McClelland Gallery

McClelland Drive, Langwarrin

McClelland's studio.

Citation:

History

McClelland Art Gallery

The McClelland Art Gallery in McClelland Drive was opened on 3 May 1971 by the Premier of Victoria, Sir Henry Bolte. This art gallery and Studio Park were gifts of Miss A.M. (Nan) McClelland in memory of her brother, the artist Harry McClelland who once owned this property.

Her will provided for 20 acres to be managed by Trustees as the site for the construction of an art gallery and a further 20 acres to be handed over to the Cranbourne Shire on the condition that the Shire constructed playing fields.1

The foundation stone was laid 12 October 1969 by Sir Daryl Lindsay of Mulberry Hill, the builders were S.W. & J. Gardiner P/L of Frankston, the tender was $83,600 and the architects were art gallery specialists, Colin Munro & Phillip Sargeant.2 An unusual element in the interior design was a mezzanine area which replicated in form a domestic character space in one of the McClelland buildings (the Barn?) at Long Island, complete with a non-functioning fire place. Changes are proposed for this space.3 Colin Munro has spoken on the design philosophy surrounding the gallery design, as 'a collection of well-lit walls' with as much natural light as possible.4

The gallery, although privately owned, is funded by State and Council grants, bequests and donations. As well as rotating displays, practical classes in various art forms have been held in adjacent annexes.5

Subsequently added gallery space was provided in the form of the Graham & Harrison Wing (opened 29 May, 1988).

It was designed by the same architects but with the aim to exclude natural light to protect the prints and water colours from fading.6

The naming of the wing honours the founding trustees James F. Graham, Mary C. Graham OAM and William A. Harrison OAM. This wing blends well with the original design. A major part of this wing was the Walter French Watercolour Gallery using donations by Mrs Blanche French and State Government funding, also opened by the hon. John Cain, Premier of Victoria, 29 May 1988.

Another change (not designed by the original architects) was the glazing-in of the rear terrace to provide a larger function space which communicated with the garden; this included new commercial pattern terrazzo tiling to the terrace and is called the Graham Terrace as a tribute to the work for the gallery of Molly Graham. It was opened by her son Aiden James Graham, 9 December, in the year of her death, 1990. Other changes include changes to, and a boiler room addition at, the former loading bay.

The Studio and Studio Park

Harry McClelland had a barn and studio at Long Island, Frankston, from the Edwardian-era but only the house (The Barn) from this unusual complex of buildings remains.7 In 1930 McClelland, a well-known local artist wanted to turn the Frankston Mechanics Institute into a cultural centre. He gained the support of local property owners, W.B. McInnes, Director of the National Gallery, and Paul Montford, a sculptor. However, the scheme was unsuccessful but was to be eventually materialised as the McClelland Gallery.8

Harry purchased this 40 acres from the Corlett orchard property (part CA 40A, Langwarrin parish) in McClelland Drive and built the studio there in the 1920s, aided by Charles Cerchi and a Mr. Chapman. There he was visited by numbers of his artist and writer friends. These included W.B. Mclnnes, Archie Colquhoun, Allan Sumner and Vance Palmer.9 This studio was recently refurbished by the Cranbourne Shire Council 1988 and opened on 4 December by Cranbourne. A Wren; the project was partly funded by the Australian Bicentennial Authority.

However it was Nan McClelland who willed that the Studio Park should become a centre of art and learning and left its realisation after her death, in 1961, to old family friends, Molly & Jim Graham and her bank manager, Bill Harrison as trustees.10 The trustees personally carried out work on the site to prepare it for the gallery to come, with Jim and Bill clearing and landscaping over the following 9 years.

Description

The focus of this complex is an understated Modernist concrete block, flat-roofed architect designed gallery complex, set in extensive parklands with some mature trees (Monterey pine, gums) from the earlier occupation and more recent landscaping which provides a setting for numerous sculptures. The complex is entered via wrought-iron gates and an associated wall which appear to be part of the original design.

The external massing of the design is a combination of overlapping rectangular forms of differing height and length. It compares with other galleries built at the time such as Munro & Sargeant's Benalla Gallery as well as the Heide gallery cum house and some residential commissions by Neil Clerehan. It contrasts with the more mannered designs pursued by architects such as Jackson & Walker in the same era for public buildings.

The interior consists of an entry and administration area, a series of galleries with neutral white plaster finishes and limited glazing to the outside, focusing on selected garden views and with no potential for direct sunlight. There were also storage and workshop areas. The terrace on the north has been glazed in but provides the link between a function room and the surrounding landscape.

In the McClelland Room, the mezzanine replication of one of the residential spaces in McClelland's Long Island house is an unusual part of the gallery, but offering limited display space. This area has timber lining to the mezzanine balustrade and a low simple fireplace.

At the rear of the site is the small gabled studio which has a rough-cast stucco external wall finish over concrete blocks made on site, a tiled roof and imposition of some rough timberwork in the manner of Long Island at the openings. Various cement masks and figurines survive there from the McClelland era as do the stoutly constructed easels inside the studio, with easel rests built into the dado, two tables, a patterned concrete floor (over the living halt), some furnishings and the rubble stone fireplace, with its applied ornament in the form of fossilised shells and other natural elements. Rooflighting as well as limited window areas lights the studio. The interior was divided into two spaces, presumably one for painting and the other for living. Some works by McClelland depicting aboriginal themes survive here, as does some stained timberwork. A garden once existed on the east side of the studio, now overgrown, and a disused track communicates with McClelland Drive.

A gabled Bungalow style farm house from the 1920s (Corlett's) is on the south boundary, with rough-cast stucco wall finish applied over cement sheeting, and is used as the residence for the director. This house, originally much smaller and once used for a horse trainer, has been altered and extended.

Further to the east are metal clad recently erected artists' workshops.

Planting
The grounds of 20 acres (or 8 hectares) are largely planted with native trees and shrubs of more recent origin. Coastal scrub was reputedly cleared from the site the trustees after Nan's death although some mature gums and blackwoods have been retained.

The landscape design for the forecourt, carpark and access road was to a design by Sally Freedman in 1988. Most of this area was planted in c1988 although a mature 'Cupressus macrocarpa' dates from the 1930s and is possibly associated with the McClellands. A lake at the front of the gallery was designed by Dame Elisabeth Murdoch as a major element in the sculpture park which benefited from the establishment of the Elisabeth Murdoch Sculpture Foundation in 1989.11 There is also a small circular pond at the front courtyard .

The 'Pinus radiata' and agapanthus along the now disused internal road are said to have been planted by Harry McClelland.12 A large 'Pinus radiata', proposed to be removed in a future gallery extension is also thought to have been planted by Harry McClelland.13 The pines and cypress may be associated with McClelland or be remnants or seedlings from the former Corlett orchard property of which Studio Park is a part. Near Harry McClelland's studio is a creek where he built a waterfall and bridge (now overgrown and bridge removed). At the door off the studio is a wormwood bush. Harry also built a dam near the studio. There is a mature apple tree from the 1920s in the garden of the Graham's former house.

Condition
The gallery appears externally original, with minor additions in character with the original (see above). The designed landscape has been added over time, along with the carpark areas.

Context
The complex is surrounded by a mature landscape and relates to the former orchard, Warcock, to the south.

Significance
This gallery has regional historical significance as an illustration of Frankston City's artistic heritage and for its associations with the prominent district artist, Harry McClelland. The gallery also has architectural merit for the execution and detailing within the Modernist stylistic context of its era.

Elements of the planting are of local importance for their association with the McClelland family or as remnants of orchard activity here in the 1920s-30s.

Boundaries
The extent of the 20 acres of the holding set aside for the gallery, the gallery interior and exterior, with the extensions designed by Munro & Sargeant, the studio interior and exterior and land within nominally 5m from the perimeter of each; and the open landscape character of the present grounds.