Gallery ofVictoria." The Asian Executive, no. 2nd Quarter Edition 2012 (2012):83-84.———. "Uses of Enchantment: Asian Art at the National Gallery ofVictoria, Melbourne, Australia." In 'Asian Encounters' Conference,'Representations of Asian Art in Asian Museums' panel. Delhi, 2011.Clegg, H. "Duncan Cooper." In This Wondrous Land, edited by ABunbury, 144. Melbourne: National Gallery of Victoria, 2011.———. "Eugene Von Guérard." In This Wondrous Land, edited by ABunbury, 147-51. Melbourne: National Gallery of Victoria, 2011.———. "George Alexander Gilbert." In This Wondrous Land, edited by ABunbury, 142-43. Melbourne: National Gallery of Victoria, 2011.———. "Henry Gritten." In This Wondrous Land, edited by A Bunbury,124-25. Melbourne: National Gallery of Victoria, 2011.Crombie, I. Fred Kruger: Intimate Landscapes. Melbourne: NationalGallery of Victoria, 2011.———. "Passing Strange: Jeff Wall's Photographs." In Jeff Wall:Photographs, 9-13. Melbourne: National Gallery Of Victoria, 2012.———. "Photography and Australia." In The Cambridge Companionto Australian Art, edited by J Anderson. Melbourne: CambridgeUniversity Press, 2011.———. "Photography and Australian Architecture." In The Encyclopaediaof Australian Architecture, edited by P Goad and J Willis Melbourne:Cambridge University Press, 2011.Cross, E. "The Ancien Régime." In Napoleon: Revolution to Empire,edited by T Gott and K Huguenaud, 49. Melbourne: National Galleryof Victoria, 2012.———. "Early French Explorers and Australia." In Napoleon: Revolutionto Empire, edited by T Gott and K Huguenaud, 39. Melbourne:National Gallery of Victoria, 2012.———. "Louis XV, Saint Aloüarn and Marion Dufresne." In Napoleon:Revolution to Empire, edited by T Gott and K Huguenaud, 40-41.Melbourne: National Gallery of Victoria, 2012.———. "The Mameluke Raza Roustam, 1806." In Napoleon: Revolutionto Empire, edited by T Gott and K Huguenaud, 100-01. Melbourne:National Gallery of Victoria, 2012.———. "Terre Napoléon." In Napoleon: Revolution to Empire, edited byT Gott and K Huguenaud, 146-49. Melbourne: National Gallery ofVictoria, 2012.Cross, E, and G Morrison. "Michael Shannon - Drawing." In MichaelShannon, Australian Romantic Realist, edited by G Morrison, 15-28.Ballarat: Art Gallery of Ballarat, 2011.Crothers, W. "Ancient Japanese Buddhist Art at the National Gallery ofVictoria." The Asian Executive Third Quarter 2011 (2011): 88-91.———. "In the Public Domain: A Twelfth Century Sho Kannon Bosatsuat the NGV." TASA Review: The Journal of the Asian arts society ofAustralia Volume 21, No. 2 (2012): 17.———. "Traditional Asian Print Techniques and Their Applications inContemporary Art." In Qijiang international print symposium, SichuanFine Art University, China, November 24-28, 2011., 2011.Devery, J. Brent Harris. Melbourne: National Gallery of Victoria, 2012.———. "Brent Harris's 'the Fall'." Imprint 47, no. Number 2 (2012): 2-3.———. "Contemporary Art at the NGV." In Tokyo Creative Week,International Visitors Program.Di Trocchio, P. "Clothing, Space, Art: The 2012 L’oréal MelbourneFashion Festival." Art Monthly Australia May, no. 249 (2012).———. "Madeleing Vionnet: Fashion Purist- the World According toMadeleine Vionnet." Fashion Theory: The Journal of Dress, Body andCulture (2011): pp.509-16.Finch, M. "Brummels." Art & Australia 49, no. 4 (2012): 678.———. Drew Pettifer: Hand in Glove. Fitzroy: Centre for ContemporaryPhotography, 2011.———. Looking at Looking: The Photographic Gaze. Melbourne: NationalGallery of Victoria, 2011.———. "Metropolis: The Brilliant and Sinister Art of the 1920s." In TheMad Square: Modernity in German Art 1910-37, edited by J Strecker,191-200. Sydney: Art Gallery of New South Wales, 2011.———. "Thomas Demand, Nationalgalerie." Flash (2012).Gott, T, and K Huguenaud. Napoleon: Revolution to Empire.Melbourne: National Gallery of Victoria, 2012.Jocic, L. Linda Jackson Bush Couture. Melbourne: National Gallery ofVictoria, 2011.———. "Men in Banyans: Informal Men’s Dress in the EighteenthCentury." In 14th Australasian David Nicol Smith Seminar inEighteenth-Century Studies. Melbourne, 2011.Kremler, J. "Frogs and the Myth of Autogenesis in Ancient Egypt."Göttinger Miszellen, no. 232 (2012): 89-95.———. "On Interpreting the Meaning of Amulets and Other Object Usingthe Frog Motif as an Example." In Egyptology in Australia and NewZealand 2009. Proceedings of the conference held in Melbourne,September 4th-6th., edited by Christian M. Knoblauch and James C.Gill, 97-104. Melbourne: Archaeopress, 2012.———. "The Xiii Vendémiaire: Napoleon's Rise to Power." In Napoleon:Revolution to Empire, 81. Melbourne: National Gallery ofVictoria, 2012.Leahy, C. "Out of Australia (Book Review)." Print Quarterly XXIX, no.no.2 (2012).Lelyveld, M. "Beyond Swabs and Solvent Gels: Using Scenariosto Generate, Evaluate and Navigate Conservation Futures." InProceedings of the Australian Institute for the Conservation of CulturalMaterials (AICCM) National Conference, Canberra 19–21 October2011, 1-19. Canberra: National Library of Australia, 2011.Leong, R. "‘Mariage  La Mode’." The Age Supplement for The WhiteWedding Dress (2011).———. "Napoleonic Uniforms." In Napoleon: Revolution to Empire, editedby Ted Gott & Karine Huguenaud, 266-69. Melbourne: NationalGallery of Victoria, 2012.Leong, R, and P McNeil. "Sneakers/ Trainers." In Encyclopaedia ofConsumer Culture, edited by Dale Southerton (ed.). Manchester:University of Manchester Press, 2011.Lindsay, F. "Christine O'loughlin." In Visions Past and Present:Celebrating 40 Years, 104-05. Melbourne: Ian Potter Museum ofArt, 2012.———. Dashing Dogs in the National Gallery of Victoria. Melbourne:National Gallery of Victoria, 2012.———. "Empress Marie-Louise." In Napoleon: Revolution to Empire, 277.Melbourne: National Gallery of Victoria, 2012.———. "Museums in the Age of Challenge." In Museums AustraliaVictoria State Conference keynote address. Victoria: MuseumsAustralia Victoria, 2012.———. "Pierre-Joseph Redoute and Empress Josephine." In Napoleon:Revolution to Empire, 174. Melbourne: National Gallery ofVictoria, 2012.———. "The Role of the Art Museum as the Touchstone for CommunityInspiration and Engagement: The Legacy of Ursula Hoff." In AnnualUrsula Hoff Lecture. Melbourne, 2012.Martin, M. "Alessandro Algardi, Flagellation Group." The Silver Societyof Australia Newsletter, no. February 2012 (2012): 6.———. "The Athénienne, Psyché and Lit Bateau." In Napoleon: Revolutionto Empire, 244-47. Melbourne: National Gallery of Victoria, 2012.———. "The Directory, 1795¬-1799." In Napoleon: Revolution to Empire,79. Melbourne: National Gallery of Victoria, 2012.

104 SCHOLARLY PUBLICATIONS BY NGV STAFF (cont’d)105———. "Empress Josephine." In Napoleon: Revolution to Empire, 164.Melbourne: National Gallery of Victoria, 2012.———. "English Porcelain, Catholic Collectors." In British Association ofArt Historians Annual Conference, Open University, Milton Keynes,29-31 March, 2012.———. "Glimpsing Other Worlds: The Sculpture of Alex Pittendrigh."In Art#2 Australian Centre for Contemporary Art Regional Tour:Kate Daw, Alex Pittendrigh, 14-15. Melbourne: Australian Centre forContemporary Art, 2011.———. "Manufacture De Sèvres, after Nicolas-Augustin Matte, JunoCapitolina, 1813." In Napoleon: Revolution to Empire, 190. Melbourne:National Gallery of Victoria, 2012.———. "Napoleon’s Throne from the Chamber of Deputies." InNapoleon: Revolution to Empire, 252. Melbourne: National Galleryof Victoria, 2012.———. "Porcelain Monks and Nuns." In 14th Australasian David NicolSmith Seminar in Eighteenth-Century Studies. Melbourne, 2011.———. "Review Article of Robert Bagley, Max Loehr and the Study ofChinese." The Journal of Art Historiography 5 (2011).———. "Samuel Taylor, Tea Canisters and Caddy." The Silver Society ofAustralia Newsletter, no. June 2012 (2012): 8.———. "Wallpaper Design, Consulate and Empire Periods." In Napoleon:Revolution to Empire, 122-23. Melbourne: National Gallery of Victoria,2012.Matthiesson, S. "The French Revolution and the Reign of Terror." InNapoleon Revolution to Empire. 54-55. Melbourne: National Galleryof Victoria, 2012.———. "Imprisonment During the Reign of Terror." In NapoleonRevolution to Empire. 68-71. Melbourne: National Gallery ofVictoria, 2012.———. "Jacques-Louis David: Jean-Paul Marat, Radical Politician andRevolutionary Martyr." In Napoleon Revolution to Empire. Melbourne:National Gallery of Victoria, 2012.———. "Jean-Francois Sablet: Portrait of a Revolutionary, 1794." InNapoleon Revolution to Empire. 54-55. Melbourne: National Galleryof Victoria, 2012.———. "Les Merveilleuses." In Napoleon Revolution to Empire. 128-29.Melbourne: National Gallery of Victoria, 2012.———. "Louis Gauffier André Francois Miot, Consul of France toFlorence." In Napoleon Revolution to Empire. 86-87. Melbourne:National Gallery of Victoria, 2012.———. "Louis-Léopold Boilly Napoleon and the Sculptor Cartellier." InNapoleon Revolution to Empire. 186-87. Melbourne: National Galleryof Victoria, 2012.———. "Modelling Liberty Clay Sculptures in the Prison of the FrenchRevolution." In Karl Duldig Annual Sculpture Lecture. Melbourne:National Gallery of Victoria, 2012.———. "Negotiating a Future: Court Artists in the Prisons of the FrenchRevolution." In David Nichol Smith Conference in Eighteenth-CenturyStudies, Melbourne July 4-7 2011. Melbourne, 2011.———. "Propaganda and the Role of Artists in the French Revolution." InNapoleon Revolution to Empire. 26-37. Melbourne: National Gallery ofVictoria, 2012.———. "The Storming of the Bastille Prison." In Napoleon Revolution toEmpire. 56-57: Melbourne: National Gallery of Victoria, 2012.Park, J. "Korean Ceramics from NGV." The Asian Executive Christmasedition 2011 (2011): 87-91.Richardson, C. "The Periphery." Excerpt Magazine, no. 1 (2011): 36-37.Ryan, J. "Aesthetic Splendour, Cultural Power and Wisdom: EarlyPapunya Painting." In Tjukurrtjanu: Origins of Western Desert Art,edited by Judith Ryan and Philip Batty. Melbourne: National Galleryof Victoria, 2011.———. "'The Ancient Made New'." Apollo July/August, no. July/August(2011): 36-41.———. "Captain Harrison." In This Wondrous Land: Colonial Art onPaper, edited by A Bunbury. 104. Melbourne: National Gallery ofVictoria, 2011.———. "Irrunytju Arts." In Ngaanyatjarra Art of the Lands, edited by Tim& Carty Acker, John. Crawley, Perth: UWA Publishing, 2012.———. "Tommy Mcrae." In This Wondrous Land: Colonial Art on Paper,edited by A Bunbury. 102-03. Melbourne: National Gallery of Victoria,2011.———. "William Barak." In This Wondrous Land: Colonial Art on Paper,edited by A Bunbury. Melbourne: National Gallery of Victoria, 2011.Ryan, J, and P Batty, eds. Tjukurrtjanu: Origins of Western Desert Art.Melbourne: National Gallery of Victoria, 2011.Shaw, S. "A Cornucopia of Carving Techniques: An Analysis andTreatment of a Qing Dynasty Lacquered Screen." In East AsianLacquer: Material Culture, Science and Conservation, edited by S.Rivers, R. Faulkner and B. Pretzel, 196-207. London: Archetype inassociation with the Victoria and Albert Museum, London., 2011.Taylor, E. "Emma Minnie Boyd." In This Wondrous Land: Colonial Arton Paper, edited by A Bunbury. Melbourne: National Gallery ofVictoria, 2011.Vaughan, G. "Collecting Correggio." In Members Talk Series.Melbourne: National Gallery of Victoria, 2011.———. "Epilogue: Sir Andrew Grimwade." In Storied Windows: AnAnthology of Speeches, Poems & Reflections; Casting Light on theArts, Science & Life in Australia 1959 to 2011: An Anthology ofSpeeches, Poems and Reflections by Sir Andrew Grimwade, edited bySir A Grimwade, 257-62. Melbourne: The Miegunyah Press, 2012.———. "How Museums Integrate Historic Art and Modern Culture andTheir Optimal Utilisation." In The Kingold Museum. Conghua, China,The Kingold Museum, 2011.———. "The Musée Napoléon." In Napoleon: Revolution to Empire, 20-25.Melbourne: National Gallery of Victoria, 2012.———. "The NGV’s 150th Anniversary: 10 Milestones in Our History." InAt the Frontier: Exploring the Possibilities. Perth: Museums AustraliaNational Conference 2011, 2011.———. "Public Access to Private Collections of Graeco-RomanAntiquities in Late 18th Century London." In 14th Australasian DavidNicol Smith Seminar in Eighteenth-Century Studies. Melbourne, 2011.———. "Sex, Lies & Theft in Late 18th Century Europe: The Underbellyof the Taste for the Antique." In Masterclass Talk Series. Perth: ArtGallery of Western Australia, 2011.Villis, C. Poussin: The Crossing of the Red Sea: A Conservation Project.Melbourne: National Gallery of Victoria, 2012.

106 appendix 12:107donorsMASTERPIECES FOR MELBOURNEThe 150 th Anniversary Campaign for theDevelopment of the NGV Collection.The National Gallery of Victoria warmlythanks and acknowledges the supportfrom the following individuals, families andorganisations, and those who wish toremain anonymous.Campaign PatronsThe Honourable David Angel QC & AnitaAngelPeter Clemenger AM & Joan ClemengerJim Cousins AO & Libby CousinsSir Andrew Grimwade CBE & Lady GrimwadeHugh M Morgan AC & Elizabeth MorganDame Elisabeth Murdoch ACS Baillieu Myer AC & Sarah MyerMaria Myers AOLady Potter ACLoti Smorgon AOLyn Williams AMCampaign CommitteeBruce Parncutt (Chair)Ross Adler ACBill BownessAlan CowenPerri CuttenPeter Griffin AMLorenz GrolloChloe HydeMichael TongDenis Tricks AMLeadership Gifts & Pledges >$100,0001 January 2006 – 30 June 2012Loti Smorgon AO & Victor Smorgon ACAllan Myers AO QC & Maria Myers AOAnonymousBowness FamilyAlan Cowen & Mavourneen CowenIan Hicks AMJohn HigginsBruce Parncutt & Robin CampbellNigel & Patricia Peck FoundationGreg WoolleyYulgilbar FoundationAnonymous (2)Peter Farrell AMPauline GandelEstate of Ruth Margaret Frances HoughtonDame Elisabeth Murdoch ACSpotlight Charitable FoundationGreg WoolleyJason Yeap OAM & Min Lee WongAnonymousRoss Adler AC & Fiona AdlerRon Dewhurst & Katie DewhurstPaula FoxDorothy GibsonPeter Griffin AMKen Harrison & Jill HarrisonFraser HopkinsNGV Women's AssociationImelda and Geok Wong FoundationLeigh Clifford AO & Sue CliffordRino Grollo & Diana Ruzzene GrolloThe Margaret Lawrence BequestEstate of Kenneth Graham MilburnThe Neilson FoundationMichael Tong & Emily TongLuisa ValmorbidaLyn Williams AMCash Gifts to the Endowment >$10,000 to$100,0001 December 2010 – 30 June 2012Sunraysia FoundationMaureen KerridgeMichael NagyThe Orloff Family TrustCarol SissonSpotlight Stores Charitable FoundationDavid Stephenson & Kate StephensonMargaret Ross AMMyriam Wylie & John WylieCash Gifts to the Art Acquisition Fund>$10,000 to $100,0001 December 2010 – 30 June 2012Alan Cowen & Mavourneen CowenPaula FoxPeter Canet & Ivanka CanetEdith GordonThe Stuart Leslie FoundationMargaret Ross AM & Ian RossWestpac Banking CorporationJoe White BequestHugh D T Williamson FoundationAnonymous (2)Edith BurgessBulgari Australia Pty LtdRino Grollo & Diana Ruzzene GrolloLou Senini & Mary SeniniDavid WalshSir James Gobbo AC CVO & Lady GobboVivien KnowlesWayne McGeoch & Vicki McGeochCarol SissonThe Trust CompanyPATRONS PROGRAMSupporting the Masterpieces for Melbournecampaign, helping to achieve our goal throughannual giving to 30 June 2012President's CircleAndrew Abercrombie & Shadda AbercrombieHarold J Campbell-Pretty & KrystynaCampbell-PrettyJohn Fast & Jenny FastPeter Greenham & Anne GreenhamKen Harrison & Jill HarrisonBarbara van Ernst AMDirector's CircleAnonymousJohn Bates & Lorraine BatesNeville Bertalli & Diana BertalliAndrew ChurchyardRon Hood & Sally HoodRosie Lew & Solomon LewSidney Myer AM & Fiona MyerG D NashLoris PeggiePeter Robertson & Rachael RobertsonFrank Tisher & Miriam TisherSupporter's CircleNicholas Allen & Helen AllenCher Beggs & Don BeggsAndrew BoothCaroline Clemente & Robert ClementeLord Francis Ebury & Lady EburyKaren FehringDianne GjergjaGiorgio GjergjaMarco GjergjaRoss Gordon & Kim GordonCatherine GrayRichard GreenGraham JoelGeorge Kass & Grace KassSusan KennettZara M Kimpton OAMAnthony B Lewis & Helen LewisAngus MckayBeatrice MoignardKoji NakagawaRae RothfieldMurray A SandlandAdrienne ShawJohn Tevelein & Barbara TeveleinSandra Velik & Leon VelikCOLLECTION SUPPORT1 December 2010 – 30 June 2012We recognise with gratitude thefollowing individuals whose annual gifts areso important to the development ofour collectionsSUPPORTERS OF ASIAN ARTMajor GiftsPauline GandelAllan Myers AO & Maria Myers AOThe Neilson FoundationThe Ian Potter FoundationWestpac Banking CorporationJason Yeap OAM & Min Lee WongYulgilbar FoundationPresident's CircleS Baillieu Myer ACBruce ParncuttIvan TranJason Yeap OAMDirector's CircleCaroline LiowVivien KnowlesLynton Morgan & Susan MorganSupporters’ CircleRamona ChuaRose DownerJoan GunnSimon LohJanet Wang & Chris WangGim Wah Yeo AM JPMichael Watt QC & Cecilie HallSarah Watts & Ted WattsCash Gifts to the Asian Art AcquisitionFund > $500Canaan LawyersPeter ChuShirley X ChuWanghua ChuKa Sing ChuaPeter ClementsMargaret ConeJim Cousins AO & Libby CousinsElderly Chinese Home IncWilkin FonMilton Harris & Penny HarrisMerran KelsallDavid LiDiana MorganKen OngMaudie Palmer AOMae Anna PangPeter PoonPhilip Ross & Sophia Pavlovski-RossAdam Ryan & Yoko RyanEva SweetJohn Webb OAMLyn Williams AMNGV CONTEMPORARYDirector's CircleDaniel Besen & Danielle BesenDominic Dirupo & Natalie DirupoSupporters’ CircleRobyn BurkeSophie McNeur & Simon CroweSidney Myer AM & Fiona MyerAnne Wall-SmithSarah Watts & Ted WattsCash Gifts to the NGVC Acquisition Fund >$500Peter Bancroft OAM & Marlyn BancroftSUPPORTERS OF DECORATIVE ARTSMajor GiftsAustralian Decorative & Fine Arts SocietyYarra IncHarold Campbell-Pretty & KrystynaCampbell-PrettyPeter Canet & Ivanka CanetHugh Morgan AC & Elizabeth MorganPresident's CirclePeter Canet & Ivanka CanetDirector's CircleMarjorie PinderSupporters’ CircleRon Hood & Sally HoodKenneth ReedCash Gifts to the Decorative ArtsAcquisition Fund > $500Michael Blanche & Lauraine DigginsAndrew DixonPeter Holly & Evelyn HollyRon Hood & Sally HoodRobin HuntAngel IslesFrank C Jones & Jill JonesBetty Pizzey & John PizzeyGwenda Robb

108 Donors (cont’d)109SUPPORTERS OF INDIGENOUS ARTPresident's CircleGeoffrey Allen AMJim Cousins AO & Libby CousinsBarry Fitzgerald & Helen FitzgeraldWayne McGeoch & Vicki McGeochDirector's CircleRichard England & Harriet EnglandJudith Gorr & Leon GorrCrispin Gutteridge & Alison PylePeter Hanks QCJohn Karkar QCBori Liberman & Helen LibermanIan MacLean & Anne MacLeanSupporters’ CirclePaul Anastassiou SCNeville R BirdRosie BrennanMargaret Bullen & Ron VanderwalFiona BrockhoffJulian Burnside AO QCMichael Buxton & Janet BuxtonMichael Casper & Carol CasperNellie CastanAnn ColeKevin Collecutt & Margaret CollecuttTerry CutlerColin Golvan SC & Deborah GolvanAngela Gunn & Neil GunnJane GuyPeter Jopling QCAnthony Knight OAM & Beverly KnightJudge Kathryn KingsTrevor McLeanKate McMillan SCDiana MorganDavid Morrison & Edith MorrisonMossgreen GalleryArthur RoeAnthony G Stolarek & Barbara StolarekRicci SwartMichael TrovatoMark YoungCash Gifts to the Indigenous ArtAcquisition Fund > $500The Allen Consulting Group Pty LtdRichard AlstonPeter Berger & Carolyn BergerAngela BerryDaniel CrennanStephen Charles & Jenny CharlesRamona ChuaChristine CollingwoodGraeme EvansAmanda FrithAngela Gunn & Neil GunnJacqueline HealyRaymond Hind & Mary HindTony Hyams & Ann HyamsJulie KantorElizabeth Laverty & Colin LavertyCatherine Lewis & Harry LewisJames Peters SCMichelle Quigley SCIan RogersGabriella RoyJudith RutherfordPhilip Solomon SCDelma ValmorbidaMatthew WalshMichael WrightPeter Zangmeister & Angelika ZangmeisterSUPPORTERS OF PRINTS & DRAWINGSMajor GiftsThe Gordon Darling FoundationChristine HealyThe Stuart Leslie FoundationHugh Morgan AC & Elizabeth MorganMargaret Stones AM MBELyn Williams AMDirector's CircleChristine HealySupporters’ CirclePeter Di SciascioCash Gifts to the Prints & DrawingsAcquisition Fund > $500Eric Harding & Athol HawkeMike JosephsonAlison InglisAudrey McLarenLeon Velik & Sandra VelikBarbara van Ernst AMBernard XuSUPPORT FOR SPECIAL PROJECTS1 December 2010 – 30 June 2012Pauline GandelYulgilbar FoundationJoan Clemenger & Peter Clemenger AMElias Jreissati & Colleen JreissatiGordon Moffatt AM & Jacqueline MoffattRCR Holdings Pty LtdSidney Myer FundThe Vizard FoundationWestpac Banking CorporationFred P Archer Charitable TrustBird Family BequestSUPPORT FOR NGV CONSERVATION1 December 2010 – 30 June 2012The Hugh D T Williamson FoundationSusan MorganIndividual Endowed FundsLoti & Victor Smorgon FundBowness Family FundKM Christensen & AE Bond BequestDocking Drawing FundJohn McCaughey Memorial Prize TrustSusan Morgan Fund for ConservationBequests Received1 December 2010 – 30 June 2012Estate of Maxwell G ChapmanThe Warren Clark BequestEstate of Ruth Margaret Frances HoughtonThe Thomas William Lasham FundMarie Theresa McVeigh TrustEstate of Kenneth Graham MilburnThe Thomas Rubie Purcell & Olive EsmaPurcell TrustJoe White BequestThe Hugh D T Williamson FoundationEugenie Crawford BequestNew Notified Bequests1 December 2010 – 30 June 2012Anonymous (2)Alan BlackSophie FlynnSue Harlow & Merv KeehnTrevor HolborowKaryn HughesIrene IrvineIrene KearseyChristopher LianWilliam Mackie & Kathleen MackieVicki McGeoch & Wayne McGeochGerry Phillips & Sharon PhillipsJohn Poynter AODodi RoseAndrew Rozwadowski & Patricia DuncanRon Hansen

appendix 13:NGV FoundatIon —LIst of Members2011/12110 Donors (cont’d)111DONORS TO THE ANNUAL DINNERValma Angliss AMDavid BardasJohn Barlow & Mary BarlowDeborah Bartlett PittJohn Bates & Lorraine BatesMarcus Besen AO & Eva Besen AODavid Blanche & Cynthia BlancheBrian Blythe & Helen BlytheBill BownessDavid Brownell & Joanna BrownellTerry Campbell AO & Christine CampbellHarold Campbell-Pretty & KrystynaCampbell-PrettyAlan Castleman & Beverley CastlemanArthur Clark & Elaine ClarkJanese Clark & Peter ClarkSusan CohnRobert Compton JonesDeidre CowanLaurence Cox AO & Julie Ann CoxMary Crean AMLisa Custance & Grant CustancePerri Cutten & Jo DaniellLauraine Diggins & Michael BlancheRose Downer & John Downer AMJohn Fast & Jenny FastWilkin Fon & Ophelia FonMorry FraidFlavia Gobbo & James MacKenzieSir James Gobbo AC CVO & Lady GobboEdith GordonLouise Gourlay OAMElizabeth GraingerGrant SamuelPeter Greenham & Anne GreenhamRino Grollo & Diana Ruzzene GrolloSusan Hamson & Michael HamsonIan Hicks AMJohn HigginsRon Hood & Sally HoodSusan Hughes & Chris HughesPeter Hunt AMChloe Hyde & Anthony HydeAlison InglisAngela IslesKen Jarrett & Carolyn JarrettWilliam M P JonesDorothea Kaiser & Jost KaiserMichael KendallChristina Kennedy & Trevor KennedySusan KennettZara Kimpton OAMElizabeth LoftusChris Lynch & Tania SearyM McKenzieNaomi Milgrom AOBeatrice MoignardSusan MorganDiana