HarbourView July 2014

JULY 2014

HARBOURView

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MAGAZINE #41

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I don’t know, that’s the way we always did it.

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FURNITURE

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This Month

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Publisher/Designer Editor Profile Tasting Notes Property History Cartoonist Advertising

04 06 08 10 12 20 24 28 30 40 52 66 72 82 96 98 102 104 110 112 114 116

Preamble and Letters Profile Leslye Walton Design Seating Design Electric Bike Hotel Hopping Czech Republic Antiques Melbourne Fair Recipes My Petite Kitchen Cookbook Tasting Notes Steve Blandford

PADDINGTON 184-186 OXFORD STREET 9360 4200

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Photography Jimmy Nelson Artist JC Leyendecker Travel OS Vienna Exhibition Mosman Art Gallery Exhibition National Gallery of Australia @ Home Your Property David Murphy Fashion OSKA Fashion Boots Photography Milk Hindsight The Past Through The Lens The Bookshelf Extract Jayne Newling Opinion Science is Never Settled

David Shapter Jan Shapter Lee Suckling Steve Blandford David Murphy Donna Braye, Dr Ian Hoskins Glen Le Lievre, Grant (02) 9527 1246

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The publisher accepts no responsibility for any statements or claims made by advertisers. The information contained within this publication was correct as at the time of publishing. This publication is copyright. “Harbourview Magazine” is registered as the name of this publication. No part may be reproduced by any process without written consent from the publisher.

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Drop us an email at blinddog@bigpond.net.au

PREAMBLE

Chopsticks are one of the reasons the Chinese never invented custard.

Spike Milligan David Shapter Publisher/Designer

July already - unbelievable. By the time I have put one mag to bed it is right on top of me to finish the next. Oh well it is just as well I enjoy what I do.

Now in the past month I have been re-introduced to the world of antiques. This is a serious pre-occupation of a large number of businesses around the world and we have a goodly number here in Australia. I think the fascination of things created in the past lies on many levels. Firstly the sheer brilliance of the craftsmanship of anything from furniture to jewellery leaves one spellbound in this world of mass produced stuff.

We are going to add this element to our list of topics we cover as we think it is a good fit. We cover art, design and history, so this fits right on in. What could be better than owning a piece of astounding history in your home. What a “talking” point at your next dinner do. Antiques are for those of us that are living now. They offer the prospect of owning a unique piece that is never going to be repeated. Half the fun is in the hunting down or searching for that rare object. We have a piece on the recent Melbourne Fair in this issue and look foward the Sydney Fair coming up at the end of August.

My very favourite subject of climate change is also covered this month (see page 116) because of the absolutely wonderful news that it has now been seventeen years and nine months that the temperature has been stable (that is since August 1996).

No global warming for just over half the 423-month satellite data record, which began in January 1979. Can this last folks?

I hope some of your have found time to see us online. The magazine is much larger and more detailed, offering the ability to bring you stories and images that we can’t present in this printed version. There is much more scope on the web to flesh out topics which otherwise would be a no-go in print.

Let us know what you think of our website and keep sending us feedback regarding the magazine as it does help us to improve.

Until next month

OSKA 168-174 Oxford Street Paddington T 02 9380 8169 Mon - Fr 10am - 5.30 pm Saturday 10 am - 5 pm oska-sydney.com

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Correspondence to PO Box 1193 Cronulla 2230.

Tel: 9527 1246 Email blinddog@bigpond.net.au www.harbourviewmag.com.au By submitting your letter for publication you agree that we may edit it for space, legal or other reasons. A contact number would be helpful with posted letter. Please do not send attachments with your email. Letters should carry the sender’s name and suburb.

ONLINE PRESENCE I have been online to see your website and I can recommend others to go and see what you are doing. There is a huge amount to see. Well done.

Norma Stone WHERE THERE’S SMOKE Your Preamble in June showing the Lenticular clouds in Antarctica reminds me of the story that broke this week from the The University of Texas about the ice melting from the Thwaites Glacier on the western side of Antarctica. There are a whole bunch of volcanoes running up the western side of the continent as it is part of the Pacific Rim of fire.

The geothermal heat contributed significantly to melting of the underside of the glacier, and it might be a key factor in allowing the ice sheet to slide, affecting the ice sheet’s stability and its contribution to future sea level rise. If it’s not CO2 that gets us it will probably be the volcanoes.

Martin Cassidy

NOT JUST ONE BUT TWO Please let your readers know that the Australian Chamber Orchestra’s fifth national concert of the 2014 Season will be held at City Recital Hall Angel Place on the following dates: Fri 11 Jul 1.30pm Sat 12 Jul 7pm Tue 15 Jul 8pm Wed 16 Jul 7pm Two Piano Quintets will be performed.

Written just prior to the Nazi invasion of the USSR, Shostakovich’s Piano Quintet is a dramatic and harrowing premonition of the coming terror.

Melting away the turbulence of Shostakovich is the bright, melodious joy of Dvořák piano quintet, one of the greatest pieces of chamber music in the canon. Internationally regarded for performances of “immense power and an extraordinary range of colours” (New York Times). Finnish pianist Paavali Jumppanen is our perfect partner for these stirring works.

Jack Saltmiras Australian Chamber Orchestra

It takes 89 years to create movement this beautiful.

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PROFILE: LESLYE WALTON

CHARACTER DRIVEN Leslye Walton thanks her lucky stars her “real” job never got in the way of writing. She tells Lee Suckling about her first novel, The Strange and Beautiful Sorrows of Ava Lavender.

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orn and raised in Tacoma, near Seattle in Washington State, USA Leslye Walton always dreamt of literary success. “I don’t remember writing being much of a choice. Writing is simply what I do,” she says. “But to say that it is extremely difficult to have a job in a creative field is putting it lightly. It takes mounds of internal motivation, determination - and, if I’m honest, a bit of delusion.”

So, as a young university student, Walton thought it wise to have a backup plan. At Pacific Lutheran University, Walton completed a teaching degree as an undergraduate. “I figured I’d need a ‘real’ job sometime, but I put that off as long as possible by attending graduate school at Portland State University,” she explains.

The first book to really “move” Walton, and inspire her to write, was Whitney Otto’s How to Make an American Quilt. “I was always a voracious reader, but I hadn’t experienced masterful storytelling - or the power of beautiful phrasing - until I picked up that book,” Walton says. Years later, ironically, one of Walton’s lecturers at Portland State was Whitney Otto herself, the very author who turned her onto writing in the first place.

While completing her MA in writing, Walton slowly tapped away at her first book, The Strange and Beautiful Sorrows of Ava Lavender. “[The book] was originally inspired by the song ‘I Just Don’t Think I’ll Ever Get Over You’ by Colin Hay,” Walton says. “I didn’t think I was writing a novel, but months went by, I kept returning to this story - one I had thought I was finished telling.”

As Walton’s storytelling skills evolved, her novel became a fusion of magic and humanity, lyrical prose and the pain and passion of intergenerational love. She told the tale of Ava Lavender, a seemingly normal 16year old girl who has bird’s wings. A mythology rooted in a historical, true-to-life context, The Strange and Beautiful Sorrows of Ava Lavender sees the protagonist experience love and loss while she delves into her family’s past to discover a dark and heartbreaking saga.

Walton’s day job is as a middle school teacher, surrounded by young teenagers. Her

novel was not originally intended for the Young Adult market, where it has subsequently been targeted, however. “I felt the writing was too lyrical, too chalked full of metaphors for the typical teenaged reader,” she says.

figure that out too.”

“But after a long, tough road of going nowhere, my agent reminded me of all the beautiful, highly literary Young Adult novels out there. After I stopped resisting, I think we sold the novel in a week.”

“I felt so alone in this grief. I hid away from the world and surrounded myself with the only other people I could find who were grieving as I was: I escaped into fiction.”

The call from Walton’s agent, Bernadette Baker-Baughman, came as quite the surprise.

“I was driving to work when I got the call from my agent telling me we’d sold the book. I pulled over and had my first phone conference with my editor in an alleyway behind a car dealership,” Walton recalls. “I kept looking around, thinking, ‘Is this really happening’?

As surreal as the whole experience was, Walton was still a teacher, committed to her students, and had to go back to work. “I teach language and arts - my students are very good at keeping me grounded,” she says.

Being one-of-a-kind is a key theme in The Strange and Beautiful Sorrows of Ava Lavender and a sentiment drawn upon from Walton’s own adolescence. “Ava was unlike anyone else. And that is a very scary thing to face at any age,” she says. “In a way, I was very much like Ava [as a teenager]; incredibly naïve of the ways of the world, most especially those things it seemed came easily to everyone else.

“It often felt like I had been skipped over when they were passing out the guidebook with all the rules of adolescence. It’s so hard to be strange. But then again, we’re all strange. That’s the funny thing. All the while I was trying so hard to figure out how to even marginally fit in, everyone else was doing the same thing. Of course, it took me a while to

Like her protagonist, Walton also suffered tragedy in her adolescence. “When I was just a teenager, much like Ava, I suffered the kind of tragic event that a young person should never have to face, “ she says.

Walton devoured books - all tragedies, one sad story after the other. “I lost myself in the safe realms of fiction, allowing my conscious mind a reprieve as my subconscious worked on healing the rest of me,” she remembers.

“It was during this time that I learned there is beauty in sorrow. Some of the most beautiful books I’ve ever read deal with issues of grief and pain. I hope this little book of mine will help someone in the way that those books helped me. I hope it makes someone feel less alone, or more alive. I hope it gives someone strength.”

Themes of grief and sorrow aren’t restricted to teens and have made Walton’s novel equally enjoyable for adults because it presents a story with which many can emphasise.

“Love is one of those universal links and the pain of heartbreak is something that everyone has faced at one time or another,” Walton says. “It transcends age and time. For many, the loss of love - regardless of which form that loss derives from - can be life defining.”

While some may confine The Strange and Beautiful Sorrows of Ava Lavender to the fantasy genre, Walton doesn’t see it that way.

She prefers “magical realism”.

“I’ve always found it easy to suspend disbelief. Perhaps this is why my stories contain bizarre characters that transform themselves into birds, or can detect different emotions from a scent only they can smell,” she says.

“When I started writing [the novel], I didn’t know I was writing magical realism; I was just writing. But with the discovery of Ava, I realised that I wasn’t writing historical fiction, or fantasy. I was writing something else. As usual, it was the characters themselves who determined the story and not the other way around.”

Success is only just breaking for Walton and when she’s not writing, she still loves her day job as a teacher. “Whenever someone asks my advice on being a writer, I always recommend they do something else,” she says, inferring the difficulties of making it as an author.

“I wrote Ava Lavender not with dreams of success, not even with the idea that anyone else would ever read it; let alone enjoy it. I wrote it simply because I couldn’t not write it.

As sad as it is to admit, all that hard work doesn’t always result in happily-ever-after [for every writer]. I was just one of the lucky ones.” n HARBOURVIEW JULY 2014

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DESIGN: SEATING

WE’VE GOT U PEGGED

In the wash-up it is just a peg, albeit a very big peg and it would need a very, very big clo to hang it on. That is why it is a seat, a fee-fi-fo-fum for your bum - not your thumb The Molletta bench, in playing on the typical out-of-scale quality of Pop art, gives a hyper-natural interpretation to the wood, cedar. The object thus acquires a double life: the first is that of a roomy seat designed for large interiors and for the outdoors. The second is that of a powerful sculptural element, able to define the identity of the surrounding space. The gigantic peg also pays homage however, to the simple and anonymous design that has always been silently present with us in our daily home life. Michela and Paolo Baldessari of Baldessari e Baldessari designed a giant clothes pin out of cedar for Italian company RIVA 1920.The aesthetic strength of Molletta owes a lot to the skilful workmanship of the solid wood that is part of Riva 1920's tradition. In this seat in particular, the workmanship of the oblique cuts brings out the grain and the tones of the natural cedar, creating an almost virtual texture that covers the entire object.

Andrea D’Cruz from the D’Cruz Design Group gives it the thumbs-up in the latest Fanuli Furniture catalogue (they do have them in their Cremorne showroom).

Below is a peg we found - a giant clothespeg sculpture. It was created for the 2010 Festival of the Five Seasons in Chaudfontaine Park in Belgium. It cleverly appears to be holding onto a grassy knoll. It was designed by Turkish artist Mehmet Ali Uysal, a professor of art at the Middle East Technical University. It blends in with the landscape through all seasons and adds a surreal element of surprise in the park. n

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DESIGN: ELECTRIC BIKE

Join the Fold

URB-E is made from recyclable aircraft grade aluminium that has been machined to reduce all but the essential material for maximum weight reduction and reveal the iconic hole pattern, similar to how race cars and aircraft are built.

URB-E has many beneficial features such as an integrated luggage rack, a patented folding mechanism and shock absorbing seat for an extremely comfortable ride, led lighting and replaceable colour sleeve inserts for creating a personalised look. It also has an option to be a three-wheel trike version for more stability in slower moving pedestrian traffic, or a more aggressive two wheel GP edition for a little more freedom and excitement.

There is also an integrated universal smartphone mount with a custom app being developed to monitor URB-E’s speed, battery, range and navigation as well as being able to charge your phone and other devices with the integrated USB port.

URB-E has teamed up with a production facility in Pasadena, California called Foes Racing and is ready to begin production in early spring, 2014.

Foes makes handmade, high-end downhill mountain bikes, so we are confident they will be delivering a very high quality product.

It takes only one second to convert the URB-E from something the size of carry on luggage to a ‘go anywhere’ personal e-vehicle. Although there are other options for mobility devices such as bicycles and larger, more expensive e-vehicles on the market, it is not always possible to take these vehicles with you while travelling on a crowded train or bus during rush hour.

Because of its amazingly compact size and ability to stay with you while travelling the URB-E makes for the perfect commuter companion. n

For more information: urb-e.com 10

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URB-E Commuter is the perfect vehicle for the highly congested urban environment. Its three-wheel trike design allows for added stability and greater lower speed manoeuvrability, perfect for navigating pedestrian traffic. The two rear wheels also serve as a very stable way to carry around URB-E while in its folded position, similar to pulling a piece of luggage. Although URB-E Commuter is capable of the same speeds as the GP (15mph), it is better suited for slower speed turns.

Or perhaps you’d prefer the URB-E GP. It is ... well ... let’s just say ... a LOT of fun! Although this machine has the exact same power specifications as its older, more sophisticated brother, URB-E GP likes to live on the wild side. The short wheel base of the GP’s twowheel design gives it the agility of race car and a fun factor of 11 out of 10! Unlike anything you’ve ridden before, the GP will bring you back to the way you felt when you first learned how to ride a bike! Though it’s not as practical for slower speeds as URB-E Commuter, we’re sure you won’t be disappointed riding the coolest e-bike in town!

