Image taken from Karen Finch’s theses Schulim Krimper ; Master & Enigma
Schulim Krimper (1893-1971), was a Rumanian modernist cabinet maker, arriving as a Jewish migrant to Melbourne in 1939. He was to become in the words of Terence Lane, former head of Decorative Arts at The National Gallery of Victoria “the first cabinet-maker in Victoria to demand – and receive – for his craft the respect which had previously been accorded only to painters and sculptors”.
His seminal modernist furniture was exhibited by Australia at an exhibition at the Rockefeller Centre, New York in 1956, followed by a retrospective of his work at the National Gallery of Victoria in 1959 and 1975. His work is considered the most important modernist cabinet making of 20th century Australia. Examples of his work are in the National Gallery Canberra, Powerhouse Museum Sydney et al.
Guildford Young commissioned for St Marys Cathedral, Harrington St Hobart an extensive, high modernist work of art: a vast screen, throne, cover, cupboards, seating from Krimper, completed in 1961. It is one of only two public commissions ever made and of great importance to modernism in Australia. And particularly Tasmania.
It is the Catholic Church in Tasmania’s intention to remove this pre-eminent work of Krimper’s art, separate the elements and take to Melbourne to be sold by Leonard Joel Auctions in April of this year. This commission perfectly embodies the age old relationships between architecture, the cabinet maker and high art. It is a stunning example of modernism and the Catholic Diocese should be asked to reconsider their decision. By lovers of art, architecture, modernists and all those who care for the integrity of Tasmania.
Letters should be written to:
The Archbishop of Tasmania
Archbishop Julian Porteous
GPO Box 62
Hobart Tas
7001
• Peter, in Comments: The screen and everything associated with Krimper’s work has gone. The area behind the screen (and altar) has been re-tiled; a truck was removing the last remnants of the tiling work when I looked in today. What a pity. Was there any response from Archbishop Porteous? And how many pieces of silver did Joel’s throw his way?
• John Biggs, in Comments: #6. As one with “no religion at all”, well hardly any, I do have a feeling for aesthetics and for context. Krimper’s work was designed especially for St Mary’s — that’s the context in which it is most alive and that’s the whole point about conservation. But even worse that removing it from its destined context and selling it bit by bit, thus destroying the creative work itself. Porteus seems like very bad news indeed, interfering at even parish level to show off his power. The Pope is not going to like him very much.
