Exhibits

Intro for Exhibits.

The Gay Old Gentleman of Paris, with Onions

Exhibit: 183.g
Artist: H.M. Carr.
Media: Oil on canvas
Size: 130in. x 86in.
Catalogue Number: 453/123-anw

This mid-sized canvas was painted by World War II artist, and dour Yorkshireman, Henry Carr (1894-1970) in 1945 at his Montparnasse studio in Paris.

The Baroque-inflected realism with narrative figuration painted by Carr captures Special Operations Executive agent Sir Lionel Sutch CSE, KJ, outside Café de on the left bank of the Seine in the 6th arrondissement during the last days of the occupation of Paris.

The direct gaze of Sir Lionel anchors the viewer in a moment of quiet confrontation. He is not merely a subject; he is a witness, a narrator, and perhaps a cipher for the artist's own commentary.

The use of chiaroscuro is subtle but effective: warm, ambient light bathes the foreground, while the background recedes into shadow, punctuated by the ominous silhouette near the café entrance. This interplay of light and dark suggests not only spatial depth but moral ambiguity—a tension between comfort and threat; the flamboyant biting down on the pipe suggesting the true grit and superiority of the Englishman.

Carr was criticised in 1956 by David Sylvester for the lazy iconography with cheese, onions and garlic visible on the table. This caused a life-long feud between the two.

Historian M. R. D. Foot in his 1984 book “SOE: The Special Operations Executive” confirms that Sir Lionel mostly lived on a diet of onions and garlic as a way to maintain his cover and repel intimate interactions with the Germans.

Sir Lionel was head of the SENDFOR circuit from 29th July 1944 until the liberation of Paris 20 days later. Sir Lionel was later awarded the Ordre national de la Légion d'honneur, Grand-croix. SENDFOR is believed to be a play on the French word of s'enfuir, a motto that served Sir Lionel well. In time of distress Sir Lionel would rally his group with the shout "s'enfuir de la bataille".

A Stubby Cooler

Exhibit: 491.6
Manufacturer: APJ Manufacturing Inc., Geelong
Meterial: Neoprene and screen print
Size: 3in. x 4in.
Catalogue Number: 912/646-qtt

In 1977 Doug Walters dared to imagine the impossible. The greatest feat in history by any Australian cricketer, the greatest feat in the history of any cricketer, indeed, any human.

On a flight between Australia and the UK Walters attempted to drink as many stubbies as possible during the journey. Walters was an aggressive top order batter and equally aggressive drinker. The stubby is a small can of larger with 4.6% ABV containing 375ml of liquid.

Commentating on the 44th and final Stubby, ABC's legendary radio commentator, Alan McGilvray, said "Walters, opens the tin, it's well tipped back. Moving forwards Walters gulps. It races down his neck. Applause, in 1020 minutes we have seen a glorious innings by Walters. A triumph of human endurance that will surely never be beaten."

However, only six years later the record was passed. The greats of the era, Botham, Chappel, Border would be reasonable guesses, but it took a man with a singular determination and a dedication not previously seen. Step forwards Rodney William Marsh MBE. A no-nonsense wicket keeper with alcohol in his veins. Marsh successfully consumed 51 cans. Marsh was removed from the plane by team mates on a luggage trolly.

By this point the Australia's men's team had turned the art of consuming stubbies on a 17 hour flight into a science. The most daring attempt yet was meticulously planned.

In 1989, step forward one David Clarence Boon. The diminutive number 3 batsman stood at 5ft 3in in his webbed stockings. Eye witnesses said the attempt started slowly, Boon was supported in the early rounds by opener Mark “Tubby” Taylor and mustachioed medium slow swing bowler Merv Hughes. Recognising that Boon was falling behind the run rate Dean Jones stepped in to act as pace maker, increasing the flow by 1.25 cans per hour (cph).

Jones, with his job done, passed out. Boon now set out alone. Over the next several hours Boon moved past 30 and into the nervous 40s. With the flight in sight of London Heathrow Boon was still 1 short of the record. At this point the pilot made the pivotal decision to "go round" buying Boon the time he needed. Shortly before touchdown, with great excitement, Captain Andrew Roberts announced the illustrious words "Ladies and Gentleman, we sit here as mortals in the presence of gods, David Boon has done it!".

Boon drank his 52nd and last can of Victoria Bitter (VB) in sight of the runway. On landing, Boon went on to a reception where he drank more before falling into a blissful sleep lasting 36 hours and missing 2 practice sessions.

