Conrad Martens (21 March 1801–78) was the only major colonial artist to work in Queensland. The beauty of his work and the rarity of early visual records make him an important figure in Queensland’s history with Martens’ records of early Queensland essential historical documents for investigating the early decades of European settlement in Brisbane, the Moreton Bay district and the Darling Downs. Art historians, botanists, architectural historians, and cultural geographers have all benefited from the wealth of information contained in Martens’s drawings and watercolours.
Pierre Nuyts ‘Conrad Martens’ 1953
Examining Brisbane
Modern conservation techniques have allowed us to take a much closer look at two similar watercolours and intimately scrutinise their histories. The Gallery’s work Brisbane c.1852 (illustrated) was originally on display at the Queensland Museum, Brisbane until 1910. It is without doubt an original Conrad Martens.
Another watercolour, (Brisbane) n.d. (illustrated) was discovered in a private collection, due to their obvious likenesses, further analysis was undertaken to establish how the two watercolours relate to each other.
Martens was a fully trained professional artist who was extremely business-like in his approach to art. He kept a meticulous journal detailing all his works, the clients who had commissioned them, the prices paid, and the dates on which they were despatched. This journal, now in the collection of the Mitchell Library, State Library of New South Wales, provides a wealth of information about the ‘best practice’ of a mid–nineteenth century artist.
The artist imported paper from London, preferring the smooth cream woven paper made by Whatman, the leading British manufacturer. From the 1850s he also used coarser coloured papers to create special effects, experimenting with new papers as they came to hand. He also bought best quality sketchbooks from Ackermann and Roberson & Miller in London, and kept his sketches as key references for the rest of his life, so that he could make paintings of the same subjects years later with accuracy. Paints, as well as papers, were imported from London, and after 1846 Martens was able to use Winsor & Newton’s watercolour paints in the new metal tubes, thus saving the labour of grinding and mixing his own colours.
All watercolours fade dramatically if subjected to strong light. Despite Martens’s fine materials, some of his work has faded, and certain colours, such as indigo, have proved particularly susceptible. As early as the 1860s Martens was retouching some works from the mid-1830s.
Conrad Martens ‘Brisbane’ c.1852
Attrib. to Conrad Martens ‘(Brisbane)’ n.d c.1852
Comparison of the two works
Wickham Terrace looking towards Kangaroo Point and artist viewpoint 1860
Two possible scenarios
Of the two scenarios, one is that the second work (Brisbane) is an original Martens sketch (he sold some of his sketches late in life) which another artist has painted over. Alternatively, the second watercolour may be a copy made by a Brisbane artist while the original was on display in the Queensland Museum. If this is the case, then it also gives us an indication of how the Gallery’s work may have originally looked before fading as details are quite clear in (Brisbane).
The Windmill (Observatory) illustrated in ‘(Brisbane)’ n.d c.1852
In (Brisbane) you can clearly recognise the Windmill (illustrated) in Wickham Terrace, Spring Hill, a Brisbane landmark that was constructed in 1828 to process wheat and corn crops for the penal settlement, the mill ceased grinding grain in 1845 and the treadmill was removed by 1849 before Martins arrived in Brisbane in 1852. By 1855 the mill was converted to a signal station known as the Observatory.
The Windmill at Wickham Terrace c.1840
The Observatory at Wickham Terrace c.1892
View of Windmill (Observatory)
Infrared detail showing pencil drawing in ‘Brisbane’
Infrared detail showing drawing in (‘Brisbane’)
View of buildings
Infrared detail showing pencil drawing in ‘Brisbane’
Infrared detail showing pencil drawing in (‘Brisbane’)
Town buildings in ‘(Brisbane)’ n.d c.1852
Brisbane Town Plan 1858 showing (l-r) Observatory, Queen Street & artist viewpoint
Queen Street buildings (cnr Edward Street) c.1859
Views from Wickham Terrace 1860
Conservation analysis
What does conservation analysis tell us about the physical make-up of the two works? The second, disputed work is in better condition than the original. Differences in paper quality — (Brisbane) n.d. is on better quality paper — are visible to the naked eye, and further research into the watermark may allow the work to be conclusively dated. Infra-red examination enabled a comparison of the drawing underneath the layers of paint — revealing very similar drawing styles, possibly by the same hand.
While the composition and size of the works is almost identical, the palette of colours used varies slightly. Ultra-violet imaging shows differences in the types of white paint used, indicated by the amount of fluorescence seen under UV light. UV imaging also highlights the difference in the two papers.
It is likely, but not conclusive, that the second work is a drawing by Martens that has been painted over later by a different hand — it is fascinating to see how conservation analysis and historical data can combine to accurately identify and date works of art.
Anne Carter is Paintings Conservator, QAGOMA
Lyn Streader is former Conservation Technician, QAGOMA
Supplementary material compiled by Elliott Murray, Senior Digital Marketing Officer, QAGOMA
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