MorganAlexander MurdochAllan Myers AO QC & Maria Myers AOCharles NodrumSir Gustav Nossal AC CBE & Lady NossalBruce Parncutt & Robin CampbellPamela Paton & Ross PatonJohn Pizzey & Betty PizzeyAllan PowellMichelle Quigley SC & Hugh KelsoKenneth Reed & Leonard GroatPeter ReillyStephen Roberts & Robyn RobertsMargaret Ross AM & Ian RossSusan RumleyJohn Schaeffer AO & Bettina DaltonJennifer ShawAndrew Sisson & Tracey SissonCarol SissonValerie TarrantMichael Tong & Emily TongTom Tootell & Michelle VickerySarah Tricks & Ron DickMichael Ullmer & Jennifer UllmerLuisa ValmorbidaKen Vaughan & Kelly VaughanRalph Ward-Ambler AM & Barbara Ward-AmblerJanet Whiting & Mr Phil LukiesLyn Williams AMStephanie Wilson & Neil WilsonJason Yeap OAM & Min Lee WongGim Wah Yeo AM JPHarrison Young^ Recent gift to 30 June 2012* New memberPresident's Advisory CouncilAllan Myers AO QC & Maria Myers AO ^Andrew Sisson & Tracey Sisson ^Loti Smorgon AO ^The Ian Potter Foundation ^Honorary Life BenefactorsAnita AngelDavid Angel QCAlcoa World Alumina AustraliaAnonymous *^ANZ Banking Group LimitedBarbara Blackman AOBowness Family ^Helen Brack ^Alina CadeAlexander CensorEstate of Maxwell G Chapman ^Joan Clemenger ^Peter Clemenger AM ^Clemenger FoundationJim Cousins AO & Libby Cousins ^Alan Cowen & Mavourneen Cowen ^Perri Cutten ^Lorraine ElsassJames Fairfax AC ^John W FawcettPatricia Fullerton ^Pauline GandelRino Grollo & Diana Ruzzene Grollo ^Ian Hicks AM ^John Higgins ^Estate of Ruth Margaret Frances Houghton ^Elias Jreissati & Colleen Jreissati ^Gordon Moffatt AM & Jacqueline Moffatt ^Dame Elisabeth Murdoch AC ^S Baillieu Myer AC & Sarah Myer ^The Sidney & Merlyn Myer FamilyNational Australia Bank LimitedNGV Women’s Association ^Bruce Parncutt & Robin Campbell ^Nigel Peck AM & Patricia PeckLady Potter AC ^The Pratt FoundationKenneth Reed *^The John T Reid Charitable TrustRio Tinto Limited ^A G L Shaw AO ^Shell Company of Australia LimitedBarbara van Ernst AM ^Lyn Williams AM ^The Hugh D T Williamson FoundationRobert Wilson ^Peter Wynne Morris & Derek ParkerJason Yeap OAM & Min Lee Wong ^Founder BenefactorsMichael Abbott AO QCJan AltmannValma Angliss AM ^Anonymous (6)Todd BarlinYosl BergnerCharles Bright ^Primrose Bright ^The Reverend Ian BrownJennifer BrownTimothy BrownK.M. Christensen & A.E. Bond Bequest FundThe Warren Clark Bequest ^The Eugenie Crawford Bequest ^Keith DeutsherNorma DeutsherLauraine Diggins ^Bequest of Violet DulieuPaula Fox ^Fiona FullertonJohn FullertonThe Victor Gibson & Dorothy Gibson BequestRobert GouldLady Hamer OAMRon Hansen *^Harrison Family TrustBequest of Kenneth HoodFraser HopkinsMarvin HurnallBarry Janes & Paul CrossDouglas KagiEstate of Elena KeownAndrew KlippelDinah KrongoldThe Thomas William Lasham Fund ^Colin Laverty OAM & Elizabeth Laverty ^Tony LeeChristopher Lian *^Elizabeth J MorganLynton MorganThe Myer FoundationRoslyn Packer AOMoya PalmerMike ParrThe Tam & Anne Purves Memorial GiftThe Peter & Susan Rowland EndowmentMilton Roxanas ^John Schaeffer AO ^June SherwoodMichael ShmithSpotlight Stores Charitable Foundation ^The Rt Hon Sixth Earl & Countess ofStradbroke ^Bequest of Mrs Elizabeth Summons MBEBarbara TuckerPamela, Lady VesteyJohn WarnerWestpac Banking CorporationGovernorsDaryl AbrahamsGuy AbrahamsRoss Adler AC & Fiona Adler ^Fred P Archer Charitable Trust *^Rita AvdievMichael J Ball AMRoger Benjamin & Kate SandsMarcus Besen AO & Eva Besen AO ^Edward Billson & Margaret Billson ^Charles Blackman OBERobert BleakleyPeter BoothChris Boylan ^Lennox & Edna Brewer Memorial GiftMichael Buxton ^Harold Campbell-Pretty & Krystyna Campbell-Pretty ^Anita CastanNellie CastanSylvia ChernyPatrick Chong

112 NGV FOUNDATION LIST OF MEMBERS 2011/12 (cont’d)113Leo Christie OAMPatrick Corrigan AMDeidre Cowan ^Ian DarlingL Gordon Darling AC CMGShaun Dennison & Alison Dennison ^Peter Farrell AM *^Barrie I Follows AM, JPMargaret G FollowsChristine GeorgeIan GeorgeHenry GillespieGoldman Sachs & Partners Australia Pty Ltd ^Colin Golvan SC ^Peter Griffin AMP Hackforth-JonesJean Hadges ^Ken Harrison & Jill Harrison ^Bill HensonDonald HoltJanet HoltAngela Isles ^Michael JohnsonTim JohnsonVivien JohnsonWilliam M P Jones ^Peter Jopling QCLily Kahan ^Anthony Knight OAM ^Beverly Knight ^Lab Architecture StudioTerence LaneNorma LeslieCorbett Lyon & Yueji LyonHelen Macpherson Smith TrustBruce & Judy Matear Family TrustMagda MatwiejewKevin McDonald & Eunice McDonaldRodney MenziesMichael Moon ^Hugh M Morgan AC ^Maureen MorriseyAnnabel MyerRupert Myer AMFrank NichollsWilliam Nuttall & Annette ReevesLaurence O’Keefe & Christopher JamesJohn Olsen AO OBE ^J P PalmerE M PatonJohn PlayfootRichard ReedDavid J RichardsRobert RooneyDavid RosenthalMargaret Ross AM ^R E Ross TrustJames RoweAlma RoxanasGabriella Roy ^Judy RoznerAnna SchwartzAlan Scott & Myra Scott ^Estate of Barbara SeddonLou Senini ^Mary Senini ^Lisl SingerCarol Sisson ^Ben Slater & Joan SlaterSally SmartMargaret Stones AM MBE ^Alice VaughanSanto VersaceThe Ralph & Barbara Ward-AmblerEndowment ^Jeff Wassmann & Melinda GeertzJoe White Bequest ^Imelda and Geok Wong Foundation *^Greg Woolley ^Dianne YoungAndrea ZieglerJenny ZimmerFellowSAnonymous (3)Elizabeth ArthurSamantha Baillieu ^Will BarrettMax Beck AMMichael BlanchePenleigh BoydAlice-Anne BoylanEd BoylanRobert BoynesEstate of Barbara BrashBrenmoss Investments Pty LtdRosie BrennanAndrew Browne ^The Buchan GroupEstate of Patrick ByrnePeter Canet & Ivanka Canet ^Anne CarinsEstate of Lady Carmen Sandra CarnegieSir Roderick Carnegie ACJohn CatoFrancis ChaiWilliam Chanen AM & Ann ChanenBeatrice ChapmanGunter ChristmannSue Clifford & Leigh Clifford ^Christine Collingwood ^Peter Corrigan AMSue Course ^The Gordon Darling FoundationBrian DavisDenise de GruchyRonald Dewhurst & Katie DewhurstNeil DonaldsonFrancis DunnWayne Eager & Marina StrocchiPeter FayWilliam FellowsAmanda FrithKerry GardnerDavid GoldbergerKate GollingsJudith Gorr ^Leon Gorr ^Betty, Philip and William GrahamWilliam GrahamAndrew GreenJennifer GreenAngus Grimwade & Karen Grimwade ^James HammondMichael Hamson & Susan Hamson ^Eric HardingHari Harilela OBEAthol HawkeChristine HealyMargaret Hendy ^The Herald & Weekly Times LimitedIan HigginsAndrew HodderJane HodderAmirah InglisWilliam IrvineAlastair JacksonCarolyn Kay & Simon SwaneySara Kelly *^Merran KelsallInge King AMMem Kirby OAM ^Vivien Knowles ^David Kolieb & Mira KoliebKPMG Pty LtdThe Margaret Lawrence BequestEstate of Duncan Elphinstone McBryde Leary ^Helga LeunigMichael LeunigRosie & Solomon Lew ^Ann Lewis AOIan LobbJohn McCarthy ^Frank McDonaldJohn McPheeMarie Theresa Mcveigh Trust ^Estate of Kenneth Graham Milburn *^Naomi Milgrom AO ^Allan MitelmanKlaus MojeTraudl MoonSusan Morgan ^Jean MoriartyMandie MossMargaret Mott *^Brenda Strang MouritzWilliam Begg Murdoch & Richard MartinO’DwyerClare MyersMichael Naphtali AMThe Neilson FoundationLady NolanMaev O’Collins MBEOrica LimitedThe Orloff Family Charitable Trust ^Louis Partos ^Hans Pierrot & Merril PierrotJanet PurvesStuart Purves AMIan Reid & Julie Reid ^The E & D Rogowski Foundation ^Rae Rothfield ^Leslie RoweGraham Ryles OAM KSJ & Judith RylesScanlon FoundationAdrienne Shaw ^Max SmithDavid SouthwickEstate of Mary Macrae StewartTakamasa TakahashiPeter Tallis & Mary TallisMichael Tong & Emily Tong ^Luisa Valmorbida ^Leon Velik ^Sandra Velik ^Steve Vizard & Sarah VizardAndrew G WheelerLloyd WilliamsRay Wilson OAMAngela WoodChristine WrightEstate of Dr Donald Allan WrightFelicity WrightMark Young ^Salvatore ZofreamembersDavid Adams *^John Adams & Cecily AdamsGeoffrey Ainsworth AMVicki AinsworthRobert Albert AO *^Jan AlbrechtTim Alder & Robyn AlderGeoff Allen AMVivien Anderson & Gilles TerrierBrook AndrewAnonymous (9) *^Jan Armstrong-ConnAshdene of AustraliaAustralian GalleriesRobin BadeJohn Baird & Diane BairdAndrew BakerRosalind BakerBank of QueenslandDavid Bardas ^Geoffrey BartlettMichael E Bartlett & Mim Bartlett ^Deborah Bartlett Pitt ^John Bates & Lorraine Bates *^Neil Batt AODorothy BaylisJohn BaylisKate BêchetChristopher BeggPatricia Begg OAMIan BelshawPhillip Benjamin & Sandy BenjaminAnn BennettGordon Bennett (John Citizen Arts Pty Ltd)Carolyn BergerPeter BergerAngela Berry ^Daniel Besen & Danielle Besen *^David Blanche ^Penny Blazey ^Jan BoydMichael Boyd & Donna BoydYvonne BoydCaroline BrainBrigitte BraunThe Jack Brockhoff FoundationTania Brougham ^Jasmine BrunnerJohn BrunnerPeter Buckley & Margaret BuckleyBulgari Australia Pty Ltd ^Margaret Bullen ^Peter Burch AM BMEdith Burgess ^David ByrneDominic ByrneMadeleine ByrneJanet Calvert-Jones AOJohn Calvert-Jones AMMichael Casper & Carol CasperJudy Cassab AOSusan CatoJon CattapanFrank Chamberlin & Danielle ChamberlinMark Chapman ^Stephen Charles & Jenny CharlesRic M Charlton AMSamuel ChazanAndrew Churchyard ^Robert ClinchCecily ClosePatricia CodyPenny ColeingKathy ComportWilliam J Conn OAMCaroline Cornish & Philip Cornish ^Laurence G Cox AO & Julie Ann Cox ^David Crawford ^Verdine Crawford ^Margaret CrothersPhilippa Currie & Peter Currie ^Virginia DahlenburgDaimlerChrysler Australia - PacificMark DaniellAleks DankoAnthony DarlingDavid DarlingJoan Darling ^Marilyn Darling ACMarina DarlingMichael G DarlingSarah DarlingPamela R DaviesSam Dawson & Louise DawsonSandra DentChris DeutscherAndy Dinan & Mario Lo Giudice ^Thomas DixonMarion Downe ^Rose Downer ^William Downey ^Brian Doyne & Prue DoyneLord Francis Ebury & Lady Ebury ^Lindley EdwardsNick Edwards & Amanda HallPeter Edwards & Monica EdwardsRobert Edwards AOThe Dr Michael Elliott and Mr Robert BlackburnBequest 2008David EllisJulie FarrellJohn Fasham & Beth FashamJanne Faulkner AMLouise FishmanBarry Fitzgerald & Helen FitzgeraldRosemary FlandersDiana FletcherSophie FlynnFondation Albert GleizesH M FraserDuncan Fraser SmithJon FriedrichRos FriedrichGallerie AustralisGallery Gabrielle Pizzi

114 NGV FOUNDATION LIST OF MEMBERS 2011/12 (cont’d)115Annemarie and Arturo Gandioli-FumagalliFoundation (2008)Carrillo Gantner AONeilma GantnerDiana GazeDianne Gjergja & Giorgio Gjergia *^Sir James Gobbo AC CVO & Lady Gobbo ^Christine GoddenEthel Goldin ^Greg Goodman & Jennifer Goodman ^Edith Gordon *^John Gough AO OBE & Mrs Rosemary GoughDita GouldG Mark Grant ^Catherine Gray ^Heather GreenPeter Greenham & Anne Greenham *^Lesley GriffinSir Andrew Grimwade CBEFred GrimwadeAnne Grindrod & John GrindrodLeonard Groat *^Angela GunnJoan Gunn ^Stephen Hains & Jane HainsLance HammondJack Hansky AM & Paula Hansky ^Sarah HarleySue Harlow & Merv Keehn *^Claudia HarperGlen Harrington & Robyn EasthamBrent Harris ^Frances HattamJohn HattamKatherine HattamVictoria HattamRichard Havyatt & Louisa HavyattPonch HawkesHilda HendersonFenn HinchcliffeJanice HinderakerEmmanuel HirshChristopher Hodges & Helen EagerPeter Holly & Evalyn Holly ^Ron Hood & Sally Hood ^Edward Horton & Michele Bonnett-HortonKaryn HughesAnne Hunt OAMDarvell Hutchinson AMChloe Hyde ^Irene Irvine ^Anne IsaacsonGeorge IvanovRobert Jacks AOJuliette, Danielle & Georgina JerumsDenis JoachimFrank Jones & Jill Jones ^Trevor JonesMarjorie Josephs-Wilks ^Barbara Kane & Kevin KaneTrudy KennedySusan Kennett ^Maureen KerridgeZara M Kimpton OAM ^Richard King & Andrea KingLou Klepac OAMKodak (Australasia) Pty LtdRichard Kopinski & Anna KopinskiCountess Zofia Krasicka v. SiecinJoanne Lagerburg & Stephen LagerburgBetty LawsonJennifer Lempriere ^Lesley Kehoe GalleriesCatherine Lewis ^Janet LimbGeoffrey Linton & Catherine LintonMary Lipshut ^Scott Livesey & Susie LiveseyJohn LoaneLillian Ernestine Lobb BequestElizabeth H Loftus ^Robert G Logie-Smith & Sue Logie-SmithIan Lowe & Angela AdamsGraham M LudeckeGeorgina LynchPatricia MacdonaldAngus Mackay ^Duncan MacqueenAndrew MarksEstate of Ouida MarstonRobert MartinFrederick Bruce MatearRobin MatthewsPatrick Matthiesen *^Alexandra MayesBarbara MayesVicki McGeoch & Wayne McGeoch ^Mark McKellar-Harding & Rachel McKellar-HardingM P McKenzie ^Graeme McKinnonDon McRaeSally McRaeMelbourne Art FairMering Corporation Pty Ltd *^Marjory MillerJames MintoThelma MintoBequest of Mr George MitchellBeatrice Moignard ^John Desmond MooreDiana Morgan ^Henrietta MorganSarah MorganWilliam MorganDan MossensonAndrew Mountford & Sara Mountford ^Reverend Nigel Murby Wright & Stephen MurbyWrightPeter W MusgraveFiona Myer ^Martyn Myer AOPhilip S MyerSidney Myer AM ^Frank NadinicMichael Nagy ^Harry NankinMaggie Nanut ^Jan NelsonStephen Newton AO *^Anthony NicholasCharles Nodrum ^Tony NortonSamuel NylanderJustin O’Day AM ^Sally O’Day ^Kean T OoiKenneth W ParkDavid Payes & Sonia PayesChristine PeirsonGraham PeirsonYvonne PerretAnthony Pie & Betsy PieGwyn Hanssen Pigott OAMRoger Pitt ^John Pizzey & Betty Pizzey ^Samantha Pizzi *^Playoust Family FoundationAllan Powell ^Brendan Power & Diane PowerIan PrattDavid PriorElizabeth A PryceThe Thomas Rubie Purcell & Olive EsmaPurcell Trust ^Jarrod Rawlins & Tara Rawlins *^Anthony Rayward & Elizabeth RaywardScott RedfordPeter RedlichVivienne ReedAlan Rees & Jancis ReesRalph RenardArthur Roe ^Andrew RogersIan RogersDodi Rose ^Simon Rosenthal *^Philip Ross & Sophia Pavlovski-RossAndrew Rozwadowski & Patricia Duncan *^Lisa SassellaDon SaundersKen Scarlett OAM ^Marian Scarlett ^Jessemyn SchippersPhillip Schudmak & Susan SchudmakCarol Schwartz AMMary Schwartz *^Ofelia Scott ^Caroline SearbyPaul SelzerBernard ShaferRobin L Sharwood AM ^Jennifer Shaw ^Ben ShearerKate ShelmerdineStephen Shelmerdine AMViolet ShenoGene Sherman AM & Brian Sherman AMWilliam F Sibley TrustGary SingerHans SipJock SmibertSam Smorgon AOJohn SpoonerPetrus SpronkMatthew StaffordDavid Stephenson & Kate StephensonRobert StevensWilliam StevensJune StewartGillian StillwellDiana StockSunraysia Foundation ^Kathie SutherlandIrene SuttonRicci SwartEva Sweet ^Robin Syme AMRosemary SymeJessica Taylor ^Chris Thomas & Cheryl ThomasMargaret TollHelen TomIvan Tran *^Dulcie TrethewieThe Trust Company Limited ^Margaret Tuckson AMEstate of Kenneth Albert TyasClaude UllinThe Ullmer Family Endowment *^Delma Valmorbida & Tarcisio ValmorbidaLouisa M VassBret Walker SCSue Walker AMRobert WallaceDavid WalshWesley WaltersLeonard Warson & Elana WarsonGeorgina WeirEstate of Dr Eric Westbrook CBDinah WhitakerIsobel WilliamsJann WilliamsJudy Williams ^Philip Williams & Elizabeth Williams ^John WolseleyKaren WoodburyJames Woodhouse CromptonRobert Woodhouse CromptonAndrew WrightMyriam WylieAdam WynnEva WynnPatrick Yang ^Michael YatesPeter Zangmeister & Angelika Zangmeister ^David Zerman & Sarah Barzel

appendix 14:Felton SocIetyMembers116 117Recognising thosewho have made a notifiedbequest to the NGV.As at 30 June 2012appendix 15:SponsorsPatronHugh M Morgan ACMembersAnonymousValma E Angliss AMPatricia Armstrong-GrantElizabeth ArthurDorothy BaylisJohn BaylisKate Bêchet & Helen DickIan BelshawDiana BenevoliAlan BlackIan BrownJennifer BrownTimothy BrownAnne CarinsAlex CensorFrancis ChaiFrank & Danielle ChamberlinChristine CollingwoodJim Cousins AO & Libby CousinsPerri CuttenChristopher Thewlis & Mark DarbyshireIvor Davis & Susie DavisSuzanne C DawbarnDenise de GruchySandra DentMarion DowneBrian Doyne & Prue DoyneMichael ElliottJohn FawcettSophie FlynnMargaret & Barrie Follows AM JPPatricia FullertonArturo Gandioli-Fumagalli & AnnemarieGandioli-FumagalliMargaret GoodeWilliam GrahamAngela GunnJoan GunnLesley HaleDawn HalesRon HansenSue Harlow & Merv KeehnAlistair HayRobert Heinemann & Heather HeinemannHilda HendersonMargaret HendyIan HigginsTrevor HolborowPeter & Evalyn HollyFraser HopkinsKaryn HughesMarvin HurnallPeter IbbotsonAlison InglisIrene IrvineIrene KearseyRichard Kopinski & Anna KopinskiTony LeeWayne LeslieChristopher LianCatherine & Geoffrey LintonJohn & Jacquie LlatseKathleen MackieMarita MaddenRobert MartinDiane MatthewsKevin McDonald & Eunice McDonaldPatricia McDonaldVicki McGeoch & Wayne McGeochJoyce McGrath OAMMark McKellar-Harding & Rachel McKellar-HardingJacqueline & Gordon Moffatt AMLynton Morgan & Susan MorganMaureen MorriseyJack Moshakis & Gill TaskerBrenda MouritzWilliam Begg Murdoch & Richard MartinO'DwyerLaurence O'Keefe & Christopher JamesMoya PalmerKenneth W ParkLouis PartosRuth PartridgeE M PatonChristine & Graham PeirsonGerry Phillips & Sharon PhillipsHans Pierrot & Merril PierrotBrendan Power & Diane PowerJohn Poynter AOIan PrattKen PriceDavid PriorDavid RichardsJudy RoachSally RobertsonAnthea RobinsonDodi RoseMarie RowlandAndrew Rozwadowski & Patricia DuncanGraham Ryles OAM KSJ & Judith RylesIrving Saulwick AOJessemyn SchippersLou Senini & Mary SeniniRobin L Sharwood AMJune SherwoodBen Slater & Joan SlaterMax SmithDiana StockDavid Trenerry & Elizabeth TrenerryGary Upfield & Robyn UpfieldBarbara van Ernst AMRobert WallaceHazel WestburyNoel WhaleDinah WhitakerJudy WilliamsAmanda WorthingtonPeter Wynne Morris & Derek ParkerDianne YoungMark YoungNGV PartnersMelbourne WinterMasterpiecesAustralian ArtOfficial HotelResearch PartnerNGV SupportersBlue Star GroupMercerDulux AustraliaMicadorLavazzaSanpellegrinoExhibition Principal SponsorsExhibition Support SponsorsAdshelDepartment of Education & EarlyAlliance Française de Melbourne Childhood DevelopmentAPN OutdoorDulux AustraliaAustrian National Tourist Office Ernst & YoungAvant CardFelton Grimwade & Bosisto’sCatholic Education OfficeIndependent Schools VictoriaCity of MelbourneJCDecauxCrumplerLavazzaInternational ArtConservation PartnerMaddocksMelbourne AirportMercerMicadorQantas AirwaysSanpellegrinoSofitel Melbourne On CollinsThe AgeIndigenous ArtTourism VictoriaV/LineVictorian Curriculum &Assessment AuthorityYarra Trams

118 appendix 16:119DIsclosure IndexThe Annual Report of the Council of Trustees of the National Gallery of Victoria is prepared in accordance with all relevant Victorian legislation.This index has been prepared to facilitate identification of the NGV’s compliance with statutory disclosure requirements.Requirement Legislation Page RefMINISTERIAL DIRECTIONS: REPORT OF OPERATIONSCharter and purposeManner of establishment and the relevant Ministers FRD 22 6Objectives, functions, powers and duties FRD 22 6Nature and range of services provided FRD 22 6Management and structureOrganisational structure FRD 22 73Financial and Other InformationWorkforce data / application of employment and conduct FRD 22 74, 75Summary of the financial results of the year FRD 22 32, 33Significant changes in financial position during the year FRD 22 32, 33Operational and budgetary objectives and performance against objectives FRD 22 32, 33Major changes or factors affecting performance FRD 22 32, 33Subsequent events FRD 22 66Application and operation of Freedom of Information Act 1982 FRD 22 78Compliance with building and maintenance provisions of Building Act 1993 FRD 22 82Statement on National Competition Policy FRD 22 82Application and operation of the Whistleblowers Protection Act 2001 FRD 22 79Details of consultancies over $10,000 FRD 22 83Details of consultancies under $10,000 FRD 22 83Disclosure of major contracts FRD 12 57, 82Statement of availability of other information FRD 22 84Occupational health and safety FRD 22 75Disclosure index FRD 10 118Victorian Industry Participation Policy disclosures FRD 25 82Environmental Performance FRD 24B 79–81Attestation on Compliance with Risk Management Standard SD 4.5.5 82Financial statements required under Part 7 of the Financial Management Act 1994 FRD 24BCompliance with Australian accounting standards and other authoritative pronouncements SD 4.2 (c) 41Compliance with Ministerial Directions SD 4.2 (c) –Rounding of amounts SD 4.2 (d) 45Accountable officer’s declaration SD 4.2 (c) 36Statement of financial performance SD 4.2 (b) 37Statement of financial position SD 4.2 (b) 38Statement of cash flows during the year SD 4.2 (b) 40Other disclosures in notes to the financial statementsDisclosure of ex-gratia payments FRD 11 –Disclosure of parliamentary appropriations FRD 13 48Responsible person and executive officer disclosures FRD 21 65, 66Superannuation liabilities and disclosure FRD 23 57LegislationPage RefFreedom of Information Act 1982 78Building Act 1983 82Whistleblowers Protection Act 79Victorian Industry Participation Policy Act 2003 82Information Privacy Act 2000 79Multicultural Victoria Act 2004 76Disability Act 2006 78