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HOTEL HOPPING: CZECH REPUBLIC

All Squared Away A sharp-sided steel building in the Czech village of ฤ eladnรก lets guests enjoy worldclass art and high-tech spa treatments

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he Czech village of Celadná sits among the Beskydy Mountains, where misty peaks and ridges give way to crumbling castles and soft-flowing streams.

Framing this pastoral scene is Richard Kucík’s audaciously designed Miura Hotel, a sharpsided steel building that lets guests enjoy hightech spa treatments and world-class art (original works by Andy Warhol and Damien Hirst are among those adorning the walls). A 36-hole golf course extends away from the restaurant’s glass-edged terrace, which has views of the forest-covered mountains. Two additional golf courses and the area’s best ski slopes can be reached easily with the hotel’s private helicopter.

A façade built from rusty steel and purple glass, Miura Hotel looks like a spaceship from another world. There are three different parts: two outer wings that house the 44 rooms and suites, and a gravity-defying central section for the lobby, spa and restaurant, which juts out from the main body of the building. Although distinct in shape and style, these three sections link seamlessly together.

To complement the giant-like statues by Czech sculptor David Cerný, which seem to crawl along the hotel’s walls, the masters at Praguebased architectural practice Labor 13 commissioned special pieces of furniture from European designers. Their slick and unexpected forms appear in the hotel’s public spaces as well as the rooms and suites,

inviting guests to slow down and appreciate the building, its art and the natural world beyond.

Many of the hotel’s south-facing rooms come with balconies, while the suites have glass walls providing views of Lysá hora, the highest peak in the Beskydy range.

The wide, gallery-style spaces at Miura Hotel crave attention, not just because of the art on the walls. Round-edged pieces by Italian design houses like Kartell, Moroso and Pedrali furnish the wood and Corian clad public areas, adding hot bursts of magenta and charcoal.

But it’s the custom-made furnishings – including the cube-shaped tables designed for the hotel by Czech architect Vladimír Ambroz – that really make the place stand out.

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Indeed a rather special surprise in this untouched paradise where contemporary masters such as Jean-Michael Basquiat, Anish Kapoor, Tony Cragg, Henry Moore and David Cerny sit serendipitously indoors and outdoors for guests to enjoy. The subterranean spa also provides sweeping views of the rugged landscape from the swimming pool.

Clinging to the building’s outer walls are Cembonit cladding panels, whose subtle, autoclaved appearance gives a softer edge to the riot of straight lines. “We wanted to show contemporary architecture,” says Martin Vomastek, whose Prague-based studio Labor 13 masterminded the design. “It fits perfectly [with the surrounding area], however still stands out.” Mixing high-tech treatments with nature-inspired interiors, the subterranean Miura Spa –like the hotel building itself –is divided into three parts. The first is a watery world with a foot-massaging path by Kneipp and an indoor pool that’s bathed in natural daylight. The second features herb and saltbaths, steam rooms, an icy rain shower, and even a ‘Snow Paradise’ with icy white powder to roll around in. Finally there’s the treatment area, equipped with ache busting water mattresses. A more intimate spa area with levitation beds by designer Lucie Koldova is also available for private use. The interiors -wide, gallery-style spaces at Miura Hotel crave attention, and not just because of the art on the walls.

Miura hotel offers accommodation in 44 design rooms which include a sink in the middle of the room. There are 39 Deluxe rooms, four Junior Suites and one Miura Suite. All rooms have the view of golf course and are equipped with a 42" LCD television with satellite reception,a built-in alarm clock, free high-speed wi-fi, a fully stocked mini-bar and all bathrooms include showers and are fully stocked with the luxurious cosmetics made from the finest natural ingredients by Molton Brown Cosmetics -London's bath, body and beauty connoisseurs since 1973. All rooms and apartments face the south and have views of the surrounding Beskydy countryside. All rooms and hotel facilities are wheelchair accessible.

MIURA Restaurant produces a seasonal à la carte menu with a mix of Czech and international dishes. Located on the first floor, it includes a summer terrace with a view of the golf course.The restaurant is open to the public and operates between 7.00 a.m. and 11.00 p.m daily. The bar is backlit with mountain views and the Humidor Lobby Bar, located on the ground floor,is open 24 hours a day serving soft drinks & coffee.

There is also a Private Spa (charges apply) with a bottle of champagne for two people, indoor swimming pool with hydromassage, a Finnish sauna, shower, private minibar and iPod docking station. The gym is currently under construction. Nearby activities include horse-back riding, cycling, skiing or cross country skiing, hiking and golf.

For more information: www.designhotels.com/miura

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David Cerny was born in Prague. He gained notoriety in 1991 by painting a Soviet tank pink, to serve as a war memorial in central Prague. As the Monument to Soviet tank crews was still a national cultural monument at that time, his act of civil disobedience was considered "hooliganism" and he was briefly arrested. Another of Cerny's conspicuous contributions to Prague is "Tower Babies," a series of cast figures of crawling infants attached to Zizkov Television Tower.

In 2000, Cerny won the Jindrich Chalupecky Award.

In 2005, he created Shark, an image of Saddam Hussein in a tank of formaldehyde. The work was presented at the Prague Biennale 2 that same year. The work is a direct parody of a 1991 work by Damien Hirst, The Physical Impossibility of Death in the Mind of Someone Living. In 2006, the work was banned twice, first in Middelkerke, Belgium, then in Bielsko-Biała, Poland. With respect to the Belgian situation, the mayor of that town, Michel Landuyt, admitted that he was worried that the exhibit could "shock people, including Muslims" in a year already marred by tensions associated with Danish cartoons depicting the prophet Mohammed.

In Poland, the reasons for censorship remain ambiguous.

The Deputy Mayor and designated cultural censor of Bielsko-Biała, Zbigniew Michniowski, contacted the cityfunded gallery, galeria BWA on September 9, 2006 and threatened dire consequences if the artwork were not removed promptly. Jacek Krywult, the mayor of BielskoBiała, has not yet fully explained the reasons, but staunchly defends the principle of censorship in Poland.

In response to Michniowski's private order to censor the work, Shark was transported to the Szara gallery, in the nearby town of Cieszyn, Poland. In sharp contrast to the pro-censorship perspective of Mayor Krywult and Deputy Mayor Michniowski, the mayor of Cieszyn, Bogdan Ficek, distanced himself from Bielsko-Biała City Hall's League of Polish Families-inspired values. "I can not see any reason a politician should censor art," Ficek said.

His Entropa, created to mark the Czech presidency of the European Union Council during the first half of 2009, attracted controversy both for its stereotyped depictions of the various EU member states and because it turned out to have been created by Cerny and two friends rather than, as promised, being a collaboration between artists from each of the member states. Some EU members states reacted negatively to the depiction of their country. For instance, Bulgaria decided to summon the Czech Ambassador to Sofia in order to discuss the illustration of the Balkan country as a collection of squat toilets.

For 2012 Summer Olympics Cerny created "London Booster" - a double decker bus with mechanical arms for doing push-ups. n

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ANTIQUES: MELBOURNE FAIR

SHOW ‘N’ SELL

THE AAADA FAIR MELBOURNE IN MAY 2014 Many collectors and dilettantes began to acquire old furniture mainly because of its emotive, romantic historical associations.

Furniture and objects of great design made from quality materials from the past and keeping them, like us moving forward, makes good sense and good business in a world that needs to recycle its goods to aid its own continuing sustainability.

The antiques trade in Australia, as watched over by the dealers of the Australian Antique and Art Dealers Association (AAADA) is all about running an ‘elite’ establishment, while safeguarding a heritage industry that should never be elitist.

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Once again the Australian Antique and Art Dealers’ Association, the pre-eminent body of its type, held its annual fair in Melbourne. The glorious Exhibition Building must be the most striking as well as appropriate venue for such an event anywhere in the world. A lasting and towering legacy of the glamorous Victorian era, set in the equally memorable Carlton Gardens. Antique fairs are held in a wide range of venues internationally, but this combination is a match made in Heaven.

This year, over 50 leading dealers from all over Australia put their best foot forward and brought their choicest offerings. It is quite a commitment and involves a great deal of planning and organising. The range of items on offer is hard to comprehend. Traditional collectors’ items such as porcelain and glass, but also jewellery, furniture, antiquities, paintings, both old and new and even a rhino penis walking stick- for the man with everything. It is no exaggeration to say that for most visitors it was like a trip to a decorative arts museum. The Association carries out a rigorous vetting process to ensure that all items are correctly and accurately described. This both reassures potential purchasers but also educates everyone.

The Association has long acknowledged the need to expand its appeal, so the logical mix of old and new is explored and displayed.

Indeed, there were even seminars on this topic. Good design is good design. Age of itself does not make something more worthy or desirable. (Just as age does not always bring with it wisdom.)

Hartley Cook (AAADA NSW Chapter Delegate)

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AAADA Fairs offer for sale the finest and most diverse range of fine art and antiques in one place, at one time. The shows are Australia’s only international quality fairs. They are fully vetted for authenticity and backed by the reputation of Australia’s finest antique and art dealers.

If you would like to become a collector, potential purchaser or are interested in becoming a dealer in antiques and art it is important to spend time gaining and expanding knowledge. This show is therefore a must to attend to see what goes on and what people bring along - such fun.

The AAADA is the leading industry body representing Antique and Fine Art dealers in Australia. Their members operate well established businesses, are respected for their expertise in their chosen fields, and continually seek to expand that knowledge.

The next AAADA Fair will be in Sydney from the 27th to the 31st of August at the newly built Randwick Racecourse Grandstand.

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EVERYONE IS DIFFERENT.

N NEW EW D DESIGNS ESIGNS in st o re in store now now

And so is every one of our tables. We handcraft each piece to order – whether it’s a little longer or wider, in a different solid Australian timber, or hand stained to your perfect colour.

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Excellence, Respect, Courage.

Queenwood is a K to 12 school in Mosman offering a caring environment in which each student is challenged to strive towards personal and academic excellence. As students progress through the school, they have access to a rich and diverse curriculum catering to individual preferences and academic abilities.

QUEENW QUEENWOOD OOD SCHOOL FOR GIRLS | ABN 83000532696 Locked Locked Bag ag 1,, Mosman NSW 2088, Australia | P:: +61 2 8968 7777 | F:: +61 2 8968 7778 77 www w.queenw . ood.nsw.edu.au q@queenwood.nsw.edu.au q@queenwood.nsw.edu.au | www.queenwood.nsw.edu.au

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RECIPES: MY PETITE KITCHEN COOKBOOK

My Petite Kitchen Cookbook is a complete menu of more than 100 simple, wholefood, gluten-free recipes that feed body and soul.

Eleanor Ozich has first-hand experience of the health benefits of clean, wholefood - the recipes in this book were created as part of her family’s ‘road to simple eating’, adopted as a means of trying (successfully) to cure her four-year-old daughter’s severe eczema.

Replacing sugar and grains with natural, unprocessed alternatives, Eleanor’s recipes show how easy it is to prepare healthy food that is bursting with flavour and goodness. Her stunning photography is a feast for the eyes, capturing the essence of her food - fresh, vibrant and for sharing.

From Caramelised shallot and thyme frittata, Apple and sage pork cassoulet and Slow-cooked zucchini with basil and lemon, to Decadent raspberry and coconut chocolate torte and Lemon and coconut truffles, My Petite Kitchen Cookbook includes breakfasts, lunches, drinks, dinners, desserts and everything in between.

My Petite Kitchen Cookbook by Eleanor Ozich Murdoch Books RRP $39.99 Available at all good book shops

Slow-cooked zucchini with basil and lemon extra virgin olive oil, for pan-frying 6 zucchini, sliced into rounds juice of 1 lemon 2–3 large handfuls of basil leaves, roughly chopped

Serves 3-4

Add enough olive oil to a medium-sized cast-iron saucepan or large heavy-based frying pan to cover the bottom of the pan. Warm the oil over medium heat.

Add the zucchini and stir to coat in the oil. Cover the pan, then reduce the heat to very low. Cook for 20–25 minutes, stirring every few minutes, until the zucchini softens.

Remove from the heat and add the lemon juice, basil and a good pinch of sea salt and freshly ground black pepper.

Stir until combined, then serve.

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Apple and sage pork cassoulet 1 tablespoon ghee, butter or olive oil 6 French shallots, roughly chopped 4 garlic cloves, roughly chopped 1 large handful of sage leaves 500g organic pork shoulder, cut into 2.5cm cubes 2 tablespoons plain brown rice flour (see Note) 185ml (¾ cup) sweet white wine or apple juice 1 litre (4 cups) vegetable stock or chicken stock 2 carrots, chopped 2 apples, skin on, cored and cut into wedges 175g frozen or shelled fresh peas

Serves 4

Melt the ghee in a large flameproof casserole dish over medium heat. Add the shallot, garlic and sage and sauté for 10 minutes, or until the shallot is soft and slightly browned.

Add the pork, then sprinkle the flour over. Continue to cook, stirring regularly, for about 10 minutes, until the meat is browned all over.

Stir in the wine, then simmer for about 5 minutes, until it has evaporated.

Add the stock, carrot and apple, then reduce the heat to low.

Simmer, uncovered, for 1½ hours, or until the meat is tender and the sauce is lovely and thick, adding a little more stock if needed.

Stir in the peas and cook for a further 5–10 minutes, or until the peas are just tender. Serve hot.

NOTE You could use any flour of your choice — buckwheat, spelt, wholemeal and tapioca flour all work well.

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Spiced Chai Carrot Cake with Honey Mascarpone Cream 3 free-range eggs 175g (½ cup) honey, or 125ml (½ cup) maple or agave syrup 185ml (¾ cup) olive oil 200g (2 cups) almond meal 125g (¾ cup) rice flour, or 100g (¾ cup) buckwheat flour 155g (1 cup firmly packed) grated carrots ½ teaspoon ground cardamom ½ teaspoon ground nutmeg 1 teaspoon ground cinnamon 1 teaspoon ground ginger ½ teaspoon ground cloves 1 teaspoon bicarbonate of soda Mascarpone cream

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240g (1 cup) mascarpone cheese grated zest of 1 lemon 2 teaspoons honey, or maple or agave syrup To decorate 2 tablespoons pepitas (pumpkin seeds) 2 tablespoons shredded coconut 2 tablespoons sunflower seeds

Serves 8 Preheat the oven to 160°C. Line a 20 cm cake tin with baking paper.

Put all the cake ingredients in a large bowl. Using a wooden spoon, mix until well combined, then carefully pour the batter into the cake tin.