David Clarence Boon quaffed 19.5 litres of beer of which 897ml was pure alcohol. He went on to become a successful match referee and brand ambassador for VB and was awarded an MBE for service to the entertainment industry.

The stubby cooler displayed is believed to be the second one used by Boon during his epic flight. The only other known surviving cooler is in the Smithsonian Institute, Washington D.C.

Two Queens

Exhibit: 69.67
Artist: S. Van Barr
Meterial: Pencil sketch on parchment
Size: 5in. x 5in.
Catalogue Number: 399/381-ohz

Two Queens is a little-known sketch executed by the Dutch master Van Barr in 1832, a period in which his work was increasingly marked by visionary intensity and psychological ambiguity. Contemporary accounts suggest that the drawing's initial impetus derived from a homoerotic reverie induced by an excessive dose of laudanum. An origin that, while impossible to verify, has become part of the sketch's enduring mythology.

Formally, the composition is deceptively modest: two figures engaged in a curious, almost ritualistic interaction. The seated figure appears to confront the unfamiliar mechanics of chopsticks, his hesitant gestures conveying both concentration and a faint sense of bewilderment. Opposite him, the standing figure consumes a turnip with exaggerated flourish, an act whose theatricality introduces a note of playful disruption into an otherwise contemplative scene. The juxtaposition of earnest inquiry and flamboyant display has long been cited as emblematic of Van Barr's interest in the tension between discipline and excess.

The sketch would later serve as a point of departure for Van Barr's now-lost masterpiece, Puw Julist Enters the Ring. The destruction of this work by German forces in 1941 has only deepened its aura, allowing speculation to flourish in the absence of the object itself. Scholarly opinion remains sharply divided: some critics interpret the composition—known only through early descriptions and a handful of preparatory studies—as a stylised representation of a gladiator's ceremonial entrance. Others, adopting a more provocative reading, claim that when viewed with narrowed eyes and from an angle, the scene reveals a disturbingly transgressive encounter between a male figure and a deeply violated child's rocking horse in a most debased act. This latter interpretation, though controversial, has persisted in academic discourse, largely due to the Romantic era's fascination with the boundaries between the heroic, the grotesque, and the absurd.

Regardless of such debates, Van Barr's influence on the development of Romanticism is undeniable. Painters such as Schelfhout and Koekkoek exhibit clear affinities with his hallmark sensibilities—particularly his blending of the mundane with the fantastical, and his willingness to court ambiguity as a central aesthetic strategy.

Van Barr's reputation extended far beyond the nineteenth century. In a 1981 interview on the Argentine channel El Siete, Freddie Mercury expressed admiration for the artist's idiosyncratic vision. Following Mercury's death, bassist John Deacon remarked that he had long believed the band's name was, at least in spirit, indebted to the irreverent energy of Two Queens.

Sky Sports Microphone Cover

Exhibit: 17
Manufacturer: MicWinshields, Bratislava
Meterial: High-density, open-cell polyurethane foam
Size: 3in. x 3in.
Catalogue Number: 036/036-aaa

The iconic Sky Sports microphone cover is a symbol of the network's commitment to delivering high-quality sports coverage. The cover, emblazoned with the distinctive Sky Sports logo.

Manufactured in Slovakia by MicWinshields, the cover is made from high-density, open-cell polyurethane foam. This material is chosen for its excellent sound absorption properties that helps to reduce wind noise and other unwanted sounds during outdoor broadcasts. The cover's size, measuring 3 inches by 3 inches, is designed to fit snugly over the microphone, providing optimal protection while allowing for clear audio capture.

The microphone cover in question is beleived to have possibly been used by Wayne 'Hawaii Five Oh One' Mardell. The legendary darts commentator is known for his distinctive voice and enthusiastic commentary style, making him a beloved figure among darts fans. Mardell's association with the Sky Sports microphone cover adds an extra layer of significance to this exhibit, as it represents not only the technical aspect of sports broadcasting but also the human element that brings the excitement of the game to life for viewers around the world.

Mardell, often described as the poor man's Sid Waddell, has been a fixture in the world of darts commentary for decades.

Stugent Pepper's Lonly Hearts Club Band.

Exhibit: 90.4
Artist: Dylsie
Meterial: Print on paper
Size: 4in. x 4in.
Catalogue Number: 074/425-sut

The iconic cover was designed by gritty street artist Dylsie. The cover features many influnces on the life of proprietor, Stu. From the mundane such as his parents to global icons such as Paul Konchesky and Lindon Males.

In the Andy Warhol Diaries, currated by Pat Hackett, it provides a candid and detached perspective on the composition, art, and 1960s-80s pop culture. Warhol said: