There is little furniture from the Arts and Crafts period in Queensland that can match the fluid carving of the art nouveau foliate motifs in this hallstand from the 1920s, the scale and workmanship bears the mark of two of Queensland’s finest craftsmen — John Merten and Lewis Jarvis (LJ) Harvey. John Merten (1861-1932) was born in Germany and records show that he was one of the most talented apprentices of his year. Merten arrived in Brisbane with his family in 1887 and commenced business as a cabinetmaker in Stanley Street, South Brisbane, and by 1888 was awarded a First Order of Merit for a walnut box and a black bean and pine writing desk at his first exhibition. The most consistent exhibition venue for cabinetmakers in Brisbane from the late nineteenth century was the annual exhibition of the Queensland National Agricultural and Industrial Association and when Merten exhibited in the ‘artisan’ section his furniture was always highly praised. Between 1888 and 1931 Merten exhibited workboxes, bookcases, sideboards, writing desks, and several suites of dining and bedroom furniture. National Agricultural and Industrial Association of Queensland Bowen Park (now known as the Brisbane Showgrounds) was the site for the first Queensland Intercolonial Exhibition in 1876, the exhibition was organised to promote the state’s agricultural, pastoral, and industrial resources, including showcasing local arts and crafts, and manufactured goods. The park was bordered by Bowen Bridge Road, O’Connell Terrace, Brookes Street and Gregory Terrace and the month of August was chosen as ideal due to its generally fine weather, it avoided any clashes with local shows, stock feed was available, and it was before the spring shearing season. Queensland resources and produce on display With the success in attracting 17,000 visitors on opening day when Brisbane’s population at the time was just 22,000, the exhibition became a permanent fixture in Brisbane’s social calendar. Brisbane’s first Exhibition Building at Bowen Hills (illustrated) used by the Queensland National Agricultural and Industrial Association was destroyed by fire on 13 June 1888 and was replaced by the current Exhibition Building and Concert Hall (Old Museum Building) (illustrated). The current building was built in 1891, however the Queensland Government took control of the building and grounds when the National Association was forced into liquidation by the economic depression in 1897. Fine Arts on display in the original Exhibition Building 1886-87 Brisbane Showground Exhibition Building, destroyed 1888 Exhibition Building (Old Museum Building) built 1891 Main arena 1896 The expanded main arena & ring events by 1906 John Merten’s connection to St John’s Cathedral During the visit to Brisbane in May 1901 by the Duke and Duchess of York, the then Prince George, and Mary (the future King George V and Queen Mary) where they laid the foundation stone of St John’s Cathedral (illustrated), Merten was entrusted with making a carved casket (illustrated) from native woods including Black bean, with a drop front, into which is slotted a watercolour illuminated manuscript address which was presented by the Government of Queensland (now in the Royal Collection Trust, UK). Merten was also commissioned to design liturgical furniture for the Victorian Gothic style Cathedral. The first stage of construction began in 1906 and took four years to complete, constructed from ‘Brisbane Tuff’ and Helidon sandstone from the Lockyer Valley Region of southeast Queensland, east of Toowoomba. Helidon sandstone was used extensively in public buildings at the time, including the Brisbane Treasury Building (construction started 1886), Brisbane City Hall (construction started 1920), and the University of Queensland (construction started 1938). Laying of the foundation stone 1901 Construction of St John’s Cathedral 1906 John Merten ‘Address casket’ 1901 Prince George at Government House 1901 John Merten & LJ Harvey ‘Hallstand’ 1920 Of particular interest here is Merten’s collaboration with Queensland’s principal Arts and Crafts practitioner, Lewis Jarvis (LJ) Harvey (1871-1949) as, at that time, carving and cabinetmaking were distinct trades. Harvey, an accomplished carver, lived on Gray Road, Hill End (now Brisbane’s West End), less than 100 metres from Merten, who resided in Hoogley Street. Harvey collaborated with Merten on two major sideboards: a neo-Renaissance style for Harvey’s wife in 1909; the other in art nouveau c.1925 (Collection: Museum of Applied Arts & Sciences, Sydney) (illustrated). It is known that Harvey also carved motifs on other examples of Merten’s cabinetwork. ‘Queenslander’ furniture The furniture that decorated the typical ‘Queenslander’ home in Brisbane during the first half of the twentieth century was essentially a simplified Arts and Crafts style. The preferred timber was silky oak and, although Black bean (Moreton Bay chestnut) is native to the Brisbane area, it was used from the 1890s in small quantities. From the nineteenth century the native forests of south east Queensland provided a resource for building and cabinet timber. The silky oak’s primary significance locally was as a cabinet timber — it achieved recognition at the Queensland National Agricultural and Industrial Association exhibition in 1901 when manufacturer, John Hicks and cabinet-maker, John Merten were awarded First Orders of Merit for bedroom suites. John Hicks established his furniture business in the 1860s in Albert Street, Brisbane and led to a series of relocations and expansions over the decades that followed. For the next forty years silky-oak became the dominant timber used to furnish ‘Queenslander’ homes for the bedroom, lounge and dining rooms. Black bean was also considered a valuable source of timber, its dark-brown to almost black timber somewhat resembles walnut. Black bean derives its name from its large bean-like seeds from flushes of yellow and red flowers during summer, however these seeds are the poisonous part of the plant, and the timber’s sawdust is also toxic. John Merten, who had the reputation of being one of the finest cabinet makers in Australia, continued to make furniture for some 50 years, while LJ Harvey is appreciated locally for his woodcarving — he was a prominent...

The ‘Glengallan’ sideboard 1868 is one of Queensland’s most significant examples of heritage furniture. While the backboard depicts the national symbols of an emu and a kangaroo, the inclusion of the lorikeet and pineapple give it a more local flavour. The carving is attributed to Matthew Fern, who was appointed the first instructor of wood carving at Brisbane Technical College in 1895. An 1868 press report from The Brisbane Courier records the first showing of the sideboard: It is satisfactory to know that our beautiful indigenous timbers are coming into favour for cabinet work. We had the pleasure yesterday of inspecting [at] Mr. Ebenston’s … a drawing and dining-room suite of furniture, of Queensland woods and Brisbane manufacture and made to order for Mr. John Deschar [sic], Glengallan station, Darling Downs … Joshua Ebenston ‘Glengallan sideboard’ 1868 Glengallan Run Glengallan is located in the Southern Downs Region, near Warwick, Queensland. The valley was named by explorer Allan Cunningham (1791-1839) in 1827 in honour of the Governor of New South Wales, Sir Ralph Darling (1775-1858), the name Darling Downs used to identify the surrounding region. In 1839 Patrick Leslie (1815-1881) was the first pioneer to establish a European presence on the Darling Downs setting out from Sydney in search of new land to settle, the first wave of pastoral activity in Queensland. Leslie followed Cunningham’s trail to the Darling Downs and decided on an area of land for his first station. Hi brother Walter followed with the flocks, and in 1840 the Leslie brothers (Patrick, Walter and George) became the first settlers on the Darling Downs. The Leslies originally selected a parcel of land which became Toolburra, South Toolburra, Glengallan, Gladfield, Maryvale, Warwick and Canning Downs, and had taken up a far greater area than which they were entitled under a New South Wales licence. The area known as Glengallan was a pastoral run they sold off in 1841-42. In late 1851 the Sydney-based painter Conrad Martens (1801–78) arrived in Brisbane from Sydney via sea, and for the next few months travelled on horseback across the Great Dividing Range to the Darling Downs, moving south through New England to Sydney. En route he stayed with squatters and pastoralists, filling his sketchbooks with drawings of their houses and properties, his aim being to obtain commissions for watercolours that he would complete upon his return to Sydney. These drawings are some of the few illustrations of Queensland during this time, and his sketches of Glengallan show the station as two timber buildings surrounded by verandahs and situated close together. Mount Sturt from Glengallan The bark hut on the plain, Darling Downs, Qld., Mount Sturt from Glengallan Glengallan By 1855 John Deuchar (1820-1872) went into partnership with Charles Henry Marshall (1818-1874) on Glengallan Run and during their partnership established the famous Glengallan Merino flock and Shorthorn stud. By 1864 the Glengallan Station complex expanded to two houses, stables and a kitchen, and by 1867 Glengallan Run occupied 66% of the total run area available in the Downs. Glengallan Homestead was built between 1867-68 with a gala opening party held on 16 September 1868. The ‘Glengallan’ sideboard is part of a suite of furniture for the ground floor drawing and dining rooms, made in local materials by a local cabinet maker Ebenstons, who had premises in Brisbane. Glengallan Homestead Curatorial extracts, research and supplementary material compiled by Elliott Murray, Senior Digital Marketing Officer, QAGOMA