Bake for 45 minutes, or until a skewer inserted in the middle of the cake comes out clean. Leave in the tin to cool completely, before carefully turning out onto a plate.

To make the mascarpone cream, put the mascarpone, lemon zest and honey in a bowl. Using a spoon, mix until well combined.

Gently spoon the mascarpone cream onto the top of the cooled cake and spread out evenly using a knife or the back of a spoon.

Sprinkle with the pepitas, shredded coconut and sunflower seeds.

The cake will keep in an airtight container in the fridge for 2 to 3 days.

Simple is not a word honoured in today’s busy lifestyle. However, it is from this very word that things began. Petite Kitchen is created from my heart, every recipe encapsulates my experiences of personal research, trial and test.

Resulting in each recipe created as nature intended it to be, simple!

The road to simple eating began when our four year old daughter Izabella, developed what was seemingly incurable severe eczema. After countless visits to doctors and specialists, nobody could shine light on her condition, nor explain the impact it had on her behaviour. In seamless despair, we visited a Naturopath, who explained to us that Izabella was suffering from Gut and Psychology Syndrome (also known as GAPS), which is an imbalance of bad gut bacteria causing toxins, which resulted in the eczema and her extreme mood fluctuations.

Eleanor Ozich

The remedy? To eliminate grain, sugar, additives and preservatives from her diet and adopt a simple, clean way of eating that our generation seems to have lost sight of.

It has been around six months since we have changed our way of eating and I am happy to tell you that our little girl is back. Her eczema and her behavioural problems are now a distant memory. Not only has this change in diet helped our little girl in a way I can’t even explain, the impact it has had on my husband, my one year old son and of course myself, have been almost unbelievable. Energy, positivity and a new lease on life now graces our home.

Petite Kitchen is the nurtured result of this transformation. It is inspiring that food, the very item that is causing obesity, depression and health epidemics of unfathomable proportions, is also the very thing that can be used to cure, cleanse and fix our body and mind.

The recipes that you find in Petite Kitchen, will nourish every aspect of your life. Simply by exchanging sugar and grains for whole, natural and unprocessed alternatives you can enjoy life’s delicious pleasures whilst creating positivity in both your mental and physical life.

Enjoy, look, and ask, but most of all, I invite you to taste. Get lost for the afternoon in your kitchen. This is the essence of my mission, to provide others with the joy and lifestyle that has graced our family. All by the execution of one little word - Simple.

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TASTING NOTES: STEVE BLANDFORD

WRITER: STEVE BLANDFORD CREMORNE CELLARS TEL: 9953 1331 EMAIL: SALES@CREMORNECELLARS.COM.AU

The Rhone Valley – Southward Bound

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After last month’s tour of the northern half of the Rhone valley in France, we now go with the river flow into the southern Rhone.

Beyond the town of Montelimar, the valley broadens out, the Mediterranean influence takes hold, the temperatures soar and different grape varieties populate the vineyards. In short, it is a different vinous world.

Whereas the north contributes less than 10% to the total Rhone Valley wine production (and most of that is premium wine) the south offers a far more diverse range of wines, both in price and style. The dominant grape is Grenache, but very few wines in this region are mono-varietal and Syrah, Mourvedre, Carignan and Cinsault, plus a number of other, more obscure local varieties, are grown throughout the south. A small amount of white wine is also made using varieties such as Grenache Blanc, Clairette, Picpoul and Bourboulenc.

The most common, catch-all appellation of the south is Cotes du Rhone (wine from the slopes of the Rhone Valley) which may be white, rosé or red. So all-encompassing is it that some fringe northern Rhone vineyards fall into this appellation as well. The volume of Cotes du Rhone wine made almost matches that from all of Bordeaux. The blends used and winemaking techniques employed may vary widely, so there is no standard style except to say that, generally, these are plump, ripe-fruited wines that are designed for reliable, everyday drinking. A number of quality conscious estates do strive to create red wines of exceptional depth and character – Chateauneuf producers Fonsalette (of Chateau Rayas) and Coudoulet de Beaucastel (of Chateau de Beaucastel) fall into this category.

Almost as large an area is occupied by the Cotes du Ventoux, whose vineyards lie on the southern and western flanks of the formidable Mont Ventoux. This region is cooler than most other parts of the southern Rhone and whilst similar varieties are grown – Grenache, Syrah, Cinsault and Carignan – the wines are lighter bodied and juicier than most neighbouring appellations. There is, however, good value to be found in this appellation.

At the next level up, both in site specificity and general quality, is the Cotes du Rhone Villages appellation. Maximum yields are lower and minimum alcohols higher for wines within this appellation; there are more than 90 communes that are eligible to carry the Villages term and the best twenty of these can add the village or commune name to the label. Best known of these would be Cairanne, Chusclan, Seguret and Sablet all producing spicy, fullerbodied and firmer structured red wines.

Some named villages that produce particularly good and distinctive wine are promoted to their own appellation (AC) status. To the west of the ancient town of Orange are the villages of Gigondas and Vacqueyras, whilst on the eastern side of the river are Lirac and Tavel. In Gigondas, where Grenache can account for no more than 80% of the blend, the wines are tightly-knit, rustic and wild, though very capable of repaying bottle-ageing; the wines of Vacqueyras can be even more concentrated and robust (Grenache is no more than 50% of the blend here). Wines made by good producers from both of these appellations can rival those of their more illustrious neighbour Chateauneuf-du-Pape. Across the river, the improving appellation of Lirac provides plump, softer reds for early drinking whilst Tavel is best known for its dry, savoury rosé made predominantly from Grenache.

The heart of the southern Rhone is, however, the world famous appellation of Chateauneuf-du-Pape. Situated on the hills halfway between Orange and Avignon, the region is named after a ruined papal summer palace; equally characteristic of the region is the galet, rounded heat-absorbing stones found in many, though not all, of the Chateauneuf-du-Pape vineyards. A cocktail of up to thirteen grape varieties is permitted in the making of the wine (including a number of white varieties) though Grenache is usually dominant, with Mourvedre providing robust support and the other varieties contributing to lesser effect. The wines produced are often lighter coloured but invariably strong in alcohol and flavour

with berries and spice, wild herbs and raisins to the fore on both bouquet and palate. Top producers include Vieux Telegraph, Beaucastel, Clos du Papes, Barroche, La Nerthe, Charvin, Mont Redon and possibly the greatest of all, Rayas.

Our final destinations in this Rhone ramble are the idiosyncratic villages of Beaumes-de-Venise and Rasteau, located next door to Gigondas. Both of these appellations produce good quality, fullflavoured reds, but it is for their vin doux natural that they are best known. These styles of wine are produced by adding grape spirit to the fermenting juice thus stopping the ferment; in the case of Beaumes-de-Venise it is the Muscat grape used whilst Rasteau is created using Grenache grapes. Good examples of these wines should adroitly balance sweetness and alcohol lift with fragrance and delicacy. n

Domaine de Font-Sane Cotes du Ventoux Vieilles Vignes 2011 Mont Ventoux rises as a sentinel over Provence with the vineyards on and around its slopes qualifying as the Ventoux AOC, from which red wines similar to, though possibly more consistent than, Cotes du Rhone are made. This wine from Font-Sane is 70% Grenache, 30% Syrah, sourced from old-vine (vieilles vignes) vineyards. It is a bright, plumply fruited wine with attractive notes of plum, violets, black pepper and charcoal, finishing juicy and fresh. It’s an uncomplicated yet perfectly satisfying drink.

Chateau Mont-Redon Lirac 2011 This wine could easily be called a mini-Chateauneuf, a blend of 70% Grenache, 20% Syrah and 10% Cinsault that delivers a fair swag of vinous pleasure. The bouquet unfurls with aromas of blue berries, red liquorice, clove and a zephyr of alcohol lift. The palate is finely tuned with vibrant fruit flavours, ripe tannins and a spicy, savoury finish that lingers pleasingly.

Excellent value for money and a great example of what Lirac has to offer.

La Roquete Chateauneuf-du-Pape 2010 Grenache Noir (70%), Syrah (20%), Mourvèdre (10%) La Roquete is not a high profile producer despite having a fine pedigree – it is under the same ownership as Vieux Telegraphe. Furthermore, 2010 was a cracker of a vintage leading to beautifully balanced wines, less overtly ripe than the 2009’s but more complete. This wine shows a complex array of black fruit, liquorice, spice and Provençal herb aromas, leading to a concentrated, deeply-fruited, yet supple and elegant palate that finishes long and savoury. This is a great example of the style and more affordable than many of its peers. www.harbourviewmag.com.au

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PHOTOGRAPHY: JIMMY NELSON

Before They Pass Away

Over 15 Million People In 29 Tribes 30

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J

immy Nelson started working as a photographer in 1987.

Having spent ten years at a Jesuit boarding school in the North of England, he set off on his own to traverse the length of Tibet on foot. The journey lasted a year and upon his return his unique visual diary, featuring revealing images of a previously inaccessible Tibet, was published to wide international acclaim.

Soon after, he was commissioned to cover a variety of culturally newsworthy themes, ranging from the Russian involvement in Afghanistan and the ongoing strife between India and Pakistan in Kashmir to the beginning of the war in former Yugoslavia.

In early 1994 he and his Dutch wife produced Literary Portraits of China, a 30 month project that brought them to all the hidden corners of the newly opening People’s Republic.

Upon its completion the images were exhibited in the People’s Palace on Tiananmen Square, Beijing and then followed by a worldwide tour.

From 1997 onwards Jimmy began to successfully undertake commercial advertising assignments for many of the world’s leading brands. At the same time he started accumulating images of remote and unique cultures photographed with a traditional 50-year-old plate camera. Many awards followed.

When he started to successfully and internationally exhibit and sell these images, he created the subsequent momentum and enthusiasm for the initiation of Before they Pass Away.

After three years of travelling the world and capturing the beauty of over 30 remote tribes, Jimmy and his wife have selected over 500 images to be featured in a luxurious special oversized book.

42 x 59 cm in size with 464 pages printed in full colour ( with a 100 lines screening) the book displays wonderful images with the same quality as the original pictures, taken by Jimmy with a traditional plate camera.

For more information/www.beforethey.com

The approximately 5.5 million Tibetans are an ethnic group with bold and uninhibited characteristics. Archaeological and geological discoveries indicate that the Tibetans are descendants of aboriginal and nomadic Qiang tribes. The history of Tibet began around 4,000 years ago.

“Better to see once than to hear many times” Prayer flags, sky burials, festival devil dances, spirit traps, rubbing holy stones, all associated with Tibetan beliefs, evolved from the ancient shamanist Bon religion. The costume and ornaments communicate not only the habits, but also the history, beliefs, climate and character of the people.

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Around 2,500 Drokpas live in three small villages in a disputed territory between India and Pakistan.

The only fertile valley of Ladakh. The Drokpas are completely different– physically, culturally, linguistically and socially – from the Tibeto-Burman inhabitants of most of Ladakh.

“Boast during the day, be humble at night” For centuries, the Drokpas have been indulging in public kissing and wife-swapping without inhibitions. Their cultural exuberance is reflected in exquisite dresses and ornaments. Their main sources of income are products from the well-tended vegetable gardens.

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The Drokpas are completely different – physically, culturally, linguistically and socially – from the Tibeto-Burman inhabitants of most of Ladakh.

Drokpa men and women are tall and fair, with big, lightly coloured eyes, full lips and distinctive noses and eyebrows.

As a result, they consider themselves superior and do not marry into other communities.

This insularity is how the tribe preserves its ethnicity.

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For most people, New Zealand is about as far off as it gets. It takes roughly twentyfour hours to get there from anywhere in Europe, more than thirteen from the American west coast and even from a relatively close by city like Hong Kong, the island nation in the Pacific is still a good twelve hour flight away. With the International Date Line just to the east of its majestic shores, the land of the mighty Maori is always closer to tomorrow than any other country in the world.

"New Zealand isn’t just on the edge of the world. It’s also on the edge of time" 34

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The long and intriguing story of the origin of the indigenous Maori people can be traced back to the 13th century, the mythical homeland Hawaiki, Eastern Polynesia. Due to centuries of isolation, the Maori established a distinct society with characteristic art, a separate language and unique mythology.

“My language is my awakening, my language is the window to my soul” Defining aspects of Maori traditional culture include art, dance, legends, tattoos and community.

While the arrival of European colonists in the 18th century had a profound impact on the Maori way of life, many aspects of traditional society have survived into the 21st century.

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When the Maasai migrated from the Sudan in the 15th century, they attacked the tribes they met along the way and raided cattle. By the end of their journey, they had taken over almost all of the land in the Rift Valley. To be a Maasai is to be born into one of the last great warrior cultures.

“Lions can run faster than us, but we can run farther” The Maasai’s entire way of life has historically depended on their cattle, following patterns of rainfall over vast land in search of food and water. Nowadays, it is common to see young Maasai men and women in cities selling not just goats and cows, but also beads, mobile phones, charcoal and grain.

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As with most of our journeys, we were on a very tight schedule. To catch our flight back home, we needed to take a domestic flight to the capital of Windhoek first. We got on a small Cessna flown by a young and cocky pilot. Right after takeoff, we got caught in a massive sandstorm.

Because we were trying to make our connecting flight, instead of flying around the weather, our pilot flew straight into it. The second we hit the storm, everything went dark around us. The whole plane – and us inside was thrown around like a toy that gets tossed around by an angry child.

With all his might, the pilot turned the plane around and steered it out of the storm. When we looked back, it was like we were caught in a scene from The Mummy. An enormous roaring mass of sand was right on our tail trying to catch us. We had to find a place to land and fast.

Without an airstrip in sight for miles, the pilot added some extra drama to our already adventurous flight and landed the plane on a road. Once the adrenalin had subsided, we got a lift to Windhoek where we arrived some fifteen hours later and made our flight home.

"Clearly, trying to fly through the storm wasn’t such a good idea after all" HARBOURVIEW JULY 2014

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The Nenets are reindeer herders, migrating across the Yamal peninsula, thriving for more then a millennium with temperatures from minus 50°C in winter to 35°C in summer. Their annual migration of over a 1000 km includes a 48 km crossing of the frozen waters of the Ob River.

“If you don’t drink warm blood and eat fresh meat, you are doomed to die on the tundra” The discovery of oil and gas reserves in the 1970s and the expanding infrastructure on the peninsula, has challenged their indigenous lifestyle. From the late Stalin period, all children have been enrolled in Soviet boarding schools, this has become a part of the typical Nenets life cycle.

The purity of humanity exists. It is there in the mountains, the ice fields, the jungle, along the rivers and in the valleys. Jimmy Nelson found the last tribesmen and observed them. He smiled and drank their mysterious brews before taking out his camera. He shared what real people share: vibrations, invisible but palpable. He adjusted his antenna to the same frequency as theirs. As trust grew, a shared understanding of the mission developed: the world must never forget the way things were.

There is a pure beauty in their goals and family ties, their belief in gods and nature, and their will to do the right thing in order to be taken care of when their time comes. Whether in Papua New Guinea or in Kazakhstan, in Ethiopia or in Siberia, tribes are the last resorts of natural authenticity. ‘’In 2009, I planned to become a guest of 31 secluded and visually unique tribes. I wanted to witness their time-honoured traditions, join in their rituals and discover how the rest of the world is threatening to change their way of life forever. Most importantly, I wanted to create an ambitious aesthetic photographic document that would stand the test of time. A body of work that would be an irreplaceable ethnographic record of a fast disappearing world.

Elegant and evocative portraits created with a 4x5 camera. The detail that is attained by using such large negatives provides an extraordinary view into the emotional and spiritual lives of the last indigenous peoples of the world. At the same time, it glorifies their varying and unique cultural creativity with their painted faces, scarified bodies, jewellery, extravagant hairstyles and ritual language."

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The Kazakhs are the descendants of Turkic, Mongolic and Indo-Iranian tribes and Huns that populated the territory between Siberia and the Black Sea. They are a seminomadic people and have roamed the mountains and valleys of western Mongolia with their herds since the 19th century.

“Fine horses and fierce eagles are the wings of the Kazakh” The ancient art of eagle hunting is one of many traditions and skills that the Kazakhs have been able to hold on to for the last decades. They rely on their clan and herds, believing in pre-Islamic cults of the sky, the ancestors, fire and the supernatural forces of good and evil spirits.

We went north by plane to the subarctic taiga to photograph the Tsaatan tribe.

Then west to the remote mountainous region of Bayan Olgii for the Kazakh tribe. We were astonished by the vastness of Mongolia. For hours we flew over beautifully desolate snow-covered mountains without a single sign of civilization anywhere. Except for maybe the odd little plume of smoke from a campfire somewhere far down below.

Among many Kazakh traditions is the ancient art of eagle hunting.

For more than two centuries, Kazakh men have hunted on horseback with trained golden eagles. Across mountains and steppes, a large variety of animals – including rabbits, marmots, foxes and even wolves – are hunted for their fur, an integral part of traditional Kazakh clothing.

The skill of training a golden eagle is passed on through generations. Eagle hunters wear boots, black coats and fox-fur hats called loovuuz.

Most Kazakhs in this remote, mountainous region are dependent on domestic animals for their livelihood. They have roamed the mountains and valleys of western Mongolia with their herds since the 19th century. The area has many peaks, ranging from 3,000 to 4,000 metres. Today the Kazakhs in the province of Bayan-Ölgii number around 87,000 or about 88.7% of the provincial population, while across the country they represent around 4% of the total Mongolian population (about 110,000 people).

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ARTIST: J C LEYENDECKER

Before Rockwell, a Gay Artist Defined the Perfect American Male.

"Nobody had to tell J.C. Leyendecker that sex sells. Before the conservative backlash of the mid-20th century, the American public celebrated his images of sleek muscle-men, whose glistening homo-eroticism adorned endless magazine covers. Yet Leyendecker’s name is almost forgotten, whitewashed over

by Norman Rockwell’s legacy of tame, small-town Americana.

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Joseph Christian Leyendecker (1874 – 1951) was one of the preeminent American illustrators of the early 20th century. He is best known for his poster, book and advertising illustrations, the trade character known as The Arrow Collar Man, and his numerous covers for The Saturday Evening Post. Between 1896 and 1950, Leyendecker painted more than 400 magazine covers. During the Golden Age of American Illustration, for The Saturday Evening Post alone, Leyendecker produced 322 covers, as well as many advertisement illustrations for its interior pages. No other artist, until the arrival of Norman Rockwell two decades later, was so solidly identified with one publication. Leyendecker "virtually invented the whole idea of modern magazine design.

In 1882, the Leyendecker family immigrated to Chicago, Illinois, where Elizabeth's uncle had founded the successful McAvoy Brewing Company.

After working in late adolescence for a Chicago engraving firm, J. Manz & Company, and completing his first commercial commission of 60 Bible illustrations for the Powers Brothers Company, J. C. sought formal artistic training at the school of the Chicago Art Institute.

After studying drawing and anatomy under John H. Vanderpoel at the Chicago Art Institute, Joseph and younger brother Frank enrolled in the Académie Julian in Paris for a year, where they were exposed to the work of Toulouse-Lautrec, Jules Chéret and Alphonse Mucha (a leader in the French Art Nouveau movement).

In 1899, the Leyendecker brothers returned to America and set up residence in an apartment in Hyde Park, Illinois. They had a studio in Chicago's Fine Arts Building at 410 South Michigan Ave. In May of that year, Joe received his first commission for a Saturday Evening Post cover – the beginning of his forty-four year association with the most popular magazine in the country. Ultimately he would produce 322 covers for the magazine, introducing many iconic visual images and traditions including the New Year's Baby, the pudgy red-garbed rendition of Santa Claus, flowers for Mother's Day and firecrackers on the 4th of July.

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In 1900, Joe, Frank and their sister Mary moved to New York City, then the centre of the US commercial art, advertising and publishing industries.

During the next decade, both brothers began lucrative long-term working relationships with apparel manufactures including Interwoven Socks, Hartmarx, B. Kuppenheimer & Co. and Cluett Peabody & Company. The latter resulted in Leyendecker's most important commission when he was hired to develop a series of images of the Arrow brand of shirt collars.

Leyendecker's Arrow Collar Man, as well as the images he later created for Kuppenheimer Suits and Interwoven Socks, came to define the fashionable American male during the early decades of the twentieth century. Leyendecker often used his favourite model and lover Charles Beach.

Another important commission for Leyendecker was from Kellogg's, the breakfast food manufacturer. As part of a major advertising campaign, he created a series of twenty "Kellogg's Kids" to promote Kellogg's Corn Flakes.

In 1914, the Leyendeckers, accompanied by Charles Beach, moved into a large home and art studio in New Rochelle, New York, where Joseph would reside for the remainder of his life. During the first World War, in addition to his many commissions for magazine covers and men's fashion advertisements, Joseph also painted recruitment posters for the United States military and the war effort.

The 1920s were in many ways the apex of Leyendecker's career, with some of his most recognisable work being completed during this time.

Modern advertising had come into its own, with Leyendecker widely regarded as among the pre-eminent American commercial artists.

This popularity extended beyond the commercial and into Leyendecker's personal life, where he and Charles Beach hosted large galas attended by people of consequence from all sectors. The parties they hosted at their New Rochelle home come studio were important social and celebrity making events.

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As the 1920s marked the apex of Leyendecker's career, so the 1930s marked the beginning of its decline. Around 1930–31, Cluett, Peabody, & Co. ceased using Leyendecker's illustrations in its advertisements, now for shirts and ties as the collar industry seriously declined after 1921.

During this time, the always shy Leyendecker became more and more reclusive, rarely speaking with people outside of his sister Mary Augusta and Charles (Frank had died in 1924 as a result of an addiction-riddled lifestyle). Perhaps in reaction to his almost all-pervasive widespread popularity in the previous decade, or as a result of the new economic reality following the Wall Street Crash of 1929, the number of commissions Leyendecker received steadily declined. In 1936, the editor at The Saturday Evening Post for all of Leyendecker's career up to that point, George Horace Lorimer, retired and was replaced by Wesley Winans Stout (1937–1942) and then Ben Hibbs (1942–1962), both of whom rarely commissioned Leyendecker to illustrate covers.

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Leyendecker's last cover for The Saturday Evening Post was of a New Year Baby for January 2, 1943, thus ending the artist's most lucrative and celebrated string of commissions. New commissions continued to filter in, but slowly. Among the most prominent were posters for the United States Department of War, in which Leyendecker depicted commanding officers of the armed forces encouraging the purchases of bonds to support the nation's efforts in World War II. Leyendecker died on July 25, 1951, at his estate in New Rochelle of an acute coronary occlusion.

While Charles Beach often organised the famous gala-like social gatherings that Leyendecker was known for in the 1920s, he apparently also contributed largely to Leyendecker's social isolation in his later years.

Beach reportedly forbade outside contact with the artist in the last months of his life. Despite Joseph’s fame, his life is not so well-known now because he lived discreetly; it would also appear that on his death Charles destroyed most of Joseph’s remaining work, diaries and documents.

As the premier cover illustrator for the enormously popular Saturday Evening Post for much of the ďŹ rst half of the 20th century, Leyendecker's work both reected and helped mould many of the visual aspects of the era's culture in America.

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INSPIRATIONAL

TRAVEL OS: VIENNA

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Described as Europe's cultural capital, Vienna is a metropolis with unique charm, vibrancy and air. It boasts outstanding infrastructure, is clean and safe and has all the inspiration that you could wish for in order to discover this wonderful part of Europe.

T

he golden Strauss Monument is the most popular photographic subject in all of Vienna.

The gilded bronze monument of Johann Strauss II was unveiled to the public on 26 June 1921 and is framed by a marble relief made by Edmund Hellmer.

Vienna, the capital of Austria with its 2 million inhabitants, is situated on the banks of the Danube. When the statue was unveiled the Philharmonic Orchestra played the Blue Danube Waltz, composed by Strauss.

Some of Johann Strauss's most famous works include - The Blue Danube, Kaiser-Walzer, Tales from the Vienna Woods, and the Tritsch-TratschPolka. Among his operettas, Die Fledermaus and Der Zigeunerbaron are the best known.

Strauss was diagnosed with pleural pneumonia in 1899 and died in Vienna, at the age of 73. He was buried in the Zentralfriedhof.

Strauss's music is now regularly performed at the

annual Neujahrskonzert of the Vienna Philharmonic Orchestra.

The influx of visitors from all over the world has made Vienna the most popular urban tourist destination in Austria. It’s climate is generally moderate and mild and reliably follows the four distinct seasons.

Vienna is a dream city for anyone with a romantic streak or an interest in history. Sightseeing opportunities are to be found in abundance.

Wander along narrow, medieval alleyways or across imperial squares, view SchĂśnbrunn Palace or the Imperial Palace (Hofburg) in the footsteps of Sissi and Emperor Franz Josef and marvel at the majestic architecture along the Ring boulevard. Be inspired by an atmosphere steeped in history which also boasts the comforts and infrastructure of a modern city.

Museum of Fine Arts, for instance, is one of the world's largest and most distinguished museums, housing priceless works of art. Art accompanies you wherever you go in Vienna - even some of its underground stations are listed properties due to their elegant, ornamental Jugendstil style designed by Otto Wagner. Vienna is also uniquely zestful as far as its literature is concerned.

Of course Vienna, as you would expect, possesses a lively and vast array of cultural attractions.

Whether it be classical or experimental theatre, film or dance festivals, opera or operetta, or exhibitions and concerts - no matter when you come and how long you stay, there is sure to be something exciting for you to discover. Or if your tastes are not quite so culturally refined, then visit one of Vienna's famous coffee houses or traditional wine taverns (Heurige) and work your way through famous culinary specialities.

Down the centuries, Vienna has always produced and nurtured world-famous artists. The collecting passion of art-loving rulers and monarchs has made Vienna a treasure house par excellence. The

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After the old city walls were torn down during the mid-nineteenth century, a grand boulevard was created around the historic centre of Vienna. Soon monumental buildings were erected along the boulevard, known as Ringstrasse. Five of these buildings were designed by TheoďŹ l von Hansen, of which the Parliament is the most monumental.

Hansen had studied architecture in Athens and the Greek inuence clearly shows in his design for the Austrian Parliamentary Building. The neoclassical architecture is an obvious reference to Ancient Greece, the cradle of democracy.

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The origins of modern-day Austria date back to the time of the Habsburg dynasty when the vast majority of the country was a part of the Holy Roman Empire. From the time of the Reformation, many Northern German princes, resenting the authority of the Emperor, used Protestantism as a flag of rebellion. The Thirty Years War, the influence of the Kingdom of Sweden and Kingdom of France, the rise of the Kingdom of Prussia and the Napoleonic invasions all weakened the power of the Emperor in the North of Germany, but in the South and in non-German areas of the Empire, the Emperor and Catholicism maintained control. During the 17th and 18th centuries, Austria was able to retain its position as one of the great powers of Europe and, in response to the coronation of Napoleon as the Emperor of the French, the Austrian Empire was officially proclaimed in 1804.

Following Napoleon's defeat, Prussia emerged as Austria's chief competitor for rule of a larger Germany. Austria's defeat by Prussia at the Battle of KÜniggrätz, during the Austro-Prussian War of 1866 cleared the way for Prussia to assert control over the rest of Germany. In 1867, the empire was reformed into Austria-Hungary.

After the defeat of France in the 1870 Franco-Prussian War, Austria was left out of the formation of a new German Empire, although in the following decades its politics and its foreign policy, increasingly converged with those of the Prussian-led Empire. During the 1914 July Crisis that followed the assassination of Archduke Franz Ferdinand of Austria, the German Empire guided Austria in issuing the ultimatum to Serbia that led to the declaration of the First World War. After the collapse of the Habsburg Empire in 1918, Austria adopted and used the name the Republic of German-Austria in an attempt for union with Germany, but was forbidden due to the Treaty of Saint-Germain-en-Laye (1919). The First Austrian Republic was established in 1919. In the 1938 Anschluss, Austria was occupied and annexed by Nazi Germany. This lasted until the end of World War II in 1945, after which Germany was occupied by the Allies and Austria's former democratic constitution was restored. In 1955, the Austrian State Treaty re-established Austria as a sovereign state, ending the occupation. In the same year, the Austrian Parliament created the Declaration of Neutrality which declared that the Second Austrian Republic would become permanently neutral.

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Today, Austria is a parliamentary representative democracy comprising nine federal states. Vienna is the capital and largest city, with a population exceeding 1.7 million (Austria's population is around 8.5 million). Austria is one of the richest countries in the world, with a nominal per capita GDP of $46,330. The country has developed a high standard of living and in 2011 was ranked 19th in the world for its Human Development Index.

Austria has been a member of the United Nations since 1955, joined the European Union in 1995, and is a founder of the OECD. Austria also signed the Schengen Agreement in 1995, and adopted the European currency, the euro, in 1999.

Vienna was for a long time an important centre of musical innovation. 18th- and 19th-century composers were drawn to the city due to the patronage of the Habsburgs, and made Vienna the European capital of classical music. During the Baroque period, Slavic and Hungarian folk forms influenced Austrian music.

Vienna's status began its rise as a cultural centre in the early 16th century, and was focused around instruments, including the lute. Ludwig van Beethoven spent the better part of his life in Vienna. Austria's current national anthem, attributed to Mozart, was chosen after World War II to replace the traditional Austrian anthem by Joseph Haydn.

Austria produced one notable jazz musician, keyboardist Josef Zawinul, who helped pioneer electronic influences in jazz as well as being a notable composer in his own right. The pop and rock musician Falco was internationally acclaimed during the 1980s, especially for his song "Rock Me Amadeus" dedicated to Mozart.

The drummer Thomas Lang was born in Vienna in 1967 and is now world renowned for his technical ability, having played with artists such as Geri Halliwell and Robbie Williams.

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The Hofburg (Court Palace) is a tourist magnet, and visitors flock to see the royal apartments, chapel, church, library, the Winterreitschule and the many museums that are housed in the complex, which consists of eighteen wings with more than 2000 rooms designed in a wide range of architectural styles, from Gothic to Baroque and Neoclassicist. The mostly Baroque exterior is nonetheless surprisingly harmonious.

Thank goodness most of the city's main sights are located in Vienna's compact centre or at the boulevard encircling the historic centre, which makes it easy to visit the city on foot. Other neighbourhoods are easily accessible thanks to the efficient subway.

Nothing introduces you better to the delights of Austria like a trip down the Danube, where its banks are rich with history, cultural treasures and sunlit vineyards.

On the way through the enchanting river valley you pass the 900-year old Benedictine Abbey of Melk at the entrance to the World Cultural Heritage Region Wachau before you go ashore in DĂźrnstein where you walk through medieval cobblestone streets and discover the magnificent blue facade of the baroque Stiftskirche.

When you stand still and close your eyes you can observe and enjoy the aroma of the well known Wachau apricot. From the fruit gardens along the river, locals produce tempting goodies such as jams and fruit-jellies, Schnaps, or cakes and sell them in their little shops or at the local farmers markets.

Austria has become THE destination for wine and culinary travellers in the know.

Explore the culinary diversity and amazing wines.

An hour south of Vienna lies the Burgenland, famous for its sunny climate and the excellent red wines and award winning sweet wines the region produces. Explore this hidden treasure of Austria and discover some of Europe’s most exciting winemakers. In the Burgenland, local vintners often join forces and create vinotheques, a mix of cultural centre and elaborate wine tasting room.

A prime example is the Weinkulturhaus in the village of Gols, minutes from Lake Neusiedl. There, in a beautiful historic, vaulted cellar, you can choose from more than 400 excellent wines produced by over 100 local vinters, participate in wine tastings or start on a leisurely walk through the wine region. n HARBOURVIEW JULY 2014

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EXHIBITION: MOSMAN ART GALLERY

Une Australienne The richness and beauty of the work of Hilda Rix Nicholas will be the focus of a major exhibition at Sydney’s Mosman Art Gallery, until the 13th of July 2014

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H

ilda Rix Nicholas (1884 –1961) is one of Australia’s most important early twentieth-century women artists. This Mosman Art Gallery exhibition examines the artist’s early career and the profound influence her experience in Europe had on her art practice in 1920s Australia.

Emily Hilda Rix Nicholas was born in Ballarat, Victoria in 1884 to artist Elizabeth Rix and respected mathematician and education inspector Henry Finch Rix. She emerged into a world charged with the forces of Australian nationalism and the freedoms associated with the emancipation of women. Hilda Rix Nicholas grasped the spirit of both these movements and would later reflect on them in her art practice.

Hilda first studied art under Frederick McCubbin at the National Gallery of Victoria Art School, 1902–1905. Following the death of her father, Hilda (age 22) travelled to Europe in 1907 with her mother and sister Elsie. With family support Hilda was encouraged to make art and study abroad.

Like so many of her contemporaries, Rix Nicholas trained in the studios of London and later Paris, where she kept a studio. Her fine-art practice alternated between drawing and painting, landscape and figuration. Hilda successfully exhibited in the prestigious Paris Salon; the Royal Academy and later at the Société des Peintres Orientalistes Francais, 1914.

Hilda was part of the annual summer artist colony in Étaples on the north west coast of France (1910-1914) where the village life of rural fishing folk, the buildings and gardens, all became subject matter for paintings and drawings, until war intervened.

Hilda travelled to North Africa in 1912 and 1914 - study trips that

The centre piece as usual, Hilda stands tall

were significant and liberating for the artist. Along with Ethel Carrick Fox, Rix Nicholas was one of the first women to practice her art openly in the streets of Tangier in Morocco. Hilda’s colourful observations of the everyday - its people, market life and street scenes - are full of light and reflect her passion for costume. These magical sketches and drawings are still fresh today.

At the start of the war Hilda’s sister and mother both became seriously ill with fever and passed away. Later in 1916, her husband of only a few months, Australian solider Major George Matson Nicholas, died on the battlefield in France. Felling trapped in London and grieving for her family, Rix Nicholas returned home to Australia, relocating to Sydney in 1919 and a home in Mosman where she kept a studio for four years.

In Mosman, Hilda continued to revisit the experiences garnered during her time abroad. She worked on a series of powerful portraits of returned Australian soldiers and along with Streeton and Lambert, entered a war memorial mural competition for the Melbourne Public Library.

Hilda also turned her attention to images in and around Sydney, painting idyllic scenes of the Harbour, the beaches, its personalities and bohemian life. She travelled west to capture majestic views of The Blue Mountains. Works produced during this time at the Mosman studio reflect Hilda’s cosmopolitan training and her exposure to the European post-impressionists.

Hilda Rix Nicholas was feted as an international artist. She received acclaim for her range of work and successfully exhibited paintings in Sydney, Melbourne as well as back in London and France in 1925 - where she was elected as an Associate of the Société Nationale des Beaux-Arts.

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In 1926, Rix Nicholas embarked on an extended painting tour by car of regional New South Wales and Queensland. The artist chose to settle in Delegate in the Monaro district of southern New South Wales in 1928 to marry grazier Edgar Wright. At the age of 46 Hilda gave birth to her only child, Rix, in 1930. Living at Knockalong station, Hilda Rix Nicholas continued her art practice until ill health intervened and she died in 1961, aged 76.

Une Australienne: Hilda Rix Nicholas in Paris, Tangier and Sydney celebrates the importance of Hilda Rix Nicholas’ art practice and her engagement in the international art scene. The exhibition features important paintings and drawings from Hilda’s time in France, Tangier and Sydney, which have not been exhibited together since her solo exhibitions of the 1920s.

Exhibition works are on loan from the public collections of the National Gallery of Australia, Art Gallery of New South Wales, The Art Gallery of South Australia, Australian War Memorial, Mornington Peninsula Regional Gallery, McClelland Gallery and Sculpture Park, Bega Regional Gallery and from JB Hawkins Antiques, Bridget McDonnell Gallery, as well as private collections. A number of key works are on loan from the private collection of the Rix-Wright family.

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A letter from Rix Nicholas to her son expressed despair in her artistic career and summarised the professional fate of her final years:

Not doing anything creative is nearly killing me.The trouble is that there is no one near me who cares whether I ever do any more work or not ... I feel the artist in me is dying and the dying is an agony ... only one's self knows the craving and the best part in one is aching unsatisfied.

The exhibition is on at Sydney’s Mosman Art Gallery until 13th July 2014 The gallery is open 7 days, 10am – 5pm.

Closed Public Holidays Admission is Free Gallery Reception: 02 9978 4178 Information & event bookings: www.mosmanartgallery.org.au

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EXHIBITION : NATIONAL GALLERY OF AUSTRALIA

Stars of the Tokyo stage

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Natori Shunsen Japan 1886-1960 Ichikawa Sadanji II as Narukami in ‘Narukami’ 1926 from the series Collection of creative portraits by Shunsen woodblock print, embossing; ink, colour and mica on paper, 38.0 x 25.8 cm (opposite) National Gallery of Australia, Canberra Purchased 2006 Natori Shunsen Japan 1886-1960 Nakamura Ganjiro I as Sakata Tojuro in ‘Tojuro’s love’ 1925 from the series Collection of creative portraits by Shunsen woodblock print; ink and colour on paper, 38.1 x 26.0 cm (this page) National Gallery of Australia, Canberra Gift of Jennifer Gordon 1998 Natori Shunsen Japan 1886-1960 Nakamura Shikaku II as Shizuka Gozen in ‘Yoshitsune and the thousand cherry trees’ 1926 from the series Collection of creative portraits by Shunsen woodblock print, embossing; ink and colour on paper, 38.2 x 25.6 cm (page 74) National Gallery of Australia, Canberra Gift of Jennifer Gordon 1998 Natori Shunsen Japan 1886-1960 Matsumoto Koshiro VII as Umeomaru in ‘Sugawara’s secrets of calligraphy’ 1926 from the series Collection of creative portraits by Shunsen woodblock print; ink and colour on paper, 38.2 x 25.9 cm (page 75) National Gallery of Australia, Canberra Gift of Jennifer Gordon 1998

Exclusively from the National Gallery of Australia collection, Stars of the Tokyo stage explores kabuki and modern Japanese printmaking in the context of the astounding changes taking place in Tokyo as the 20th century unfolded.

This is the first time a complete set of prints by Natori Shunsen has been exhibited in Australia and Kabuki costumes are rarely seen off the stage. The exhibition contains forty seven precious prints and seven stunning, rare costumes and provides a striking insight into the world of Kabuki.

‘Stars of the Tokyo stage will no doubt entice and enthral visitors to the exhibition. The drama, spectacle and excitement of Kabuki will be conveyed through rare prints and costumes, none of which have been displayed outside the National Gallery of Australia. The exhibition encapsulates the power and intensity of this world renowned art form’, said Ron Radford AM, Director, National Gallery of Australia.

An inspiration to artists for centuries, kabuki draws on Japan’s rich folklore, literature and history, as well as violent, romantic and scandalous events, to present lavish dramatic performances. Kabuki actors – the movie stars of their day – were wildly popular for flamboyant portrayals, extraordinary characters and colourful personal lives. Shunsen’s prints provide a fascinating glimpse into this glamorous world, while demonstrating consummate mastery of traditional Japanese printmaking techniques.

Stars of the Tokyo stage: Natori Shunsen’s kabuki actor prints has been curated by Lucie Folan, Curator, Asian Art and is accompanied by a richly illustrated catalogue and a primary and secondary education resources.

Natori Shunsen Japan 1886-1960 Okochi Denjiro as Tange Sazen 1931 from the series Supplement to collection of portraits by Shunsen woodblock print; ink, colour and mica on paper, 40.0 x 27.3 cm (page 76) National Gallery of Australia, Canberra Pauline and John Gandel Fund, 2011 Natori Shunsen Japan 1886-1960 Nakamura Jakuemon III as Yaoya Oshichi in ‘The stylish maid and love’s dappled cloth’ 1927 from the series Collection of creative portraits by Shunsen woodblock print; ink and colour on paper, 37.2 x 25.7 cm (page 77) National Gallery of Australia, Canberra The Orde Poynton Bequest 2004 Natori Shunsen Japan 1886-1960 Nakamura Fukusuke V as Ohan in ‘The Katsura River and the eternal bonds of love’ 1928 from the series Collection of creative portraits by Shunsen woodblock print, embossing; ink and colour on paper, 38.2 x 25.4 cm (page 78) National Gallery of Australia, Canberra Gift of Jennifer Gordon 1998 Natori Shunsen Japan 1886-1960 Nakamura Utaemon V as Yodogimi in ‘A sinking moon over the lonely castle where the cuckoo cries’ 1926 from the series Collection of creative portraits by Shunsen woodblock print, embossing; ink and colour on paper, 37.6 x 25.6 cm (page 79) National Gallery of Australia, Canberra Gift of Jennifer Gordon 1998 Natori Shunsen Japan 1886-1960 Ichikawa Sumizo VI as Shirai Gonpachi in ‘The floating world’s pattern and matching lightning bolts’ 1926 from the series Collection of creative portraits by Shunsen woodblock print; ink and colour on paper, 38.2 x 26.0 cm (page 80) National Gallery of Australia, Canberra Gift of Orde Poynton Esq, AO CMG 2001 HARBOURVIEW JULY 2014

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Stars of the Tokyo stage: Natori Shunsen’s kabuki actor prints reveals the dynamic world of Japan’s kabuki theatre through superb actor portraits created by artist Natori Shunsen in the 1920s and 30s. But who was Natori Shunsen?

Natori Shunsen (1886-1960), one of the finest designers of actor prints, was born Natori Yoshinosuke, the fifth son of a silk merchant. The family moved to Tokyo after Shunsen's father lost his business. In Tokyo, Shunsen had the opportunity to begin his artistic training. At the age of eleven, he began studying with Kubota Beisen (1852-1906), a Japanese-style (Nihonga) painter.

During this time he received his artist's name "Shunsen". He later studied at the Tokyo School of Fine Arts.

Natori Shunsen

In 1909 Shunsen began working at the Tokyo Newspaper, Asahi Shinbun, illustrating the newspaper's literary sections and serialised novels. He worked with many famous authors and developed an interest in depicting literary characters. Illustrating kabuki actors was a natural extension of this work. The kabuki theatre was very popular at that time and the stories and characters were well known by the public. In 1915 Shunsen first became involved in designing actor prints. He contributed several print designs to the magazine New Actor Portraits (Shin Nigao-e).

Other artists involved with this project were Yamamura Toyonari (Koka) (1885-1942) and Torii Kotondo (1900-1976).

While working at the newspaper, Shunsen began to exhibit his paintings of kabuki and literary characters. During an exhibit in 1916, the woodblock publisher Watanabe Shozaburo happened to see one of Shunsen's actor portraits, Nakamura Ganjiro as Kamiya Jihei. Watanabe was immediately impressed by the work and wanted to employ Shunsen as a print designer for his "new prints" (shin hanga). Shunsen agreed to a collaboration and Watanabe produced two actor prints from his designs in 1916 and 1917.

After 1917 Shunsen decided to pursue other opportunities, though Watanabe probably would have liked to continue their collaboration. However, in 1925 they again worked together.

Shunsen had started designing a series of 36 actor portraits for the publisher Kikuchi Yoshimaru. After the first print was completed, Kikuchi decided to turn over the project to Watanabe.

This series, Shunsen nigao sh (variously translated as Thirty-six Kabuki Actors Portraits or Portraits of Actors in Various Roles or Collection of Shunsen Portraits) showcased some of Shunsen's finest kabuki designs. Watanabe lavishly produced each print in a limited edition of 150 and sold them only by subscription. The series lasted through 1929, and was followed by a supplement series of 15 actor prints produced through 1931.

Shunsen's actor portraits were mainly in the okubi-e (large head) format which allowed him to focus on the expression and emotions of the character's face. He also designed a few bijin-ga (beautiful women) prints during the late 1920's, both with Watanabe and the publisher Kato Junji. These prints (at least those produced by Watanabe) seem rather flat in comparison to the vibrant kabuki portraits, perhaps because they are not okubi-e.

Shunsen continued to work as an artist in the kabuki theater, but did not design any other actor prints until the early 1950's. From 1951 to 1954, he collaborated with Watanabe on another series of 30 contemporary actor prints, titled Butai no sugata-e (Forms of Actors Onstage.) Like the earlier series, these designs were beautifully printed and are very expressive, especially the okubi-e portraits. However, to some critics, they are not as strikingly original as the first series, echoing the decline of the kabuki theater during that time. While he did not produce any additional prints for Watanabe after this series, he continued to paint, produce drawings for prints and to teach until 1958. Tragically, Shunsen and his wife lost their beloved daughter Yoshiko to pneumonia in 1958. They were unable to recover from their grief and committed double suicide on the family grave in Tokyo.

Source: Hanga Gallery website http://www.hanga.com/bio.cfm?ID=17 and Dramatic Impressions: Japanese Theatre Prints from the Gilbert Luber Collection, Chance, Frank L. & Davis, Julie Nelson, University of Pennsylvania Press, 2007, p. 37-46.

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RENOVATIONS & INTERIOR DESIGN: THE LATEST IN BESPOKE DETAILING

@ HOME

BANG & OLUFSEN For perfection in sight and sound DK DESIGN KITCHENS Creating individual kitchens

PFITZNER FURNITURE Furniture for today and into the future 82

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Bang & Olufsen With the innovative BeoVision Avant, Bang & Olufsen redefines the television’s place in the home. Sublime Ultra High Definition (4K) video performance and jawdropping acoustic authenticity are built in. But BeoVision Avant also amazes with magical convenience based on a strong understanding of how we want to live with the television – and how high-end multimedia entertainment can go hand in hand with uncompromising design.

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In the Bang & Olufsen tradition of taming technology in the service of simplicity, BeoVision Avant introduces a number of innovations that build new bridges between electronics and magical movement.

To make such amazing sound possible from a flat screen television, the designers have created a discrete but powerful sound panel that unfolds when the television is on, then retreats inside when you turn it off. The sound panel’s movements are coordinated with those of the new stands so the television is ready for viewing and listening in one choreographed flow.

The innovative stand program includes wall, floor and table options which make integrating even a very large television into the home décor easier and more flexible than ever before.

The concept was to create a TV which stays in the background of the living room when turned off and wakes up to action and takes centre stage when turned on. Rather than arranging your room around the television, the new stands turn the television toward you when you want to use it – then back in place when you have finished viewing.

The new BeoRemote One introduces the “MyButtons” feature which enables the user to create up to three personalised settings available at one simple touch. A setting can include channel, volume setting and even stand and directional positioning of the TV. This allows you to recall all settings by the touch of one button.

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As you would expect from Bang & Olufsen, BeoVision Avant sounds extraordinary right out of the box. But be prepared to discover just how good a television can sound with no fewer than eight driver units and eight dedicated amplifiers built in.

The sound panel that magically glides from the television when it is turned on performs brilliantly on its own. If you want to connect external speakers to create a true surround sound experience – either wirelessly or wired – it could not be simpler with the integrated 7.1 surround sound module.

Bang & Olufsen 188 Oxford St Paddington NSW (02) 9356 8111 311 Willoughby Raod Willoughby NSW (02) 9437 1999 144/145 King St Sydney NSW (02) 9328 9444 86

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Bang & Olufsen was founded in Struer, Denmark, in 1925 by Peter Bang and Svend Olufsen, two innovative, young engineers devoted to high quality audio reproduction. Since then, the brand has become an icon of performance and design excellence through its long-standing craftsmanship tradition and the strongest possible commitment to high-tech research and development.

Still at the forefront of domestic technology, Bang & Olufsen has extended its comprehensive experience with integrated audio and video solutions for the home to other areas such as the hospitality and automotive industries in recent years. Consequently, its current product range epitomizes seamless media experiences in the home as well as in the car and on the move.

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‘Polygloss’ laminate gives the look of polyurethane finish, but is more durable and has high UV and abrasion resistance. The water resistant ABS edging is applied with laser technology, making the joins virtually invisible. By using an integrated Corian sink in the similarly coloured Corian bench, the sink almost disappears.

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DK DESIGN KITCHENS

Sydney-based DK design kitchens' award winning customer service includes managing all your kitchen building and installation requirements and once the job is done, a 10 year guarantee of quality to ensure your peace of mind.

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NO MATTER HOW YOU LOOK AT A DK KITCHEN IT COMES UP TO A VERY HIGH STANDARD

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The latest European hi-tech ABS laser edging, new to the Australian market, provides a seamless watertight seal.

The Silestone bench flows up to form part of the splashback, topped off with a strip of grey smoked mirror, reflecting the glow of LED strip lighting around the sleek single-panelled upper cabinets. A contrast of colour and texture is provided by the Italian High Pressure Laminate on the connected table, adding usable space to your kitchen prep area.

Timeless classic style doors are coated with a soft satin polyurethane finish. The 50mm edged Australian marble butts up to the 80mm thick solid timber breakfast bar, made from roughly hewn rosewood. The delicately curved FROST handles contrast with the squareness of the profiled doors. The lacy pattern of the marble splashback adds interest to this elegant kitchen.

Sleek handle-free polyurethane doors and drawers and a subtle Silestone rear bench allow the 60mm chiselled feature edge on the granite island to be the WOW factor in this kitchen. The use of GRASS 1500mm wide drawers keeps the design simple and practical.

For more information: dk design kitchens Sydney Unit 6 100 Penshurst St Willoughby Phone: 02 9958 0711 www.dkdesignkitchens.com.au HARBOURVIEW JULY 2014

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PFITZNER FURNITURE If you look underneath any piece of Pfitzner Furniture, you’’ll find our original logo.

This is now our Guarantee of Quality seal. We like to think that decades, and possibly even centuries – from now, your family will still be enjoying our furniture.

The Stressless Jazz Office chair is built with perforated foam moulded directly over the frame. The indentations in our new Comfort-Zones™ technology allows your body to sink deeper into the seat, giving you an enhanced feeling of personal comfort. An additional pad of soft space-age foam ensures optimum comfort. The super-soft polyester fibre cushions your body and ensures an attractive look. Stressless chairs are built to last, and that's why we guarantee the internal mechanism for 10 years. We cover our chairs with genuine top-grain leather or top-quality fabric for a luxurious look and feel.

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With our furniture, you won’’t find features that just don’’t make sense. If there i’s a drawer, we make sure it’s big enough to be useful. If it is a dining table for six, it means six people can dine comfortably without banging elbows. If it i’s an entertainment unit, we make it to suit your components and media, you don’’t have to find the narrowest DVD player or store your vinyl records in an adjacent milk crate. And if it’ is a bed, there are no sharp edges to scrape your fingers on when you tuck in the sheets.

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You can’t beat the old ways of individually ‘bench-making’ furniture. Each of our craftsmen works on just one piece at a time, whether an entertainment unit or an armchair, and gives it their full attention. It takes longer, but this ensures perfection from start to finish.

While much of our work is with contemporary designs, we also create many antique styles and exquisitely detailed modern pieces. Eye-catching designs are hand-carved and hand-finished; contrasting timbers are used for borders and inlays. The details are precise, balanced and elegant, setting them apart from those of massproduced items.

For more information: Pfitzner Furniture Sydney 261-263 Military Road Cremorne NSW 2090 Phone: 02 9904 5422 www.pfitzner.com.au 94

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In the hectic world we all live in, it’s nice to be able to take the time and WALK on a beautiful Engineered Hardwood floor.

HM WALK Engineered Flooring utilises a folding “glueless” joining system for an easy, quick installation.

Visit our showroom to view an extensive range of timber flooring including the new HM WALK.

YOUR PROPERTY: DAVID MURPHY

A DAVID MURPHY REALESTATE PROMOTION WORDS: DAVID MURPHY PHOTOGRAPHY: SARAH BRADEN

Confessions of a Real Estate Agent

Do you need a buyers agent?

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If you are currently looking for a home or an investment property, you would probably agree that the market place isn’t very consumer friendly.

I have noticed in recent years that more and more buyers are turning to buyers agents/advocates to help them find and secure a suitable property and, in many cases, I think it’s a good idea.

If you don’t have time to research the market and understand the different tactics used by selling agents, then employing some skilled assistance will likely save you a lot of time and heartache. The key is to find a good buyers agent that has a lot of happy clients and one that you feel you can trust - much the same as when you select a selling agent.

There are of course good buyers agents and ones that should be avoided. We often get calls from buyers agents asking to see properties during the week because they don’t work Saturdays. That's a joke. A buyers agent that doesn’t work Saturdays is about as useful as a window cleaner that’s afraid of heights!

A good buyers agent will not only help you complete the transaction, they will help you choose a good conveyancer, help you understand inspection reports and give you market price guidance.

If the home you want to live in has several interested parties, then paying a few extra thousand dollars to someone to help you purchase it, is money well spent. n For more information: David Murphy owns an independent real estate agency in Sydney’s lower north shore – feel free to call on 02 9968 2088 or email with questions: david@davidmurphy.com.au HARBOURVIEW JULY 2014

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FASHION: OSKA

THIS YEAR MAKE IT YOUR YEAR TO GET AN OSKA

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WARNING: FOR DISTINCTIVE WOMEN ONLY!

We may be embedded in the midst of winter but our new collection has arrived with a warm feminine attitude towards life. Step out of the persistent rainy weather with OSKA. The internationally acclaimed British actress Dame Judi Dench is well known to many people, not only for her role as “M” in various James Bond productions since 1995.

This grand lady of film recently visited OSKA London.

A convinced OSKA customer, she was enthusiastic about the new Spring/Summer collection and chose some select pieces of clothing.

For more information: OSKA 168-174 Oxford Street Paddington T 02 9380 8169 www.oska-sydney.com Mon-Fr 10am-5.30pm, Sat 10am-5pm HARBOURVIEW JULY 2014

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FASHION: BOOTS

As Snug as a Bug in a Rug These boots are made for talk‘n’ and that’s just what we’ll do, for feel’n snug this winter, these boots were made for you.

Start talk‘n’...

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Koalabi Australia footwear is hand made to the highest standard and uses only the finest Australian Double A-Grade twin faced sheepskin. Who won’t feel wonderful wearing that huh!

The sheepskin has these magical properties that keep your feet warm when its cold and cool when its warm outside! Alongside that, the sheepskin moulds to the shape of your foot over time, giving you a perfect fit.

Sheepskin boots have been massively popular for some time now, and there is a reason that they will not change with the fashions – people love the comfort and style. Anyone can wear them and look good. Get inspired with a slouchy off the shoulder jumper and skinny leather trousers – team this with a pair of Koalabi Tall Boots and voila!

For more information www.Koalabi.com

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PHOTOGRAPHY: MILK MONITOR

SPLASH OUT There are photographers that have taken to dressing, or perhaps more accurately undressing, the feminine figure with a dash of nature’s best.

I am sure I don’t know what Bessy would have to say if she saw such use of all that hard days work being “waisted”

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In fluid mechanics, a splash is a sudden disturbance to the otherwise quiescent free surface of a liquid (usually water and in this case milk).

The disturbance is typically caused by a solid object suddenly hitting the surface, although splashes can occur in which moving liquid supplies the energy. This use of the word is onomatopoeic. Splash also happens when a liquid droplet impacts on a liquid or a solid surface. In this case, a symmetric corona is usually formed as shown in Harold Edgerton's famous milk splash photography shown to the left. Historically, Worthington in1908 was the first one who systematically investigated the splash dynamics using photographs.

Splashes are characterised by transient ballistic flow and the freely moving airborne milk droplets also an expanding ring of disturbance propagating away from the impact site.

Then someone thought wouldn’t that make a great dress. Now we have several photographers throwing milk at maidens then spending hours and hours photoshopping the hundreds of pieces of splashes into the pleasing forms shown on these pages.

Jaroslav Wieczorkiewicz, Andrey Razoomovsky and Jan Teller are just some of the photographers lending weight to the art of the Splash.

Some of their work is shown here and you can visit their websites to see some pretty amazing work.

Splash Photography as it is now called can look quite splendid, requiring precise timing with the use of particular photography equipment. Masters of the type frequently have complex studios set up with lasers, multiple flashes and controllers to achieve the exact timing needed to capture these wonderful images. With the abstract nature of splash photography you can frequently make out wonderful effects, which are difficult to achieve via Photoshop alone. Images featured here have taken this niche to new heights.

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Well-known Russian photographer Andrey Razumovsky took inspiration from the pinup photos of the ’40s and ’50s and created these incredible images by layering hundreds of snapshots on top of each other.

Models were actually splashed with milk for each individual photo, which were snapped with special high-speed cameras. Each shot required hours of patience, as none of the “clothes” you see here were illustrated. The series was made into a 2014 calendar.

From Poland and now based in London UK, Jaroslav Wieczorkiewicz has a background in Fine Arts and a degree in Architecture. Being an Architect taught him how to be resourceful and to solve complex problems with simple, yet innovative solutions. Constant passion for graphic and design pushed him towards the visual side.

His professional photographic career started when he founded the AurumLight Studio, which specialises in conceptual photography, limited calendars and advertising. Since then working with the same group of professionals the AurumLight Team has produced a number of commercial and personal projects.

Their work has been published and used for advertising campaigns in Europe and USA. Great effects and unconventional methodology triggered a successful series of seminars and workshops that Jaroslav runs all around the globe starting in Europe and finishing in Australia.

Jan Teller resides in north of Copenhagen. Photography is a serious hobby for him which he carries out at a professional level.

He has been photographing since he was a kid and had the pleasure of photographing with analogue film and developing his own prints.

Now he shoots digital images and has both medium format and standard DSLR full frame cameras.

We may never look at a glass of milk in the same way again.

Alex (Malcolm McDowell) head droog takes a swig of "milk-plus" at the Korova Milk Bar (korova is Russian for "cow") in the film version of Anthony Burgess’ A Clockwork Orange. He and the other droogs were trying to make up their rassoodocks what to do with the evening

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HINDSIGHT: THE PAST THROUGH THE LENS Spalding’s Tourists at the Sphinx in 1889 Spalding's All-Stars posed for what is perhaps their most famous portrait, the players sprawled out upon the paws and legs of the Sphinx. The All-Stars and White Stockings had a contest to see who could give the Sphinx a "black eye." They all took turns flinging a baseball at the face of the Sphinx in an attempt to hit its eye.

The Sphinx was one of many stops on a six-month world tour of American baseball players sponsored by sporting goods magnate Albert Spalding in 1888 and 1889 to promote baseball and his business.

The photograph includes American baseball players: Tom Brown (Boston), Fred Carroll (Pittsburgh), Ed Crane (New York), Tom Daly (Chicago), Billy Earle (Kansas City), Ned Hanlon (Detroit), John Healy (Indianapolis), Jimmy Manning (Kansas City), Bob Pettit (Chicago), Jimmy Ryan (Chicago), John M. Ward (New York) and Ned Williamson (Chicago) and his wife.

Also included are Albert G. Spalding and his mother Harriet Spalding; Leigh Lynch (tour manager) and his wife Anna Theresa Berger Lynch as well as several writers who travelled with the players including Simon Goodfriend (sports writer for the New York World), Newton MacMillan (reporter for the Chicago Tribune), and Harry Palmer (sports writer and author of Athletic Sports in America).

The photograph was reproduced in Harry Clay Palmer's Athletic Sports in America, England and Australia with the caption "The sphinx in lively company." Note the idiot standing on the ear of the Sphinx.

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BOOKSHELF The Miniaturist Jessie Burton Picador $29.99

There is nothing hidden that will not be revealed. On a cold winter's day in 1686, eighteen-year-old Nella Oortman knocks at the door of a grand house in the wealthiest quarter of Amsterdam. She has come from the country to begin a new life as the wife of illustrious merchant trader Johannes Brandt, but instead she is met by his sharp-tongued sister, Marin.

Only later does Johannes appear and present her with an extraordinary wedding gift: a cabinet-sized replica of their home. It is to be furnished by an elusive miniaturist, whose tiny creations mirror their real-life counterparts in unexpected ways. Nella is at first mystified by the closed world of the Brandt household, but as she uncovers its secrets she realises the escalating dangers that await them all. Does the miniaturist hold their fate in her hands and will she be the key to their salvation or the architect of their downfall?

Romping Monsters, Stomping Monsters Jane Yolen Illustrated by Kelly Murphy Walker Books $16.95 Those little monsters are back - and on the move! Jane Yolen takes her rhymes to the playground, aided by Kelly Murphy s exuberant illustrations. Stretching, twirling, tumbling, jumping! Welcome to a playground teeming with monsters, bristling with energy and conjuring up hairy ways to have fun.

Monsters swing and slide and piggy-back ride. Monsters run three-legged races and fall on their faces. Monsters eat monster lollipops and tussle for the fountain (Gulp ... Grrrr ... Grumble ... Growl ... All better now!). In this highoctane sequel to Creepy Monsters, Sleepy Monsters, wild and whimsical artwork revs up a read-aloud text that will have little listeners jumping up to join in the action.

The Great and Calamitous Tale of Johan Thoms Ian Thornton Harper Collins $19.99 Johan Thoms (pronounced Yo-han Tomes) was born in Argona, a small town twenty-three miles south of Sarajevo, during the hellish depths of winter 1894. Little did he know that his imability to reverse a car would change the course of 20th Century History forever. Johan Thoms is poised for greatness. A promising student at the University of Sarajevo, he is young, brilliant and in love with the beautiful Lorelei Ribeiro. He can outwit chess masters, quote the Kama Sutra and converse with dukes and drunkards alike. But he cannot drive a car in reverse. And as with so much in the life of Johan Thoms, this seemingly insignificant detail will prove to be much more than it appears. On the morning of June 28, 1914, Johan takes his place as the chauffeur to Franz Ferdinand and the royal entourage and, with one wrong turn, he forever alters the course of history.

A Crowd of Twisted Things Dawn Farnham Monsoon $22.99 In December 1950, the worst riots Singapore had ever seen shut down the town for days, killing 18 people and wounding 173.

Racial and religious tension had been simmering for months over the custody battle for wartime waif Maria Hertogh between her Malay-Muslim foster mother and her Dutch-Catholic biological parents. In May 1950, Australian Annie Collins, following this case and filled with hope, returns to Singapore seeking her own lost baby.

As the time bomb ticks and Annie unravels the threads of her quest into increasingly dangerous territory, she finds strange recollections intruding, ones that have nothing to do with her own memories of her wartime experiences: disturbing visions and dreams which force her to doubt not just her past life, but her whole idea of who she truly is and even to question the search itself. Twisted memories, twisted minds, twisted lives, twisted beliefs, the twists of fate and their tangled consequences.

Nagasaki Eric Faye Gallic Books $16.99 In a house on a suburban street in Nagasaki, meteorologist Shimura Kobo lives quietly on his own. Or so he believes.

Food begins to go missing. Perturbed by this threat to his orderly life, Shimura sets up a webcam to monitor his home.

But though eager to identify his intruder, is Shimura really prepared for what the camera will reveal?

In an awesome new adventure, Nim unearths an amazing opalised fossil, but she must make the ultimate choice.

Will she save a natural treasure or someone’s life?

This prize-winning novel is a heart-rending tale of alienation in the modern world.

This is a short novella with no clear resolutions for either Shimura or his intruder; if you like books that tie things up then this is not the one for you. Faye has a real lightness of touch in his storytelling. It contains beautiful little bits of metaphorical description.

Breaking Away Anna Gavalda Gallic Books $19.99 On the car journey to a family wedding, Garance reflects on how adult life, with its disappointments and responsibilities, has not always gone to plan for herself or her three siblings.But just around the corner lies the chance for them to revisit their younger, carefree selves in a delightfully unplanned escapade.

Anna Gavalda is one of the most acclaimed authors writing in French today. Her books are published in over thirty languages.

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Closed Doors Lisa O'Donnell William Heinemann $34.99 A powerful tale of love, the loss of innocence and the importance of family in difficult times by the acclaimed author of The Death of Bees, winner of the Commonwealth Book Prize 2013

There are no strangers in Rothesay, Michael.

Everyone knows who you are and always will.

It's a blessing but it's also a curse.

Eleven-year-old Michael Murray is the best at two things: keepy-uppies and keeping secrets.

His family think he's too young to hear grownup stuff, but he listens at doors; it's the only way to find out anything. Michael's heard a secret, one that might explain the bruises on his mother's face.

When the whispers at home and on the street become too loud to ignore, Michael begins to wonder if there is an even bigger secret he doesn't know about. Scared of what might happen if anyone finds out and desperate for life to return to normal, Michael sets out to piece together the truth. But he also has to prepare for the upcoming talent show, keep an eye out for Dirty Alice, his archnemesis from down the street and avoid eating Granny's watery stew.

It is a vivid evocation of the fears and freedoms of childhood in the 1980s and a powerful tale of love, the loss of innocence and the importance of family in difficult times.

Lost & Found Brooke Davis Hachette Australia $26.99 A heart-warming debut about finding out what love and life is all about.

At seven years old, Millie Bird realises that everything is dying around her. She wasn't to know that after she had recorded twenty-seven assorted creatures in her Book of Dead Things her dad would be a Dead Thing, too.

Agatha Pantha is eighty-two and has not left her house since her husband died. She sits behind her front window, hidden by the curtains and ivy, and shouts at passers-by, roaring her anger at complete strangers. Until the day Agatha spies a young girl across the street.

Karl the Touch Typist is eighty-seven when his son kisses him on the cheek before leaving him at the nursing home. As he watches his son leave, Karl has a moment of clarity. He escapes the home and takes off in search of something different.

Three lost people needing to be found. But they don't know it yet. Millie, Agatha and Karl are about to break the rules and discover what living is all about.

Happy are the Happy Yasmina Reza Harvill Secker $32.99 The Toscanos are doing the weekly shop. Odile takes care of the groceries and sends Robert off to the cheese counter. He manages to come back with the wrong cheese only to find that Odile has filled the trolley with sweets and snacks for the kids. The fight that ensues is petty, cruel, hilarious and embarrassingly familiar, as the couple point-score, snatch, storm off and mock each other with childish fury.

Robert wonders why they can't be more like their friends, the Hutners, who call each other “dearest” and say things like “let's treat ourselves to a nice meal out, darling”.

But then, the Hutners have their own issues. For years they have been pretending that their only son is on an internship abroad. In fact he's in a mental institution convinced he is Céline Dion. Then there's Marguerite who remembers a spinster from her childhood and fears she is becoming her, as she petitions her dead father about a hopeless crush from years before; Vincent who witnesses his impossible mother flirting in an oncologist's waiting room; Chantal who shamelessly sleeps with other women's husbands.

This is a brilliantly caustic, laugh-out-loud chronicle of marital passive aggression, shameful secrets, adultery, friendship, parenthood: the struggles of being a couple – and the pain of being alone.

The String Diaries Stephen Lloyd Jones Headline $29.99 An imaginative, edge-of-your-seat supernatural thriller which follows an historical mystery through to its nail-biting contemporary conclusion.

Present Day: Cadair Idris, Snowdonia. Hannah Wilde flees to Llyn Gwyr, a remote mountain farmhouse, her husband bleeding to death on the passenger seat beside her. In the back of the car sits their seven year old daughter.

Hannah's father is missing. Her mother is already dead. Mysterious strangers are converging on the mountain. And Hannah must decide who to trust - and who to sacrifice - if she's to defeat the predator who has stalked five generations of her family.

1979: Balliol College, Oxford. Charles Meredith, a brilliant, obsessive professor, clashes with a beautiful French woman in Balliol's library. When the woman disappears, and her identity is exposed as a sham, Charles is dragged into a terrifying pursuit.

1873: Godollo, Hungary. Lukas Balazs prepares for his v’gzet night, the celebration that symbolises his entry into adulthood. But the festivities are about to go horribly wrong, and only Lukas knows why.

A centuries-old secret is about to unravel - Jakab is coming.

Goddess Kelly Gardiner Haper Collins $14.99 A sparkling, witty and compelling novel based on the tragic rise and fall of the beautiful seventeenth century swordswoman and opera singer, Julie d'Aubigny (also known as La Maupin), a woman whose story is too remarkable to be true - and yet it is. Versailles, 1686: Julie d'Aubigny, a striking young girl taught to fence and fight in the court of the Sun King, is taken as mistress by the King's Master of Horse. Tempestuous, swashbuckling and volatile, within two years she has run away with her fencing master, fallen in love with a nun and is hiding from the authorities, sentenced to be burnt at the stake. Within another year, she has become a beloved star at the famed Paris Opéra.

Her lovers include some of Europe's most powerful men and France's most beautiful women. Yet Julie is destined to die alone in a convent at the age of 33. Based on an extraordinary true story, this is an original, dazzling and witty novel - a compelling portrait of an unforgettable woman. For all those readers who love Sarah Dunant, Sarah Waters and Hilary Mantel.

The Secret Paris Cinema Club Nicolas Barreau Quercus $19.99 Alain Bonnard, the owner of a small art cinema in Paris, is a dyed-in-the-wool nostalgic. In his Cinéma Paradis there are no buckets of popcorn, no XXL colas, no Hollywood blockbusters. Alain holds firm to his principles of quality - to show films that bring dreams to life, make people fall in love. And Alain would do anything for his clientele - particularly the mysterious woman in the red coat who, for some time now, has turned up every Wednesday and always sits in row seventeen. What could her story be? Finally one evening Alain plucks up courage to invite the unknown beauty to dinner. But just as the most tender of love stories is getting under way, something happens that turns Alain's life upside down, shoving his little cinema unexpectedly into the public eye. So when the woman in the red coat suddenly vanishes from his life, the cinema owner can't help but wonder if it is more than a coincidence. Taking matters into his own hands, Alain sets off in search of the stranger he has come to love - roll the opening credits for a timeless cinematic romance worthy of the Parisian silver screen!

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EXTRACT: MISSING CHRISTOPHER JAYNE NEWLING

Overlooking the edge of the cliff from where my seventeen-yearold son died, I watched as a blond-haired toddler ran towards his mother and screamed. He had fallen and grazed his knees ten metres below, on the same rock Christopher’s body thumped and splintered. The boy’s white T-shirt was stained with red splotches, remnants of an icy-pole treat perhaps, and his blue tracksuit pants were split at the knee which he held with both pudgy hands as his mother tried to inspect the damage. She picked him up and carried him to the warm sand. I walked down the pathway, past the picnic bench and the nowconsoled toddler who was distracted by his bucket and spade.

Large boulders formed a barrier between the cliff and the beach. Beyond, where the waves crashed over the rock pool at high tide, a high mesh fence protected bathers from falling rocks.

I knelt down to the rock for evidence of the toddler’s blood.

There was nothing but the indent of my son’s broken body and if I closed my eyes, all I saw was blood gushing from his cracked skull into the black ocean, his right leg bent back, snapped in two. I saw a girl cradling his head with his favourite cream woollen jumper, begging him to open his eyes. I saw myself hyperventilating and restrained behind the fence by a policewoman. She shoved a brown paper bag over my nose and mouth and held it there against my will and ordered me to breathe deeply. I saw paramedics lifting my little boy onto a spinal board. I felt nothing. I heard nothing.

•• That was eleven years ago. I can now say my son is dead. I used to say we lost him, as though he was caught in some ephemeral haze and we were waiting for it to dissipate before he could be reunited into our family fold.

I used to say, when asked, that I have two children, as if Christopher, bookended by Ben and Nic, never existed. Then I tried saying three, to see if that was easier on my heart. I’d say Ben’s the eldest and Nic’s the baby and state their ages.

‘And the middle one?’ they would ask.

My heart would plummet and my eyes would throb with the weight of hot tears.

He’s dead. That’s it. There is no going back—except in my head.

In my head Christopher is now twenty-eight. I know what he looks like because his best friend, Ben ‘Murgy’ Murgatroyd, still comes to see me and they are like twins. They have the same shade of blond hair and their eyes are the blue on a kookaburra’s wing. They have the same muscular frame and tanned skin and they smile with just enough teeth to be alluring. They both light up a room.

In my head Christopher hasn’t married yet. He wants to ensure he picks the right one. He’s in between jobs, surfing with Murgy in Bali.

He is much happier now. He isn’t frightened his depression will turn him into a freak. He is now a man, confident and self-assured, not the teenager who hid his fears from friends and family. He is not the boy who gambled with life and lost.

In my head I am home on the night he drives to the southern end of Avalon beach on Sydney’s Northern Beaches, kicks his 114 HARBOURVIEW JULY 2014

car mirror and throws it and his mobile phone over the cliff.

We are sitting in the kitchen drinking a cup of hot chocolate.

He is crying and I kiss the brown birthmark on his neck. He isn’t drunk and angry but sad and quiet. We speak in whispers. His fears, once expressed, evanesce into the four walls surrounding us. He goes to bed. I mould the doona into the undulations of his tall and lean frame and stroke the thickening stubble on his cheek until he falls asleep. And in my head he is there in the morning, dressed for school, eating a large plate of bacon and eggs with sourdough toast and baked beans.

•• That was me then. Eleven years ago before I lost my son.

There was always tomorrow and it didn’t matter how hard life was, my husband Phil and I could survive anything. We’d been together since high school and our love was strong—we were still best friends. Even when Ben developed depression at sixteen and hid in his room for six months, followed shortly after by Nic who saw the walls moving in and wanted to kill people, we worked together to try to free our children’s minds. Then, several months later, Christopher went off the rails and the impact was like someone had thrown a Molotov cocktail into our living room.

There’s another place in my head which I never talk about. If I do, I fear I’ll have to live there, forever. But it’s there—just for me, like a dormant cancer cell waiting to splay its tentacles. It takes over me, paints me black and smells of bleach. It’s insidious and it’s always there behind my sane veneer, pretending to be padlocked by time. In this place I see a little boy trapped on a train.

He is screaming, tears falling in rivulets down his reddened, crushed face. His tiny fists bang soundlessly on the window.

I’m on the platform running to jump on but as I do, the door closes. The train goes round and round a circular track and with each circuit the boy loses energy until he is no longer there.

And in this same place, his grown body is plummeting through the cold, dark air. There is no moon, there are no stars. The only illumination is the twinkling of streetlights across the beach to the next headland.

He is on his back, an inverted parachute, arms and legs to the heavens. He falls past his dented car mirror and the many parts of his shattered phone dot the precipice like jewels.

Jagged rocks fly by; an errant dandelion, closed for the night, bows to the sudden disturbance, and the black mass of concrete and sandstone waits.

How long would it take? What was he thinking? Did he change his mind? Was he scared? I know he hated the dark.

In this place it is my fault. I didn’t love enough, listen enough, care enough. There are no beautiful memories here.

In this place, I am forced to go back to that Thursday night in August 2002, and watch my son die over and over and over again—in slow motion.

It was just before midnight. It was dark and I could just see the ghostly outline of a woman standing on a rock, purging herself in regular spasms, gagging like an injured animal.

Phil and I ran to the only light we could see, a dim torch by the ocean pool at the southern corner of the beach. A policewoman grabbed me and forced me to sit down. Her grasp was like a handcuff and I squirmed against her power.

She was stronger than me. I looked at Phil beseechingly but all I saw was the terror mirrored in his own eyes and it scared

me to death. We were separated from our son by the 3-metre mesh fence. I couldn’t see him but I heard his two friends yelling against the crash of the waves. I was angry they were allowed to be there and not us. He was our son. I broke free and darted around the fence.

Christopher was lying on his back. There were six people encircling him. Ally, the sixteen-year-old girl he was living with, was cradling his head and his close friend Jack was highly agitated as he stared over the curved backs of the paramedics.

Phil and I couldn’t get through the human barrier.

The late night silence was broken by huge and unrelenting waves as they crashed over all of them. Someone screamed ‘Fuck!’ I wanted to go to my son but was held back again. I could feel someone grabbing at my tracksuit top and I pulled away.

Suddenly it was whisper quiet. I was looking down at my son but it wasn’t real. There was an aura, a haze which was surreal and cold. I felt as if I was floating over the crowd, watching dispassionately as they tried to repair my son. There was a huddle of backs and a lone torch shining a dull ring of light on Christopher’s chest. A loud wave suddenly crashed over the pool, the foam like dirty dishwater pooled around him.

His body rocked with each new wave. He must have been so cold. I had to find a blanket.

Phil clutched my shoulder as we watched them gently manoeuvre Christopher onto a spinal board. I felt calmer now that they had lifted him out of the cold water. Phil knew our son was going to die but said nothing to me except that he was very thirsty and needed to find water. We walked behind the paramedics up to the car park where the ambulance waited. No one was in a hurry. That was a good sign. He was probably just concussed.

A policeman told us a helicopter had been called. Why? Couldn’t they wake him up in the ambulance? My heart was still pounding but I felt sure this would be just another angst-filled night, one of many we’d endured over the years.

By morning we’d be thanking the god I didn’t believe in, the same god who would later give me constant headaches at the exact spot where my son’s head cracked open.

Phil and I hurriedly arranged that I would go in the helicopter and he would go home to Nic, our fifteen-year-old asleep and alone just a few kilometres away; eighteen-yearold Ben was staying overnight at a friend’s place. We waited outside the open doors of the ambulance. The car park was dark except for the warm glow casting halos inside the cavern of the makeshift intensive care unit. Word had spread and a group of Christopher’s friends and parents stood in a huddle on a grassy mound by the picnic table.

I was waiting for breath, mine and his. The paramedics bent and straightened, moving from equipment to Christopher who was still lying on the spinal board. I couldn’t see his face.

They were methodical but busy. I saw bloodied cloths, plastic tubes and syringes. My heart had stopped. I was waiting to hear the roar of the helicopter. Why was it taking so long?

Then I heard it—in the distance. I touched Phil’s arm but there was no reaction.

His head was bent, staring down at the tarred surface; he must have been really thirsty now. The roar was getting louder. I looked up to the headland, up higher to the imagined flight path. Louder, louder. I looked back into the ambulance. The frenetic activity had slowed. The dark sky had quietened. I pricked my ears. I couldn’t hear the helicopter.

‘Where’s the helicopter?’ I yelled out. A policeman grabbed

hold of my elbow.

‘They’ve turned it around,’ he said. ‘It’s not needed anymore.’

Thank God. He was awake. He was okay. I crossed my fingers hoping whoever was calling the shots would also spare his legs. He had an important rugby match on Saturday. I smiled as a paramedic offered a big hand and pulled me up into the ambulance. I wanted to hug him. I was already thinking about what gifts I could buy for them. I would also donate money to the ambulance service. As I stepped in I wondered why Phil wasn’t behind me. I still couldn’t see Christopher. Two paramedics crouched over him. No one looked at me.

‘Cricket?’ I whispered.

That was his nickname. Everyone called him Cricket. When he was born, Ben called him Cricketer, unable to pronounce Christopher, and it was thereafter shortened to Cricket.

The paramedic let go of my hand and whispered something I couldn’t hear. I didn’t care, I just wanted to go to my son. As I neared, they stood aside. Their heads were shaking slowly and they stared at the floor. I panicked. Why weren’t they smiling? Why weren’t they happy and relieved? Why weren’t they looking at me?

The tubes were gone and his arms lay inertly by his sides. His eyes were closed and his face was as white as an eggshell.

Blood was matted in his hair and despite their efforts to ‘present’ him, red smudges stained his ears and neck and wet blotches marked the sheet under his head. His body was covered to his chest except for one shoeless foot which poked out from beneath the blanket.

No! My brain snapped silently. I felt the blood drain from my head, down my body and out through the holes in the rubber soles of my ugg boots. I bent down to whisper I love you in his blood-encrusted ear. I kissed the birthmark on his neck and then his cold lips.

I looked over at the paramedics just in case I had made a mistake but they were busy throwing out the used syringes and tubes. I was shaking as I stared at them, wondering what to do. One paramedic saw my panic and helped me down the steps as Phil climbed into the cabin. I couldn’t meet my husband’s eyes.

I felt my heart break. It leaked through me like Christopher’s had through the jagged and sharp edges of his broken rib cage. I heard my mind explode.

I was the ghost who walked away. Soulless, lifeless. The essence of me stayed behind with him—my son. Life ended there, in the ambulance, in that car park, in this world, and I forgot to say goodbye.

Lifeline: 13 11 14 Beyond Blue: 1300 22 4636

Missing Christopher This is an extract from Jayne Newling's memoir Missing Christopher, which brings to life the visceral experience of grief and the long, painful journey towards finding meaning in life again. Published by Allen & Unwin.

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OPINION: SCIENCE IS NEVER SETTLED It’s about time the utter nonsense that has dominated the political landscape over the past twenty years be put to rest before someone (the whole world) really does get hurt. Global warming, then climate change, but now is about to be ramped back up to “global warming”, is a load of rubbish and the world is sick to death of the hype that has proved to be nothing but a load of utter hot air.

‘climate change’ is a meaningless term used as a sop by big business to create money. “It’s an embarrassment to those of us who put NASA’s name on the map to have people like James Hansen popping off about global warming,” says the spokesman for the group of retired NASA Apollo scientists and engineers – the men who put Neil Armstrong on the moon.

Sorry folks but you have been sold a pup and it has cost us all a bleed’n fortune. The temperature of course is rising there is and has never been any argument on that score after all leaving the last ice age has got us where we are today and until for what ever reason we head back to the deep freeze the earth’s temperature will go on heading north.

Oh how the mighty have spun 180 degrees in the face of just so much contradictory evidence, take Green Guru James Lovelock on the subject. “I don’t think anybody really knows what’s happening. They just are all guessing”. Makes you lose faith in just who to believe when these people looked straight down the barrel of the camera and told us that this was the god-awful truth about the planet’s fate.

Too many involved in this subject who have the credentials to know what they are talking about are coming to the conclusion that we have precious little to do with changing the climate one way or the other. Some who stood firm in the belief that the world was heating up because of what man was doing to create a CO² imbalance now are coming to the conclusion there is not much we can do about it and more importantly the warming is natural.

The United Nations Intergovernmental Panel on Climate Change (UN IPCC) Lead Author Dr Richard Tol blows raspberries at the 97% consensus claim.

“The 97% is essentially pulled from thin air, it is not based on any credible research whatsoever”. This Lead Author and University of Sussex economist announces “Science is, of course, never settled”. The 97% statement that is incidentally bandied about by basically everybody is a nonsense. “I had a close look at what this study really did. As far as I can see, the estimate just crumbles when you touch it. None of the statements in the papers are supported by the data that’s in the paper. The 97% is essentially pulled from thin air, it is not based on any credible research whatsoever”.

Dr Tol admits “Inbuilt alarmism made me step down. By the time the report was finished it hadn’t warmed for 17 years. One of the startling facts about climate change is that there are very few facts about climate change. Climate change is mainly something of the future so we are really talking about model projections”.

There are scientists who say the UN IPCC, which claims to speak for some 2,500 scientists, puts politics before science and that this needs reform. It is claimed competent people are excluded because their views do not match those of their government. I can attest to that statement personally. There are scientists here in Australia who are way too intimidated to speak up as they have families to think of and know full well if they broke ranks their careers would be down the toilet. It is a great state of affairs when you come to the realisation that university educated professionals can be bullied as easily as school children are being electronically monstered on their phones and iPads.

Of the various petitions on global warming circulated for signatures by scientists, the one by the Petition Project, a group of physicists and physical chemists based in La Jolla, USA, has by far the most signatures, around 31,000 (more than 9,000 with a PhD).

The petition states that “there is no convincing scientific evidence that human release of ... carbon dioxide, methane, or other greenhouse gases is causing or will, in the foreseeable future, cause catastrophic heating of the Earth's atmosphere and disruption of the Earth's climate.” There is no basis for the claim that 97% of scientists believe that man-made climate change is a dangerous problem. Never was and never will be.

UN lead author Michael Oppenheimer admitted to US Congress recently climate science is not ‘Settled’. “The question of exactly how warm the Earth will become as a result (of rising CO²), is not’ settled.”

Dr. Botkin joins many other scientists who recently publicly dissented from man-made climate fears. The global warming movement continues to lose scientists, many formerly with the UN IPCC. Another prominent scientist is environmental physicist Dr Jean-Louis Pinault.

“This is a very uneven debate,” The good Doctor points out, “skeptics cannot enforce their arguments in scientific journals that are subject to censorship.”

He declares Anthropogenic Global Warming (AGW) has produced an ‘economic and political media frenzy unprecedented in the history of science’.”

And yet another dissenter is Geoscientist and former UN Consultant Dr David Kear who declares warming fears are ‘based on unfounded unscientific beliefs’. He goes on to declare an ‘innocent gas, CO², has been demonised and criminalised’. Perhaps a little over the top but we get his point.

Then there is NASA Scientist Dr Les Woodcock who ‘laughs’ at the term Global Warming. “Global warming is nonsense”, the emeritus professor says

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Then there is the top Swedish climate scientist award-winning Dr Lennart Bengtsson, formerly of UN IPCC who says, “The warming we have had the last 100 years is so small that if we didn’t have climatologists to measure it we wouldn’t have noticed it at all. We are creating great anxiety without it being justified”.

Not only but also, former warmist climate scientist Judith Curry admits to being ‘Duped Into Supporting IPCC’. “If the IPCC is dogma, then count me in as a heretic”, confesses the ex-high priestess of global warming.

Even a German meteorologist reverses his belief in man-made global warming.

Now calls the idea that CO² can regulate climate a “Sheer Absurdity”. He to admits, “Ten years ago I simply parroted what the IPCC told us”.

IPCC Japanese scientist Dr Kiminori Itoh, an award-winning PhD environmental physical chemist says, “The warming fears amount to the worst scientific scandal perpetuated in the history of man … When people come to know what the truth is, they will feel deceived by science and scientists.”

Physicist Dr Denis Rancourt, a former professor and environmental science researcher at the University of Ottawa, states “Global warming is strictly an imaginary problem of the First World middleclass.”

Recently more than 1000 International Scientists have come-out over manmade global warming claims to challenge the IPCC and also, now thanks to the false scare tactics introduced by billionaire, Al Gore.

Researchers with the IUCN Polar Bear Specialist Group (PBSG) recently admitted to experienced zoologist and polar bear specialist Susan Crockford that the estimate given for the total number of polar bears in the Arctic was “simply a qualified guess given to satisfy public demand.”

But David Attenborough and Al Gore looked straight into the camera and told us as fact the Polar Bear was a goner. Gore I can understand but not David.

The work he has done over the years has been just brilliant in bringing the field of nature into our homes. Gore on the other hand has been blatantly telling porkies to further his cause for years. I believe there are some 35 disputable facts in his presentation of the film Inconvenient Truth alone.

It is a little known fact that Humans only contribute 3% of all CO² emitted into the atmosphere each year. Nature provides us with the other 97%.

Yes Nature not us. Nature: the phenomena of the physical world collectively, including plants, animals, the landscape and other features and products of the earth (volcanoes), as opposed to humans or human creations.

How dare humans be left out of such an important decision as running the earth. Dear God, we surely know more than bloody plants and dumb animals.

The landscape is, well, a little beyond us and somewhat little out of our control.

It’s now been 17 years and 9 months that both warmists and sceptics concede the climate on earth hasn’t risen out of control. Perhaps it’s time to put down the vitriol and join forces to clean up this political and polluted mess to look after our little old planet together. Plant a tree today so you hug it tomorrow.

David Shapter, Publisher

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