Antiques & Art in NSW

antiques & art IN NEW SOUTH WALES DECEMBER 2010 - MAY 2011

Hand Crafted to order

Small tables - Big tables - Extension tables Each table handcrafted to order is made exclusively from hand selected elm, French oak, cherry, chestnut, sycamore, pear, walnut and Baltic pine.

Limited stock of 300-400 year-old French oak barn flooring and carriage oak, aged Baltic pine from Edam cheese factories in Holland.

All are uniquely crafted using time honoured traditional 17th century methods of construction and finish.

FRENCH FARMHOUSE NOW AT SALLY BERESFORD ANTIQUES GALLERY- 170 QUEEN STREET WOOLLAHRA NSW 2025 P: +61 2 9362 1733 Southern Highlands Showroom: Mount Ashby Estate Vineyard Our cellar door is now open for lunch Wednesday to Sunday and Public Holidays from 11 am to 5 pm or by appointment P: +61 2 4869 4792 Nowra Road Mossvale

www.sallyberesford.com.au

QUEEN STREET ANTIQUES & ART IN NEW SOUTH WALES

TIM MCCORMICK COLONIAL PAINTINGS • RARE BOOKS PRINTS • PHOTOGRAPHS MANUSCRIPTS • AUSTRALIANA PURCHASED AND SOLD

92 QUEEN STREET WOOLLAHRA SYDNEY 02 9363 5383

antiques &art ISSN 0813-9296

IN NEW SOUTH WALES

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ANTIQUES & ART IN NEW SOUTH WALES

AN EYE FOR THE UNIQUE PUTS SALLY BERESFORD AHEAD est known in antique circles for specialising in 17th to 19th century French provincial, Georgian furniture and decorative items, Sally Beresford’s latest showroom in Waterloo displays her range of tables and chairs designed after French farmhouse furniture.

These unique and stylish tables are handmade today, using traditional 17th century craftsmanship techniques and beautifully aged French hardwoods.

On her regular buying trips to France, Sally sources old timber, visiting oak mills, aging barns and forgotten industrial sites in

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the quest for her favourite timbers – oak, cherry, elm, chestnut – and she purchases Baltic pine from old Netherlands Edam cheese factories. In fact, she imports entire trees from France to create tabletops of uniform grain and colour. Very small quantities of rare aged barn, carriage and chateau oak are in reserve for customers commissioning truly unique furniture.

In Australia, local cabinetmakers handcraft the timbers into ‘French Farmhouse’ dining, boardroom and kitchen tables using traditional methods of construction and finish. By regularly updating table designs, French

Farmhouse Tables keeps abreast of traditional and contemporary interiors trends.

With the resurgence in popularity of industrial antiques, new metal tables featuring zinc tops are made from the relics of defunct industries.

Tables are made to order, such as extension tables, with your choice of with or without drawers. A small number of ready-made tables are always available. A selection of contemporary and traditional dining chairs completes the collection shown in the Danks Street precinct in Waterloo, Sydney.

Sally’s passion for the unique, antique and

statement pieces is demonstrated dramatically in her Woollahra gallery. With regular shipments arriving from France and guest exhibitors such as the amazingly gifted Michael Yabsley, the Sally Beresford Antiques gallery is always stocked with an eclectic mix of furniture, statement and architectural pieces, lamps, table and stem ware that sit comfortably in any setting.

A design and interior consultation service offers expert advice and guidance on how to create a stunning look at home ● To find out more about these unique pieces call or visit SALLY BERESFORD 02 9362 1733 info@sallyberesford.com.au www.sallyberesford.com.au

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ANTIQUES & ART IN NEW SOUTH WALES

Editorial Content COVER Léon Bakst (Russian 1866-1924) Costume for a friend of Queen Thamar c.1912 (detail) from Thamar National Gallery of Australia, Canberra, purchased 1976 See page 96

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An eye for the unique puts Sally Beresford ahead Out & about British hand-painted ceramics of the 1920s and 1930s – Cecily Critchley & Lynley Jenkins Indigenous art day at The Hughenden – Susanne Gervay The Peaceful Ones – The North American Hopi Indian Antiques and Art Fair comes of age Meaningful valuation of jewellery = CSi + forensic analysis Caring for and maintaining rugs and carpets – Ahmet Solak The A-Z of oriental rugs – Ross Langlands Fine furniture, art works and more in the heart of Bondi Junction Pack & Send art and antique specialists Designer parquetry flooring: A 21st century take on 18th century designs – Nicholas Beer Antique engagement rings for modern romances – Tammy Palmer Midas touch – The Art Gilding Academy – Brigitte Eggert At Vampt Vintage Design furnish your home At Doug up on Bourke find a place for everything and put everything in place A passion for the planet at Mitchell Road Antiques and Design Gallery Rhoda Wager (1875-1953) jewellery designer and manufacturer – Moira Drexler Pack & Send now open at Botany Australia’s mystery coins For conspicuous bravery and devotion to duty Henry ‘Harry’ Dalziel VC (1893-1965) Stephen Browne shares his passion for the pre-stamp postal history of New South Wales (1801-1849) Reginald Cecil Grahame Fizelle (Rah) (1891-1964), Sydney Transport Montage – Stephen Gapps On their own – Britain’s child migrants – Shirani Aththas The Australian National Maritime Museum is preparing the HM Bark Endeavour replica for an epic circumnavigation of Australia – Shirani Aththas More antiques for living at Elements A look at two exceptional silversmiths working at WJ Sanders Collecting glass – Kim Hughes Money making money Christmas: The aftermath, New Year: A new beginning The Rotary Club of Hurstville’s 16th antique and collectables fair The Sydney Vintage Clothing, Jewellery and Textiles Show – Janel Morrissey Jade – a stone of many colours from many cultures – Jason Bridge Take a voyage of discovery at Schots Home Emporium The magic of maps – Simon Dewez & Monique Jacobson The Cutler roll top desk: Mysteries and myths – Garry Auton Be inspired at Eliza Jane Antiques – Jane Rush Works of art you can walk on: French provincial and handcrafted floors – John Fredriksson What makes a 1930s leather club sofa chair quintessential? – Leanne Carter-Taylor Balmain Road Antique Centre is the newest antique centre in Sydney!

Reflection in Balmain’s ‘Windows to watch’ Investment collecting: Sterling silver – Adam Mude A look at three significant English furniture makers Gouda Pottery – A short but brilliant flowering – Narelle Ward Aynsley china – 240 years of perfection – Paul Vinecombe Treasure hunting Newcastle style – Narelle Ward Hunter Valley cedar: A rare find – M Lee An exciting move for Antiques and Collectables on Darby Islington Antiques in Newcastle since 1990 The scenic Hunter Valley perfect for antique hunters In the workshop of Troy O’Brien Windsor and Hawkesbury antiques and collectables trail The world’s largest private teapot collection Bygone Beautys cottages Heritage and collecting: Maõri artefacts and the importance of taonga – Roger Garner Dirty Jane’s Emporium and Antique Market Ballets Russes: The art of costume – Dr Robert Bell The conservator’s role in preparing textiles for display The Rotary Club of Canberra is holding their annual autumn antique and collectables fair – Les Selkirk Ehrich and Graetz: Lamps for the 20th century – Juergen Weissner The beginnings of time in horology – Michael Colman Celebrating 24 years of the Rotary Antiques Fair & Gold Coast Book Fair China revealed to the western world: Antique hand-coloured steel engravings – Derek & Kathryn Nicholls AAADA show Sydney - antiques in a brand new setting Woven in time: The enduring legacy of Jacques Cadry (1910-2003)

NOTICE The publishers reserve the right to refuse and edit material.

The opinions expressed in this publication are not necessarily those of the publisher.

No responsibility will be taken for any decision made by the reader as a result of such opinions.

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ANTIQUES & ART IN NEW SOUTH WALES

OUT & About

Alicia Freile, David Kainer, Gareth Martin, Eliot Rosenberg

Jessie Kery, Julia Denes, Leah Hechtman, Laura Dunkel

Michael Loewy, Julia Denes

Dr Vivienne Milch NBOCC

The art of jewellery

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n keeping with international trends, Paddington’s Harrison Galleries hosted the launch of fine handcrafted jewellery by Sydney based Julia Denes in late November.

As with exceptional works exhibited in museums and galleries, the collection of oneoff original designs, featuring precious and semi precious stones set in gold, attracted an appreciation from the guests that these pieces are wearable art.

Far left: Mark Shapiro, Hannah Dar Left: Eight month old Samara

Lisa Forrest

Gavin Harris, Eli Tal (Chairman, Designer Rugs), Lachlan Allen

A special launch at Woollahra’s Hughenden

Akira Isogawa

T Tom Symonds (l), grandfather Yooka Symonds, father Peter Symonds & cousin Craig who attends Wairoa Special School

Gavin Harris, Yosi Tal (Managing Director, Designer Rugs)

Willie Mason, a keen boxer and rugby league star placed the winning bid of $3,000 for an autographed portrait of former American boxer and three-time World Heavyweight Champion, Muhammad Ali, donated by Ken Salisbury

Danial Nash, Henrietta Reed

Ken Salisbury with his daughter & brother

Sports memorabilia raise funds David Nobok, Piper Jason, Grant Neale Whitaker

Edward Wong, Louise McGregor, Aaron Zorzo

Designer Rugs Evolve awards

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esigner Rugs held the 2010 Evolve Awards at Sun Studios, Sydney. An audience of over 150 industry guests and media viewed the six finalists’ rugs. Gavin Harris of Futurespace and Lachlan Allen of Group GSA became the first major prize winners of this international design competition. The judges (Sibella Court, Shareen Joel, Matthew Sheargold, Stephen Ormandy, Eli Tal, Yosi Tal) were deadlocked in their decision leading the directors of Designer Rugs Eli and Yosi Tal to award two first prizes.

Evolve is open to professionals engaged in the interiors industry including interior designers/decorators, architects and interior design professionals.

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he annual October charity prelude to the Rugby League Grand Final held in Bondi raised $30,000 to help Wairoa Special School students from south, inner west and eastern Sydney. The main attraction was rugby league guernseys signed by teams and coaches.

The presence of many rugby league players added a star quality to the fundraiser. Guests included Ken Salisbury, the Australian and Commonwealth middleweight champion between 1982 and 1985, with his daughter and brother.

Sports memorabilia auctioned included an autographed photograph of Cathy Freeman on the winner’s dais at the Sydney Olympics, raising $1,000. Ken Salisbury donated an autographed portrait of former American boxer and three-time World Heavyweight Champion, Muhammad Ali: the winning bid of $3,000 was by Willie Mason, a keen boxer who is currently playing rugby league with the North Queensland Cowboys and will move to the English Super League in 2011.

he book launch marking the Cancer Council’s symbol, the yellow daffodil was the focus of the launch of Always Jack, a book for young people written by Susanne Gervay and illustrated by political cartoonist Cathy Wilcox. Julie Callagan (NSW Cancer Centre) and Dr Vivienne Milch (National Breast & Ovarian Cancer Centre) spoke about its importance in helping make it safe for children, parents and community to talk about cancer.

Lisa Berryman publisher for HarperCollins welcomed Susanne Gervay, Cathy Wilcox, the Cancer Council, NBOCC and Lisa Forrest, former Olympian and Commonwealth Games swimmer and media personality to the event.

Lisa Forrest launched Always Jack to a packed audience at the Hughenden Hotel, Woollahra. A percentage of the book sales is donated to the Cancer Council and NBOCC.

Lisa Forrest, Cathy Wilcox, Susanne Gervay, Lisa Berryman

ANTIQUES & ART IN NEW SOUTH WALES

Lynette Begg, President AAADA

Lily from Tressors

Kaitlin & Tammy (Vintage Times)

Alla Kennard & Sophie Wright

Don Knowles (Manager of Sydney Antique Centre) Mary Barker & Catherine Harris

More than tea at the Sydney Antique Centre

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favourite event anticipated by collectors and dealers is the annual High Tea themed party held at the Sydney Antique Centre.

This signature event organised by the centre’s manager, Don Knowles has ensured the late November afternoon is a high point to end of year celebrations. While enjoying complimentary teas and gourmet treats, guests explored the many stands, organized their end of year purchases or just sat back and enjoyed Marion & Becky the Centre’s very special space.

Colleen Kennedy from Beyond the Ordinary Tea House

Kitty van Horne & Edith Lowthe

Fiona enjoying cake & tea

Pia Anderson (Vintage All Sorts) & Ellen Brant

Antique dealer Sean Cullip

Milestone celebrations

Sydney exhibitor Alan Landis

Ivan & Lolita Holland

From Camperdown Mews exhibitors Bill & Barbara Neuman

Jolyon Warwick James & Josef Lebovic

Coming from Victoria Eaglemont Antiques’ Dawn Davis & Ian Headlow

Monica & Michelle Baird

Donna Bray & Greg Currie

Queensland visitor Eva Czernis-Ryl Roman Weissbock

Decorative arts at Moore Park

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n early November James A Johnson & Associates held their 20th antique fair at Sydney’s Hordern Pavilion.

A highlight of the fair was the launch of Genevieve Cummin’s latest book, How the watch was worn. As well as local and country NSW dealers, the fair brought interstate exhibitors with a plethora of fine pieces for the discerning collector.

Scott Carlin & Terry Ingram

About 100 people attended Nomadic Rug Traders Christmas party at the Pyrmont gallery on 20 November as part of their 35th year celebrations as Nomadic Rug Traders and the 40th year in the rug business. During this period they have staged more than 100 special exhibitions of antique oriental rugs and textiles, African and southeast Asian tribal art together with many informative colour catalogues. Present were a number of the original clients who visited their first gallery and first exhibition in Rose Bay in 1976.

Frank Seymour, Pamela Leuzinger, Chris & Monika Bray & Margaret Seymour

Ross & Irene Langlands

Gay Spies, Harry Spies & Irene Langlands

Coumba & Juergen Heidmann

George Soutter (Inaugural president of Oriental Rug Society NSW), Dr John Yu (Chairman of VisAsia, Art Gallery of NSW) & Beth Pryce (Secretary of Oceanic Art Society) James Barker & Jim Masselos

Charlotte Smith & Candice DeVille

Bernadette Thomas & Janel Morrissey

Amazing fashion in Sydney

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ransformed into a fashion centre filled with themed specialist boutiques, Sydney’s Canterbury Racecourse Function Centre was once again the Mecca for collectors of vintage clothing, jewellery and textiles. Organised by Janel Morrissey, this was her ninth vintage themed fair and the last for 2010. For Victorian collectors, Janel is holding a fair at the Melbourne Showground in Ascot Vale in May 2011.

Christine Keepence from the Linday Charm School for Girls carrying out 1940s hair and makeup demo with model Sarah

Matthew Johnson, Tom Langlands & daughter Isabella

Gaby Kemeny, Bron Durney & Margo Johnson

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ANTIQUES & ART IN NEW SOUTH WALES

ART DECO: British hand-painted ceramics of the 1920s and 1930s

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o understand the huge range of Art Deco ceramics it is useful to divide the ceramics of the 1918-1940 period into three distinct categories: wares produced by artist potters, traditional manufactories and industrial ceramists. It is the second category of Art Deco ceramics, i.e. wares produced by traditional manufactories with which the majority of present-day collectors are most familiar and it is a small group of these ceramics which this article will examine briefly.

By 1920, the art pottery movement was in decline, with many studios having closed before or at the outbreak of World War I. However, this movement has certainly helped to make consumers aware that hand-painted wares were aesthetically superior.

Potters and the artistic directors of manufactories were also aware of this and were quick to capitalise on special post-war economic and social conditions which enabled handpainted wares to be produced both inexpensively and in mass. For example, in Britain in World War I, the cheap but cheerful end of the pottery market had been largely dependent upon German lithographic transfers.

After the war, anti-German feeling meant this source was not viable. However, wages, particularly for girl paintresses, were so low as to make hand painting a practicable substitute.

Similar economic and social, even if not emotive, factors operated elsewhere in Europe.

CLARICE CLIFF pottery Best known today is the work of Clarice Cliff. Clarice commenced employment at the A J Wilkinson earthenware factory in 1916, but it was only in 1927, following the acquisition by Wilkinson of the adjacent Newport Pottery that co-director Colley Shorter offered Clarice the opportunity which resulted in the amazing story we now know as ‘Bizarre’ by Clarice Cliff.

Of any artist/designer of one of the largest British manufactories, Clarice probably the greatest impact upon consumers of the 1920s and 30s, certainly in Britain. The years 1928-1935 saw her design pieces which, for the most part, are characterised by

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Collectors will be very familiar with names such as Carlton Ware, Shelley and Doulton, plus the many small firms. There is something in this broad genre to suit every collector’s budget and the variety is enormous.

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straightforward and identifiable qualities.

They are bold and simple, abstract or stylised and always colourful. Her preference for orange with a strong supporting role for yellow and significant use of black could be regarded as much her trademark as her choice of names such as ‘bizarre’ and ‘fantasque’ for the largest group of wares.

These colours were her preference and she influenced public taste accordingly. It is not surprising therefore, that the virtual disappearance in 1935 of these colours helps delineate the end of the Clarice Cliff era.

Although she continued to design and ranges continued to be marked with her name, public taste dictated that these later pieces no longer reflected her individual style.

SUSIE COOPER designs Susie Cooper was another who took the trouble to transpose the modern decorative idiom of the 1920s into manufactured wares.

Initially she worked for the firm of A E Gray & Co Ltd in Hanley. There she decorated blanks for the most part directly influenced by Cubism and always in bold, contrasting colours with thick and bold paint strokes. These

pieces, which date mostly from between 19211929, remain undetected by many people simply because they bear the mark of A E Gray with no mention of Susie Cooper.

Her ‘Gloria Lustre’ range also belongs to this period. However, to the serious collector of Susie Cooper, these early wares are the focus of the search. They represent the artistic output of small number of years, but they are the ultimate.

In the early 1930s Cooper accepted an offer from Wood & Sons’ Crown Works to execute shapes of her own design. She produced large numbers of tableware designs, decorated with abstract or geometric ‘jazz’ style patterns in much more muted tones than her previous work.

Throughout her career, Cooper was always in touch with the requirements of the consumer. She understood the innate conservatism of the British public. This, combined with her strict attention to detail in both design and marketing meant her wares were an enormous success. Interestingly, just when Clarice Cliff was beginning to boldly decorate blanks at Wilkinson’s Susie Cooper had abandoned her bold, brash painting of usually traditional shapes.

The list of British manufactories producing hand-painted wares in the 1920s and 30s is of course, seemingly endless. Collectors will be very familiar with names such as Carlton Ware, Shelley and Doulton, plus the many small firms. There is something in this broad genre to suit every collector’s budget and the variety is enormous.

As with all collecting areas, the collector should adhere to a couple of sound principles – buy what you really like and try to obtain good examples by the artist or company. If you follow this advice then you should have an enjoyable and worthwhile collection which will also be a sound investment ● Cecily Critchley and Lynley Jenkins For DISCOVERY CORNER 07 3862 2155 discoverycorner@bigpond.com

QUEEN STREET ANTIQUES & ART IN NEW SOUTH WALES

Marlene Young Nungurrayi

Anna Price

INDIGENOUS ART DAY AT THE HUGHENDEN One-day selling exhibition, appraisals and expert lecture on Indigenous art (Right) Kathleen Whiskey Nungurrayi, My Father’s Story

9 April 2011

Garry Darby and Betty Mbitjana

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he Aboriginal Dreamtime is traditional oral storytelling, drawings and paintings that reveal indigenous beliefs of the creation of day, sky, stars, fire, air, water, terrain and life. Beyond the earth, there is the Dreamtime and the balance of harmony between Dreamtime spirits and the living.

The Dreaming reveals the land, flora, fauna, animals and humans; and how to live in the Dreaming – healing plants, edible plants, dangerous regions, waterways, hunting and gathering and tribal relationships.

Dr Garry Darby, university lecturer and author specialising in Indigenous art, brings the Dreaming of the past and the present together in his collection of paintings from leading Central and Western Australian Aboriginal artists.

SELLING exhibition Sales of more than 300 paintings range in price from $65 to $20,000 with rare opportunities for collectors. Dr Garry Darby will share his expert knowledge on artists and paintings. You are welcome to bring your Indigenous paintings and other artworks for appraisal.

The collection includes works by Minnie Pwerle from the Utopia Station region of the Northern Territory, 250 km northeast of Alice Springs. She is one of the highly respected Utopia women artists who revealed her spiritual connection to the land through her paintings.

Minnie continued to paint until she died in March 2006, with her paintings held in many Australian and overseas institutional and private collections.

Also exhibited are George Milpurrurru, one of Australia’s Old Masters of Aboriginal art from Arnhem Land, and Gloria Petyarre who was the first Aboriginal to win the prestigious Wynne Prize (AGNSW). Other leading Indigenous artists include Kathleen Petyarre, Lindsay Bird, Gracie Morton, Kathleen Whiskey Nungurrayi, George Milpurrurru, Janet Long Nakamarra, Anna Price, Marcia Turner, Colleen Wallace, Naata Nungurrayi and Eubena Nampitjin.

FREE program Everybody is welcome to the illustrated lecture, Australian Aboriginal Desert Art commencing at 2.30 pm. The free appraisals and expert lecture is a great way to learn about Indigenous art, and for collectors and international visitors to buy rare paintings.

The Indigenous Art Day is an open invitation, commencing at 10 am and running until 8 pm. Ample parking is available at Centennial Parklands across the road. Or if coming by public transport, buses from the city and Bondi Junction stop at Queen Street.

As well as enjoying the art and lecture, take time out and sample the exciting menu of the newly updated Hughenden Café Restaurant, open for breakfast through to dinner ● Indigenous painting appraisal enquiries to Dr Garry Darby 02 9583 9916 Susanne Gervay THE HUGHENDEN 02 9363 4863 FREE CALL 1800 642 432 www.thehughenden.com

Your boutique winter getaway Dinner, bed and breakfast Two night Dinner Bed and Breakfast package

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The Hughenden, an authentic Victorian Manor (c. 1870), is situated in the lively and fashionable café life of Paddington.

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HUGHENDEN BOUTIQUE HOTEL 14 Queen Street, Woollahra, Sydney

www.thehughenden.com.au 02 9363 4863

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9

ANTIQUES & ART IN NEW SOUTH WALES

Kachina mask by Gregory Lomayesva

Overlay silver Bolo tie with Bobby Tewa cuff and ring

The Peaceful Ones THE NORTH AMERICAN HOPI INDIAN

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he Hopi native American tribe is located in north eastern Arizona. The word ‘Hopi’ translates as the ‘peaceful ones’. Although this is a very aged interpretation, it is genuine and appropriate for today’s Hopi people, as they still reside in the villages that they were dwelling in 1500 years ago and practise a religion that is relatively identical to its original form – confirming that their peaceful traditions are outlasting many other tribal customs.

One custom still passed down, is their historic anecdotes – the Hopi’s history. Each Hopi village possesses its own specific interpretation of the emanation myth and legend, which trails the roaming of the Hopis before they reached their existing site. For instance, some believe that they were produced by the Spiderwoman or Kokyang Wuuti, in the four underworlds.

The Spiderwoman is an intelligent and compassionate old woman who is constantly ready to assist the Hopi people.

Each town has a shrine to her and it is believed that she is present everywhere. She is also the mother of the Twin War Gods who, according to some legends, are responsible for keeping the world turning.

Since existing in the Four Underworlds, the

Above: Silver overlay cuff by Victor Coochwytewa Right: Silver overlay cuff by Watson Honanie

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Hopis were soon moved through the Place of Emergence to reproduce and occupy the earth.

Following numerous uncertainties by fire and trekking, the Hopi finally settled into the first Hopi town of Orabi. Archaeologists propose that this town was built between 1020 and 1100. Other Hopi villages had been constructed in the 17th and 18th centuries.

It was not until 1540 that the Hopi first communicated with the Europeans – Coronado’s soldiers. Subsequent to the Coronado and his military returning to Mexico, the Hopi region was not troubled by foreigners for 43 years, until 1629 when suffering arose due to the return of the Spanish priests.

The priests built five missions and with this, a new religion was forced upon them and the Hopi tribal religion was banned, including the use of traditional ceremonial kivas. It was not until 12 years later that the Spaniards asked for and received pledges of peace from the Hopi villages. Since then, the Catholic church has not returned.

Despite this adversity, the Hopi tribes were, and still are, conceivably the most faithful of all south western tribes. Everyday is impregnated with and composed by the Kachina spirit ancestors of the Hopi people.

Each Pueblo tribe has Kachinas and Kachina ceremonies; however the Hopis and Zunis have the greatest number. The Hopis have an estimated 30 chief Kachinas who emerge to carry out special seasonal ceremonies.

Likewise, there are around 220 different Kachinas who might arise during the

Kachina season. A Kachina (ka stands for respect and china means spirit) is a figurative portrayal in human form of the spirits of plants, animals, birds, places or ancestors.

They are not perceived as gods, but rather honoured messengers from the gods, delivering purposeful prayers for clouds and rain, harmony in the universe, security of health, and the prolongation of humanity and euphoria.

The story of how the Kachina evolved is, once more, one of numerous beliefs; nevertheless, the following is quite an accepted legend among the Hopi. Kachinas once lived with the Hopis after their emergence from the underworld. They brought the clans rain with their dances and, regardless of this gift, the community became disrespectful. Consequently the Kachinas departed and went off to live by themselves, though prior to their departing they taught the tribe how to perform their rituals. These included mediating with the gods on the Indians’ behalf by performing grand dances with diverse religious ceremonies held annually at the Hopi pueblos.

This is the Hopis’ religious year: it commences in November with the Naacnaiya and Wuwutcimti ceremonies, both specifying the emergence of the Kachinas from the traditional spirit home on the San Francisco Peaks to the south west. Additional Kachina dances commemorate the winter solstice, they include the bean planting, requests for rain, and buffalo hunting. They all take place up to July. The dances are taken very seriously. To cite an instance, the dancers are to abstain from contact with white people, they are also to avoid any tension, and they are to only have innocent thoughts. If one stumbles while dancing, it deceives one’s mediation and this, in turn, may bring drought. If this does occur, and the Kachina performance does not bring the desired results, the performance may be rejected. Kachina dances conclude with the Niman Kachina ceremony. This one notes the return of the spirits to their Nuvatikiobi – meaning ‘snow houses’ – on the San Francisco Peaks.

A Kachina impersonator is adhered to take in the spirit of the Kachina he portrays while he wears the mask. Via the impersonator, who acts as the mediator, the prayers of the

villages are communicated to the more significant deities. Permission to recreate a dance is granted by the village chief. Ample time is consumed by impersonators in memorising songs and preparing masks.

Masks of chief Kachinas are extremely important as they possess holy powers and therefore a mask needs to be taken care of as if it were one of the spirits. To actually be able to wear a mask is a hereditary right. The mask is ceremonially fed and preserved when the owner passes away. It is buried with the acceptance that the mythical power must be returned in distinction to its origin.

To assist children’s familiarity with these masks and real Kachinas, they are granted miniature figures carved of tender cottonwood root that are painted and costumed to depict the masked impersonators. These dolls are also called Kachinas but are not endowed with power. Since it is only the spirit that is portrayed, there is no need for realism in the depiction. Selling Kachinas to non-Indians is rather new with the Hopi, as traditionally the dolls were thought too sacred to share with outsiders.

As mentioned above, the Hopis traditional pastimes are very significant to them. Their culture of native arts and crafts, including pottery, wood carving (kadhinas), weaving and basketry, secure them an income.

However, quite a recent development, that likewise earns them money and furthermore differentiates them from other tribes, are their silversmithing skills. After learning silversmithing from the Navajo Atsidi Chon in 1872, the Zuni smith Lanyade traded his personal silver jewellery among the Hopi. In the same year Lanyade taught the Hopi Indian, Sikyatala or ‘Yellow Light,’ silversmithing techniques.

It was not until the 1930s that an independent Hopi style surfaced. It was highly contemporary with a modernistic and graphic approach to jewellery making. Contrary to the above historical traditions, this new approach to silversmithing was something of a contradiction to the Hopis’ way of life, simply because it was developed and encouraged by non-native Americans. This was unmistakably not a negative predominance, for the reason that we have merely a few non-native Americans who have brought into existence, such a historic

DOUBLE BAY ANTIQUES & ART IN NEW SOUTH WALES

Celebrates 30 years of trading – 1981-2011 • Old pawn Navajo and Zuni jewellery • Early fetish necklaces • Vintage elk horn chandelier diameter: 1.8 metres • Early Pueblo cream heishi necklaces • Great early sets of hand drilled, rolled turquoise jochlahs • Inlay necklace by Frank Vacit • Collection of conch belts – 1st and 2nd phase, turquoise cluster, tufa cast and others • Large collection of coral earrings, rings and cuffs • Contemporary jewellery by McKee Platero, Mike Bird, Cody Sanderson and other renowned artists • Great collection of antique Navajo rugs

SHOP 11 BAY VILLAGE, 28 CROSS ST, DOUBLE BAY 2028 Ph: 02 9328 7951 OPEN 7 DAYS www.fourwindsgallery.com.au importance, within the creation and documentation of Native American arts/crafts and general living. To name just a few, there was Edward Sheriff Curtis who documented hundreds of distinct tribes and chiefs from those clans, with personal and prolific photogravures. Along with Frank Hamilton Cushing, who wrote about the fetishes in great detail, this tremendous feat could only have been executed through his involvement with sacred religious ceremonies.

Then we have Dr Harold S Colton and his wife Mary-Russell Ferrell Colton, the founders of the Museum of Northern Arizona in Flagstaff. They worked to nourish the pursuit of crafts among the Hopi. In 1930 they initiated the annual ‘Hopi Craftsman Exhibit’ at the Museum of Northern Arizona to devise an environment for Hopi craftwork to be exhibited and purchased. During 1938, a point of convergence was established with a primary focus on silversmithing. In the same year Mrs Colton wrote a letter to Kenneth E Chapman, then with the laboratory of Anthropology, Santa Fe, and a consultant to the Indian Arts and Crafts Board. It said: There is only one way to make Hopi silversmithing worthwhile, it must be different from any other Indian silversmithing. They must produce Hopi silver, not Navajo, Pueblo or Zuni. It must be absolutely unique and of course, the supply will always be limited. Therefore, if we can create a worthy product, using only Hopi design and advertise it well, we might in time create a small worthwhile market.1 Mrs Colton did assist in bringing into being more than a ‘small worthwhile market,’ in comparison, aiding the introduction of a completely fresh and successful silversmithing technique, unique to the Hopi Indian. To guide the Hopi’s visualisation and inspire them in their decorative designs, Colton allowed the

production of plates finished in opaque watercolour on grey paper. Virgil Hubert, Assistant Curator of Art at the Museum of Northern Arizona, constructed the layout for the jewellery, which included the silver techniques of filing, stamping, cut-out and appliqué. Hubert states that, ‘Contrary to some accounts, he did not make up any of the designs into jewellery’.2 The outcome was that the above style called ‘overlay’ became the permanent style of jewellery. It consists of two sheets of silver that are soldered together prior to cutting out the pattern in the top sheet so that the underlayer is noticeable. The layer beneath is oxidised to turn black and then textured to a grained feel with chisel marks or stamp work.

They then highly polish the piece with steel wool until it receives a silver matte or a satin finish. The graphic designs drawn onto the jewellery are inspired from ancient pottery, basketry and textile patterns with, primarily, the visual appearance as the main concern.

However, many depict water as a focal point, due to its necessity for crops and drinking.

Other conceptual meanings refer to religion, life and ceremonies. Furthermore, some symbols3 may portray a particular object, for instance: Warrior marks Hair whorl A melange of clouds and rainfall Feathers

individual aim or opinion. One prime example is contemporary Hopi silversmith Charles Loloma (1921-1991). He was a student of Fred Kabotie who, in 1947 persuaded the federal government to finance programs to educate Hopi GIs of World War II in the creation of overlay jewellery. This lead to the Hopi Silversmith Cooperative Guild which was established in 1949.

Loloma was the leading producer of contemporary Indian jewellery. In the late 1950s he was the foremost silversmith to include gold and stones – for instance, turquoise and blood red coral – in his jewellery designs. He became internationally famous and universally accredited as a force in creating jewellery utilising the panorama of his people for inspiration.

The American Hopi aims to set high standards of religious beliefs, told through the creation of Kachina dolls. Yet, to be highly acknowledged and renowned for their contemporary silversmithing, taking into account its recent establishment, is extraordinary. Their traditions are implemented not in writing but by song and dance and through the things they make, such as their jewellery and Kachina dolls. This learning interpretation carries on a deep and progressive achievement status that is important and relevant to every part of them in different ways within each day ●

The whirlwind Alternatively, a silversmith may design a piece of jewellery with a completely

FOUR WINDS GALLERY 02 9328 7951 www.fourwindsgallery.com.au

Hopi silver belt buckle

Notes 1 Margaret Wright, Hopi silver: the history and hallmarks of Hopi silversmithing (Flagstaff, Ariz: Northland Publishers, 1989), p. 38 2 Ibid., p. 40 3 Ibid., p. 72 References ‘Living spirits of Kachinas’, Arizona Highways, vol. 47, no. 6 June 1971 ‘The Hopi tricentennial’, Arizona Highways, vol.

56 no. 9 September 1980 Tom Bahti, Southwestern Indian ceremonials (Flagstaff, Ariz: KC Publications 1970) Theda Bassman, The Beauty of Hopi Jewelry (Tucson, Ariz: Kiva Publishing, 1993) Buddy Mays, Indian villages of the southwest (San Francisco: Chronicle Books 1985) William A Turnbaugh and Sarah Peabody Turnbaugh, Indian jewelry of the American southwest (Atglen, Pa: Schiffer Publishing Ltd, 1988) Frank Waters, Book of the Hopi (Harmondsworth: Penguin Books, 1963)

11

MOORE PARK ANTIQUES & ART IN NEW SOUTH WALES

Art deco furniture coming to the show

Royal Worcester covered urn decorated by Charles Baldwyn

Caravaggio style portrait set in a gold mounted cameo

Plate, ‘Le Coup de Vent’ in La Gazette Han dynasty (206 BCE-220 CE) red pottery dog; de Bon Ton, Paris, August 1913 Italian octagonal walnut centre table, c. 1800; silk velvet panel embroidered with gold thread from Turkey, 17th-18th century; French ormolu chandelier, c. 1900

ANTIQUES & ART FAIR COMES OF AGE – 21st fair at Royal Hall of Industries, Moore Park 18-22 May

T

he Australian Antiques & Fine Art Fair celebrates its 21st year in 2011.

This well-supported and highly anticipated event lived up to its reputation in 2010, attracting strong attendance and very successful results for participants across all collecting categories. Our May 2011 fair promises to be exceptional, with many dealers already having resigned, plus new exhibitors applying for space.

This fair set the nation’s benchmarks for accomplishment in antique fairs. It is the largest quality antique and art fair in Australia, attended by over 60 professional

dealers. It has the best track records for quality of stock, experience in trading and high standards of service.

The Australian Antiques & Fine Art Fair began in May 1991, founded by James and Helen Johnson. Their professional skills in successful Melbourne events and fairs includes those at historic 1890 Stonington Mansion in Malvern; South Melbourne Town Hall; the Hotel Windsor; and Wilson Hall at the University of Melbourne. In the second half of 1991, this duo began the Great Sydney Antiques Fair that runs each October at the Royal Hall of Industries, Moore Park.

21

ST

YEAR!

18-22 May 2011 GALA PREVIEW Wednesday 18 May 6.30pm-9.30pm Thursday to Saturday 11.00am-7.00pm Sunday 10.00am-5.00pm

ROYAL HALL OF INDUSTRIES Driver Avenue Moore Park

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MELBOURNE schedule The Johnson fairs planned for Melbourne in 2011 are the Melbourne Antiques Fair at Malvern Town Hall (9 – 13 June) and the Whitehorse Antiques Fair at Box Hill Town Hall (18 – 21 August). Each fair aims to encompass world’s best examples of antiques and works of art. Experts select items to reflect the interests of Australian collectors, both experienced and novice. Current décor trends guide the selection of exhibits and the ways that objects are combined within displays.

SYDNEY FAIR: What you can expect Attending the red-carpet gala preview at the Royal Hall of Industries next 18 May 2011, visitors will be enchanted by the elegance of the displays and the diversity of the stands provided by experts in various collecting fields.

Styles vary from the superb cabinetmaking of top English furniture (LJ Cook and Company of Camberwell Melbourne) to the suave elegance of Scandinavian art deco and Biedermeier furniture (Virtanen Antiques of Armadale Melbourne). Whether a mature collector downsizing or a gen-Xer furnishing a loft, quality options will serve your needs and taste.

John D Dunn Antiques of Malvern always present an astonishingly beautiful stand of early English and Continental furniture, arranged to create stylish décor. An Italian octagonal walnut centre table, c. 1800, topped by a Han dynasty red pottery dog (206 BCE-220 CE) is silhouetted against a luminous red silk velvet panel, embroidered with gold thread (Turkish, 17th-18th century). This entire display is lit by the soft candle glow of a French ormolu chandelier, c. 1900. For a standout piece, it would be difficult to surpass John D Dunn’s Napoleon III ebonised centre table, superbly embellished with detailed ormolu mounts and its circular tabletop inset with Sèvres porcelain panels.

For ceramics collectors there is a large 45 cm tall Royal Worcester ‘Moments of Mischief’ vase of 1884 painted by James Bradley.

It is alongside a large masque-handled Royal Worcester covered urn by Charles Baldwyn, depicting his usual subject of swans on the wing, on a pale turquoise ground with rose and gilt accents (A & M Antiques, Sydney).

Moorabool Antique Galleries of Geelong shows porcelain from the 18th century.

If looking to enhance a collection of sterling silver, Kevin Murray Fine Silver of Melbourne offers a feast of world-class antique silver objects, flatware and table pieces including a George III sterling silver tray, marked for London, 1796, with grape-and-vine motif and

George III sterling silver tray, London, 1796

Bacchus masques on the elaborately pierced outwardly-flanged rim and vine-twist handles.

Traditional paintings, maps and prints complete any décor as well as making excellent investments. Martin Gallon Fine Art of Melbourne exhibits tranquil landscapes, genre painting and evocative seascapes.

Antique engravings and maps from Sebra Prints of Camberwell include fashion plates of the latest looks from the August 1913 edition of La Gazette de Bon Ton, published in Paris.

Australia’s top antique jewellery retailers present antique jewellery of quality. Karen Deakin Antiques is bringing a diamond-set pendant of lace-like design from the Edwardian era, and an intriguing Caravaggio style portrait set in a gold mounted cameo – an exciting antique piece.

COME to the May 2011 Sydney Fair Readers are invited to the gala preview on Wednesday 18 May from 6:30 to 9:30 pm; enjoy a welcoming drink and music by the Savoy Quintet while having first choice of the fine antiques and art. Open days are Thursday 19, Friday 20 and Saturday 21 (between 11 am and 7 pm) and on Sunday 22 May from 10 am until closing at 5 pm.

Tickets may be purchased on arrival or pre-purchase your tickets through www.ticketek.com and 132 849 (surcharges apply). The gala preview costs $25; single day admission is $15 or $10 concession; and accompanied children up to 16 years of age enjoy free admission ●

James A Johnson Fairs schedule 2011 Sydney The Australian Antiques & Fine Art Fair 18 to 22 May Royal Hall of Industries, Moore Park The Great Sydney Antiques Fair 26-30 October Royal Hall of Industries, Moore Park Melbourne Melbourne Antiques Fair 9-13 June Malvern Town Hall Whitehorse Antiques Fair 18-21 August Box Hill Town Hall AUSTRALIAN ANTIQUES & FINE ART FAIR Fair hotline 1300 135 516 info@antique-artfairs.com.au www.antique-artfairs.com.au

MOSMAN ANTIQUES & ART IN NEW SOUTH WALES

Web: www.orlandobrown.com.au

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PO Box 324, Bondi Junction NSW 1355 t: 61 2 9389 2919 f: 61 2 9387 7487 e: editor@worldaa.com

$85.00 A Cipriani (Italian) Alabaster figure, c. 1910, overall height 2150 mm

www.worldaa.com

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At the rear of 537 Military Road, Mosman (off Harbour Street) Tel: 61 2 9960 7768 Fax: 61 2 9960 7753 Mobile: 0411 323 319 or 0400 099 021 Email: enquiries@orlandobrown.com.au Web: www.orlandobrown.com.au

BY APPOINTMENT ONLY

13

ANTIQUES & ART IN NEW SOUTH WALES

MEANINGFUL VALUATION of jewellery = CSi + forensic analysis

A

n expert valuer requires many basic qualifications, commencing with knowledge in all of gemmology, diamond grading, jewellery manufacturing techniques, antique and period jewellery, wristwatches and pocket watches, hallmarking of jewellery and precious metal testing.

In addition to all of the above, many years of experience are required. The most essential skill is the ability to translate all the technical, design, historical and provenance data into what is relevant in the current marketplace. Only then can one arrive at a ‘value’ that is meaningful for the end users of a written valuation, whether owners, insurers or probate.

VALUATIONS have many interesting challenges One of the problems facing a practising jewellery valuer is that any imaginable (and never imagined) item can appear before you for valuation: you are required to use a broad range of skills. For example, when identifying a gemstone, a loose gem is much easier to identify than a gem that is set, as testing procedures are limited once set. Frequently valuers need to decide if an item of jewellery is a genuine antique or a modern reproduction.

A valuer often does not know the history of the jewellery and so has no information to start with.

It can be likened to CSI and forensic analysis, so assumptions and identifications are determined by examination and testing. In order to identify the origin of the gemstone and metal mount a logical sequence of examination and testing needs to occur to arrive at the correct answers.

1. The gemstone must be identified, whether natural or synthesised in a laboratory.

2. The precious metal needs to be tested and identified, such as the grade of silver, whether sterling (.925 pure) or other grades (Scandinavian silver is frequently .800).

3. What about the method of manufacture – is it handmade or cast or a combination of both?

Imagine the challenge from a large pearl necklace – are they from the South Seas or are they freshwater pearls? They look very similar to one another, but have totally different values.

There are now rubies on the market that are of really very low quality. They have been treated by heating and the addition of molten glass to fill the cracks in the stones which increases the eye visible clarity. The value of this type of ruby is extremely low and can be very misleading for the purchaser. There are other treatments of rubies, so depending on the treatment, a wide range of values can be attributed to each gemstone sold as a ‘ruby.’ This has the potential to defraud prospective buyers.

An interesting valuation was that of a lovely sapphire and diamond ring with a series of English hallmarks on the band. A closer examination revealed that the stamps were fake. The marks were actually cast into the ring and therefore clearly a modern reproduction, and of course fraudulent. The other sign that the ring was not antique was that modern cut diamonds that were set in the ring did not occur until at least the 1950s.

Another valuer was presented with a blue stone and diamond ring. The blue stone looked exactly like a blue Ceylonese sapphire – testing proved that it was an unusual blue stone called kyanite.

This is a fragile stone and so the wearer has to be very careful not to crack it. New deposits of the mineral have recently been discovered, so it will be seen more frequently on the market, yet few will know its true (low) value.

The above examples show just the tip of the iceberg of this vast subject. When seeking advice or valuations, a qualified and experienced person is obviously required to unravel the science and complexities of jewellery, watches and other items of personal adornment.

The best thing about using a professional valuer is that you will get a precise description of the article along with an accurate current replacement price. A valuation is a legal document: it validates the existence of the items should either damage or loss occur ●

A GEMMOLOGICAL challenge Valuers may be asked to value a necklace set with a multitude of cut gemstones, which could be a mixture of amethyst, citrine, zircon, garnet, iolite, topaz, peridot, emerald and synthetic ruby.

NATIONAL COUNCIL OF JEWELLERY VALUERS NSW 02 9232 6599 / 0418 616 849 nsw@ncjv.com.au

REGISTERED VALUERS IN NSW Name Ian Masis Baghdasar Alison Jonathan Ken Sirarpy Catherine E Eli Michael David Michael Michele Andrew Scott David Carma Valerie Robyn Paul Sheila Narelle Salina S Patrick Raymond John Robert Brenda Julie Ben Douglas

14

Abeshouse Agopyan Alford Alford Anania Banbekian Barnett Baroud Barrett Benn Berton Black Broadway Brown Bubb Burchell Burgess Carmody Carruthers Catterall Chamoun Cheng Cho Clark Clements Cliff Colahan Collins Connor Crabbe

Company Ian Abeshouse Valuations Masis Jewellery Jonathan Alford Pty Ltd Anania Australia Pty Limited R.P’s Valuation Services Barrett’s Jewellers Pty Ltd David Benn Fine Jewellery Artima Products Creations Jewellers Fine & Decorative Arts Services Pty Ltd Valuation Professionals David Bubb & Associates Pty Ltd West Wyalong Jewellers Pty Ltd Gemstone Valuation Services Ricco Ricco Jewellery Dixon Gem Studies & Valuation Services Raymond Clark Jewellers J W Clements & Associates Pty Ltd Robert Cliff Master Jeweller Brenda Colahan Fine Art Jules Collins Jewellers David Connor Designs Manly Jeweller

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R J Crisp Pty Ltd J Farren Price June’s Jewellery & Gems Professional Jewellery Services MP Valuations Rob Bennett Jewellery Dracakis Jewellers Menaka Drew Valuations Frank Ellis The Diamond Centre Gemplan Marketing Dustins Giro’s Jewellery Frost Antiques Pty Ltd Thomas Robb Designs Pty Ltd JW Gerrard Pty Ltd The House of Fraser What Women Want Michael A Greene Antiques Gregory Jewellers TLG Valuations Coronet Jewellers of Distinction Hatzi Jewellers Goldsmith Jewellers G W Speirs Kareli Valuation Service Normans of Mosman LG Humphries & Son RHAS Crown Diamond Jewellers Regency Jewellers Starco Jewellers Mt Druitt Jarrett Jewellery Kalmar Antiques D & R Valuation Bond Street Jewellers

Hennings Pty Ltd Levendi Jewellers Karen Lindley Pty Ltd Percy Marks Jewellers McWilliam & Associates Pty Ltd Leon Milch Pty Ltd McWilliam & Associates Pty Ltd Valuation Centre of Australia The Valuation Centre of Australia Musson Jewellers Neuman & Associates, Australia c/- Mondial Jewellers Hunter Region Valuation Services Nicholson’s Hourglass Jewellers Nicholson’s Hourglass Jewellers Ralph Nicola Peter O’Neill Jewellery Jo Linda’s Jewellery Constantine Jewellery Design Maxoddy Pty Ltd R J & C R Pinn Pty Ltd McWilliam & Associates Enigma Jewellers Terrace Jewellery Pty Ltd Erich Radinger Goldsmith & Jeweller Jewellery Brokers Stuart Reid Jewellers Alison Renwick Art Consultancy Jan Logan Jewellers Penelope Ellen Jewellery Luisa Rose Designs The House of Fraser c/- Percy Marks MN Jewellery Aldo’s Manufacturing Jeweller P/L L Sanders & Son Pty Ltd C E & J Sarno Umun Jewellery Studio I Schlanger & Son Pty Ltd J Farren-Price Sheppard’s Jewellers Phillip Skamperle Manufacturing Colleen Sloane Design & Valuations Advanced Gemmological Services Pty Artegold Jewellery The Village Jewellers Chilton’s Antiques Vinson Jewellery The Gem Connection GS Gold Shops Pty Ltd Underwood Jewellers Accu-Val Jewellery Appraisals Old Technology Spectrum Gems Venerari John Newton Jewellers Tracy Wenban Jewellers Lambert Jewellery Deborah Windfield Jewellery Duval Jewellery

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PYRMONT ANTIQUES & ART IN NEW SOUTH WALES

Caring for and maintaining RUGS AND CARPETS

W

hether you buy a rug, kilim or carpet for decorative, practical or investment purposes, care needs to be taken in order to ensure its longevity, to protect its value and to ensure the aesthetic qualities last.

As most of these textiles are used for decorative floor covers, they are especially vulnerable to damage from dust, spillage, debris carried on foot and especially pets’ accidents.

Cleaning and washing Regular vacuuming is essential in the care of rugs. Floor textiles should be thoroughly vacuumed at least once a week, or more if located in a high traffic area. Always vacuum in the direction of the pile, in order to ensure a smooth appearance. For a deeper clean, it is important to move the carpet from its regular position and clean the surface underneath, as well as shaking the carpet to remove deeply held dust.

If parts of a rug are placed under furniture or in dark areas or stored, they should frequently be cleaned and checked, as they are vulnerable to moth damage, which in its early stages can go easily unnoticed. If you find signs of moths or their damage, quickly seek advice from a rug professional to protect and repair.

Washing rugs is essential for their maintenance, however only entrust your rug to a recognised professional, every time. Most rugs need to be washed every two to five years, however in the case of stains or repeated spillage, more frequent and at times immediate washing is necessary.

In particular, cat and dog waste (especially urine) needs to be dealt with immediately due to its acidity which leeches the dye from the rug, and if left can damage the carpet

permanently. In this case, it is necessary to have the carpet professionally washed and deodorised immediately.

A carpet cleaning professional will be able to take into consideration the material, dyes and integrity of your rug, as well as use an appropriate technique and products to wash and care for your rug.

Repair and restoration Depending on their use and condition, most rugs will endure damage from everyday use but most damage can be repaired. All rugs will show signs of wearing over time.

Immediately seek assistance with any damage to rugs such as the ends fraying, tears, moth damage, damage caused by pets and accidents, and rot.

It is important to detect early signs of damage and to intervene, as delay could make repairs costly or may render your rug irreparable. In most cases an experienced professional can repair the area in need in such a way that the rug should resemble its pre-damaged appearance

EXPERT REPAIRS, RESTORATION, CONSERVATION, CLEANING & HANDWASHING OF ANTIQUE & ORIENTAL CARPETS, KILIMS & TEXTILES

The correct way to store rugs Take special attention when storing rugs.

Due to the potential damage from humidity, it is important to store a rug in a dry area. Rugs should not be folded as this may damage their structural integrity, or break them. Only store a rug by rolling and wrapping it in a cotton or linen cover; never use plastic based covers â—?

Ahmet Solak PERSIAN CARPET REPAIR AND RESTORATION COMPANY 02 9571 4411 / 0414 598 692 www.persiancarpetrestoration.com

Ahmet Solak 123 HARRIS ST (REAR ENTRANCE) PYRMONT SYDNEY NSW 2009 Tel: 02 9571 4411 Mob: 0414 598 692 Fax: 02 8399 2078 www.persiancarpetrestoration.com email: info@persiancarpetrestoration.com 15

ANTIQUES & ART IN NEW SOUTH WALES

THE A-Z OF ORIENTAL RUGS ABRASH

ASMALYK

A change in the intensity of a particular colour brought about by the dyeing of wool in different batches. This change appears as a horizontal band across the rug. It is more apparent with dyestuffs (such as indigo) which are difficult to control in the dyeing process.

Abrash creates a visual movement within a rug often lending charm and individuality.

Pentagonal Turkoman tasselled hanging made in pairs and which decorated each flank of the bride’s camel leading the wedding procession.

Most asmalyks are unmistakably the work of the Yomud Turkoman but certain rare examples are thought to be of Tekke origin.

The most commonly featured design is known as the ‘ashyk’ – a serrated diamond repeated within a lattice across the field of the rug. Some asmalyks are thought to be among the earliest of Turkoman trappings and have survived because, unlike many bags and other utilitarian items, they had a purely ceremonial function and were not subjected to the rigours of daily use.

AFSHAN Florally inspired design of palmettes and tendrils used in Caucasian and northwest Persian carpets. Also known as the ‘harshang’ design in Persian carpets.

AZERBAIJAN North Persian province, famous for its rug production. Its capital is the market city of Tabriz.

AZO DYES A large class of synthetic dyestuffs which appeared towards the end of the l9th century in oriental rug weaving. Most exhibited better light fastness than the earlier aniline dyes but many ran rather badly in water. Some of the more lurid tones of orange and pink were often too harsh for European taste.

BAKHTIYAR

19th century Afshar rug from southern Persia, with an unusual yellow ground colour and small stylised animals

AFSHAR A Turkic speaking tribe who inhabit primarily the area south of Kirman in southern Persia both as nomads and settled villagers. Most of this group were forcibly resettled from the northern province of Azerbaijan in the 16th century by Shah Tamasp. Smaller, more diverse groups of Afshar still inhabit areas of northwest Persia and Anatolia. Their rugs express a similar design logic to those weavings of the neighbouring tribes of Qashqa’i, Khamseh and Luri.

Tribal group, which incorporates both nomadic and sedentary people, from central southern Persia just west of the city of Isfahan. They are considered by many to be part of the ancient Lurs tribes.

The nomadic Bakhtiyar maintain summer pastures in the Zagros mountains while village rug production focuses on the Chahar Mahal region. The rugs of the Chahar Mahal differ from those of the nomadic Bakhtiyar in that they are knotted on a cotton warp and weft and exhibit a bolder, more contrasting range of primary colour.

A predominantly Kurdish township in western Persia associated with the weaving of village rugs. While many large carpets were made here and in the surrounding villages, cartoons were not used.

A system of ‘wagirehs’ or small sampler rugs showing their design repertoire were made and used in areas of the cottage industry in western and northern Persia.

All Bidjar carpets show a peculiarity of weave in that alternate warp threads are depressed by shooting a straight weft, thereby giving the finished product a stiff, board-like handle. They are considered to be among the most robust of all oriental rugs.

BOHCE Turkish name meaning ‘cover’ for the many domestic cloths embroidered in single-sided techniques.

BORDER A band of design around the edge of a rug enclosing the field. The main border, the widest band, is usually flanked by narrower bands commonly called guard stripes.

The often mountainous region of what was formerly southern USSR between the Black and the Caspian Seas. It is an area famous for the production of colourful and bold village rugs from at least the beginning of the 18th century.

CHAHAR Mahal A district west of Isfahan noted for the village production of rugs associated with the Bakhtiyari tribes.

CHROME Dyes Modern synthetic dyes so called because they are mordanted with potassium dichromate.

Chromium salts as mordants have only been available and used relatively recently.

COCHINEAL

BALUCH Fiercely independent tribal nomads of the rugged and barren border regions of eastern

Boteh motif as found universally throughout the rug world

BOTEH A pear or leaf shaped design originally appearing in early Indian textiles and later (probably in the 16th century) in oriental rugs.

It appears in a wide variety of stylised forms and is the basis of the Paisley pattern.

ANILINE Dyes Synthetic dyestuffs derived from coal tar.

Invented by Perkin in 1856 and first used in oriental rugs in the 1860s. They were the first synthetic dyes to be used in oriental rugs and were invariably applied inexpertly, exhibiting poor light fastness.

BUKHARA A township situated on the ancient silk route in western Turkestan and an important trading centre for Turkoman rugs and textiles.

Turkoman rugs were formerly referred to as ‘Bukharas’ for this reason.

ARABESQUE Decoration with intertwining leaves and scrolling branches, tendrils and buds.

CARPET

ARDEBIL

A term often interchangeable with rug but most usefully describing those pieces larger than two by three metres.

CARTOON

Late 19th century Baluch prayer rug from eastern Persia with a stylised tree of life on a camel hair ground in the field, 115 x 65 cm

Late 19th century Shirvan rug from the southern Caucasus with an all over design of stylised floral forms. A cartouche at the top of the field bears the Islamic date 1312 AH which transposes as 1894, 150 x 84 cm

CAUCASUS

A village near Heriz in north west Persia which produced rugs and large carpets until the end of last century. While many of these weavings display designs similar to those of neighbouring Heriz, the products of Bakshaish are generally finer in construction and floppier to handle.

Asia Minor – modern Turkey east of the Bosporus.

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BIDJAR

BAKSHAISH

ANATOLIA

A rug making township in the north Persian province of Azerbaijan. The 16th century Safavid carpet of the same name, now in the Victoria and Albert Museum and possibly the most famous carpet in the world, was taken from the Ardebil mosque in the 19th century together with a lesser counterpart which is now in the Los Angeles County Museum.

Considerable controversy surrounds the dating of this second piece.

Persia and western Afghanistan and Pakistan.

Their rugs are dark and rather mysterious reflecting in character the people of the black tents and voluminous turbans.

Often the rugs are made using just indigo and madder for the red/brown and blue tones, undyed sheep’s wool, goat hair and camelhair.

patterns which flow in an uninterrupted progression around all corners.

Some people think that such rug designs lack the spontaneity and vitality of the best of tribal weavings where cartoons were not used and the individual weavers artistic input is much more in evidence. It is however a question of taste.

Used largely by weavers of rugs in urban workshops as a coloured design guide, often drawn on graph paper in which each small square represents a knot. Rugs woven from cartoons are often identifiable by curvilinear designs (difficult to achieve without a knotfor-knot guide) and carefully resolved border

An insect dyestuff derived from the Cochineal beetle. It was imported into oriental rug making areas probably from the Canary Islands. It produces a shade of purple/pink. In early Turkoman weavings it was used very sparingly.

Towards the end of the 19th century it became more accessible and less expensive and was used extensively not only in Turkoman rugs but in Persian urban manufacture and Turkish village rugs as well.

It is visually indistinguishable from lac the Indian insect dye used in classical 16th century Persian carpets.

CORROSION The corrosion of the pile of carpets occurs quite often in those areas of dyed brown yarn (as opposed to yarn that is undyed and shorn from black or brown sheep). The combination of the dyestuff containing tannin and the iron rich mordant causes the wool to become very light and sensitive and wear more rapidly. This effect is much in evidence in many old Caucasian and Turkish village rugs ● Ross Langlands NOMADIC RUG TRADERS 02 9660 3753 www.nomadicrugtraders.com

PYRMONT ANTIQUES & ART IN NEW SOUTH WALES

NOMADIC RUG TRADERS SPECIALISTS IN OLD ORIENTAL RUGS TEXTILES AND TRIBAL ART VALUER OF ORIENTAL RUGS & SOUTH EAST ASIAN TEXTILES FOR THE AUSTRALIAN GOVERNMENT’S CULTURAL GIFTS PROGRAM MEMBRE DE LA CONFÉDÉRATION INTERNATIONALE DES NÉGOÇIANTS EN OEUVRES D’ART MEMBER OF THE AUSTRALIAN ANTIQUE AND ART DEALERS ASSOCIATION

CHRISTMAS EXHIBITION UNTIL CHRISTMAS EVE

Bidjar rug from western Persia, c. 1900, size: 173 x 143 cm

123 Harris Street Pyrmont NSW 2009 AUSTRALIA TEL 612 9660 3753 FAX 612 9552 4939 e-mail: nrt@pacific.net.au

website: www.nomadicrugtraders.com 17

BONDI JUNCTION ANTIQUES & ART IN NEW SOUTH WALES

FINE FURNITURE, ART WORKS AND MORE in the heart of Bondi Junction

B

Bellagio International BU Y ~ SE L L ~ H I RE

1A Hollywood Ave, Bondi Junction 50 metres from Westfield NEW SHOP OPENING SOON Located at 243 Oxford Street, Bondi Junction

Ph: 02 9369 4934 • Mob: 0416 131 015 ask for Ray Open: Mon-Sat 11 am - 6 pm 18

ellagio International has been operating at 1A Hollywood Avenue, Bondi Junction for more than a decade.

It has become the favourite place for interior designers, commercial producers and those who like fine and unique items. They sell and purchase their stock from around the world.

Each piece of furniture and art is unique.

Bellagio International carries a wide range of crystal chandeliers, beautiful oil paintings, gilded mirrors, fine porcelain, bronze statues, console tables, dining suites and bedroom

suites. They also offer a vast selection of clocks, period and modern furniture and much, much more.

Items from their catalogue can be viewed on their website and ordered through their store â—?

BELLAGIO INTERNATIONAL 02 9369 4934 0416 131 015 bellagiointernational@gmail.com www.bellagiointernational.net

BONDI JUNCTION ANTIQUES & ART IN NEW SOUTH WALES

PACK & SEND art and antique specialists

S

pecialising in transporting art and antiques means that Pack & Send superstores stock an extensive range of packing supplies – including bubble wrap, air bags, tailor-made boxes and crates – for both shops and individuals who choose to do their own wrapping.

Museums, art galleries and antique dealers Australia-wide are finding Pack & Send’s service truly valuable when they ask them to take care of the entire logistical process: from pick-up to packaging to insurance, paperwork, freighting and safe door-to-door delivery. No other company in Australia does this.

In relieving them of what can often be a time-consuming and onerous task, curators and collectors are free to concentrate on their core business. Pack & Send will personally manage the entire job and even computer-track the item en route until it arrives safely and in pristine condition at its destination.

PROFESSIONAL Packing Service Pack & Send is the only packaging and freight company that has access to Instapak Foam-in-Place technology, a system using soft foam that expands when two chemicals are combined in contact with air.

Foam-in-Place moulds itself to fit the precise shape of the item being packed and this product possesses a density that aids in the prevention of damage from impact, vibration or from being dropped. Instapak Foam-in-Place enables

Excess baggage?

Have your personal effects custom packed and sent home safely by the professionals at Pack & Send

“

Museums, art galleries and antique dealers Australia-wide are finding Pack & Send’s service truly valuable when they ask them to take care of the entire logistical process

”

glassware, paintings and various antiques to be sent through the freight system without compromising the safety of the item. Not only that, but Foam-in-Place is highly cost efficient and readily disposed of without harming the environment.

Pack & Send is the only freight company that will send as well as pack antiques and art for you. When you consider the price of packing the item yourself on top of another company’s freight charges, Pack & Send’s price – as well as its hassle-free, one-stop shopping convenience – makes it a very attractive option.

SAVES Time and Money Art and antique dealers, galleries and museums are now realising that using Pack & Send for their logistics is a means of providing a superior level of service to their customers and actually saves them time and money.

Martyn Cook of Martyn Cook Antiques in Queen Street, Woollahra NSW is a fan. He uses Pack & Send to send artworks worth many thousand dollars.

‘From long experience I know I can rely and depend on Pack & Send. They collect fine art, pack and deliver for us nationwide and around the globe. We’ve had no breakages so far,’ he says with a smile. That’s good news to people such as the Miami, Florida, customer who purchased some framed sailing prints, including an 1830s copy of a French sailing ship heading out for a perilous expedition to the Arctic and a sailing scene on Sydney Harbour in the 1880s.

Pack & Send Bondi Junction is open six days a week, from 8.30 am to 5.30 pm, Monday to Friday, and from 9 am to 12 noon on Saturday. The team at Pack & Send look forward to the opportunity to offer their services in solving any packaging or freight problem you might have ●

PACK & SEND 02 9386 1644 bondijunction@packsend.com.au

Superstores... We Send Anything, Anywhere!

Your investment in professional care The time and care you take when selecting your precious pieces should not be compromised when you need to move them. PACK & SEND uphold the highest standards in customer service and packaging methods, and possess a wealth of experience in handling precious items. PACK & SEND deliver you: • Dependable and versatile transport options across town, interstate and around the world • Complete assurance – ‘no compromise’ packaging solutions and protection against loss and damage • Total convenience – we pick up from you and provide on-site quotes!

• Professional, no obligation advice from a team with a wealth of experience

304 Oxford Street, BONDI JUNCTION NSW 2022 PH: 02 9386 1644 FAX: 02 9386 1760 bondijunction@packsend.com.au 19

ANTIQUES & ART IN NEW SOUTH WALES

DESIGNER PARQUETRY FLOORING: A 21st century take on 18th century designs

P

arquetry timber is a timeless alternative for flooring. This patterned wood inlay is used today to cover floors in sophisticated homes all over the world.

From palaces to small apartments, lovers of home décor often chose parquetry to introduce elegance as well as the warmth and character of timber floors to their homes.

Now a Brisbane-based company can enable you to have a parquetry floor pattern individually designed and tailored to suit your own home, décor and style. Using 21st century technology combined with centuries old techniques and craftsmanship, Frenchborn flooring designer Laurent Ternus offers a refreshing and exciting alternative to the traditional geometric shapes used in parquetry flooring. Introducing the curves and shapes often associated with marquetry woodwork, Laurent uses his flare for design to bring a new era in designer timber flooring.

Maintaining the French connection, L’Amourette is represented by Unique France – Brisbane’s premier French antique and art boutique. Laurent’s flooring is a true parquetry.

HISTORY of parquetry The word ‘parquetry’ derives from the French parqueterie, a geometric mosaic of solid wood pieces used for decorative effect.

Traditionally, castles and substantial houses were home to the wealthy and their large retinue of staff, and often their livestock awaiting their final trips to the kitchens.

Floors of stone or marble were cold, hard and required constant washing.

As the wealthy embraced new fashions and new technology became available, timber flooring gained preference. In 1684, large diagonal squares of timber, now known as parquet de Versailles, were first used in the construction of the Palace of Versailles and the Versailles pattern is still popular today. By the 18th century, industrialisation meant that parquetry flooring was more affordable and increased in popularity and usage.

The essence of parquetry is geometric design, with patterns such as herringbone and square-onsquare being still popular and easily recognised.

Marquetry, the inlaying of veneer pieces in a decorative pattern or design (used in Italy for decorating furniture since the 16th century) was not durable on floors. However, marquetry contributed patterns and shapes for parquetry.

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L’AMOURETTE Pty Ltd The 21st century demands both beauty and functionality, both brought by L’Amourette and its founder Laurent Ternus. Laurent is a graduate of the prestigious Parisian cabinetmaking school École Boulle, named after the famous cabinetmaker Andre-Charles Boulle (1642-1732), cabinetmaker to Louis XIV. Laurent combines his skills and passion for both parquetry and marquetry, and creates designer parquetry floors.

‘I wanted to forget about traditional floor patterns and come up with an original design.

I wanted to focus on the final affect,’ says Laurent. He can design a recurring pattern, incorporating more than geometric shapes, with curves and flowing patterns all possible, even a family crest, company logo or a client’s favourite flower. His Vegetal design, meaning organic or vine related, is a flowing design, visually softer than a traditional block on block pattern.

UNIQUE France L’Amourette is represented in Brisbane by Unique France, Brisbane’s French antique and art boutique owned and run by Denis Geoffray and Gregoire d’Harcourt. Denis hand selects each piece of their collection in Paris, and Gregoire coordinates the shipping to Brisbane.

Their boutique gallery is uniquely French.

Surrounded by a breathtaking collection of magnificent antique furniture, chandeliers, tapestries and objet d’art, Laurent’s designer

parquetry flooring completes the feel of a French château in the heart of Fortitude Valley, on Brunswick Street. These three Frenchmen have six years’ association, highlighting their combined talents in Brisbane.

Come to the Unique France showroom to touch and feel several of Laurent’s designs.

Unique France supplies Laurent with recycled antique timbers imported directly from Paris for truly authentic French floors. For design features, Laurent favours using local timbers such as blackbutt and spotted gum. ‘I love the visual and emotional contrast of using antique French timbers with the colours and richness of some of the Australian timbers. It’s a joining of my traditional home with my new Australian home.’

The friendly and truly professional attitude in Unique France makes it a pleasure to visit.

The interior design service provides the same charm and expertise for a large-scale project or for small exotic Franco touches. Visit Unique France for distinctive French history and artistry with an Australian flavour. We are open six days, from Monday to Saturday between 9.30 am and 5.30 pm ●

Nicholas Beer for UNIQUE FRANCE 07 3254 0404 info@uniquefrance.com.au www.uniquefrance.com.au

“

From palaces to small apartments, lovers of home décor often chose parquetry to introduce elegance as well as the warmth and character of timber floors to their homes

”

SURRY HILLS ANTIQUES & ART IN NEW SOUTH WALES

ANTIQUE ENGAGEMENT RINGS for modern romances

C

elebrate your love with genuine antique jewellery. An antique engagement ring represents longevity and implies the continuity of love to the new beginning an engagement represents.

Unlike much of the mass produced and marketed jewellery widely available, each vintage and antique engagement ring is truly one of a kind – just as is your loving partner.

Similarly, an antique ring comes as you see it – you cannot customise the design of a genuine antique diamond ring or purchase it in a different colour. The ring may need to be re-sized or adjusted, as often an antique ring is thin from devoted wear.

ANTIQUE or vintage?

People usually consider an antique engagement ring as over 80 years old, a bit less than the purist rule of more than 100 years of age for furniture. Vintage refers to items over 50 years old. There are a number of eras to select from and the designs are varied and always interesting, beyond the simple solitaire diamond ring.

VICTORIAN engagement rings (1837-1901) Queen Victoria reigned for 64 years, so engagement rings from her long era have a range of designs, always very elegant and deceptively simple, generally in rose or yellow gold. They often feature diamonds and pearls, but coloured gemstones also appear. Princess Di chose a sapphire engagement ring which has now been handed down to William and his bride-to-be Kate.

EDWARDIAN engagement rings (1901-1910) Platinum became the vogue metal for engagement rings with the help of the new oxyacetylene torch (1900) with which jewellers crafted lacy and pierced shapes, scrollwork and filigree detail on mountings.

Jewellers in this period mainly set their intricate and delicate rings with rose-cut diamonds and brilliant sapphires.

ART deco engagement rings (1918-1939) This spectacular design movement generated geometric lines, coloured

gemstones and filigree details including Egyptian, Asian, Native American and French motifs. Art deco engagement rings are often colourful, using sapphires, emeralds and rubies in combination with beautiful old European-cut diamonds.

RETRO and vintage jewellery Amongst jewellery from the vintage and retro era the most requested designs are from the 1950-60s, perhaps inspired by a current television show depicting the party lifestyles of the 1960s in New York with stage props of dinner and cocktail rings, cufflinks and high-prong-set engagement rings. Some represent a revival of art deco designs, so perhaps the 1950 and 1960s offer a bit of two-for-one in terms of style.

Very fashionable and selling fast are the big cocktail and dinner rings popular from the 1950s to the 1970s – those huge rings of large coloured stones or big clusters of high quality stones were designed to inspire conversation over cocktails and dinner. Strap some wraparound cufflinks around your partner, do your hair in a bouffant, find retro cocktail glasses and slip back into the (best of) the 1950s.

Please visit www.vintagetimes.com.au or stop by Vintage Times at the Sydney Antique Centre in Surry Hills. We have an extensive jewellery, cufflinks and watch collection with 100 years of lasting designs ● Tammy Palmer VINTAGE TIMES Sydney Antique Centre 02 9331 1664 info@vintagetimes.com.au www.vintagetimes.com.au

References Christopher Bowne, www.engagement-rings-tips.com Christopher Bowne, www.engagement-rings-tips.com/antiqueengagement-rings.html http://hubpages.com/hub/How-to-Buy-aVintage-Engagement-Ring

LOVE is not mass-produced An engagement ring should be as unique as the couple and not factory-produced.

Antique rings are stylish, elegant, intrinsically extraordinary and offer timeless appeal: they are wearable hand created works of art.

Looking forward to the long years of marriage and the future of our planet, eco-friendly antique rings have a minuscule eco footprint compared with new rings.

Historically romantic, an antique engagement ring represents a new romance with historical references. In older diamond rings, the four Cs (cut, clarity, colour, carat weight) are often well balanced, and can be found within your budget. Older diamonds were cut to the method of the era, an era when a flaw not seen without magnification was not a flaw at all. These stones are not less valuable, but are a more organic product.

At Vintage Times we understand that the absolute most important thing is that you find and love the perfect engagement ring for you personally, and for generations to come. We carry a constantly changing variety of Victorian, Art Nouveau, Art Deco as well as mid-20th century engagement rings, with delicate details and hand finishes.

Antique & Vintage Engagement Rings, Watches Cufflinks & Jewellery

Vintage Times .com.au

Shop online or in our shop: 531 South Dowling Street Surry Hills, NSW info@vintagetimes.com.au ~ www.vintagetimes.com.au ~ 02

9331 1664

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SURRY HILLS ANTIQUES & ART IN NEW SOUTH WALES

MIDAS TOUCH The Art Gilding Academy The only place in the world where you can learn gilding in just 2 weeks

H

ave you ever wished to have the skills to apply gold and silver leaf to your furniture, frames, and artwork?

Or embellish your cornices, columns, walls and ceilings with metal leaf? Work for yourself from home at your own pace?

Master gilder Karl Eggert can make your dream come true – and you need no prior knowledge of gilding.

In the past, this ancient craft with all its secrets has been passed from father to son.

But in 1999, Karl Eggert, together with his

wife Brigitte, founded a unique teaching establishment to make the wonderful craft of gilding available to anybody who wants to learn in Australia.

Learning in Germany from master gilders in framing, as well as in church restoration, Karl has a broad knowledge and more than 45 years experience in gilding. And this knowledge and experience is reflected in his teaching program at the Art Gilding Academy. Class sizes are kept to a maximum of six students to ensure the best learning experience.

New homes needed for well-loved pieces

Because of Karl’s unique knowledge and teaching ability, you will learn intensively, but never feel pressured

We no longer have the room for the following items in our new Surry Hill premises.

Master Class

• French 18th century tapestry cartoon of figures in a landscape, 213 x 244 cm, $12000 • Set of 3 matching French basket gilded chandeliers, $900 each or $2500 for the set

Hobby workshop

Gilded French clock

• Ornate French wrought iron day bed, restored, gilded and reupholstered, $1500

Free delivery in the Sydney metropolitan area.

Photos on www.artgilding.com.au or call Brigitte on 02 9310 3007 for more information.

Gilded chair backs

Art Gilding Studio

You can learn every aspect of gilding in a twoweek, fully certified Master Gilding class.

In this professional course, Karl teaches skills similar to those taught in three-year apprenticeships. Gilding on plaster, timber, glass, metal and paper form part of the program. For framers and painters, the course can bring immediate benefits to your business, while many students come from the fields of art, craft and interior design.

Students travel from all over the world to attend the Art Gilding Academy, making it a truly international academy.

On completion of the Master Class, the Academy offers a Lifetime Membership in the Goldfinger Club, with 20% discount on all gilding tools and materials as well as unlimited advice and support. We are there for you until you do not need us anymore. You will find this truly priceless.

Imagine how peaceful it feels to learn this exquisite craft, in this beautiful classroom with a small group of like-minded people.

This two-week full time professional gilding course has been designed to save you time and create an income as well.

First date for 2011 – 31 January

Restoration and frame conservation Oil and water gilding services On-site architectural gilding We come to you FREE STUDIO QUOTES

Art Gilding Academy Hobby Workshops Weekend Classes Master Classes (fully certified) FREE INFORMATION EVENINGS For dates, free brochures and friendly advice Call Brigitte now 02 9310 3007

99-101 Buckingham St, Surry Hills NSW (Entrance in Cleveland Street) artgilding@artgilding.com.au www.artgilding.com.au

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By invitation only Free information evening on gilding Once a month, Art Gilding holds a special information night (from 6 pm to 9 pm) on the art of gilding. Karl conducts a gilding demonstration, an informative video is shown and all questions on gilding are answered. Food with gold leaf is served and even the wine contains floating 24 carat gold.

Gold and silver have been used for centuries to embellish food and we assure you it is absolutely safe to eat and drink.

Best of all, the evening is absolutely free.

These very popular evenings are strictly invitation only, so please call Brigitte on 02 9310 3007 for dates and bookings.

First date for 2011 – 18 January

A DISCOVER GILDING WORKSHOP ($200), held on a Saturday, is the perfect answer for anybody who wants to learn gilding as a hobby.

In just four hours you can learn, step-by-step, how to apply gold size, Dutch metal leaf (faux gold), seal your project with several coats of shellac to make it durable, and then age the plaque to your taste. You will be very proud of your masterpiece and you can be assured that your family and friends will be impressed! On completion of the gilding workshop, most students cannot wait to start gilding objects around their home.

First date for 2011 – 29 January

Brigitte with gilding workshop project

Weekend Classes Sydney: Sat/Sun 10 am – 4 pm

Would you like to add skills and more profits to your business?

This class has been especially designed for people unable to attend week-day classes and is held once a month.

We know how difficult it is for small business owners to find time during the week, so our intensive weekend class may suit you perfectly. The classes run from 10 am – 4 pm Saturday and Sunday and participants are taught, step-by-step, gilding techniques that are applied to furniture, picture frames and mirrors, cornices and even walls.

Many students have found that gilding adds another dimension to their business, which they have been able to capitalise on by adding a new profit centre and, moreover, it’s fun!

The weekend class is very reasonably priced at $795. This includes the project – an Egyptian plaque – all tuition and materials. In certain circumstances this fee could be claimed as a tax deduction.

Those able to benefit by acquiring this skill include artists, painters, framers, restorers and French polishers; in fact, anyone who wants to add new skills and a new source of profit to their business ● First date for 2011 – 15-16 January For more information call Brigitte on 02 9310 3007 ART GILDING ACADEMY artgilding@artgilding.com.au www.artgilding.com.au

SURRY HILLS ANTIQUES & ART IN NEW SOUTH WALES

Danish garden setting, teak slats set in a painted tubular frames

Pair 1950s Danish armchairs featuring teak arms, with original wool fabric upholstery

At Vampt Vintage Design FURNISH YOUR HOME AND ESTABLISH A COLLECTION

V

ampt is dedicated to being home to Sydney’s most substantial collection of authentic mid-century furniture. In turn we are committing to eliminating the need to settle for inferior replicas of iconic designs. We deal only in original authentic collectable designs sourced by our team from all over the world.

EXPANDING north

Danish floor lamp dated to 1950s, teak stand topped with pleated fabric shade

Vampt Vintage Design’s 350 square metre warehouse showroom at 224 Harbord Road Brookvale is an interactive space giving us the facilities for an upholstery and light restoration service. These in-house services add another dimension to our philosophy of providing comprehensive client care through the customisation of your chosen pieces.

Clients wishing to reupholster can select from an extensive fabric range. Included will be Florence Broadhurst and Signature Prints, a complete range from JR Weave, high quality leathers and many other popular designs. The fabrics we offer are chosen specifically to be

sympathetic to mid-century pieces, complimenting the integrity of the original design.

VINTAGE classics Our main showroom in Elizabeth Street Surry Hills is for the iconic design enthusiast, housing our most impressive and comprehensive collection of authentic vintage classics. Our sale store, a true find for the bargain hunter, is located conveniently on nearby Cleveland Street.

It is filled with treasures in original condition at heavily reduced prices, presenting the perfect opportunity to refurbish to your specifications.

FROM DENMARK to Australia Our containers imported into Australia hold remarkable collections of pieces sourced by Vampt from Denmark and Scandinavia. We see the importing of these authentic iconic designs as a significant contribution to Australia’s assets, whilst also reducing the impact on the environment. By investing in and acquiring iconic mid-century design we are recognising the value of the antiques of tomorrow ● VAMPT VINTAGE DESIGN 02 9699 1089 www.vamptvintagedesign.com

NEW STORE OPEN

NEW WAREHOUSE 224 Harbord Rd Brookvale NSW 2100 p +61 2 9905 8111 MAIN SHOWROOM 488 Elizabeth St Surry Hills NSW 2010 p +61 2 9699 1089 f +61 2 9699 1856

Space Age sofa and armchair dating to c.1960s, designed by Hans Erik Johansson, made by Westbergs Mobler (Sweden)

www.vamptvintagedesign.com

SALE STORE 268 Cleveland St Surry Hills NSW 2010 p +61 2 9698 4509

Pair easy chairs designed by Hans Wegner for Getama, model GE375 with oak frame and original leather cushions

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WATERLOO ANTIQUES & ART IN NEW SOUTH WALES

AT DOUG UP ON BOURKE find a place for everything and put everything in place

S

torage is a real problem for most of us, as so much stuff seems to accumulate! Good storage means looking for different ways to increase and expand the space you have.

Use something different and have effective storage. Forget the expensive designer options and take a trip to Doug Up On Bourke as we have all your storage needs covered.

EFFICIENT and unusual storage Make the most of your blank wall space by putting up shelving or attaching a rustic timber and iron hat and coat rack.

Suitcases make a great shelf: just remove the lid and fix it to the wall. Iron hooks and industrial patterns look great on walls and are very functional.

Portable trolleys in any room provide flexible space saving storage. Old hospital trolleys and workbenches on casters bring a room to life, their use determined by what is needed to be stored. Able to hold pots, pans, books, shoes, clothes, wine and even towels they become a decorative feature. Think about acquiring a portable trolley for the kitchen, freeing up the bench means more space on which to work.

Pigeonhole units are great bookcases as are timber and iron industrial shoe racks, all fitting much more than a standard timber book shelf. A real advantage of a wall-mounted pigeonhole unit is that it leaves you more floor space.

901 Bourke Street Waterloo NSW 2017

02 9690 0962 web: www.douguponbourke.com.au email: info@douguponbourke.com.au TUESDAY TO FRIDAY 10 AM - 5 PM, SATURDAY 10 AM - 5 PM CLOSED SUNDAY, MONDAY & PUBLIC HOLIDAYS

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STORAGE need not be boring Let your imagination run wild at Doug Up On Bourke with its warehouse full of options.

Crates have many purposes beyond their original function. Stackable drink crates, timber packing crates, old fruit crates and even wire milk carry trays can store items that never really have a home. Crates are practical as well as very eye catching and bring colour to your space. Crates look great as bedside tables. They are a cheap and fun way to bring a little bit of history into your home.

Leather suitcases and trunks covered in travel stickers, once used to ship people’s belongings from over the seas, now can store books or photo albums, blankets, toys, teddy bears or dolls. Leave the lid open to display your collection.

IDEAS are endless Select an industrial painter’s ladder of timber or metal, to provide a sturdy towel rail in the bathroom. Stack in orderly piles on each step your magazines, books, bills and correspondence.

First aid cabinets from factories with classic frosted glass and a large red cross on the front look fantastic on a bathroom wall. They obviously hold and organise many little bits and pieces, and now you will be able to find what is hidden in your bathroom drawers.

Old timber filing units and index card filers, in-out trays, small metal parts bins, globate school cases and small timber crates make organising your paper work easier and even fun. From bills and bank statements, catalogues and correspondence, you soon will be able to file, locate and deal with the paper work that could too easily be forgotten.

Children’s rooms are never-ending storage and organisation challenges: toys, shoes, clothes, blocks, dolls, pencils and colouring books always seem to live on the floor. Old tool trunks and vintage suitcases look funky, are indestructible and can be stacked to maximise storage needs. Industrial lockers in orange, red or blue will turn any bedroom into a modern kool kid’s space.

Make a New Year resolution to take action on organising your storage! Use your holiday break to start getting organised, with options and possibilities endless at our warehouse.

Good house keeping and great storage start at Doug Up On Bourke ● DOUG UP ON BOURKE 02 9690 0962 info@douguponbourke.com.au www.douguponbourke.com.au

ALEXANDRIA ANTIQUES & ART IN NEW SOUTH WALES

THE MITCHELL ROAD ANTIQUE & DESIGN GALLERY Antiques, 20th century designs, industrial and architectural heritage, toys and dolls, rustic farmhouse furniture, jewellery.

A new industrial space in the inner west for lovers of design and curiosities.

Above Mitchell Road Auction Centre, 76 Mitchell Road, Alexandria NSW 2015 I Open 7 days 10 am - 5 pm I P: 02 9698 0907 I E: mitchellrdgallery@yahoo.com.au I www.mitchellroadauctions.com

A PASSION FOR THE PLANET at Mitchell Road Antique & Design Gallery

M

itchell Road Antique and Design Gallery celebrated its fourth birthday in November. This is a favourite haunt for collectors, stylists, designers and anyone seeking something a bit different for their personal environment.

The gallery is the floor above the auction rooms on the corner of Mitchell Road and Fountain Street in Alexandria. It offers a vast choice of furniture and collectables, from preVictorian through the 20th century design styles which includes Art Deco, vintage and retro.

Original designed pieces created from surviving parts of machinery and tools from yesteryear sit beside ancient pieces from the Orient and the Pacific region. Items from Europe jostle with those from the Americas and Africa as well as artefacts and pottery from Australia. A visit is like stepping back into the past – allow plenty of time for browsing.

Lynn and her friendly staff are always on hand with help and advice, and you can frequently meet the dealers replenishing their spaces with newly discovered treasures. Home to an ever-increasing number of dealers, explore the close to 70 stands that represent the diverse range of nationalities and passions, creating a welcome diversity in the gallery.

DEALER PROFILES

Liz Summerell

Liz Summerell is an absolute greenie, a childhood spent helping her parents cultivate fruit and vegetables – no wonder Liz went to agricultural college. As a teenager she loved to wear her mother’s clothes from the 1940s and began to collect vintage clothing, while she acquired an affinity for Australian pottery from her father who worked at Fowler Ware.

Deciding that she preferred the world of vintage and collectables to being an agricultural technical officer she spent eight years developing her knowledge and trading in vintage at markets and fairs, eventually joining the Mitchell Road Antique and Design Gallery. Liz’s drive comes from a passion for the planet as well as a deep appreciation of the artistry, artisanship and attention to detail in lovingly handcrafted objects.

The vintage artefacts she stocks include furniture, kitchenalia, fabrics, ceramics and just about anything that is coloured green.

Her great joy is to see people mix and match items from different eras to create a personal style, simultaneously recycling old objects into still useful items. As the world runs out of resources we need more people like Liz Summerell.

rare privilege, and she enjoys sharing this enthusiasm with other dealers and customers.

While in the USA, she began collecting flow blue china, a love that endures to today.

Her boutique space offers the excess of her collection, along with a mixture of the antique and the bizarre. Her backyard paraphernalia delights every would-be bushie, and it is all recycled.

Pauline Randall grew up in England where she developed a love of antiques and artefacts from forays to country fairs and city markets.

Her grandfather was a master cooper and samples of his work are among her most treasured possessions. Pauline was a teen entertainer, singing with bands, and while she trained as a secretary, she joined the Territorial Army (Reserves) as a trainee driver as she could not afford driving lessons. After two years’ driving 5-ton army trucks, she gained her license.

After moving to Australia with her husband and two children, Pauline and a friend opened a second-hand furniture shop, which specialised in scrubbed furniture. When the business closed she became manager of the May Gibb museum, then went on to work for an auctioneer, and gained a university degree.

Pauline’s joie de vivre is in everything she undertakes. Her appreciation for items made by artisans continues to grow as does the love for the elements with which they worked. She considers the opportunity to handle something created with care by a master of a craft to be a

The Mitchell Road Antique and Design Gallery is open seven days a week, from 10 am to 5 pm. Note that the gallery closes only on Christmas day and New Year’s day and is open all public holidays ● MITCHELL ROAD ANTIQUE AND DESIGN GALLERY 02 9698 0907 mitchellrdgallery@yahoo.com.au www.mitchellroadauctions.com

Pauline Randall

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RANDWICK ANTIQUES & ART IN NEW SOUTH WALES

FARMHOUSE ANTIQUES

R E S T O R AT I O N S

IMPORTERS & RESTORERS OF ENGLISH, WELSH & CONTINENTAL ANTIQUE PINE & COUNTRY FURNITURE FOR 25 YEARS Wednesday to Sunday 11 am to 5.30 pm or anytime on a phone call

51 Perouse Road, Randwick NSW 2031 • 02 9399 8924 • 0415 075 772 moving to 358 Botany Road Alexandria NSW in February 2011 www.farmhouseantiquepine.com.au 26

RANDWICK / CLOVELLY / BOTANY ANTIQUES & ART IN NEW SOUTH WALES

Jewellery by Rhoda Wager

Advertisement for Rhoda Wager jewellery, c. 1920s

RHODA WAGER (1875-1953) Jewellery designer and manufacturer in the Arts and Crafts style

I

n the late 1980s, I had the delightful experience of expanding my knowledge of Sydney-based jeweller Rhoda Wager from a customer. Visiting from Adelaide, the client who collected Wager jewellery was delighted in being able to share her knowledge; it was a very rewarding experience.

Between 1921 and 1946, Wager made 12,000 pieces of jewellery, all meticulously recorded in her sketchbooks. She would

become the best known of the craft jewellers in Australia.

Rhoda Wager was born in 1875 at Mile End Old Town in London, and raised in Bristol.

She studied at the Art School in Bristol followed by the School of Art in Glasgow, Scotland from 1897 until 1903.

At the age of 28, she taught drawing as well as exhibiting her work with the Glasgow Society of Lady Artists’ Club. Rhoda taught art at St

Mary’s Girls’ School in Bristol and spent her holidays making jewellery under Bernard Cuzner, an established jeweller who worked with Liberty and Co on the company’s Cymric jewellery range. Cuzner’s arts and crafts style made a huge impact on Wager’s work.

In 1913, Rhoda Wager travelled to Fiji accompanying her brother who was to manage a sugar plantation. On her port layover in Sydney, she joined the Arts and Crafts Society of NSW.

Page of designs from jewellery sketchbook, 1931

Later she would join the Victorian and the Queensland Societies. Wager set up a garden workshop while living in Fiji, making jewellery while her niece Dorothy Wager watched on enthusiastically. She sent jewellery to the Arts and Crafts Society of NSW Exhibition in 1914, where her work was admired.

Wager moved to Sydney in 1918. Initially she was based in a studio and retail premises in Rowe continued on page 84

Antiques & Art online

www.foxantiques.com.au

Want to find out what is happening in the other states?

Access the other free Antiques & Art publications at

www.worldaa.com

ANGELA & CHRIS LISTER Specialising in: Re-seating of chairs in cane, Danish cord and Restoration of Seagrass furniture

02 9516 2851

THE LEATHER TOP DESK COMPANY est. 1993

Traditional Gold Leaf Embossed • Leather Inlays for Desks • Leather Desk Mats • Complete Desk Restorations

Antique and Modern Finishes Quality Imported Leather Large Range of Patterns and Stamps Regular Pick-up and Delivery Sydney Metro Area Mail Order Australia-wide 4a Illoura Place Ph: 02 4234 1988 Gerringong Fax: 02 4234 1994 NSW 2534 Mob: 0429 994 664 mark_dempsey@bigpond.com

AMANDA ADDAMS AUCTIONS

40 years’ experience in all antiques and contents Private entries, collections and estate entries are invited for our future auctions

AMANDA ADDAMS AUCTIONS

03 9850 1553 DAVID FREEMAN - 0419 578 184 AMANDA FREEMAN - 0419 361 753 194 Bulleen Rd, Bulleen, Vic 3105

Visit our website: www.aaauctions.com.au Member Auctioneers & Valuers Association of Australia

Eastern Suburbs Antique Restorations Pty Ltd Traditional French polishing and all furniture repairs Specialising in all upholstery and a wide range of discounted fabrics 1603 Botany Road, Botany NSW 2019

t: 02 9316 4445 m: 0416 048 222 27

ST PETERS ANTIQUES & ART IN NEW SOUTH WALES

PERSIAN, ORIENTAL, KILIMS & ALL KINDS OF RUGS CLEANED, WASHED AND REPAIRED We specialise in ■ Conservation ■ Restoration ■ Odour Removal ■ Handmade ■ Rugs and Kilims

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Removes dust & beautifies the rug while helping to increase its life!

FREE PICK UP & DELIVERY ALL SUBURBS The spinning cabinet is specifically built to extract dirt and dust particles from rugs and kilims in preparation for a good wash. The rugs are placed in the cabinet in a manner that assures maximum cleaning. The cabinet spins swiftly in a clockwise direction and agitates the rug fibres to open slightly, allowing all foreign particles to fall off. This action allows the rug to regain its original softness, brings out more of the shine and increases the life of the rug.

The healthiest way to rejuvenate your rugs and kilims!

The Rug Experts 1300 166 266 or 02 9557 8677

www.rugexpert.com.au 409 Princes Hwy St Peters 28

BOTANY ANTIQUES & ART IN NEW SOUTH WALES

PACK & SEND now open at Botany

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rt and antique dealers, galleries and museums are now realising that using Pack & Send for their logistics is a means of providing a superior level of service to their customers and actually saves them time and money.

At Pack & Send we specialise in transporting art and antiques, which means that we stock an extensive range of packing supplies – including bubble wrap, acid-free films and tailor-made boxes made of cardboard, pine or plywood – for both shops and individuals who choose to do their own packing.

Museums, art galleries and antique dealers Australia-wide are finding our service truly valuable and asking us to take care of the entire logistical process – from pick-up to packaging to insurance, paperwork, freighting and safe door-to-door delivery. No other company in Australia does this.

By letting us take care of all the details, curators and collectors are free to concentrate on their core business. At Pack & Send we will personally manage the entire job and even computer-track the item en route until it arrives safely and in pristine condition at its destination.

“

At Pack & Send we will personally manage the entire job and even computer-track the item en route until it arrives safely and in pristine condition at its destination

”

Pack & Send Botany is open seven days a week, Monday to Friday 8.30 am to 5.30 pm, Saturday and Sunday by appointment. The team at Pack & Send looks forward to the opportunity to offer their services in solving any packaging or freight problems you might have.

PROFESSIONAL packing service Pack & Send is the only packaging and freight company that has access to Instapak Foam-inPlace technology, a system using soft foam that expands when two chemicals are combined in contact with air. Foam-in-Place moulds itself to fit the precise shape of the item being packed and this product possesses a density that aids in the prevention of damage from impact, vibration or from being dropped.

Instapak Foam-in-Place enables glassware, paintings and various antiques to be sent through the freight system without compromising the safety of the item.

Not only that, Foam-in-Place is highly costefficient and readily disposed of without harming the environment.

We are the only freight company that will send as well as pack antiques and art for you.

When you consider the price of packing the item yourself on top of another company’s freight charges, Pack & Send’s price – as well as its hassle-free, one-stop shopping convenience and total service solutions – makes it a very attractive option.

PEACE of mind With our specialist knowledge and our experience in the packing and freighting of fragile, large, awkward and valuable items, we are able to insure even the most fragile art or antique item. Insurance against loss and or damage is available through all Pack & Send stores, giving you peace of mind when sending valuable items and one-off pieces.

NO JOB too big or too small When you call Pack & Send, regardless of whether the job is large or small, we can professionally pack it and co-ordinate its delivery to anywhere in the world. Anything from an envelope, archaeological artefacts, to large oversize paintings and 100-year-old antique chandeliers, Pack & Send have the expertise to transport it safely ● PACK & SEND 02 9661 1144 www.packsend.com.au/botany

PACKAGING....TO US IT’S AN ART FORM! PACK & SEND maintain the highest standards in customer service, packing materials and techniques that ensure your precious pieces are not compromised when being moved. Our trained staff can professionally pack any item no matter how fragile, awkward or valuable and then have it delivered anywhere!

PACK & SEND Botany offer: • Dependable and versatile transport across town, interstate and internationally • ‘No compromise’ packaging and loss/damage cover • Total convenience including pick-up and on-site quotes!

• No obligation professional advice from our experienced team • Tailor-made crates, cases and cartons at our site

456 BUNNERONG RD, MATRAVILLE NSW 2063 PH: 02 9661 1144 FAX: 02 9661 1133 Email: botany@packsend.com.au www.packsend.com.au/botany 29

ANTIQUES & ART IN NEW SOUTH WALES

1937 pattern florin, struck by Royal Mint, London. Portrait of Edward VIII tooled off following his abdication from the throne on 11 December 1936

Taylor gold sixpence, c. 1855, struck at Kangaroo Office, Melbourne

AUSTRALIA’S MYSTERY COINS: Square halfpennies, gold sixpences and shillings ow can an Australian gold sovereign bear the year 1853, predating its official year of issue by two years? Such a coin does exist and is now valued at $950,000.

Were Australians really using square coins in 1920? A 1920 square halfpenny sold at auction in July 2007 for $382,000, yet official mint records indicate that square coins were never released into circulation in Australia.

Who has heard of an Australian shilling that was gold? King Farouk of Egypt had one!

reflects their status as trial coins, struck for consideration as potential circulating pieces to test a new design, shape and/or metal. Pattern coins never made it beyond the test stage and for various reasons they were never issued as coinage and thus never went into circulation.

Pattern coins are exceedingly rare and very prestigious. In the main, the reasons they never made it beyond the test stage were tied to great events or catastrophes. By their very nature, pattern coins chart the course of economic, political and social change and are an integral part of Australia’s history.

MYSTERIES solved

1853 SOVEREIGN and half-sovereign

H

The 1853 gold sovereign, the 1920 square halfpenny and the 1855 gold sixpence are all Australian ‘pattern’ coins. The term pattern

Among Australia’s earliest patterns are the 1853 sovereign and half-sovereign. They were

produced as part of planning for the striking of colonial Australia’s first sovereign and half sovereign at the Sydney Mint in 1855. Three pairs were struck, of which two are in museums in England and Wales. Only the third pair is available to collectors, sold in 1992 for $141,000 and now valued at over one million dollars.

1920 SQUARE kookaburra halfpenny and penny The 1920 square halfpenny is 14 mm in width and features a scrawny kookaburra, the first of two square halfpennies tested at the Melbourne Mint. The second produced in 1921 featured a plumper kookaburra. These two halfpenny designs and 11 versions of the square penny were trialled at the Melbourne Mint between 1919 and 1921. It was part of the Federal Government’s plan for change after WWI, introducing a new square coinage that featured Australia’s native bird.

Less than 200 coins were struck during the three-year test period, passed to officials and businesses to ascertain reactions. The idea gradually began to lose favour as the community showed resistance to change, and a new federal government dropped the square coin scheme. The kookaburra pattern coins have an impressive financial growth, as a 1919 square penny bought for $86,000 in April 2008 had exceeded $10,000 for the first time just a decade earlier.

1853 KANGAROO gold pattern coins The kangaroo patterns struck in gold by 19th century British entrepreneur W J Taylor represent a brief and fascinating piece of colonial Australian history. In the 1850s, Taylor established a private mint known as the Kangaroo Office in Melbourne to strike gold coins of 2, 1, 1/2 and 1/4 ounces. He also prepared dies for a gold shilling and sixpence, striking a small number of coins to demonstrate his operations and to elicit funds from potential investors.

His aim was to buy gold at low goldfield prices and resell it at full value as a currency.

The operation was plagued with difficulties, as although his equipment arrived on schedule at Hobson Bay on 23 October 1853, the coining press was so heavy that no assistance was available to transport it from the wharf to the mint. It took six months for the press to be dismantled, moved and re-assembled into working order at the mint in 1854. By the time everything was operational, gold prices had increased markedly, making the venture unprofitable.

Australia’s kangaroo gold patterns are global rarities, formerly held by notable

30

collectors such as Baron Rothschild. King Farouk’s specimen was sold in Cairo in 1954, selling at an Australian auction in 1989 for $17,500 on a pre-auction estimate of $12,500 and most recently sold in 2009 for nearly $304,000.

1920 FLORIN While you may find a 1919 or 1921 florin, as more than one million of each were struck by the Melbourne Mint, in 1920 only seven florins were produced, of which four are in museums and three with private collectors. What happened in 1920 that created this florin gap?

In 1920 silver prices were fluctuating wildly, creating worldwide financial uncertainty so the Australian Government reviewed its policy of striking coins in sterling silver and decided to issue coins with a reduced silver content – these seven 1920 florins were struck as part of this test program. The 1920 pattern florin is Australia’s most important and valuable silver coin. One specimen fetched $18,800 in 1988 and $201,000 in 2005. Today it is valued at over $500,000.

1937 CROWN Many Australians have seen the over-sized 1937 crown, but it was the only Australian coin issued that year. Planned to coincide with the coronation of King Edward VIII, Australia’s radical new designs reached the test stage with the striking of a handful of ‘1937’ pennies, florins, shillings and threepences at the Royal Mint London – but no sixpence or halfpenny.

Production came to an abrupt halt on 11 December 1936 when Edward abdicated the throne to marry American Mrs Wallis Simpson. The coins were preserved but the portrait of Edward VIII was removed by machine tooling, making them Australia’s only single-sided coins. These 1937 patterns are amongst our most collectable coins, valued well in excess of $200,000.

AUSTRALIAN pattern coins Australia’s pattern coins have broad appeal and are desirable to both the collector and the investor for many reasons. They are a financial prize for many reasons as they are • Historically poignant • Prestigious • Extremely limited in numbers • Supreme in quality ●

COINWORKS 03 9642 3133 info@coinworks.com.au www.coinworks.com.au

ROCKDALE ANTIQUES & ART IN NEW SOUTH WALES

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CITY ANTIQUES & ART IN NEW SOUTH WALES

For conspicuous bravery and devotion to duty HENRY ‘HARRY’ DALZIEL VC (1893-1965)

Q

ueenslander Henry Dalziel was born on 18 February 1893 at a miner’s camp at Ragged Creek near Irvinebank in far north Queensland. His father, James was a miner and his mother was Eliza Maggie (née McMillan) Dalziel. Henry and his brother Victor are credited with discovering tin, leading to the opening of the Boulder Mine near Emuford, 110 km southwest of Cairns.

He joined the Queensland Government Railways as an apprentice fireman. After the outbreak of WWI, Henry enlisted in January 1915, joining the AIF 15th Battalion – 1 to 23

Reinforcements. They embarked from Brisbane and joined the unit at Gallipoli.

Henry fought in the Battle of Sari Bair in August but became sick with enteric fever.

The Gallipoli campaign was finished when he recovered, so the unit continued training in Egypt until May 1916.

The unit sailed for France as part of the 4th Infantry Brigade of the new 4th Division AIF, fighting at Pozières, Mouquet Farm and Flers.

In 1917, Henry’s division fought at Gueudecourt, Agincourt, Bullecourt, Messines and Polygon Wood where Henry was wounded. In May 1918, the 4th Division had

Consignments wanted

With three major numismatic auctions, be a part of our success in 2011.

Contact our Sydney office (02) 9223 4578 or our Melbourne office (03) 9600 0244 for a free, confidential valuation.

www.noble.com.au

NOBLE N U M I S M A T I C S

P T Y

ground floor 169 macquarie street sydney info@noble.com.au level 7 / 350 collins street melbourne noblemelbourne@hotkey.net.au

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L T D

been joined by other Australian divisions, forming the Australian Corps and on 7 June, Henry resumed duty, first as a driver then as a gunner. In July, American forces were stationed alongside the Australians, with their first joint battle at Hamel.

MILITARY action On 4 July 1918, at Hamel Wood east of Corbie, when heavy artillery fire proved ineffective and tanks failed to arrive, it fell to the infantry to capture a position but many were wounded. The Lewis gunners, including Henry, were directed to fire from the hip to keep the enemy machine gunners down, and when they rushed forward, they were held up by yet another machine gun.

Henry gave his Lewis gun to his mate and drawing two revolvers, which he wore unofficially, he single-handedly charged down the enemy position. His courageous dash and daring saved many lives and turned what could have been a stalling of his unit’s advance into a magnificent success. For this action he was awarded the Commonwealth’s highest award for gallantry the Victoria Cross.

Because of a severely wounded hand, Henry was ordered to the rear, but he continued fighting until Pear Trench was taken.

Although ordered to seek medical aid, he instead began retrieving boxes of ammunition dropped by parachute onto open ground that was virtually inaccessible due to enemy fire.

Ignoring bullets, he started to bring in ammunition cases, one at a time. Unfortunately, as he attempted to retrieve a case, he was shot in the head – it seemed that his death was inevitable. Henry’s fighting spirit showed through, as after skilful surgery in France and hospitalisation in England, he recovered.

INVESTITURE of Victoria Cross On 13 December 1918, Henry was taken to Buckingham Palace where King George V invested him with the Victoria Cross. Finally declared fit to return to Australia in January 1919, Henry received a hero’s welcome at every train station from Townsville to Atherton as he travelled home to far north Queensland. As a result of his wounds, Henry was unable to return to his job as a locomotive fireman so he found work in other occupations.

Henry and Ida took up a soldier settlement block, however small mixed farming was not suitable for Henry. He travelled to find work, such as a telegraph linesman and office cleaner. By the early 1930s, Henry was separated from Ida; in Brisbane he joined the 9th/15th Battalion as a member of the Citizen Forces or Militia, a precursor of the 1948 Citizen Military Forces.

In 1933 he became the first VC recipient to be a member of the Guard of Honour for the King’s Colour escort at the opening of the Queensland Parliament. For many years Henry was the flag bearer for the 15th Battalion in the Anzac Day march. In 1935, Henry married Elsie Kanowski who was also a nurse. In 1938 he travelled to Sydney where he marched with a group of Boer War and WWI VC recipients.

Henry was a prolific songwriter and one of his favourite songs, A Song of the Tableland, was released in the UK and USA. He also worked in pottery, painted and wrote poetry.

When WWII started, he enlisted at Brisbane in 1940, speaking at recruitment drives and fund raising appeals, and visiting training camps to speak with troops. He was discharged in 1943 as Sergeant. He travelled to England in 1956 for the Victoria Cross Centenary Celebrations and at Hamel in France laid a wreath at the Cenotaph on 4 July 1956.

Henry Dalziel VC died aged 72 years on 24 July 1965 following a stroke. High-ranking clergy and military officials conducted the funeral service, and six pallbearers from the 6th Battalion of the Royal Australian Regiment carried his coffin to a gun carriage.

His Victoria Cross group of six medals were carried behind the gun carriage that passed the Shrine of Remembrance.

HENRY Dalziel’s medals Victoria Cross, 1914/15 Star, British War Medal, Victory Medal, War Medal 1939/45, Australian Service Medal, King George VI Coronation Medal, Queen Elizabeth II Coronation Medal ● NOBLE NUMISMATICS 02 9223 4578 www.noble.com.au

LIFE post war In Brisbane he met Ida Maude Ramsay, a Brisbane nurse who had served with the 17th Australian General Hospital and on 8 April 1920, they married. A short time later Henry enlisted again, but after serving for 29 days, he was discharged at his own request. Initially,

Acknowledgements Article contributed by Harry Willey Tony Derksen, Director of the Loudoun House Museum, Irvinebank Queensland Michael Duffy, site editor www.firstworldwar.com Parliament of Australia Parliamentary Library, www.aph.gov.au/Library/VC/Dalziel

CITY ANTIQUES & ART IN NEW SOUTH WALES

FREDMAN SVW F O R M E R LY S Y D N E Y V I N TAG E WAT C H E S We also purchase: Patek Philippe Cartier Vacheron & Constantin Le Coultre Audermars Piguet Universal International (IWC) Movado Ulysse Nardin Omega Chronographs Military Watches

Reminiscent of the French jewellery salons of the 19th century and located in the historic Strand Arcade, Victoria & Albert Antiques is a treasure trove filled with interesting and unusual antique, vintage and quality reproduction pieces.

With decades of experience, our knowledgeable staff will help you find the perfect gift, or special treat for yourself.

Mention this advertisement for a 10% discount off your purchase.

Dealer in Vintage Timepieces CONSTANT INTEREST IN BUYING ALL KINDS OF ROLEX WATCHES Visit us at

Shop 28, Ground Floor, Strand Arcade 193 Pitt Street Mall, Sydney PHONE: 02 9221 3373 MOBILE: 0411 194 188 MONDAY to SATURDAY

We are strong buyers of all men’s and ladies’ wristwatches in any condition

Victoria & Albert Antiques Shop 17, The Strand Arcade, 412 - 414 George St, Sydney NSW 2000 Ph: 02 9221 7198 Fax: 02 9221 7214 Monday - Friday 9.30 am–5.30 pm Thursday 9.30 am–7 pm Saturday - 9.30 am–5 pm Sunday 11 am–4 pm

Margo Richards CLOSING DOWN FEB 2011 30% OFF ALL STOCK

ANTIQUES & FAVOURITE THINGS ANTIQUE JEWELLERY gold, silver, amber, jet, tortoiseshell & quality costume clothes Victorian, Edwardian, 20s, 30s, 40s including shawls, lace collars & undergarments.

Dolls, perfume bottles, hat pins, silver frames, china, watches and much more.

Shop 27 Nurses Walk, The Rocks

WE BUY & SELL

Antique, vintage and selected new buttons Shop 25 Nurses Walk, The Rocks

(enter through Surgeon’s Court off George St, opposite Museum of Contemporary Art)

(enter through Surgeon’s Court off George St, opposite Museum of Contemporary Art)

Ph: 02 9252 2855 Email: brown.bowral@gmail.com

Ph: 02 9252 0833

OPEN 7 DAYS 10am - 5.30pm ~WE BUY & SELL ~

Email: dd@buttonsbuttons.net OPEN 7 DAYS 10am - 5.30pm 33

CITY ANTIQUES & ART IN NEW SOUTH WALES

Highly respected philatelist Stephen Browne shares his passion for the PRE-STAMP POSTAL HISTORY OF NEW SOUTH WALES (1801 – 1849)

I

began collecting stamps at the age of five and acquired my first ‘old letter’ at the age of 14. A fascination with the early history of Australia led to the beginnings of my collection of New South Wales postal history in 1985.

Prior to 1850, envelopes were rarely used: letters were written on sheets of paper and folded and sealed with wax for posting. Missives from early settlers containing personal observations provide exciting insights into the circumstances and regular hardships of early colonial life.

HISTORICAL aspects The first permanent settlement in Australia was at Sydney Cove where Governor Arthur Phillip removed his squadron (the inaccurately named First ‘Fleet’) from Botany Bay in January 1788. New South Wales’ jurisdiction originally extended over the eastern half of the continent as far west as longitude 129°, the current border of Western Australia!

My collection traces the development of postal services in the colony of New South Wales from first settlement, through the establishment of the first official post office in 1810 up until the 1849 Postal Act that heralded the issue of the colony’s first postage stamps (the famous Sydney Views) in 1850. The appointment on 25 April 1809 of the paroled convict Isaac Nichols as Assistant Naval Officer – with the task of taking charge of mail arriving in the colony – is generally regarded as the birth of the post office in Australia.

Until the establishment of the Post Office Department in 1828, internal postal services beyond Sydney were very limited. Before 1828 postal markings were used only at Sydney and at three settlements in Van Diemen’s Land. From 1828, each country post office was issued with an undated postal mark. Many of these markings are exceedingly rare and some are unique. The principal reason for this situation was the very small literate populace. In 1828, the nonAboriginal population numbered 36,000 and as late as 1846 it had grown to only 189,000.

My collection brings to life all the major postal history events of the period. It also includes items from the major regions that later became separate colonies: Van Diemen’s Land (until 1825), New Zealand (until 1841), Port Phillip District – later Victoria (until 1851), and the Moreton Bay District – later Queensland (until 1859). Internal mail, particularly between country towns, has not survived in any quantity.

Soldiers’ letters are few in number, and mail written by convicts is very rare, probably because much of it was destroyed by descendants in order to hide their colourful genealogy!

SIGNIFICANCE In the context of Australian postal history, there are few subjects that come close to the significance of mail from our earliest settlers.

One of the highlights of my collection is an 1801 letter from Sydney that may be the earliest surviving privately-held Australian letter with

postal markings. There are also letters from the first overseas mails organised by the post office: from Sydney in 1810 and from Hobart Town in 1815. As well, there are holograph letters signed

by Governor Lachlan Macquarie, the eminent explorer Sir Thomas Mitchell, and men who arrived on the First Fleet.

As far as condition goes, perfection is generally unattainable in this field. As a consequence of being stored for 150 to 200 plus years in often less than ideal conditions, most letters of the period have some faults, such as splitting along the folds and soiling of varying degrees.

COLLECTION HIGHLIGHTS Letter written by Mary Ann McCarty 1813 This letter was sent from Hobart Town to London via Sydney and bears the earliest recorded strike (by three years) of Australia’s first postal marking. The ‘SYDNEY/NEW SOUTH WALES’ undated handstamp was introduced by Sydney’s first postmaster, Isaac Nichols. Only six examples are known in private hands. Nichols charged three pence postage to the sender but the recipient had to pay an inwards ship letter fee of one shilling, which is indicated by the scribble to the left of the Sydney handstamp.

Regarded as one of the most important items in all of Australian philately, the letter was written by Mary Ann McCarty (née Wainwright) who was born 14 January 1795 on Norfolk Island, the daughter of the First Fleeter Hester Wainwright.

From the age of 14, she appears to have been the mistress of William I’Anson (that’s a capital ‘i’, not a lower-case ‘L’), having had a daughter with him. After I’Anson’s death in November 1811, and aged just 16, she married the Irish rebel Denis McCarty in the following month.

In the letter, she writes of her regret that William’s best friend Matthew Bowden had not been given his power of attorney because I’Anson’s estate had been seized, no executor having been named. William I’Anson had arrived at Hobart with David Collins’ establishment party in 1803. He was the senior surgeon, Matthew Bowden his assistant. Denis McCarty had been transported to Sydney in 1800, and three years later was sent to Van Diemen’s Land for disobedience.

This exceptional artefact was previously in the collection formed by my friend Brian Peace, who hails from England. When Brian sold his material through Prestige Philately in July 2009, I decided that this was one item I simply had to acquire. Even though the reserve price of $38,000 plus 15% buyer’s commission caused me to wince, I consider it to have been a bargain.

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OFFICIAL letter to London 1823 Three Tasmanian post offices to which undated handstamps were allocated in 1828 were the capital Hobart Town, and the northern settlements of Launceston and George Town.

An 1823 official letter to London is remarkable for being struck with both the ‘LAUNCESTON’ handstamp and the similar ‘HOBART/TOWN’ marking. In this case, the postage paid from Launceston was eight pence but, because of the weight, the addressee was charged the then princely sum of five shillings on arrival. The transit time was almost nine months, which was quite fast in an era when delivery times in excess of a year were commonplace.

Many philatelists lack appreciation for early mail because it does not bear postage stamps.

However, even in the absence of stamps, some of the early items are extremely attractive. One of the most eye-catching items in my collection is an 1839 letter to Batavia, in the Dutch East Indies. Carried by Mellish – as marked at the lower left – it received on arrival a stunning impression of the oval ‘ZEEBRIEF/[posthorn]/ONGEFRANKEERD’ (Sea Letter Underpaid) handstamp in vivid blue ink. Although Batavia was the closest port to the Australian continent, it was a very unusual destination in this period: the vast majority of mail from Australia was to England.

Having now been collecting for some 25 years, my passion for this inherently interesting material remains undiminished. While new items can be added only occasionally, each one excites me for the fascinating story it has to tell of our colonial heritage.

ABOUT Stephen Brown, Sydney agent for Prestige Philately Stephen is a highly respected philatelist. An active member of the Royal Philatelic Club of Sydney, he is also one of this country’s most successful competitive exhibitors. At the recent international exhibition in Portugal, his display was awarded a gold medal. This is the highest honour ever attained for pre-stamp mail from any of the Australian colonies ● For more information and advice Stephen Browne can be contacted at PRESTIGE PHILATELY 02 9004 7300 Sydney@prestigephilately.com www.prestigephilately.com Further reading J S White, The Postal History of New South Wales 1788-1901 (Philatelic Association of New South Wales, 1988)

CITY ANTIQUES & ART IN NEW SOUTH WALES

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ANTIQUES & ART IN NEW SOUTH WALES

Acquisition for NATIONAL MARITIME MUSEUM Reginald Cecil Grahame Fizelle (Rah) (1891-1964), Sydney Transport Montage, c. 1948 A MODERNIST view of Sydney Harbour

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ydney Transport Montage, Reginald Cecil Grahame Fizelle’s large eclectic view of Sydney Harbour just after World War II, provides intriguing insight into the city and Australian society at that time. Unmistakably modernist in style, the montage is ambitious in scale and in its grouping of imagery. It centres on Circular Quay, with the arch of the Sydney Harbour Bridge spanning a harbour ferry heading toward the Maritime Services Board building.

This was belatedly completed in 1948 and is now the Museum of Contemporary Art. Jumbled into this scene are other Sydney sites including the grain silos of Glebe Island and the clock towers of the Lands Department and Central Railway buildings.

The painting also moves through time, with a paddle steamship and a sailing vessel from the past sharing the scene with a futuristic steam train powering through the centre of the composition. All this activity is set against a depiction of an empty Australia; its featurelessness contrasting with the busy industrial development of the city on the rim of the continent.

Is this a modernist celebration of post-war Australian industry and technology, or is the crowded and confused montage a commentary on modern Sydney? Considering that Fizelle’s later work was very much concerned with natural themes and subjects, the latter appears likely.

Sydney Transport Montage certainly highlights the modernists’ rejection of traditional representational styles. It is also important as a work that grapples with the intense development of post-war Sydney at a time when most Australians were enamoured of ever newer and faster modes of transport.

So much so that not too long after this was painted, Sydney would dismantle its efficient and now frequently lamented tram network to clear the roads for buses and private cars.

The painting recently changed hands, generously donated with other selected maritime works to the Australian National Maritime Museum by NSW Maritime (formerly the NSW Maritime Services Board).

NSW Maritime is an authority dedicated to ensuring the safe and environmentally responsible use of State waters.

REGINALD Cecil Grahame Fizelle (1891-1964) Reginald Cecil Grahame Fizelle – known as ‘Rah’ to his associates – was born at Baw Baw, near Goulburn, NSW. He began training as a school teacher in Sydney until he enlisted in the Australian Imperial Force in January 1916.

Fizelle returned to Australia after World War I suffering from the effects of a gas attack and had sustained severe injuries to his left arm.

He concentrated on teaching art and in 1921 won a scholarship to Julian Ashton’s Sydney Art School. During the 1920s he chiefly painted landscapes in watercolours and exhibited with the Society of Artists and the Australian Watercolour Institute.

In 1927 Fizelle moved to Europe and studied in London at the Polytechnic School

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Reginald Cecil Grahame Fizelle (Rah) (1891-1964), Sydney Transport Montage, 1948 , oil on board, by 200 x 265 cm.

ANMM. Photographer A Frolows/ANMM

“ ”

Unmistakably modernist in style, the montage is ambitious in scale and in its grouping of imagery

of Art and the Westminster School of Art under the accomplished modernist and figurative artist Bernard Meninsky. During this time Fizelle’s landscape paintings and watercolours became simplified, stylised and geometric. Back in Sydney, between 1932-37, Fizelle joined with Grace Crowley to establish a studio. Crowley had studied at André Lhote’s academy in Paris and was particularly interested in Lhote’s academic cubism.

Crowley was the most experienced – and many now argue – one of the greatest modernist painters in Australia.

The two artists established the CrowleyFizelle school and conducted joint classes.

Their studio at 215a George Street Sydney was the principal centre for modernist painting and the most advanced centre of modern art in Australia at the time. It was here that Ralph Balson and others explored geometric, cubist principles of composition.

In 1939 the group held a long-planned manifesto exhibition, Exhibition 1, at the

David Jones Art Gallery. The exhibition was a climax for the Sydney semi-abstract movement, showing work by Balson, Crowley, Fizelle, Frank Medworth, Gerald Lewers and others. In the 1940s and early 1950s Balson’s and Crowley’s body of abstract ‘constructive paintings’ were unique in Australia.

Sydney Transport Montage, painted around 1948, is one of Fizelle’s last efforts to master the modernist techniques of painting. From the 1950s he turned to near-abstract figures in carved wood, sandstone and pottery, as well as more realistic watercolours of natural abstract structures such as eroded rocks or tree forms.

After Fizelle died in 1964, a major exhibition of the work of Fizelle, Balson, Crowley, and Hinder was held by the Art Gallery of New South Wales in 1966 and again in a retrospective of Sydney modernists in 1984.

Whilst Fizelle is regarded as one of the founders of the so-called George Street Group and a leading Sydney modernist, he has also

been described as one who was not completely able to master modernist techniques of section and symmetry. Still, this abstract work with its elements of cubism and constructivism reveals a view of Sydney Harbour – and Australian society – from the perspective of a modernist artist, and as such is a remarkable acquisition for the National Maritime Museum.

OTHER acquisitions The other works offered to the Australian National Maritime Museum by the regulator of NSW waters includes Contemporary maritime artist John Steven Dews (b. 1949): Australia Day 1988 – The Bicentennial First Fleet Arriving in Botany Bay and Australia Day 1988 – Tall ships in Sydney Harbour Geoffrey Odgers (b. 1948): Shadow Painting No.60 and Boats 1988 John Allcot (1888-1973): Benandra and Bodalla, and the NSW Government viceRegal steam launch Lady Hopetoun – paintings of coastal steamers ●

Stephen Gapps AUSTRALIAN NATIONAL MARITIME MUSEUM 02 9298 3777 ww.anmm.gov.au

DARLING HARBOUR ANTIQUES & ART IN NEW SOUTH WALES

A boy ploughing at Dr Barnardo’s Industrial Farm in Russell Manitoba Canada about 1900. Reproduced courtesy Library and Archives Canada

Fourth party to Fairbridge Farm School in Molong NSW 1939.

Reproduced courtesy Molong Historical Society

Four children bound for Fairbridge Farm School in Molong NSW 1938. Reproduced courtesy Molong Historical Society

At the Australian National Maritime Museum ON THEIR OWN – BRITAIN’S CHILD MIGRANTS showing until 15 May

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any would consider them too little to cross the road on their own and yet, from the late 19th century more than 100,000 British children travelled alone to the other side of the world to begin new lives. British child migration schemes changed the lives of these children dramatically. Some succeeded in creating bright new futures. Others suffered lonely, brutal childhoods.

The Australian National Maritime Museum has partnered with National Museums Liverpool UK to tell the emotional story of British child migration and the governments’ schemes and motivations. Through detailed case studies, visitors meet a number of former child migrants and find out more about their different experiences.

Historic photographs show children departing the UK, at work in foreign fields and wielding various tools. These images were promotional images for the the various sending organisations and to help secure and maintain financial support. While the photographs are mostly of cheering and happy children, their lives in their new country were often the reverse.

FEW CHILD migrants were orphans Child migration schemes existed from the 1860s through to 1967 when British children were sent to Australia, Canada and other Commonwealth countries. Many came from poor families who could no longer look after them, but few were orphans. Prevailing classbased wisdom believed that sending them overseas would improve their lives; race-based policies encouraged them as increasing the population of ‘good British stock,’ and economically, they provided free labour in the colonial economies.

While children left under different schemes and at different times, they shared powerful experiences: separating from family and country, boarding a ship, facing an uncertain future, meeting new friends on board and visiting foreign ports.

The voyage was often the highlight of the child migrant’s journey, full of excitement and hope for what the future would bring. A charmingly illustrated diary by a 12-year-old girl captures this sense of excitement and wonder. She

records all the sights and sounds of her voyage from Britain to Australia in 1952 from eating spaghetti in Naples to tasting sugar bananas and coconut in Colombo.

Admission to Britain’s child migrants exhibion is free. Supported by the National Collecting Institutions Touring and Outreach Program this touring exhibition will travel to Victoria, South Australia and Western Australia.

Shirani Aththas AUSTRALIAN NATIONAL MARITIME MUSEUM 02 9298 3777 www.anmm.gov.au

LIFE in Australia On arriving in Australia the reality of their new lives quickly set in. Children were separated from their siblings and friends and taken to remote farm training schools and religious institutions operated by organisations such as the Fairbridge Society, Barnardo’s and the Christian Brothers. Individual child migrants have shared their personal experiences through photographs, letters and poignant mementoes from their childhood.

A set of rustic farm tools used by children at Fairbridge Farm School in Molong (near Orange NSW) capture the essence of their working lives at an age when peers would be in the classroom. Boys were expected to become farmers and girls were expected to become domestic staff or wives on the land.

There was little attention given to education and schooling; instead the children faced long days of hard work and discipline – unpaid and unloved.

The story of four brothers, the four-year-old and his three brothers separated on arriving at Fairbridge Molong in 1955, is told by photos and a metal bowl and plate from which they ate their meagre meals. See a boy’s drawing which formed part of his intelligence test to come to Australia. A canvas bag illustrates the procedure of each child being issued a similar bag in Britain together with new clothes and shoes, but all were taken from them on arriving in Australia, to be used with the next load of child migrants.

Child migration schemes received criticism from the outset. The schemes finally ended in Australia and the institutions closed from the 1970s. Many former child migrants suffer from the legacy of their experiences, struggling to cope with the hardships and abuse they endured, and the emotional burdens of neglect and abandonment.

In November 2009 the Australian Government issued an apology to children who suffered in institutional care. In 2010 the British Government apologised to former child migrants in 2010 for the ‘shameful’ child ‘resettlement’ programs. Listen to both apologies when visiting the exhibition.

The Australian National Maritime Museum, Darling Harbour is open daily from 9.30 am to 5 pm. Admission is free ●

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ANTIQUES & ART IN NEW SOUTH WALES

HM Bark Endeavour replica in full sail

Replica of the cabin occupied by Joseph Banks on the Endeavour

The Australian National Maritime Museum is preparing the HM Bark Endeavour replica for an EPIC CIRCUMNAVIGATION OF AUSTRALIA

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he Australian National Maritime Museum’s magnificent replica of Captain Cook’s ship HM Bark Endeavour will make an historic circumnavigation of Australia in 2011 and 2012. The finely crafted wooden vessel will visit 18 ports on the 13-month voyage.

A FLOATING museum

Replica of the mess deck of the Endeavour as it was in the 18th century

In 15 of the ports it will open for public inspection as a floating museum, displaying the living and working conditions on one of history’s great voyages of discovery – Cook’s circumnavigation of the globe in 1768-71.

Visitors will experience the ship as if Cook and his crew have just stepped ashore with charts on the table in the Great Cabin, a meal half-eaten on the mess deck tables and bunks ready for a night’s rest.

STRATEGIC concessions While the ship is widely acknowledged as one of the most accurate maritime replicas in the world, it also carries essential concessions to the 21st century – engines, generators, an electric galley, showers and safety equipment – all hidden away in the cargo hold where Cook stored his ship’s provisions.

The circumnavigation will be the first time Endeavour has sailed right around the Australian coast.

CHARTING the course

Climbing aloft on Endeavour

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The 44-metre ship will depart Sydney on Friday 15 April 2011 and travel up the east coast to Queensland, across the Gulf of Carpentaria and the Top End to Darwin, before sailing into the Indian Ocean and along the Western Australian coast to Fremantle.

It will then cross the Great Australian Bight taking in South Australia and continue around Tasmania, before crossing Bass Strait to

Victoria and then back to Sydney by May 2012.

BE PART of the experience Between ports the ship will be sailed by a professional crew of 16 assisted by 40 paying voyage crew who will experience what it was like sailing the oceans in the great era of European exploration.

Applications to join the crew are now open online for each voyage leg – and you don’t need to be an expert! Voyage crew undergo safety training and then learn how to set the sails, steer the vessel and navigate using sextants and charts, just as they did on Cook’s historic voyage.

The ANMM mostly keeps Endeavour on display at one of its wharves on Sydney’s Darling Harbour. The museum maintains the vessel, ensuring it is in peak condition, in survey and ready for ocean voyages.

Mary-Louise Williams, director of the Australian National Maritime Museum, said the circumnavigation is a major initiative in the museum’s outreach program. The museum, she said, is constantly striving to take its facilities, its services and its ideals out across the country to share with all Australians.

‘We’re very excited at the prospect of Endeavour making its first voyage right around Australia and calling at so many cities and towns along the way,’ she added.

FOR AN APPLICATION or more details For more information on Endeavour’s circumnavigation or to apply for a berth, visit www.endeavourvoyages.com.au or phone the Endeavour office at the Australian National Maritime Museum on freecall 1800 720 577 ● Shirani Aththas AUSTRALIAN NATIONAL MARITIME MUSEUM 02 9298 3777 www.anmm.gov.au

LEICHHARDT ANTIQUES & ART IN NEW SOUTH WALES

MORE ANTIQUES FOR LIVING AT ELEMENTS

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ow entering its eighth year Architectural and Antique Elements continues to evolve. The company’s directors find much inspiration from buying trips to Europe, the Indian subcontinent, South America and more – a truly inspiring mix of beautiful handpicked pieces ranging from grand scale architectural elements to pretty French provincial pieces. Nothing is ordinary, everything is desirable.

Whether renovating or undertaking new building projects, as the name suggests, there is a strong emphasis on sourcing fabulous architectural antiques such as solid timber and iron entry doors, pretty windows, salon doors and many different styles of French doors.

Alongside these European pieces are many Anglo Indian elements sourced from South

East Asia. Standing in the showroom are stunning hundred year old timber columns still with original paintwork, studded and hand carved teak doors and wrought iron gates and grilles – just right for those building in warmer climates with a tropical feel.

INTERIOR and exterior design elements There is more than architectural hardware at Elements. The range of stock and antique furniture continues to grow – from statement pieces of French provincial furniture, to old shop counters and tables, to industrial pieces reinvented for 21st century living. In addition there is an expanded focus on exterior spaces like gardens and courtyards. Find pieces sourced from French cafes and industrial

salvage; enhance a garden setting with old sandstone pots and Indian urlis ● If you have not visited before the large warehouse come showroom is only minutes from the city centre and easily accessed via the citywest link. With shipments due in early 2011 from both France and India, now is a good time to join our mailing list and be one of the first to know when the new stock has arrived in store. Otherwise simply go online where much of the stock can be viewed, or contact us ARCHITECTURAL AND ANTIQUE ELEMENTS 02 9560 3067 www.elements.net.au

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ANTIQUES & ART IN NEW SOUTH WALES

TALENTS THAT KEEP HISTORY INTACT A look at two exceptional silversmiths working at WJ Sanders

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here are three different time honored method’s of hand decorating metal: repoussé, chasing, and engraving.

These techniques have been used in the WJ Sanders workshop for the 100 years it has been in business.

Repoussé is a metalworking technique in which a malleable metal is ornamented or shaped by hammering on the reverse side.

Chasing, also known as embossing, is the opposite to repousse. Work on the metal is done from the outside. The two techniques are used in conjunction to create a finished piece.

ENGRAVING Time honoured techniques for today Embossing is still used today by WJ Sanders to create some of Australia’s most beautiful and unique trophies. Engraving is an important aspect of the business as the company is the custodian of many of the great trophy collections throughout Sydney. Many important and historic trophies have been vandalised by unsightly engraving or the records of previous winners faded due to the lack of permanence of computer engraving.

CANDELA RIVEROS and embossing Candela Riveros learnt silversmithing (chasing, hand engraving and jewellery making) at Escuelas Técnicas Raggio in Buenos Aires, Argentina. This is a technical high school that combines vocational and general education. Candela entered the school at the age of 12, graduating with a diploma six years later. Raggio Technical School is the only institution in South America that offers a silversmithing course.

Candela arrived in Australia some two years ago speaking very little English. Her silversmithing skills are breathtaking, her comprehension of the English language in such a short time, amazing. Candela explains the processes she uses.

‘The techniques I use depend on what kind of piece I’m going to work on. If it’s a hollow piece like a cup, I’ll fill it with chaser’s pitch first.

When I work on flat ware, such as dishes or plates, the piece is placed on a pitch-bed. This will prevent the piece to get smashed as I work.

Second, I add a thin layer of watercolour to the surface, and transfer the design (previously made on paper) using carbon paper.

Third, comes the chasing itself, using my chasers hammer and self-made chisels. This is

A set hand chased Australiana sterling serviette rings decorated by Candela Riveros

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not like engraving on steel (as seen in some firearms and other weapons) because I don’t cut (carve) the metal; I change its shape by repeatedly ‘stamping’ the chisel on it. There is no metal loss at all.

After the first stage of marking the lines, I’ll proceed modelling the shapes and surfaces in the design. Each of these stages are completed using different kinds of chisels.

Usually a basic chisel collection has around a hundred chisels, but this is never enough – the bigger the collection, the better.

Depending on the design and shape of the piece, sometimes is possible to emboss it, working on the reverse.

After the modelling is completed, textures will be added for visual effects. This is also done with chisels.

The main objective of textures is to increase the contrast in the patterns, leaving some smooth areas, and others with different rough or grainy appearance. Such areas will catch on a darker colour, because they cannot be properly polished, and therefore will oxidize with time. This also makes a chased piece more aesthetically pleasant, and therefore more valuable.

When the chasing is finished, the pitch inside is melted and the piece is emptied.

Remaining traces of pitch are burnt and the piece is cleaned with a brass brush and/or with acid (pickle). Then comes the polishing process, which must be done with extreme care because, as it is an abrasive process, it may eliminate much detail of the chasing, including the textures.

Polishing over a chased surface is seldom necessary, but in such cases it’s just a matter of seconds; just enough to brighten it up.’

About ENGRAVING Cherie Ireland was introduced to engraving at a young age. Her dad, Garry Evans, learnt his skills as a young man apprenticed as a die sinker and engraver by Angus & Coote.

After a long career with Angus & Coote Garry successfully set up his own engraving business in Dee Why. As a child of six she remembers practicing her writing on scrap metal using her dad’s tools. She had obviously inherited her dad’s skills and attention to detail.

Taught engraving by her father Cherie later set up her own engraving business in the old Gowings building in Sydney where she built up a prestigious list of customers such as jewellers Percy Marks, Angus & Coote and

W J Sanders Australiana trophy, hand chased decoration by Candela Riveros

Hardy Brothers. Her career was put on hold to raise a family although through raising three children, Cherie kept her hand in by continuing to work for the Royal Agricultural Society to ensure that their many historic trophies were beautifully engraved with the names of winners following each Easter show.

‘Working for WJ Sanders presented me with new challenges and opportunities. The silversmithing skills of the company meant that as part of the restoration process of historic trophies and chalices it enables me to replace bad engraving and also re-engrave over any faded engraving. This engraving can then be silver or gold plated over thus making the restoration complete.’

After joining the company one of her first challenges was to feature engrave the Peter Brock Memorial Trophy. Brock died in a car accident only weeks before the scheduled Bathurst race. The organisers wanted a significant trophy made in record time to be unveiled before the race. Working with sterling silver means that a mistake can be very costly.

Fortunately, the engraving on this trophy completed late into the night, was beautifully executed. This has since become one of the most photographed trophies outside of the Melbourne Cup, putting Cherie’s engraving on display at Bathurst every October.

Feature engraving is now an enjoyable part of Cherie’s work, such as engraving the Royal Coat of Arms on the all sterling silver Queen’s Cup and engraving the names on the trophies of the various horse racing events staged throughout Australia.

‘When engraving names on trophies, one always has to remember that you are recording history. The name should be deeply embedded and the letters consistent in style and size. I am often amazed that some of the historic and expensive trophies that come in for restoration have been defaced by amateurish engraving.

It’s a shame.’

For WJ Sanders, the talents of these two artisans brought together offers Australian

The Spada Shield commissioned for the RAN brings together the skills of both Candela and Cherie

Candela Riveros decorating a sterling silver shield using the technique of chasing

Cherie Ireland engraving the Gold Logie

organisations the opportunity to create something unique and beautiful to record the achievements of their members for many years to come ● WJ SANDERS & CO 02 9557 0086 www.wjsanders.com.au

Cherie Ireland engraving the sterling silver Peter Brock Memorial Trophy

MARRICKVILLE ANTIQUES & ART IN NEW SOUTH WALES

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ANTIQUES & ART IN NEW SOUTH WALES

COLLECTING GLASS Glassware can be beautiful and also practical as you can actually use your collection every day. id you know that natural glass has existed since the beginning of time?

Well, we have come a long way! The earliest man-made glass objects are believed to be non-transparent glass beads and are thought to date back to 3500 BC. Natural glass is not clear but has a faint greenish or blue tinge from the copper and oxides in the sand. Today’s glass has many imperfections filtered out, while lead oxide or other chemicals are added to turn the glass clear.

Three ingredients are used in basic glass making: sand, soda ash and lime. These are melted together at high temperatures until the mixture become a hot syrupy mass. When this syrup cools, it is glass.

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Glassmaking processes When glass is in a melted state, it can be shaped by many methods, with the most common being blowing, pressing and drawing.

Blowing is the oldest method of working with glass, dating from the first century BC. A ball of molten or melted glass is put on the end of a hollow iron pipe, the blow pipe. A glassmaker blows gently into the pipe (much like the way you blow soap bubbles) until the glass takes the desired shape and thinness.

During this process, the glass is constantly reheated to keep it soft and workable.

When the glass is shaped to the blower’s satisfaction, such as a bottle or a vase, it is broken off from the blow pipe, leaving the pontil mark on the base of the piece, a small circle or perhaps a small raised area where the blow pipe was once attached. Glass blowing by mouth is still done today and it can be done by machine.

Pressed glass is made by using a plunger to press molten glass into a mould.

Drawing glass is making flat glass shapes, as for windows and mirrors. First the melted glass is drawn into a tank of melted tin. The tin‘s perfectly smooth surface ensures a smooth layer of glass as the glass floats on top of the tin.

A strengthening process completes the glass product, following any shaping method.

Annealing is a reheating and gradual cooling of glass, to restore its strength and prevent shattering. Tempering is reheating glass and then chilling it by sudden blasts of cold air to improve its strength.

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COLLECTING glass Throughout time, glass has always fascinated us, especially the glass from the 19th and 20th century. Whatever glassware you collect, it can be very rewarding. To me, the pleasure is all in the hunt. Collect what you like and like what you collect. When you begin collecting it is important to gain knowledge with reference books to help you with manufacturers, artists, colours, patterns, price and identifying rare pieces.

Some people collect by colour, others by pattern, some by manufacturer while others collect a specific item like vases, ink wells or float bowls. Whatever you collect, I hope that it will give you pleasure and maybe a profit down the line. I want to introduce you to the various types of collectable glass to examine, and hopefully start a collection of your own!

Art glass is a broad term for high-quality ornamental vases and other luxury vessels that rely on colour, texture, internal and surface decoration and form for their visual appeal.

Art glass was produced in great quantities between 1870s and 1890s for the wealthy public in Europe and North America. The same methods continued in various fashions, with modern art glass usually made by an individual artist. Art glass produced from the 1970s may be called contemporary glass.

Art glass developed in Murano (Venice’s glass industry) in the mid-1400s, stimulated

by Renaissance ideals. In 1292, the Venetian government banished glass furnaces from the central island as it feared that the fires from the glass furnaces could spread among the mainly wooden constructions of crowded Venice. The glass industry was relocated to the nearby island of Murano, five kilometres from Venice. This also ensured that the master glassblowers were controlled and prevented others from gaining their valuable techniques.

Thus from about 1300 to the present day, all Venetian glass has been made at the Murano glassworks. The 1950s Murano art glass is a big favourite with younger collectors as it is affordable and readily available.

Cameo glass is formed first by fusing two or more layers of glass (casings) together, usually of different colours. When the glass has cooled, a design is drawn on the surface and covered with wax. The outer layer(s) are removed in part by etching to create designs that remain in relief against a background of contrasting colour.

Carnival glass is cheap pressed iridised glass such as vases, bowls and platters,

sometimes called the ‘poor man’s Tiffany.’

Lustres were chemicals sprayed on glass surfaces and heated to fix them, predominately in shades of gold and orange, and purple and green. Mass produced from 1907 to 1925 in the USA, it earned its common name because it was given away at fairs and carnivals, being cheaply made for this purpose. Contemporary Australian manufacturers were the Crystal Glass Co and the Australian Glassworks, usually in darker colouring including a deep purple tint.

Tablewares were decorated with flowers, leaves and geometric motifs (among many) and mottoes were popular. Carnival glass is highly collectable.

Cloud glass was made by adding trails of darker coloured glass to lighter glass when still molten in a mould. The darker glass would randomly spread throughout the lighter glass. The random process left each piece unique. The glass looks better viewed with light from behind and comes in many different colours.

Crackle or ice glass resembles cracked ice, formed after submerging a hot piece of glass into cold water, causing fine cracks to form over the surface. It is then reheated in order to smooth the surface and seal the cracks. It was first developed in Venice in the 16th century.

Crystal glass is a general term for fine quality clear glass. It was first created by Venetians as colourless soda glass, called cristallo as it resembled rock crystal. It was discovered that the addition of lead oxide to glass improved the clarity of the glass. The practice of cutting the lead glass became popular after the invention of lead crystal.

There were many crystal manufacturers then and are still today. However the quality does vary. Often the more expensive but still affordable pieces of vintage crystal have the manufacturer’s name etched into the glass, for example Stuart, Webb and Corbett and Waterford. European glass manufactures also supplied crystal glass. Pieces so-labelled today must contain a regulated minimum amount of lead oxide.

Depression glass is a catch-all phrase for mass-produced, moulded glass in a huge variety of useful and fancy, traditional and modernist wares, which were cheap, cheerful and commercial. It was generally translucent, with colourful, clear and opaque glassware produced from the late 1920s to the 1940s. It was poorer quality glassware that was frequently given away with a purchase of a

product or service and was often flawed.

Popular colours were pink red, green, cobalt blue, amber, black, white and yellow.

Flashed or cased glass refers to taking a piece of clear glass and dipping it while hot into molten glass of another colour. This process was used to build up the layers, such as for subsequent etching in cameo glass.

Malachite or marble glass looks like marble, produced as pressed green glass with white streaks to imitate marble. Malachite is a natural green copper carbon mineral that polishes to a high gloss.

Mary Gregory is a decorative style, hand painting of stylised Victorian children in white enamel paint on coloured glass. Mary Gregory was actually an America glass painter but many companies have produced this ware on either side of the Atlantic, right up to today. The hardest part is determining who made it and when.

Milk, opaque white or enamel glass evolved in the 1750s in England, to resemble porcelain. It was decorated to emulate the popular copies of Chinese export porcelain. It was a dense and solid glass that owed its opacity to the addition of arsenic. While it failed to compete with porcelain, it continued production in England, France and Britain for about 50 years in decorative objects such as scent bottles and candlestick bases.

Millefiori glass is decoration with slices of coloured canes arranged to resemble flowers, by embedding them in a clear glass matrix or fusing them in a mould. The technique has been used since Roman times, similar beads found in ancient Egypt, and revived in 15th century Venice when the term millefiori was first employed. It comes from the Italian for a thousand flowers. In 1845 a Venetian glassmaker introduced the first paperweight, made in the millefiori method.

Moulded glass is a glass casting technique used since Roman times. Molten glass is poured into a mould and left to solidify; early moulds were sand depressions. It can be processed by a variety of ways, kiln casting, sand casting and graphite or metal moulds.

Mould-blowing is the forming of glass objects, and often their simultaneous decoration in low relief, by blowing molten glass into a mould.

Mould-pressed glass is another method of glass casting developed in 1827, whereby molten glass is poured into a mould and ‘pressed’ by applying pressure by a plunger to form a smooth interior and the exterior is

KOGARAH ANTIQUES & ART IN NEW SOUTH WALES

Southern Antique Centre 30 SHOPS UNDER ONE ROOF

ANTIQUES • COLLECTABLES • BRIC-À-BRAC OPEN 7 DAYS from 10 am

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southernantiques@bigpond.com www.southernantiques.net.au

Ph: 02 9553 7843 Mob: 0410 436 933 impressed with the moulded pattern design in low relief. Moulded glassware is cheaper than cut and cameo glass.

Opal or opaline glass is a fine white and semi-opaque coloured glass developed in France in the 19th century. When held up to the light there is a coloured tint. Produced in a wide range of colours, the most popular colours are a turquoise blue and the rarest is a wonderful pink. Opaline was made by both free- and mould-blowing. Opaline glass was sometimes cut.

Ruby glass is red glass made by adding actual gold (the original), copper or selenium to molten glass. It was developed first in the late 1600s in Germany using gold, and is primarily used in expensive decorations.

Uranium glass is most frequently yellowish-green or green, made through the addition of uranium to the batch prior to melting. Introduced in Bohemia by Josef

Riedel in around 1840, it was usually made in tableware and household items. It will fluoresce bright green under ultraviolet light.

Very collectable colour variations include dark amber, light amber, pink, ivory, straw, lemon, strawberry, turquoise, blue and many shades of green and yellow.

Vaseline glass is another instance of uranium glass. It has a greasy-looking surface resembling petroleum jelly in yellow and green. Vaseline glass is a transparent or semi transparent uranium glass in this specific colour.

CHECK glass before purchase Bubbles are nearly impossible to avoid, most time they actually occur by the manufacturer of the colour not by the artist, often occurring in the layering of colour. It is nearly impossible to see these bubbles until the colour is stretched thinly enough to let light through and at this point the piece is nearly finished.

However, if bubbles are found on the outside of the colour layer, it usually is the artist’s fault. They can result in flaws. A bubble the size of a pin head in the blowing process can reach a diameter of one centimetre once fully stretched.

The pontil or punty mark is quite acceptable on the bottom of a piece as long as long it is not exposed. It is a telltale sign of a blown glass object as opposed to a cast object.

The punty is a device that a glass blower uses to change ends (top and bottom). At the top of the piece of blown glass, it should be smooth.

Faults can be detected by careful observation of the following: paper burns, chill marks, cords and colour inconsistency.

A paper burn looks like dull spots in the layers.

Chill marks are uneven waves of glass and reflect light differently, looking like surface cracks with smooth edges.

Cords are waves of glass that look like strands of material.

Colour should be generally the same consistency throughout the glass piece.

I hope this article has given you a little bit of insight into the beautiful world of glass ● Kim Hughes SOUTHERN ANTIQUE CENTRE 02 9553 7843 www.southernantiques.net.au

Further reading David Battie and Simon Cottle (eds), Sotheby’s Concise Encyclopedia of Glass (London: Conran Octopus, 1991) Felice Mehlman, Phaidon Guide to Glass (Oxford: Phaidon Press, 1982) Barrie W Skelcher, The Big Book of Vaseline Glass (Atglen: Schiffler Publishing, 2002) www.glassencyclopedia.com www.theglassmuseum.com

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KOGARAH ANTIQUES & ART IN NEW SOUTH WALES

Southern Antique Centre

5500 Montreal

Manchester 8688

7700

7500

245 Prince Highway (Corner English St) KOGARAH NSW 2217 Phone 02 9553-7843 mobile 0410 436933 or email southernantiques@bigpond.com www.southernantiques.com.au

Above is a small range of our cabinets available which are manufactured to the highest standard. We have an extensive range to fit all requirements. our cabinets have halogen lighting and adjustable shelving Visit our website for more details www.southernantiques.com.au We can deliver the cabinet of your choice Australia wide with our professional delivery service 44

KOGARAH ANTIQUES & ART IN NEW SOUTH WALES

MONEY MAKING MONEY Robert Jackman, co-founder and Managing Director of The Rare Coin Company

‘A

good coin, or series of coins, brought judiciously will never depreciate in value. On the contrary, with the increased attention given to numismatics by men of learning and our public institutions, with large organised bodies of collectors coming on, a demand will be produced that cannot fail to enhance the value of desirable coins.

A cabinet of good coins is a good investment. It gives you good, instructive and entertaining company while you have it, and good returns on your investment should necessity compel you to give it up.’

(The Numismatic Journal, 1893) It is incredible to realise that those words of wisdom were written almost 118 years ago and the message is just as relevant today. Even harder to fathom is why numismatics is still not fully recognised for its vast potential as an investment sector in Australia.

The financial reward of investing in rare coins and banknotes is reflected by the amount of thought and effort people put into acquiring the right pieces. It is always important to carefully examine what is on offer and consider the best advice available. In today’s marketplace astute buyers need to stay focused on what is happening in the industry,

what items are coming up for sale and how best to secure the finest quality pieces. This is paramount because if they are excellent buys, other investors are bound to compete for them as well.

It is amazing just how many newcomers to this investment area believe they are not really interested in the coins and banknotes per se, but rather in their investment potential. However, that is the lure and fascination of numismatics and before long, most are hooked.

BECOMING a numismatic investor Being an investor in any field involves choosing investment commodities likely to make the best profit, while at the same time minimising risk. Generally, the primary motivation for investing in coins and banknotes is to make your money work for you. Aim to buy pieces with a sound track record as well as good potential for appreciation in value.

The Australian 1921 Type 12 square kookaburra pattern penny in uncirculated condition is a prime example. In 1968, this rarity was valued around $300. Today, the coin’s market value is about $100,000 – if you can get your hands on one. With a growth rate averaging more than 14 per cent per annum, buyers can expect a coin such as this to do very well over the medium to long-term, comparing more than favourably with money left hibernating in a bank account.

An investment can consist of a single piece, or alternatively, a portfolio of investment quality rarities chosen for the strategic purpose of making money and not just for the pleasure alone. A worthwhile numismatic investment portfolio should consist of coins and/or banknotes. Each

should be specifically chosen for its limited numbers, high demand and preservation quality and where possible, any documented history of price growth.

Australian 1921 Type 12 square kookaburra pattern penny, uncirculated

SELECTIVE buying – the key to sound investing Numismatic investors can choose to buy any number of rarities demonstrating potential and lock them away for several years with the expectation their value will steadily increase.

Contrary to some beliefs, there are no hard and fast rules about how a numismatic investment portfolio is structured.

For example, it would not be necessary to purchase the complete set of Australian pennies from 1911 to 1964 to make the investment worthwhile, when simply selecting two or three scarcer dates in the finest possible condition would be more likely to produce a far better return overall.

The combination of limited supply, high demand and quality condition are the governing forces behind the prices of coins and banknotes today and the key to future growth. Learning how to accurately grade coins and banknotes and source the best examples on the market to maximise investment returns takes years of experience.

Investing in numismatics is not for everyone; conversely, it is not easy to step into suddenly. One of the best ways to start is by establishing an honest, open relationship with a professional and reputable dealer. Once a numismatic dealer or specialist has a clear understanding of a buyer’s particular investment plans and expectations, the dealer should always be able to assist in securing the best performing pieces to meet the client’s wealth creation goals.

THE Rare Coin Company We are Australian numismatic specialists with more than 28 years of industry experience. Our passion and commitment is in acquiring the rarest, finest and financially strongest performing coins and banknotes available in the market. This has resulted in some of the most valuable and prestigious numismatic rarities imaginable passing through our hands.

Together with our knowledge, expertise and customer service focus, we are dedicated to assisting our many clients build superior collections and investment portfolios. Our professional teams of numismatic experts based in WA and NSW, travel extensively around Australia each year promoting the many benefits of investing and collecting in the country’s rich numismatic heritage ● Our Sydney office is conveniently located on the Princes Highway in Kogarah.

THE RARE COIN COMPANY 1800 181 239 enquiries@rarecoin.com.au www.rarecoin.com.au

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ANTIQUES & ART IN NEW SOUTH WALES

CHRISTMAS: the aftermath NEW YEAR: a new beginning

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he New Year and the aftermath of the festive season are upon us, the time when Howard Products can really help. Customers share their ‘before’ and ‘after’ stories about damaged items repaired in the sanity of the New Year.

Early 20th century table, shellacked, before and after Restore-A-Finish treatment

Shellacked table surface before and after Restor-AFinish treatment and Feed-N-Wax protection

This shellacked table looks disastrous, typical of damage by hot plates, wet glasses and damp napkins on an early 20th century table. I recommended Restor-A-Finish in mahogany if the red tonings were important to preserve or golden oak if a mellow look was preferable. The customer chose to go mellow as the results show. I recommended a thin application of Feed-N-Wax to provide carnauba protection to resist any further moisture damage. DF

Hello David, I have just become acquainted with your products and I would like to tell you how absolutely fantastic we think they are. During the holidays, we noticed more than a few white marks on our very precious table that was handed down to us by my in-laws.

After taking your advice about the Restor-AFinish product we decided to try it – I could not believe how it brought our table back to the original finish. Thank you very much! We are now trying your Citrus-Shield Premium Colour Paste Wax and we love that too. Keep your great products and advice coming.

Best regards, Maggie Boothe

Battered sideboard with white marks and scratches

Hi David, A while ago, you sent me some detailed information on how to tackle my sideboard. I purchased your products and finally got to use them today with fantastic results. I’ve attached some before and after shots. I am really impressed with your products. As you can see the sideboard looks great, not perfect but then the wood under the finish is not perfect either – I’ll give it another going over. It would probably cost well over a thousand dollars to get the sideboard properly restored but your products have brought some dignity to a nice old piece of furniture. It worked just as the on-line video demonstration suggested it would – amazing miraculous stuff.

Many thanks, Jennifer Santas Now this sideboard has a near-perfect finish: well said, about giving your old sideboard some dignity! DF Not only furniture takes a beating over Christmas and New Year; look at your polished wooden floors! DF

Battered sideboard after Restore-A-Finish over white marks and scratches

This 1940s to 1950 (or what we now call retro) sideboard was in poor condition with scratches and deeply embedded marks. In that era, it would have been either thinly shellacked or finished in nitrocellulose material. I recommended Golden Oak Restor-A-Finish using #0000 grade steel wool or using our 3M Premium Gold plastic abrasive pad for the initial broad work and finessing with our European superfine #0000 steel wool. DF

This kit contains enough product for many small restoration jobs.

Order now for $79.50 including freight and we’ll include a bonus ‘how-to’ DVD with lots of useful DIY tips.

Instant results from Restore-A-Finish hand-wiped on wooden floors

Hi David, I just want to say your Restor-A-Finish is the best! My hardwood floor is old and over the festive season, it really took a battering. We cannot afford to replace it and don’t have the time or money to refinish it, so I tried your Restor-AFinish and I can’t believe how nice it looks! I thought it would only last a day or two like other products I have used, but it’s been many weeks since I used Restor-A-Finish and it still looks great. I also started to use it on my wooden cabinets and other furniture which gave everything a new glow and erased marks and scratches. Finally, a product that really refinishes without removing old finishes.

Thanks from my whole family. Lynn Ryan

Antique dealer’s tip An antique dealer sent another method of cleaning away dirt and grime from furniture. Note that she used Howard Orange Oil with #0000 steel wool and finished with a coat of Feed-NWax. DF

SHOP ONLINE

DO IT NOW

“These products add life to the furniture you love”

or to locate a store near you

1800 672 646 www.howardproducts.com.au 46

Hello David, I was fortunate to show a client how to restore an inherited dining table, made from South African yellow wood. It had a thick coating of household dirt ingrained into the top that was sticky to touch and looked very grey. There were also a few cracks in the table probably caused by the silicone finish on the top not allowing the wood to be nourished.

I used Howard Orange Oil with steel wool and literally scrubbed the table, taking more time over the areas that had children’s coloured marker and watermarks. I both worked with the grain and used circular motions. After wiping off the grimy residue, the timber seemed to swell up in front of me. The golden-rich colour of the beautiful yellow wood returned and the table seemed to be saying ‘thank-you.’

I spread Feed ’n Wax onto the tabletop using a clean cloth, waited the advised 20 minutes and

then buffed it up. The result was phenomenal and we all were sorry that I never took before and after photographs. To top it all, I used a nailbrush with soap and water to get the dirt from under my fingernails and this morning, my hands feel as soft as ever.

Well done, Howards Orange Oil. Penny Turner

Timber Kitchen Cupboards Dear Howard Products people, I am absolutely delighted with your Restor-AFinish, which I have used on my badly marked timber kitchen cupboards. I couldn’t believe the result! I had been asking around for ages for a solution and stumbled on your product by accident, not by plan.

Kindest regards, Margaret Corbett

Piano Player Good evening Mr Foster, I finally got around to using your products on my baby grand piano to get it ready for the festive season. I procrastinated so long because I really was not sure if your products would work. The sun damage was so bad that I truly thought I would require a professional furniture refinisher to correct the problem. I am happy to admit that I was terribly wrong. I applied your product over the entire top and finished it off with the Burnishing Cream.

My baby grand looks brand new with no evidence of the sun damage. I cannot tell you how happy I am. I have even touted your products to some of my neighbours. Since I only used a very small amount of your products, I am sharing with them. David, I just hope you will please forgive me for doubting you. My only regret is that I failed to take ‘before’ and ‘after’ photographs to vouch for your products.

Take care and again, many, many thanks.

John Turner

Blanket box after Restore-A-Finish

Hello David, I just wanted to thank you so much for responding to me so promptly following my nail polish on furniture disaster prior to December.

Following your advice, I bought the Restore-aFinish and #0000 steel wool and decided to wait until after Christmas to fix my blanket box when I would be more relaxed and not trying to do a thousand things at once (which was what led to the disaster in the first place).

Well I was amazed. Instead of 80% better as you suggested, the box looks 90% better! Both a friend of mine, and the salesperson at Lifestyle Furniture in Mitcham where I bought your product, told me that this stuff is great and they were both right. I thought I had ruined my precious blanket box completely and now I am so ecstatic that I have been able to restore it. Thank you so much for your helpful advice and your wonderful product. I plan to purchase your FeedN-Wax product and to tell everyone I know how wonderful your products are.

Many thanks and kind regards, Fiona Kennett HOWARD PRODUCTS AUSTRALIA info@howardproducts.com.au www.howardproducts.com.au

HURSTVILLE ANTIQUES & ART IN NEW SOUTH WALES

Great stock and choices at the Rotary Club of Hurstville Antique and Collectables Fairs, incorporating the Royal Doulton Collectors’ Fair

THE ROTARY CLUB OF HURSTVILLE‘S 16th Antique and Collectables Fair Incorporating 1 Annu al the 12th Royal Doulton Collectors’ Fair 11–13 February ANTIQUES th

T

his much-anticipated annual fair is once again in the air-conditioned Marana Entertainment Centre in the Hurstville Civic Centre. There is always a prime selection of unique memorabilia including antique jewellery, fine china, books, linen, small furniture items and tools. Especially for Royal Doulton collectors is a vast treasure trove of selected items to explore.

SUPPORTING Cystic Fibrosis NSW Have fun while helping to raise funds – place the winning bid on the silent auction, buy raffle tickets, bring along friends to help increase the entry fees collected, pay stall rental as a dealer, bring up to three th items for valuation, and enjoy exquisite old-fashioned refreshments.

Bush Fire Fighter Bunnykins numbered 1 of a worldwide production of 1000 has been kindly donated by Royal Doulton Australia. It will be sold through a silent auction over the course of the weekend, with the winning bidder announced at 3 pm on Sunday 13 February 2011. All proceeds raised from this auction goes to Cystic Fibrosis NSW for their important research and ongoing vital work.

Winter Festival, another major donation by Royal Doulton Australia, is one of a worldwide limited edition of 250. It is part of a new series by sculptor Adrian Hughes, inspired by the work of Alphonse Mucha, with a landmark collection including spring, summer and autumn examples. This series introduces a very different style that shows Royal Doulton at its best, and this limited edition of 250 is bound to be a favourite for Doulton collectors.

The first prizewinner of the raffle takes home this valuable Royal Doulton.

After the Royal Doulton first prize, raffle ticket holders can win other great collectables.

Second prize is a valuable Australian handcrafted quilt kindly donated by Carole Wright, whose most recent quilt sold for $700; a highly collectable Royal Doulton jug donated by East West Collectables; and a

prized Royal Doulton lady figurine donated

by Gracie’s Attic.

Other silent auction items include two antique dolls and a fine china bowl, with many more prized pieces being donated to sell by silent auction.

For further information contact

Convenor Dorothy Dixon & ROTARY CLUB OF HURSTVILLE 02 9153 6922 COLLECTABLES FAIR dmd2006@bigpond.net.au

ROTARY CLUB OF HURSTVILLE Inc.

VALUATIONS at the fair Phillip Thomas, of Raffan Kelaher and Thomas, has kindly donated his services for the identification and valuation of treasures brought to the fair. There is a limit of three items per person at a cost of $3 per item.

Invites you to the 16th Annual Antiques & Collectables Fair Incorporating the 12th Annual Royal Doulton Collectors Fair

CATERING delights Whether taking a short morning or afternoon tea break, or a more substantial lunch visitors can look forward to delicious sandwiches, cakes and the legendary fresh scones with cream and jam prepared by the Rose Coffee Shoppe.

Gala preview

1 Annu al ANTIQUES & COLLECTABLES FAIR OPENING gala event

Friday 11 February 2011 - 7 pm to 9 pm Admission – $15 per person Includes entertainment and refreshments Saturday 12 February – 9 am to 5 pm Sunday 13 February – 10 am to 4 pm Entry $8 Concessions $5 Children under 15 free must be accompanied by an adult

The opening gala night is on Friday 11 February from 7 pm to 9 pm. For the i modest entry fee of $15 enjoy champagne, wine and refreshments. More importantly, it is an opportunity for first pick of the treasures on sale. Additionally, this ticket also entitles you to free re-entry over the entire weekend.

One-day tickets for Saturday 12 or Sunday 13 February are $8, just $5 for concession holders, and children under 15 (accompanied by an adult) have free entry. Hours on Saturday 12 February are from 9 am to 5 pm; on Sunday 13 fair hours are 10 am until closing at 4 pm.

GETTING there Marana Hall is part of the Hurstville Civic Centre in MacMahon Street, a short walk from the Hurstville railway station and bus terminal. Ample council area and free street parking is available and extra parking is available in the large shopping complex nearby. Brief i drop-off at the Marana Hall entrance is permissible ●

Valuation service by Phillip Thomas of Raffan, Kelaher & Thomas Auctioneers & Valuers

Saturday – 10 am to 5 pm Sunday – 10 am to 3 pm $3 per item (limit 3 items per person)

Royal Doulton, ‘Bushfire Fighter’ Bunnykins

Marana Auditorium McMahon Street, Hurstville Enquiries: Dorothy Dixon 02 9153 6922

Sponsors

47

CANTERBURY ANTIQUES & ART IN NEW SOUTH WALES

THE SYDNEY VINTAGE CLOTHING, JEWELLERY & TEXTILES SHOW is the largest of its kind in Australia

W

hether you are a collector, a designer or just in love with anything vintage then these twice a year shows are for you. Exhibitors show and sell clothing from the turn-of-the-century to the 1980s. You will find fabulous beaded flapper dresses, 1930s Hollywood glamour gowns, sumptuous 1950s evening dresses and of course, crazy clothing from the psychedelic 1960s. Accessories and collectables ensure that every man and woman, girl and boy can find something to fit their lifestyle and budget.

APRIL 2011 Vintage Clothing, Jewellery & Textiles Show The autumn Vintage Clothing, Jewellery & Textiles Show will be held on 15, 16 and 17 April 2011 with lots of amazing things to buy and fabulous entertainment to enjoy, at the Canterbury Racecourse Function Centre in King Street Canterbury.

Because the workmanship in vintage garments is universally recognised and the unique bygone creations are now very popular with women and men, the clothing, jewellery and accessories are much appreciated by all

Vintage 9TH SYDNEY

CLOTHING,

Show

JEWELLERY & TEXTILES

Over 60 dealers from all over Australia selling VINTAGE & ANTIQUE CLOTHING & ACCESSORIES

ANTIQUE & VINTAGE JEWELLERY LINEN, LACE & TEXTILES SMALL COLLECTABLES Parade of Vintage Fashions ■ Guest Speakers ■ Prizes to be Given Away for Best Dressed in Vintage ■ & Other Entertainment ■ Lucky Door Prizes & Raffle ■ Cafeteria Open and Free Parking ■ Free Shuttle Bus from Strathfield & Canterbury Train Stations ■

Fri 15 April 2011 5.30 pm - 9.00 pm Sat 16 April 2011 9.30 am - 4.30 pm Sun 17 April 2011 9.30 am - 4.30 pm Canterbury Racecourse Function Centre King Street, Canterbury, Sydney for details see

www.lovevintage.com.au or phone 02 6628 6688

Tickets available at the door Inaugural Melbourne Fair: 27-29 May 2011

48

age groups and rapidly purchased by the many visitors.

The Sydney Vintage Clothing, Jewellery & Textiles Show is the largest of its kind in Australia. It is a visual feast, featuring over 60 exhibitors selling vintage and antique clothing and accessories, antique and vintage jewellery, linen, lace, textiles and small collectables.

Fashion collectables for sale are magazines, posters, fashion plates, sewing patterns, tools and parasols. First timers are amazed at the vast array of items for sale, ranging from tiny antique buttons and hat pins to large ornately embroidered tablecloths and heritage quilts.

The quality and quantity of clothing and jewellery for sale are excellent. The convenience of all the exhibitors, fashion shows and entertainment being under one roof is a hit with fairgoers. Over the first night and the next two days, many of the shoppers are on a mission to find a knockout outfit to wear for their special occasions or a quality vintage accessory for the current season.

Teenage girls, often accompanied by their mothers are interested in an unusual dress for their school formal or graduation. Discerning brides search for a period wedding dress or special piece of jewellery. Vintage car owners, who love travelling to their club outings in period clothing, are always looking for authentic garments produced in the year corresponding to their much loved vintage car.

Fortunately, many stall holders have clothing and accessories for both men and women.

Count on two-and-a-half days of entertainment, there are fashion parades and exhibitions, prizes for best vintage clothing, dancing and the regular charm school demonstrating beauty tips from the past and how to achieve a look that works for today’s lifestyle.

The cafeteria will be open all weekend and the racecourse has ample free parking. For the comfort of patrons the venue is airconditioned and wheelchair friendly. While close to Canterbury train station, there is a free shuttle bus from both Canterbury and Strathfield train stations.

The April show will again host extraordinary exhibitors, amazing selection of clothing and collectables to buy, and fabulous entertainment to enjoy ● For more information contact Janel Morrissey VINTAGE CLOTHING, JEWELLERY & TEXTILES 02 6628 6688 www.lovevintage.com.au

Sydney Vintage Clothing, Jewellery & Textiles Show Canterbury Racecourse Function Centre Opening night Friday 15 April from 5:30 to 9 pm Open Saturday 16 and Sunday 17 from 9:30 am to 4:30 pm Tickets at door: $14 adult, $10 concession, $5 children over 10 years

GLEBE ANTIQUES & ART IN NEW SOUTH WALES

From left: New Zealand (Maori), Jade hei-tiki amulet. Museo Pigorini, Rome. Courtesy Paul Hamlyn China (Qianlong period), Celadon green jade elephant, c. 1736-1795, gilt and enamel, h: 31.7 cm. Courtesy Christie’s Mexico (Zapotec civilisation), Jade breastplate worn by Shaman priests, c. 3rd-2nd century BCE. Courtesy Paul Hamlyn China (Qing dynasty), Treasures: white and spinach-green jade open work pomander, miniature white jade ruyi, brown and white miniature jar, 18th century. Courtesy Christie’s

JADE – A STONE OF MANY COLOURS FROM MANY CULTURES

P

eople think of jade as an opaque green stone, yet this semi-precious hard stone is almost infinitely variable in colour. Only coming to European attention since Marco Polo’s 14th century travels, jade has been prized for millennia for its delicate carving and subdued smooth surface. The same Chinese character Yü that stands for jade also has the meaning of jewel or treasure, indicating its preciousness.

Most jade is translucent with an opaque ivory variety. There are two types of jade, nephrite and jadeite (slightly harder) and both are relatively heavy. Chemically they differ in proportions of alumina (high in jadeite) and magnesia (high in nephrite) that contribute to their respective colours. Collectors must learn how to detect other minerals resembling jade including chloromelanite (comparatively rare), steatite (softer than jade) and serpentine.

Jade has a wide colour range from pale to forest green, reds, oranges and yellows, while more rare are violet, white and black, and the exquisite blue jade that was attributed to the heavens in ancient China. Many mystical qualities have been attributed to jade in many cultures. Carved only slowly and with difficulty, quality jade objects are almost miracles of artisanship and very valuable.

CULTURAL heritage recorded in jade Jade is material evidence of brilliant cultures, used for thousands of years in China, Mexico and Central America, and by the Maori in New Zealand. The Russian court jeweller, Fabergé, occasionally used jade.

CHINESE jade The best known jade is from China, with Neolithic ritual objects earlier than the Xia (2100-1600 BCE) and Zhou periods (1122249 BCE) including the pi – a circular disc with a central hole which represented heaven.

Ritual jades were used for burial preparation and jade was placed in the body to keep out evil spirits. Ritual and decorative amulets, pectorals and girdle ornaments have survived both because jade is hard and these objects were revered and guarded for their imputed meanings and powers.

Han dynasty (206 BCE–CE 220) jades show mature carving techniques and rich conceptual imagination continued through to the end of the Sung dynasty (960-1280).

Figures of animals, fabulous monsters such as dragons, vases and cups with animal handles,

and vessels imitating bronze forms survive from this period.

Ming dynasty (1368-1644) artists created large jade figures of horses and water buffalo and the earliest carved jade boulders, representing a mountain with intricate details.

Qing (1644-1912) jade carvings are frequently intricate and fine, such as vessels hollowed until paper-thin, and frequently inscriptions are found. Parti-coloured jade was exploited for depicting for example, insects in one colour and a leaf in another colour.

Beakers of bronze form, vases with free ring handles carved integrally, and small pieces such as belt hooks and pendants are highly collectable. Jade table screens mounted in wooden stands and jade writing implements are from this period.

MAORI JADE Rich alluvial deposits of Pounamu or nephritic jade are found in the western region of the South Island, New Zealand. Jade contributed much to Maori culture as it was plentiful. It was used for utilitarian purposes, such as knives, hooks, hatchets and other tools, to build houses and canoes beautifully decorated using jade tools.

The traditional hei-tiki, marakihau and pekapeka are carved talisman pendants. They are renderings in greenstone with spiral decoration of a treatment of the human form as also found commonly in woodcarving and whalebone carving, and are jade collectors’ prizes.

CENTRAL American jade Jadeite was the most precious material for Pre-Columbian peoples throughout ancient Meso-America, worked into a variety of items worn as emblems of social and political power. The jade carvers of Central America attained great skill over 2,500 years ago. The majority of surviving specimens are small personal ornaments and ritual masks, with most authentic pieces held by museums. In 1998, a large Proto-Mayan jade head of a deity, c. 300 BCE to 150 CE, sold for US$365,500.

Olmec jade carvings from the 5th to 1st centuries BCE in the Gulf of Mexico region are characterised by classical simplicity. The ritual items in the subsequent Zapotec civilisation (3rd-2nd century BCE) are highly expressive. Mayan carvings dated to 2nd century CE are throughout the former empire, from southern Mexico through the Central American peninsula including Belize, Guatemala, El Salvador and Honduras.

The ancient La Hueca and Saladoid cultures in the Caribbean prized jade among their many zoomorphic stone carved objects. Neolithic jade pendants have been found in Costa Rico and in equatorial Amazonia (Peru, Ecuador, Bolivia) with little information on their origins ● The largest known deposit of high-quality nephrite jade in the world is located outside Cowell on South Australia’s Eyre Peninsular. Cowell jade consists predominantly of medium to fine grained material showing, greenish yellow to green hues, grading to premium black.

Jason Bridge COLONIAL COLLECTABLES 0431 403 897 colonialcollectables@msn.com Further reading G Archey, ‘Maori carving patterns’, Journal of the Polynesian Society Volume 45, 1936, No. 178, pp. 49-62 Christie’s Hong Kong, The Imperial Sale: Fine Chinese Ceramics and Works of Art (Hong Kong: Christie’s 2002) Janet Hogan (Ed), Treasures from the Shanghai Museum (Brisbane: Queensland Art Gallery 1990) Oscar Luzzatto-Bilitz, Antique Jade (Middlesex: Paul Hamlyn 1969)

Collectables & ANTIQUES FAIRS GLEBE Greyhounds Function Centre, Wentworth Park Road GLEBE 9 am to 3 pm • Air conditioned • Coffee shop • Parking • Credit cards accepted • Over 150 sellers

Buyers $5 (Seniors $4) Children with adult free (‘Early birds’ from 8 am $10) Next Dates 2011 2 Jan 6 Feb 6 March 3 April 1 May SYDNEY Collectables & ANTIQUES FAIRS 0419 333 220 49

ANTIQUES & ART IN NEW SOUTH WALES

Take a voyage of discovery at SCHOTS HOME EMPORIUM

F

irst established in 1978, Schots Home Emporium is today recognised as Australia’s leading importer and retailer of mood-enhancing architectural, fittings and furniture. With an expansive retail store discerning homemakers can select from the largest and most exquisite range of wood or gas-fuelled fireplaces; marble or polished timber mantles; heritage bathroom ware, marble toped timber vanity units, tiles and tap ware; heritage style lighting and ceiling roses; fine brass accessories and feature doors; stunning sculptures and artefacts; and original and reproduction items of furniture.

The comprehensive and extensive range allows you to accurately reflect any era, match and enhance your desired décor and create a delightful atmosphere in any setting – all according to personal taste.

At Schots, we believe that renovating the old or appointing the new should not only add romance and refinement to a room, but also be an investment that adds value to your home. This is why we spare no effort in sourcing and stocking only the finest quality products from around the world.

AUSTRALIA’S largest collection of French styled marble chimney pieces Whether you’re looking to make a fireplace the feature of a quaint period cottage you’re renovating, or a charming centrepiece of a brand new house you’re building, Schots Home Emporium is uniquely equipped to help create the exact aesthetic look you’re after.

Our pieces display a taste for the exquisite that is out of the ordinary.

Select from the classic formality and beautiful bold lines of British marble mantle

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designs, or create wonderful moods of statuesque grandeur (laced with whimsy) with the free-flowing curves of French designs.

Complement your fireplace with the perfect insert, fascia, grate or tile. The superb choice of marble colours is an opportunity to reflect any era and enhance your setting.

Schots believes that a fireplace should not only add romance and refinement to a room, but also be an investment that adds value to your home. Our Victorian style white Carrara and Marquina marble mantles are individually crafted to the exact proportions of antique originals. The faithful reproduction of our hand-carved French and English style creations is done with the most meticulous

attention to fine detail under the watchful eye of master stone masons making our unusually beautiful – and intricate – replicas virtually impossible to distinguish from the genuine article.

Schots’ exclusive Marble Mantle Collection is all about giving you the freedom to unearth the uncommon and create a distinctive focal point in your home that you can enjoy and guests can admire. Not just at a price that’s surprisingly affordable, but which represents true value for money.

Our specialist staff can be relied on to give you expert assistance, and personally show you a host of inspiring displays.

AUSTRALIA’S largest collection of marble topped timber vanities There are any number of bathroom stores that simply offer the everyday. But if you’re looking to create a private world of sensory pleasure where you can pamper yourself in surrounds that make you feel special, then look no further than the unusually beautiful Bathroom Collection of Schots Home Emporium.

Boasting an expansive collection of finely crafted fittings and cabinetry, create a bathroom interior with personality and the stamp of individual flair. Use any combination of freestanding (or unfitted) elements to create a contemporary or old world mood like no other.

You can choose to adorn an attentiongrabbing feature vanity with underslung basins and white Carrara marble tops from Italy. Incorporate distortion-free matching mirrors and turn it into a striking centrepiece that draws the eye and creates a magical illusion of more space in a room. You can call on elegant tall boys to supply extra storage with unmatched style. Or use specially crafted cabinetry to make the most of a corner area.

Theme your décor in cognac coloured, polished cherry wood, or perhaps the beautifully fluted French white furnishings might sit better in your home. Whatever the preference, we provide you with the opportunity to design a look and create an ambience that is as grand, understated or fashionably eclectic as you like. With our Elite range, the possibilities are limited only by your imagination ● For more information, simply call or visit our website SCHOTS HOME EMPORIUM 1300 463 353 www.schots.com.au

WOOLLAHRA / PADDINGTON / SURRY HILLS / NEUTRAL BAY ANTIQUES & ART IN NEW SOUTH WALES

Chinese and Japanese Quality antique and reproduction furniture and artefacts

ESTABLISHED 1989

336 South Dowling Street, Paddington

www.specialpieces.net.au • 02 9360 7104 Monday to Saturday 10 am to 5 pm - Sunday by appointment

FELLIA MELAS

GALLERY

SeanCullip Antiques FINE GEORGIAN AND VICTORIAN SILVER

Robert Dickerson, Children

Queen Anne Hallmark Britannia silver Caster Charles Adam London 1705 $2,750

WOOLLAHRA TIMES ART GALLERY Major works by Crooke, Dickerson, Coburn, Storrier, Boyd, Tucker, Coleman, Bromley and many others 2 MONCUR STREET, WOOLLAHRA PH 02 9363 5616 FAX 02 9363 2080 MOB 0418 362 451 Email: art@fmelasgallery.com.au

Visit us at : www.fmelasgallery.com.au 52

Sydney Antique Centre 531 South Dowling Street Surry Hills NSW 2010 Phone: 02 9361 3244 Mobile: 0427 315 133

SURRY HILLS ANTIQUES & ART IN NEW SOUTH WALES

Journey into the Extraordinary...

EXPLORE OUR UNIQUE CHINESE AND ASIAN DECORATIVE PIECES

Large New Collection of Exotic Tibetan Cabinets 267 Cleveland Street Surry Hills • Phone 02 9699 2700 Email: John@maoandmore.com • Web: www.maoandmore.com Trade inquiries welcome

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CITY ANTIQUES & ART IN NEW SOUTH WALES

Kalmar Antiques has something for everyone

Kalmar Antiques Specialising in antiques, fine jewellery, watches and objets de vertu Shop 45, Level 1 Queen Victoria Building, Sydney 2000

Phone: 02 9264 3663 Email: kalmar@ozemail.com.au You can also visit our website at www.kalmarantiques.com.au

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GLEBE ANTIQUE STRIP ON PARRAMATTA ROAD ANTIQUES & ART IN NEW SOUTH WALES

ANTIQUES & MORE Incorporating Gaslight Antiques GASLIGHT ANTIQUES

BUXTON REPLICAS

WILLMOTT COLLECTION

“OUR REPUTATION IS YOUR GUARANTEE” Specialising in an exquisite and vast range of Georgian, William IV and Victorian furniture and collectables.

Benefit from our forty years of experience

EXCLUSIVE AUSTRALIAN SHOWROOM FOR QUALITY INTERNATIONAL RANGE of classic Georgian style furniture including beds, dining tables, bookcases and an excellent selection of desks. New stock just in

GENUINE FRENCH STYLE HERE IN SYDNEY! Custom crafted French farmhouse tables and parquetry panelled refectory tables constructed from imported reclaimed French oak made to your design and size

66-70 Parramatta Road Glebe – 10 minutes from the CBD (Opposite Sydney University Veterinary Hospital entrance)

Phone: 02 9557 8929 Email: info@antiquesandmore.com.au

Website: www.antiquesandmore.com.au

OPEN 7 DAYS 10.30 am - 5.30 pm

GLEBE ANTIQUE CENTRE 62 Parramatta Road, Glebe NSW, 2037 (Opposite Sydney University Veterinary Hospital) Two full levels of a wide variety of quality antique furniture, light fittings, jewellery, glass, porcelain and general collectables Open 7 days 10 am to 6 pm

Phone: 02 9692 9577 Fax: 02 9692 8611 Email: sales@glebeantiques.com.au Web: www.glebeantiques.com.au www.desksofdistinction.com.au The largest collection of genuine antique furniture in Sydney!

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England: Birmingham, Sterling silver three-piece gentleman’s cutlery set, 1855, $850

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Vintage Noritake (Japan) Coffee service, 1931, consisting of 15 pieces, in mint condition, $750

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Napoleon III period gilt French over mantle mirror, with pierced arched top, $6,500

4

Royal Worcester hand painted lidded vase, c. 1894, $2,250

5

Rare Nailsea glass lamp, c. 1820 in superb condition, $3,500

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Empire style Dutch cabinet, c. 1850, $11,500

7 Signed pair of Meiji bronze vases decorated with cockerels, inlaid with gold and silver, c. 1868-1912, $1,950 8 American silver plate and crystal table centerpiece, c. 1880, $4,350 9

Impressive vintage wing chair and matching ottoman, set on ball and claw feet, full down filling, fabric upholstery, $1,750

10 Royal Worcester jardinière, 1909, painted by J Southall, $4,750 11 French brass eight-branch light fitting, signed Moran, $6,500 12 Pair English majolica vases decorated with love birds, $6,900 13 Diana (Sydney), Trough shaped vase, c. 1947, design 63, $95 14 9 ct gold bracelet, $1,200 15 French gilt uphoplstered lounge, matching ottoman, c. 1880, $10,000 16 Germany: Outstanding lidded vase, hand painted decoration, h: 1 metre, $6,500 17 Six arm chandelier in gilt ormolu, four ornamental putti, $7,500 15

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212–220 Parramatta Rd, Camperdown NSW 2050 Phone 61 2 9550 5554 Fax 61 2 9550 4990 Email: camperdownmews@bigpond.com Open 7 days 10 am–6 pm Off-street parking

WE BUY, SELL, HIRE AND TRADE

QUEENSLAND ANTIQUES & ART IN NEW SOUTH WALES

L A

avin ntiques

FURNITURE · CHANDELIERS · CERAMICS · PAINTINGS · RUGS · TEXTILES

Importers of fine quality antiques

Mahogany breakfront cabinet in the Chippendale manner h: 220 x w: 185 cm

950 Stanley Street East (cnr Longlands Street), East Brisbane QLD 4169 Phone 61 7 3391 2300 Fax 61 7 3391 2331 Email: info@lavinantiques.com.au Website: www.lavinantiques.com.au Trading seven days a week 10 am – 6 pm

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QUEENSLAND / VICTORIA ANTIQUES & ART IN NEW SOUTH WALES

Antique Print & Map Company Camford Square corner Douglas & Dorsey Sts MILTON Brisbane Wednesday – Saturday 10 am – 5 pm Phone 07 3368 1167

Open all hours..

Join the Antique Print Club at www.antiqueprintclub.com

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VICTORIA ANTIQUES & ART IN NEW SOUTH WALES

Schots Home Emporium delivers a truly eclectic range of classic and architectural furniture, fittings and fixtures to define your home.

Visit our newly renovated, expansive three level galler y, unear th the uncommon and discover that Schots offers you a unique shopping experience like no other.

400 Hoddle Street, Clifton Hill Victoria

Telephone: 1300 463 353 • Web: www.schots.com.au

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FURNITURE

OUTDOOR, TEAK AND IRON

LIGHTING

BATHROOMS & ACCESSORIES

VENTS

DOORS & HARDWARE

FIREPLACES

TILES & PARQUETRY

VICTORIA ANTIQUES & ART IN NEW SOUTH WALES

Valentine’s Antique Gallery IMPORTERS OF FINE QUALITY ANTIQUES ESTABLISHED 1947

Pair fine quality French Louis XVI style gilt bergère chairs. c.1870s

Fine quality Victorian ebonised reverse breakfront four door cabinet with hand painted Vienna plaques and decorative gilt mounts, c. 1870s

Please refer to our website: www.valentinesantiques.com.au for a full listing of new stock

Valentine’s Antique Gallery 369 Hargreaves Street, Bendigo, Victoria 3550 Phone: 03 5443 7279 Mobile: 0418 511 626 Fax: 03 5442 9718 Email: peter@valentinesantiques.com.au www.valentinesantiques.com.au

Au s t ra l i an An t i q u e a n d Art Deal e rs A s s oc iat i on

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MATCHAM ANTIQUES & ART IN NEW SOUTH WALES

GOWRIE GALLERIES AUSTRALIA’S FINEST COLLECTION OF RARE AND IMPORTANT ANTIQUE MAPS

The first printed map to show any of the Dutch discoveries in Australia, Jodocus HONDIUS c. 1624

OUR STOCK INCLUDES 15th – 18th century world maps Australian maps from the 17th century onwards Maps of Southeast Asia and the Pacific

❖ ❖ ❖

Expert advice on all aspects of map collecting Full research, evaluation, restoration and framing service Collections and individual items always considered for purchase Extensive range of decorative antique engravings Detail of Australian discoveries

Please note new contact details for Gowrie Galleries PO BOX 276 TERRIGAL NSW 2260 Matcham studio: Phone: 02 4365 6399 Mobile: 0417 040 902 Fax: 02 4365 6096 EMAIL: maps@sydney.net • WEBSITE: www.gowrie-galleries.com.au

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ANTIQUES & ART IN NEW SOUTH WALES

THE MAGIC OF MAPS

A

s early as ancient classical times Greek and Roman scholars were hypothesising about the existence of a globally shaped world with a large land mass in the southern hemisphere. This was concluded by reason of balancing the known land masses in the northern section of the globe with this large southern continent.

This concept of terra australis incognita (unknown southern land) was given such precedence that it was eventually taken as factual. Ptolemy, Eratosthenes and others represented it on their maps, some as early as the first century BC. Claudius Ptolemy, the most influential cartographer of the ancient world, had Africa linked to the unknown southern landmass in his maps. The belief in a great southern land was given more credence when Marco Polo reported the existence of three locations – Beach, Lucach and Maletur – just south of the lands now known as South East Asia. One of these locations falls directly on the current position of Western Australia.

From the late 13th century, after Marco Polo had discovered the Orient and had brought back to Europe colourful stories and treasures of the East, Europeans lusted for more accurate reports and contact with the other side of the world. Land trade routes with Asia over the silk road, and Arab coastal trade routes brought back to Europe newly discovered and sought after products. However these routes proved to be slow, dangerous with pirates, and hazardous with war and local taxes thus hampering the free flow of trade.

With the Turkish empire’s dominance of Constantinople in 1453 and further trade restrictions imposed by the Turks, the discovery of an alternative sea route became of paramount importance. With this push for growth of trade coupled with the exploration and discovery of suitable sea routes, came growth of wealth and power. The knowledge of local coastlines, currents, tides and trade winds became of absolute importance to traders and governments alike, and maps displaying this information were closely guarded as were any new discoveries made by seafaring captains. The nations and traders that possessed cartographical knowledge of new sea routes therefore had a major advantage over other competing countries.

Two other factors emerged that further fuelled the lust for exploration of the East; the desire of the Christian world to convert newly exposed heathen populations and the basic curiosity that a ‘civilised’ people had for discovery and hope of finding unfamiliar populations, cultures, strange flora and fauna and unusual landscape.

The invention of movable type by Gutenberg in the mid 1450s led to the development of woodcut print that allowed for maps and illustrations to be easily reproduced and distributed throughout the world, allowing easy access to newfound knowledge and discovery.

As traders rapidly added to knowledge of the unknown world, cartographers were able to disseminate this information to the eager eyes of the Europeans more easily.

With Dutch discoveries of lands south of Java and New Guinea in the early 17th century, the drive to once and for all prove the existence – or otherwise – of a southern continent, gained huge momentum.

In 1630 the well-known Dutch cartographer Hendrick Hondius produced his famous world map showing the early Dutch discoveries of Cape York Peninsular. Willem Blaeu, official cartographer to the Dutch East Indies Trading Company, also produced a map of the East Indies showing for the first time on a regional map the Dutch discoveries on the west coast of Australia.

With this knowledge came further desire to once and for all establish the existence of a Great Southern Land. The Dutch East Indies Company wished to further expand its commercial control and increase its profits, as did the Dutch government who wished to expand its power and establish other sea routes, allowing uninterrupted shipping throughout the year. So finally in 1642-43

J Blaeu, Nova ... orbis tabula, 1662

and later in 1644, Abel Tasman was commissioned to undertake two voyages of discovery in the ships Heemskerck and Zeehaen to categorically find the evidence of a southern continent.

His first voyage covered an area from Mauritius, from where Tasman sailed south, then east to Tasmania. After discovering the island which now bears his name, he went on to chart the west coast of New Zealand. Finally, Tasman and his crew sailed north returning to Batavia in Java, the headquarters of the Dutch East Indies Company. Tasman had at last established the limits of Terra Australis.

All but the east coast of Australia remained unmapped and, except for a few hypothetical attempts by the French in the mid-18th century to link New Guinea to Tasmania in one continuous coastline, no serious development in the mapping of Australia occurred until 1770 with James Cook.

The careful recording of these discoveries has produced a wealth of cartographical documentation. Mapmakers from every nation compiled this information not only in manuscript charts, but also in numerous Bibles and atlases.

From the first printed world map in 1472 right through to 1700 no fewer than 630 individual world maps were published, often in multiple editions. This form of charting of discoveries was prolifically documented, none more so than with the discovery of Australia. It in fact remains one of the best-printed records of any country.

This wealth of cartographical history has provided us with a treasure chest of maps: scientific maps, glorious, richly decorated world maps (displaying all the talents of true artists), inaccurate and quaint hypothetical maps, celestial maps and many more.

Over the last decade the interest in collecting all kinds of maps has grown tenfold. The European, American and Australian markets and to some extent the Japanese market, are becoming increasingly interested and informed about buying world and regional maps. Because of the huge scope in the various areas of map-making, collectors can choose many different criteria to base their collection on.

World maps probably display the most versatility from the collector’s point of view, however the sheer beauty of some world maps makes them a desirable item for art lovers wishing to have an informative and unique piece. The world map by Dutch mapmaker J Blaeu is not only a highly decorative and typically 17th century allegorical double hemisphere map, but is also historically important. It is one of the very first world maps to show the discoveries made by Tasman in New Zealand and Tasmania in 1642-43 as well as those in Cape York Peninsular in 1644.

The literature and reference material available on world maps means that even the novice collector can be well informed about the history and availability of material. The relative commonness of some world maps has meant that attractive pieces, even those published as early as the 17th century, can be obtained without too much difficulty and with relatively little expense.

As well, it is still possible to purchase maps published as early as the late 15th century, and from time to time extremely rare and important pieces come up for sale.

One such rarity is the early Ptolemaic map of the world by Horstmann Schedel published in the 1493 Nuremburg chronicle The map is bordered on the

H Schedel, Untitled, 1493

left-hand side by quasi-human creatures who were supposedly inhabiting the earth in lands yet to be explored. The map itself shows a rather crude view of the world but was the best-known geographical work of its time published just six months after Columbus’ discoveries of the Americas.

A quaint and naïve world map by Bunting of 1581 is another map of great interest. The intriguing feature of this map is the inclusion of a land mass, on the bottom right hand side that resembles remarkably the shape of the western Australian coastline and is in the correct position.

However being published in 1581, it pre-dates the known Dutch discoveries of that region by Hartog and others after 1616. Many people consider that this map adds great weight to the belief of the Portuguese discovery preceding that of the Dutch.

The interest in the field of map collecting seems to have retained its appeal and fervour over the centuries. Collectors have the choice of specialising in those weird and delightfully inaccurate hypothetical maps, to the intricate and artistic allegorical creations of the Dutch cartographers through to historically important maps of discovery such as those made by Blaeu and Hondius.

Although there is now a penchant for

reproducing these wonderful mementos of history en masse, the original item has an intrinsic and precious quality. Given the age of some of the maps that are available for sale, they are surprisingly affordable, and more importantly give us all a gateway to the thoughts and visions of the peoples who longed to know more about the world they lived in ● Simon Dewez and Monique Jacobson GOWRIE GALLERIES 02 4365 6399 www.gowrie-galleries.com.au References Rodney Shirley, The mapping of the world; early printed maps 1472-1700 (London: Holland Press, 1984) Günter Schilder, Australia unveiled: the share of the Dutch navigators in the discovery of Australia (Amsterdam: Theatrum Orbis Terrarum, 1976) Robert Clancy, So came they south (Sydney: Shakespeare Head, 1988) Thomas Perry, The discovery of Australia: the charts and maps of the navigators and explorers (Melbourne: Nelson, 1982) Ronald Tooley, The mapping of Australia and Antarctica (London: Holland Press, 1985)

GOWRIE GALLERIES AUSTRALIA’S FINEST COLLECTION OF RARE AND IMPORTANT ANTIQUE MAPS

1486 Ptolemy Ulm world map in fine original colour

Latest catalogue

PRINTED WORLD V Beyond Settlement A catalogue of rare world, Australian, Southeast Asian and Pacific maps from 1493 to 1847 featuring a fine selection of 17th-century Dutch sea charts of Australia

For orders 02 9387 4581

OUR STOCK INCLUDES 15th – 18th century world maps Australian maps from the 17th century onwards Maps of South East Asia and the Pacific ❖ ❖ ❖ Expert advice on all aspects of map collecting Full research, evaluation, restoration and framing service Collections and individual items always considered for purchase Extensive range of decorative antique engravings

Please note new contact details for Gowrie Galleries from 2010 PO BOX 276 TERRIGAL NSW 2260 Matcham studio: Phone: 02 4365 6399 Mobile: 0417 040 902 Fax: 02 4365 6096

EMAIL: maps@sydney.net • WEBSITE: www.gowrie-galleries.com.au

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ANTIQUES & ART IN NEW SOUTH WALES

THE CUTLER ROLL TOP DESK: Mysteries and myths

A

bner Cutler of Buffalo New York gained the first American patent for the tambour roller in his roll top desk in 1850, followed by several more patents to stave off competition from other desk manufacturers.

Furniture was the biggest American export industry from 1880 to 1920. American manufacturers replaced individual European handmade furniture with the assembly line, streamlining production to reduce time and costs. There was quality timber available locally and cheaply, particularly oak and black walnut, as well as an increasing supply of skilled labour especially from Europe, and efficient rail and water transport to domestic and overseas markets.

ROLL top desks Cutler did not invent the roll top desk. The famous Bureau de Roi made by Jean-Francois Oeben and Jean-Henri Riesener was the first roll top recorded, made in the 1760s for King Louis XIV’s new palace at Versailles. Oeben, a genius in mechanical design, developed the tambour and the locking mechanism and both innovations were keys to the roll top desk’s popularity in the following century.

English cabinetmakers copied the French, with a tambour writing table illustrated in Hepplewhite’s 1788 book, The Cabinetmaker and Upholsters Guide. Produced until the 1850s, the English roll tops were expensive and so the quantity made was quite small.

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‘A place for everything and everything in its place’ was a 19th century value so the roll top desk’s capacity to house and secure correspondence items appealed to the increasingly literate, exponentially growing middle class in North America and Europe and its colonies. The roll top desk was fashionable and a status symbol, implying possession of wealth and education. Export destinations included French and English colonies, including Australia.

AMERICAN roll tops The commercial promotion and lower prices of American desks helped ensure their popularity; many still exist, testimony to their original good designs, manufacturing standards and their valued function. At least 90 per cent of roll tops were made in the USA. Methods of production were altered in the USA, introducing scales of production and quality controls, so reduced costs meant that prices could be more than halved. Advertising in the domestic and international marketplaces included a system of grading of desks to satisfy each budget, usually proportional to size.

Trade labels and markings to look for include The Cutler Desk Co (Buffalo New York), The Shannon File Co, Geo. H. Derby & Co (Boston Massachusetts), The Standard Desk Co and the Wootton Desk Co (Indianapolis Indiana).

AUSTRALIAN connection The Cutler Desk Co exported roll tops to Australia from the 1880s until the 1950s and successfully maintained sales throughout.

Cutler was just one supplier to Australia because most of the roll tops available today, even without labels, are American. It is rare to find an Australian made roll top, other than those by the Dickens Desk Co in Melbourne and Beard Watsons in Sydney.

Given the number of roll tops produced over such a long period, it is puzzling that the layout, with minor deviations, is always similar. Variations may be in height or the number of shelves, or the writing surfaces may have tooled leather. While mainly in oak, occasionally one sees a walnut roll top – or quite rarely, one of mahogany.

MODERN use for roll tops Antique and vintage roll top desks are available in a range of prices, depending on age, the quality of materials, decoration, rarity, condition and provenance. Some desks, like the Cutler roll top, are rarer than are other roll tops.

While the proliferation of paper leaves the roll top looking somewhat inadequate, it is still a very useful item in the study or anywhere else in the home, or adds a vintage touch to the office.

The roll top has adapted to new technology, as they are perfectly suited to flat monitors and laptops. There is plenty of room for the tower and printer in the knee tunnel or on the very top of the desk ● Garry Auton GLEBE ANTIQUE CENTRE 0412 081 049 sales@glebeantiques.com.au www.glebeantiques.com.au www.desksofdistinction.com.au

GLEBE ANTIQUES & ART IN NEW SOUTH WALES

GLEBE ANTIQUE CENTRE Desks of Distinction

Small oak roll top desk, c. 1920, $1650

‘Dickens’ desk in mahogany double pedestal, of small proportions, c. 1860, $3850

18th century Georgian bureau with Arts and Crafts brass handles, $5650

Australian cedar small desk, Edwardian. Green leather tooled writing surface, $2650

Satin walnut double pedestal tooled leather top Australian cedar partners desk in Georgian style, $2450

French walnut double pedestal desk with 18 drawers including two cash drawers, c. 1910, $7850

Oak double pedestal desk with nine drawers and leather top, $2500

Australian Art Deco partners desk with leather top, c. 1930, $3850

Victorian/Edwardian cedar library table with tooled leather top, c. 1900, $2250

French rosewood kidney shaped desk with tooled leather top. Arts and Crafts, c. 1920, $1850

Sheraton-style bonheur du jour with leather writing surface, $2850

French Belle Epoch leather top, cherrywood desk with cash drawer, $3250

2 Levels at 62 Parramatta Road, Glebe (opposite Sydney University Vet Dept) www.glebeantiques.com.au • www.desksofdistinction.com.au • email: sales@glebeantiques.com.au • email: sales@desksofdistinction.com.au OPEN 7 DAYS 10 AM - 6 PM Parking and other entrance rear of building at 74 Arundel St, Glebe Ph 02 9692 9577

ANTIQUES & MORE Incorporating Gaslight Antiques “OUR REPUTATION IS YOUR GUARANTEE” Benefit from our forty years of dealing in individually selected pieces of genuine antique furniture

Antiques & More, 66-70 Parramatta Road Glebe (Opposite Sydney University Vetinerary Hospital entrance) OPEN 7 DAYS 10.30 am - 5.30 pm • Phone: 02 9557 8929 • info@antiquesandmore.com.au • www.antiquesandmore.com.au 65

ANNANDALE ANTIQUES & ART IN NEW SOUTH WALES

Whether downsizing or looking for French inspired lighting options BE INSPIRED AT ELIZA JANE ANTIQUES

M

any customers who have downsized lament the loss of their antique furniture not designed for modern smaller homes. This and the high demand for small functional pieces of furniture sent me to the United Kingdom, Paris and the north of France. Exploring wholesale fairs and markets, I sought quality furniture and light fittings suitable for the smaller scaled apartment, town house or semidetached home.

By the end of the trip I had assembled enough pieces of French lights and small furniture for a container. Specifically chosen

for the Australian home, this eclectic mix will be in store from January 2011.

COMPACT antiques for today Side cabinets, some with marble tops, are very adaptable as occasional side tables, while a pair makes practical and romantic bedside tables. Many have a single drawer over a single door cupboard, while others are former commodes. The practical drawer is ideal for accessories, while the cupboard could holds books, for example.

Among the small tables are diminutive drop side Pembroke tables and art nouveau two-tiered tables. A three-tier fold up stand

Eliza Jane Antiques

T N E M SHIP ce

NEWer due now from Fran Contain

* SPECIALISTS IN GENUINE ANTIQUE LIGHTING * Large showroom with an extensive collection complemented by quality furniture, timepieces and decorative & collectable items.

OUTDOOR TERRACE DISPLAYING WATER FEATURES AND GARDEN ART

Phone 02 9518 6168

34C TAYLOR ST ANNANDALE NSW 2038 BUYING & SELLING Full restoration service for lighting and metal polishing

www.elizajaneantiques.com.au 66

will serve whatever purpose you need, whether as a side or serving table in the dining room, or to display your collectables, or be a beautiful and practical filing table in your home office – tax time will be a pleasure with this item.

A pier cabinet, finely inlaid and in small proportions, sits under and is in proportion to a window, ready to hold delicate treasures. It provides a tabletop for fresh flowers in an heirloom vase, or a cluster of photographs of friends and family in silver frames. Imagine a gilt vitrine displaying your favourite collection, the finely applied gilding giving a modern-scale room the wow factor.

CREATING a spatial illusion Mirrors are the interior designer’s key secret for smaller modern homes, as they create an illusion of space and reflect available light to brighten even the darkest room. Exceptional large gilt mirrors are wonderful in small apartments to open up an area, or to greet visitors when placed opposite the entrance.

Smaller mantel-sized mirrors look wonderful above a small cabinet or table, creating a focus in a functional space such as a hallway.

I’ve seen such a mirror hanging in a laundry to add glamour and reflect light onto the dullest of domestic duties.

ADD a French accent to an interior Paris earned the City of Lights nickname when Les Grands Magasins du Louvre were illuminated during the Paris Exhibition of 1878, one of the first capital cities to light its streets.

A large range of French antique and vintage lighting, varying from ecclesiastical candlesticks to fabulous chandeliers is on its way to Eliza Jane Antiques. The French have taken lighting seriously, since the Roman hand lamp, followed by the common hanging oil pan light and using tallow candles for over 1500 years.

France developed sophisticated and highly decorative light fittings by the 14th century, and the French passion for accent lights has lead to a plethora of surviving pieces across the eras. The French have continuously improved the first simple hanging light in heavy bronze, silver or iron, known as a corona (Latin for crown), that had a cone shaped socket serving to catch the dripping tallow as well as hold the candle.

In store will be 19th century bronze art nouveau ceiling lights, alabaster bowl lights and crystal ceiling lights that will bring style to a room. The timelessness of Art deco wrought iron

and glass ceiling pendant lights are among the stylish stock arriving early in 2011.

Another decorative lighting option is that of traditional candlesticks that are both utilitarian and decorative. The French absorbed Far Eastern influences such as the urn and ball shapes of the baluster stem candlestick. These elements remain in traditional ecclesiastical wares. I have sourced French ecclesiastical candle stands for Australian collectors. Add a statement to a table with a unique Régence triple foot candleholders that will be the talking point of every dinner party.

I selected lights in many styles that reflect (no pun intended) the history of electricity in France, such as a late 19th century gas light converted to electricity and art deco table lights. Standing lamps are highly adaptable whether as reading lights or to create focus lighting without full overhead lighting. Torchères light up art on the walls and highlight decorative ceiling treatments. The art nouveau ‘whiplash’ standing lamps and wrought iron and copper standard lamps give a sculptural dimension to a corner of any room.

Since the 12th century, iron and bronze chandeliers have been used in France, originally with removable scroll arms radiating around a solid central sphere. A wonderful ecclesiastical embossed crystal pendant waterfall chandelier is a prized purchase that only one discerning customer will be lucky enough to take to its new Australian home ● Visit Eliza Jane Antiques in Annandale to see the fresh stock from France and the UK and select un cadeau Français for your home.

Jane Rush ELIZA JANE ANTIQUES 02 9518 6168 / 0416 167 151 Jane.Rush@ElizaJaneAntiques.com.au www.ElizaJaneAntiques.com.au REFERENCES Ian Cameron & Elizabeth Kingsley-Row (eds), Collins Encyclopedia of Antiques (London, Glasgow: Wm Collins Sons 1977) Florence de Dampierre, Chairs: A History (New York: Abrams 2006) Judith Miller (ed), Miller’s Antiques Encyclopedia (London: Reed Consumer Books 1998) Barbara Milo Ohrbach, Antiques at Home (Moorebank NSW: Doubleday 1989) Lisa Norfolk (ed), Miller’s Antique Price Guide 2002 (Tenterden England: Octopus Publishing 2001) Stanley Wells, Period Lighting (London: Pelham Books 1975) Wikipedia.org/wiki/Chandelier

ANNANDALE ANTIQUES & ART IN NEW SOUTH WALES

The e specialists specia alists in i onsite onsite i h ome m contents conte n nts auctions au uctions home & private pr riv vat te collections collec ctions

The ‘Abbey ‘Abbey’ y’ 1884 T Two wo w Day Onsite Contents Sale S May 2009

The Moulin Rouge e Pr Props ops & Costumes Sale Pa arts I & II Jan 201 0 Parts 2010

‘Camellia Court’ W Wahroonga ahroong ga Onsite Home Contents Sale May 201 0 2010

The William m O’Loughlin Collection of Sporting p g Memorabilia August g 201 0 2010

The Holmes à Cou Court urt V Vintage intage Gramophone p Colle ection October 201 0 Collection 2010

WWI Diary Diary,, Medals & Ef Effects fffec cts of Joseph p H. Cock Novembe er 201 0 November 2010

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Auctioneers Auctione eers & V Valuers a aluers Since Sinc ce 1884 ( ;OL *YLZJLU[ (UUHUKHSL :`KUL` ; ( ;OL *Y L LZJLU[ (UUHUKHSL :`KUL L` ; - - ^^^ SH^ZVUZ JVT H\ ^^^ ^ SH^ZVUZ JVT H\

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BALMAIN ANTIQUES & ART IN NEW SOUTH WALES

WORKS OF ART YOU CAN WALK ON: French provincial and handcrafted floors

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ade from reclaimed Australian hardwoods and imported French oak, our floors are designed to last several lifetimes, growing in beauty and appeal as they age.

Antique Floors was founded in 1996 under the creative direction of John Fredriksson. His passion is taking salvage timber and giving it new life in a new home. John’s quest for fine wood stretches from century old French

oak to Australian heritage buildings and old woolsheds.

The reclaimed timber is cut to size, sanded by hand and restored with natural oils, ready to create traditional designs to fit any room and setting. The Balmain warehouse displays the finest quality handcrafted timber flooring.

With these floors, you are walking on history while you are creating your own.

Antique Floors invites you to drop by their large showroom specifically designed to show their floors in different settings. Here you see an extensive range of wood as well as the latest addition of new leather floors imported from Portugal. Also on offer is a bespoke range of architectural elements including antiques, custom made tables, libraries and wine cellars.

While at the Balmain warehouse, take time to visit the Red Door Gallery with its changing art exhibitions â—?

John Fredriksson ANTIQUE FLOORS 02 9810 8838 info@antiquefloors.com.au www.antiquefloors.com.au

68

BALMAIN ANTIQUES & ART IN NEW SOUTH WALES

www.duckeggblue.com.au 497 Darling Street, Balmain NSW 2041 p: 02 9810 4330 e: quintessential@duckeggblue.com.au

What makes a 1930s leather club sofa chair quintessential?

quintessential duckeggBLUE

W

ith an unwavering passion for original club sofa leather chairs lovingly sourced from the UK, France and Belgium, Leanne enjoys showcasing leather club chairs in her Balmain store’s relaxed and friendly environment. She also shares with you the history of these chairs. Leanne believes that club sofa leather chairs are the absolute epitome of style, taste and comfort.

Up until the 17th century, a chair was a utilitarian wooden seat and back, unless of course it was a regal throne. Furniture makers began adding arms and applying upholstery to make chairs more comfortable and less rigid and utilitarian, as well as lowering seats from dining chair height. This was when the word ‘armchair’ was coined as a description, first recorded in 1636 for the French chaise à bras.

With the rise of the middle-class, family life developed and the chair with arms became convenient for conversation and due to its sober form and decoration, it became more comfortable.

In the 18th century, high backed padded chairs were made for those who could afford such styles. For those in need of extra comfort, even when padded, such chairs did not have the club chair reassurance – that ‘sink-into-it’ comfort.

Victorians invented the fully sprung, fully upholstered easy chair and in this period, the classic deep-seated well-padded and lowbacked club chair developed.

The word ‘club’ in the term club chair, harks back to the development of gentlemen’s

clubs in 19th century England, Europe, USA and Australia where wealthy gentlemen with leisure time and means gathered away from their households and women. There they could sink into a well upholstered leather chair and relax with a drink and more than likely a cigar and men’s company. Many Victorian leather club chairs were button-backed, companion pieces to Chesterfield sofas, also a 19th century design.

The dictionary definition of a club chair is ‘a heavily upholstered easy chair with arms and a low back.’ Although any fabric can be used to

has the answers

upholster it, leather, being the quintessential gentleman’s furnishing material, has been consistently popular. These original covetable chairs are what Leanne sources around the world.

In the 20th century, the club chair developed in two different directions. One possibility was a traditional overstuffed or well-padded chair, perhaps with a sofa as part of a matched suite. It was extra roomy with its deep seat, low back and slightly curved back and front.

Classically, but not exclusively, it would have been covered in leather. Today we can see the

amazing history of each club chair by the leather’s patina, markings and shadings to the original upholstered leather hides.

By contrast, there were also streamlined modern designs, notably by architect Mies van de Rohe. The popularity of the chair surged in the 1920s when French art deco designers created variations.

An iconic chair, the original club sofa leather chairs has resurfaced as a household favourite in spite of the oversupply of modern and reproduction furniture. Currently in stock at quintessential duckeggBLUE, our club sofa chairs range from English 1890s through to French 1940s. In Leanne’s opinion, this is the most comprehensive range in Australia with quintessential duckeggBLUE striving to be the leading authority and retailer of club sofa chairs.

Club sofa chairs combine style with taste as well as being a functional classic piece of furniture.

The quintessential duckeggBLUE online website is updated weekly with all the latest covetable finds. You are welcome to sign up for our VIP mailing list to ensure that you are informed when new stock arrives. Of course, clients are encouraged to visit Leanne’s store to view these unique pieces personally.

Drop by into our relaxed environment and spend time discovering our industrial and antique objects lovingly sourced from all over the world and perhaps sink into a leather club sofa chair ● Leanne Carter-Taylor quintessential duckeggBLUE 02 9810 4330 www.duckeggblue.com.au

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BALMAIN ANTIQUES & ART IN NEW SOUTH WALES

BALMAIN ROAD ANTIQUE CENTRE is the newest antique centre in Sydney!

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lmost 50 shops bursting with fresh stock for collectors are trading at the Balmain Road Antique Centre, which opened in Lilyfield in September 2010.

This slick, exciting and diverse antique centre has many rooms and varied shops. We are open for pursuing, browsing and purchasing every day of the week!

Dealers at the Balmain Road Antique Centre source antiques and collectables from

all over the world, filling this huge warehouse space with unique and special treasures. This antique centre showcases a variety of styles and periods of furniture and objects, with plenty of English and Australian antiques. The current popular styles that new and established collectors seek are stocked in abundance: early industrial, art deco, retro, mid-20th century modern as well as rustic and all manner of exotica.

As the antique centre’s stock is fresh and continually being updated, you are sure to find among the almost 50 dealers at least one item to surprise you or a friend. We especially encourage anyone seeking a special piece to set off a room or to complement an established collection to come to Balmain Road Antique Centre first, as there are many items never previously on offer in Australia’s antique industry.

SEVEN days a week

New exciting antique centre

Balmain Road A N T I Q U E

C E N T R E

Open 7 days Trading hours 9 am – 6 pm

It’s here! Peruse to your heart’s content.

Our fabulous stores – RETRO! GLAMOUR! EXOTICA! CURIOS! You’ll find it all here!

483A Balmain Road Lilyfield NSW 2040 Telephone 02 9818 4990 70

Balmain Road Antique Centre is always open, seven days a week. We open at 9 am and plan to close at 6 pm, although often stay open later to accommodate customers and our passionate dealers. Note that during the festive season, we close on Christmas day and New Year’s Day, but are open all public holidays.

EASY to find and park Located 500 metres from Victoria Road Rozelle, turn onto Darling Street that is renamed Balmain Road after five cross streets. Local landmarks include the Callan Park health centre and the Sydney College of the Arts across the road.

There is plenty of street parking and some customer parking from the Alberto Street entrance.

In terms of public transport, Balmain Road Antique Centre is serviced by bus and light rail.

Bus routes L37, 440 and 445 travel along Balmain Road directly to the antique centre. Victoria Road is a major bus corridor for buses travelling to and from the city. Lilyfield Light Rail Station is located approximately 600 metres south and smoothly conveys collectors and their treasures to Darling Harbour and Central Railway Station ● Take a stroll through the Balmain Road Antique Centre and browse the ever-updated stock on our website. You will be surprised and delighted by what you discover at the new BALMAIN ROAD ANTIQUE CENTRE 02 9818 4990 info@balmain-road-antique centre.com.au www.balmain-road-antique-centre.com.au

BALMAIN / PARRAMATTA ANTIQUES & ART IN NEW SOUTH WALES

WE CAN SUPPLY THAT ELUSIVE ONE-OFF PIECE, OR A COMPLETE HOUSEFUL Please call in and peruse our diverse collection: • furniture 1800-1930 • porcelain & glassware • Australian pottery & bottles • architectural antiques • kitchenalia & advertising • paintings & prints • and a ‘never ending’ collage of collectables

open 7 days ~ 10 am to 5 pm 78 PITT STREET PARRAMATTA 2150 (next to freeway overpass) PHONE 02 9633 3426 or 02 9891 1727

An unusual collection of porcelain, furniture, glassware, paintings and collectables ~WE BUY & SELL~

450 Darling Street Balmain, NSW 2041 Ph: 02 9810 9333 AH: 02 9629 1302 Mob: 0409 037 651 Tues, Wed, Thur, Fri, Sat 12pm - 6.30pm, Sun 12pm - 5.30pm - Closed Monday

REFLECTION IN BALMAIN’S ‘WINDOWS TO WATCH’

‘H

anging a good mirror is just like having an oil painting displayed proudly in a room. It always makes a powerful statement,’ says Marion Malcolm of Balmain’s well-known antique and collectables shop Malcolm Antiques. ‘I’ve seen furniture fashions come and go but mirrors are always important and in vogue.

They are immune to fashion whims. Nothing can replace their ornamental, decorative and functional value.’

MIRROR, mirror on the wall Mirrors have been part of society and culture for thousands of years, starting with the simplicity of reflections in dark, still water. The first mirrors were from polished metal, with Roman archaeological evidence of small personal mirrors backed with gold leaf, and developments through to the amazing choices we have today. Size and quality of mirrors were only restricted by the related technologies of glass manufacture and the skill of craftspeople.

Mirrors in shops like Malcolm Antiques are mostly 19th and 20th century examples. Always practical, the reflective effects for room mirrors were almost always made with wooden surrounds. The more expensive the over mantle mirror, the more ornate timber frame carving.

Often a cheaper material, gesso (plaster of Paris) was used to embellish the frames to resemble carving. Larger mirrors were placed primarily over fireplaces to create as much reflected light in a room as possible in that dimmer and more subtle world of the 18th and 19th centuries.

WHAT TURNS glass into a mirror?

The use of a metallic backing creates the mirror effect when applied as a thin layer under the glass – silver has been the preferred metal. You may have seen a patchy metallic effect on old mirrors. It is enough to make some people want to replace the old silvering to create modern visual perfection.

Conservation versus restoration is the thorny issue for mirrors. With an old mirror, the value rests in the broken silver effect – it is the patina of a mirror.

MIRRORING Society Old European mirrors had candle brackets attached to the mirror frames to double, through reflection, the lighting effect of candles. One’s relative wealth was evident by the number of mirrors in a reception room and crystal chandeliers creating prisms of light from candles.

As a classy curiosity, be on the lookout for

the small rounded 19th century convex mirror.

It is a delight to notice the spread of light and visibility in this mirror – and was such a useful aide for servants long ago to watch an entire room.

Hand held personal mirrors were so necessary in the lady’s boudoir. The adjustable larger cheval mirrors attached to stands were suited to dressing rooms for men and women.

They all had timber frames holding their bevelled glass. Still today, bevelled glass is a mark of quality in a mirror.

Each era has popularised mirrors in its fashionable forms: the curve and floral art of art nouveau styles, the charm of the arts and crafts movement or the more geometric design of art deco mirrors. These are smaller than over mantle mirrors and still add decoration and practical drama to any room. Place them and larger mirrors in your home where their powers to reflect views or light are maximised.

‘I will never know who long ago has stared into these old mirrors. Mirror, mirror on the wall what stories you could tell us about who was the fairest of them all,’ muses Marion.

Malcolm Antiques is open from noon each Tuesday to Sunday (closed Mondays) and is exactly halfway between Balmain and Rozelle, at 450 Darling Street opposite the famous Cat & Fiddle Hotel ●

MALCOLM ANTIQUES 02 9810 9333 / 0409 037 651

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NORTH SHORE TO HORNSBY ANTIQUES & ART IN NEW SOUTH WALES

Sterling silver card case. Birmingham 1906

Sterling silver snuff box. Birmingham 1870. Maker George Unite

Collection of antique sterling silver including Adam style sauce tureens

INVESTMENT COLLECTING – Sterling silver

I

Pair of early 19th century sterling silver grape shears

EDITH ELIZABETH ANTIQUES EST.1979

n this edition I deal with the tricky subject of investment collecting. As collectors, you may like to consider a shift into collecting for profit as well as for enjoyment.

As proprietor of Edith Elizabeth Antiques, located in St Ives Shopping Village, I come across many items that I consider to be good investments such as sterling silver, Georgian furniture, porcelain, art, postcards, toys, clocks, and jewellery. There are a variety of price ranges, suitable for any budget, within each of these areas.

This article relates to antique sterling silver.

The price of silver in the market is increasing.

With the price of gold becoming almost out of reach, I believe hallmarked sterling silver makes a great investment.

When considering a sterling silver piece, the two most important things you should have are an eyeglass, or loupe, and a small hallmark book that can found in most bookshops. Condition is the most important factor to look for in an investment piece. If a piece has been damaged, repaired, or parts replaced, bear in mind that it may be difficult to resell.

BEGINNING a collection An investment collection can be simply started for as little as $85 with the purchase of a hallmarked sterling silver spoon. For someone just starting to collect, the hallmarks on spoons are very clear and easy to find.

HALLMARKS

Specialising in antique jewellery, sterling silver and Georgian furniture Monday to Friday 9am - 5.30pm Saturday 9am - 5pm, Sunday 10am - 4pm

ST IVES SHOPPING VILLAGE Shop 61,166 MONA VALE ROAD, ST IVES NSW 2075 PH: 02 9440 4400 Fax: 02 9440 1075 EMAIL:antiques@unwired.com.au 72

They are distinctive stamps on the back of the spoon. If you see a lion passant (a heraldic lion walking with one paw raised) you may have found a piece of English sterling silver.

The hallmark will also show a town mark, a date letter, and possibly a maker’s mark. If one spoon isn’t enough, you may want to collect a whole set of table silver. You can collect individual pieces to make a harlequin set or buy a complete set with matching dates and maker’s marks.

COLLECTING by era There are many variables within silver collecting. The price, and resale value, will vary depending on the age and the maker of the piece. One way to collect silver is by concentrating on a certain period. For example, you may choose to collect 18th century silver, which is becoming rare and difficult to find. Victorian and Edwardian silver are easier to find.

COLLECTING by maker Another way of collecting silver is by the maker. Over the centuries, there have been a number of silversmiths whose work far surpassed other makers. Arguably, the three most notable London silversmiths were Paul de Lamerie (1688-1755), Hester Bateman (fl.1761-1793) and Paul Storr (1771-1844).

While there are thousands of silversmiths to chose from, also look out for Nathaniel Mills and George Unite, who made mainly snuffboxes and vinaigrettes; their work is easy to find and collect.

COLLECTING by object Another way to compile your collection is by objects, for example tea or coffee ware, cruet sets, drinking vessels, or even jewellery.

The choice is entirely up to you.

Remember, with sterling silver, you are not only surrounding yourself with beautiful objects, you are also building a sound investment for the future.

SOME POINTERS when assessing a piece • Design – does the object fulfill the function it was intended for? Then consider aesthetics. Is it well proportioned? Do the decorative elements harmonise with the form?

• Workmanship – is it substantial? Does it feel right? Expertise in this area comes with experience.

• Colour/ patination antique silver in fine condition has a ‘blue/grey colour.

A relatively inexpensive piece is an 18th century table spoon for example, which will provide a good benchmark to study other pieces.

• Condition – look for repairs, if worn, does it need restoration • Maker – known maker will add to the price and value • Marks – sharp struck marks plus maker’s mark adds value Edith Elizabeth Antiques currently has a large collection of antique sterling silver, including a fine set of HMSS table silver in the ‘fiddle and shell’ pattern. We also have a pair of Adam-style sauce tureens, a pair of candlesticks, a pair of grape shears, and silver salvers ● Adam Mude EDITH ELIZABETH ANTIQUES 02 9440 4400

NORTH SHORE TO HORNSBY ANTIQUES & ART IN NEW SOUTH WALES

www.aada.org.au

Abbott’s Antiques

Member

The Established Name for Quality Antiques since 1931

12 Fine Royal Crown Derby plates with painted game scenes by D Birbeck dated 1950

French bronze classical male nude figure, c. 1890 by Barbedienne, Paris

Thomas Webb floral decorated cameo glass vase, c. 1880

Ridgway 45 piece Imari pagoda pattern stone china dinner service, c. 1830

Victorian 86 piece sterling silver King’s pattern cutlery service for 12, London 1883

Regency period mahogany sofa table with bird’s-eye maple banded edge, c. 1810

19th century walnut teapoy with a tapered and reeded pedestal, c. 1840

Victorian sterling silver and cut crystal 3 bottle decanter stand, Birmingham 1865

George IV sterling silver and cut crystal 7 bottle table cruet, Sheffield 1822

19th century cased salmon glass gilt decorated lustres, c. 1860

Royal Worcester specimen plate ‘Kenilworth Castle’ signed J. Stinton, dated 1926

George III sterling silver bright cut teapot, London 1804

Mary Edwards oil on board, titled Soul of Fiji, signed and dated ‘Suva 1936’

Max Dupain, Summer at McMahons Point, c. 1970, silver gelatin photograph

Max Dupain, Jean with Wire Mesh, 1937, silver gelatin photograph

Thea Proctor (1879-1966), Design for a fan, c. 1920, pencil and watercolour on paper

Specialising in Fine English 18th & 19th century Furniture, Sterling Silver, Porcelain, Jewellery, Sheffield Plate, 18th century Drinking and Table Glass, Bronzes, Paintings, Art Nouveau and Art Deco

14 Eastern Road, Turramurra NSW 2074 • Tel 02 9449 8889 Visit www.abbottsantiques.com.au for a further selection of current stock 73

ANTIQUES & ART IN NEW SOUTH WALES

Desk, late 19th century, made by Edwards and Roberts, England

Card table, c. 1886, stamped Gillows & Co. 4632, amboyna and ebonised with parcel gilding

A look at three significant ENGLISH FURNITURE MAKERS

F

rom about 1735, furniture styles began to change more rapidly in England with many innovations of style by designers and manufacturers of furniture.

However, it was unusual for English furniture makers to identify their work.

Normally this was done by stamping the company’s name on the furniture. English makers who identified their furniture were of the more prestigious companies. It therefore follows that stamped furniture from a recognisable maker is highly desirable. Meet three furniture makers who identified their furniture by stamping their names – and those names have variations that reflect their commercial status at different times or locations.

GILLOWS The Gillows family firm was established in Lancaster in the early 1730s. Remarkably,

almost all its order books and salesmen’s notes remain in archives to provide specific provenance and artisan details. The practice of stamping GILLOWS LANCASTER started around 1780 and continued until 1817 when the company moved to London. Gillows fitted out entire buildings in London providing wallpapers, fixtures and fittings. Between 1780 and 1830, they remained leaders in the furniture trade.

In the early Victorian period, Gillows was a leader in making ‘sub-classical’ furniture based on Regency patterns and also influenced by the designs of the architect A W Pugin. Furniture made in mid-Victorian times featured crisper curves and more inlay. In this period, pieces were stamped ‘Gillow and Co.’ and sometimes with a number following that may refer to a stock number.

A Gillow small games table, based on Regency designs and richly veneered and inlaid, was stamped ‘Gillow 7585’. The entry dated 4 May 1869 in the Gillows Orders Books records it as a Princess Table. It was repeated the next year as a Prince’s Table for the Duke of Northumberland.

Their late Victorian pieces, in an era of eclecticism and ‘Free Renaissance’ revivals, were made by Waring and Gillows (Contracts) Ltd. One such piece was a rosewood cabinet carved and inlaid with ivory and mother-ofpearl, stamped ‘Gillows, 16575’ that appeared in an 1887 edition of The Art Journal. A card table made by Gillows & Co about 1886 was of amboyna and ebonised with parcel gilding.

By 1894, Gillows had absorbed a competitor, Collinson and Lock that had also typically stamped its name on its furniture.

EDWARDS & Roberts

Gentlemen’s press, c. 1870, made by Holland and Sons, England

74

This Victorian furniture manufacturer specialised in reproductions of earlier styles.

It was possibly founded in 1845 but only first listed in the 1854 Kelly’s Post Office Directory of London. The manufacturer was described as

‘antique and modern cabinet makers and importers of ancient furniture.’

A chair in the Victoria & Albert Museum, London bears an imitation ivory label stamped EDWARDS & ROBERTS, 148-160 WARDOUR ST, 532 OXFORD ST. LONDON. It is therefore likely that is was made after 1892, as this is when the firm occupied premises at these locations.

They became one of the leading London cabinetmakers and retailers. They also were restorers of the finest antique furniture.

Edwards and Roberts specialised in marquetry, inlay and ormolu, with a desk a testimony to their excellence.

HOLLAND & Sons Holland & Sons was founded in 1803. Soon in partnership with Stephen Taprell, the firm was known as Taprell and Holland until 1835, then Taprell Holland and Sons for ten years and Holland and Sons after 1843. Its furniture bears a stencilled label of Holland and Sons. In 1852, it incorporated Thomas Dowbiggin and worked from their Mount Street premises in London.

Holland and Sons received commissions for furnishing many government buildings in London in the 19th century as well as royal commissions including Buckingham Palace and Windsor Castle.

Holland and Sons won a prize at the Great Exhibition of 1851. The Victoria and Albert Museum, London now hold one notable piece sent to the 1855 Paris Exhibition. Gottfried Semper, an exiled German architect, designed this cabinet and stand in ebony, with Wedgwood plaques and gilt mounts. Another piece in the museum is an inlaid cabinet with gilt mounts, part of a suite made in 1868.

A piece of functional furniture made with exceptional timbers is a mahogany press. It is stamped Holland & Sons and dates from the midVictorian period, c. 1870. Holland and Sons used the most modern machinery available in their workshops. They closed in 1942.

VISIT Lavin Antiques Variety and quality is our aim at Lavin Antiques, specialising in European furniture ranging from the 18th to 20th century, including a selection from the UK and Australia. Our collection includes the three pieces illustrated as well as other examples of the same high standard, including Wilkinson & Sons.

We are located at 950 Stanley Street East (corner of Longlands Street), East Brisbane ● If in Sydney, hopefully you are attending the 18–22 May 2011 Great Sydney Antiques Fair, as Lavin Antiques will be bringing fine pieces for collectors. If you would like to receive complimentary tickets, please contact

LAVIN ANTIQUES 07 3391 2300 info@lavinantiques.com.au www.lavinantiques.com.au Further reading Louise Ade Boger, The Complete Guide to Furniture Styles (New York: Charles Scribner’s Sons 1969) Ralph Fastnedge, English Furniture Styles (London: Penguin Books 1962) Helen Hayward (ed), World Furniture: An Illustrated History (Feltham: Hamlyn House 1972)

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English makers who identified their furniture were of the more prestigious companies

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DURAL ANTIQUES & ART IN NEW SOUTH WALES

Dural Antiques 857 OLD NORTHERN RD, DURAL NSW 2158 02 9651 2113 • MOBILE 0411 116 084 AWARD WINNING BUSINESS • ESTABLISHED 1988 We buy and sell • Licensed Dealers

Large 4,000 square foot showroom and restoration workshop plus plenty of off street parking

Largest range in Hills District of antique and estate jewellery – fob chains, guard chains, seals, medallions, lockets, brooches, rings and things too numerous to mention!

Victorian, Edwardian and 1920s furniture, china, crystal, glass, silver, silver plate and collectables

‘WELL WORTH THE DRIVE’ OPEN Monday, Wednesday to Saturday: 9.30 am - 5.30 pm, Sunday: 10 am - 4 pm (Closed Tuesdays)

www.duralantiques.com.au 75

CENTRAL COAST ANTIQUES & ART IN NEW SOUTH WALES

A GUIDE TO

Antiques & Collectables Dealers ON THE CENTRAL COAST 1. JAMES R & SUZANNE G ISAAC-COLE 106 Manns Road, Narara 2250 Open Monday - Friday 9-5 Saturday and Sunday by appointment 02 4324 7287 james_workshop@ bigpond.com Antiques and collectables, repairs and restoration, French polishing. Specialising in brass beds.

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Gold-plated Australian silver coins, $400

2. AVOCA BEACH ANTIQUES Now incorporating the Beecroft Treasure House Specialising in antique jewellery with the largest range on the coast and an exceptional range of silver and extensive selection of fine porcelain and rare collectables.

173 Avoca Drive, Avoca Beach Open 7 days 02 4382 1149 or 02 4381 0288 avocabeach.antiques@bigpond.com

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Pair Victorian silver and applied gold drop earrings, c. 1880, $750

COLLECTORS’ COTTAGE ANTIQUES No longer trading from the Central Coast.

Please ring 02 4389 1922 for any enquiries or requests. Otherwise please visit our shop in Newcastle: Shop 7A & 7B, Centenary Antique Centre, 29 Centenary Road, Newcastle, (100 metres north of Civic Station) also: www.antiquesplus.com.au (search for Collectors’ Cottage) to see hundreds of items for sale.

Pair of Japanese Middle Period chargers, c. 1875, $645 pair

3. TOOWOON BAY ANTIQUES Shopping Centre, Toowoon Bay Open Thursday to Monday from 10 am 02 4334 1775 graham@toowoonbayantiques.au.com www.toowoonbayantiques.au.com Fine porcelain, glass, furniture and jewellery.

Superb quality English 4 piece silverplated Afternoon Tea & Coffee Service, ex family of Sir Henry Parkes, $625 the set

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NE SHOP ONLY ONLI 2011 AFTER FEBURARY

Large and finely modelled Majolica comport supported by a cherub upon a base surrounded with sea life. Attributed to Enoch Wood, c. 1875. $1,650

ANTIQUES & ART IN NEW SOUTH WALES

GOUDA POTTERY A short but brilliant flowering

G

ouda Pottery is a generic term used for the brightly coloured and profusely decorated matte glazed early 20th century earthenware, art pottery that was originally produced in factories and workshops located in the area of South Holland known as Gouda. Because of the marked similarities in style, colour and design, whether produced in the town of Gouda, Arnhem, Schoonhoven or other pottery making towns in nearby Belgium, all ceramic wares of this type are referred to as Gouda Pottery, or in Dutch Goudsch Plateel.

During the 17th and early 18th centuries the Netherlands possessed the largest and most powerful navy and merchant fleet the world had ever seen. It enabled colonisation and trade with areas as far afield as South East Asia, Japan, the West Indies, Africa and the Caribbean. The enterprising Dutch trading company, the United East India Company or VOC, sponsored large scale commercial ventures throughout these regions, enabling the importation into the Netherlands of unique arts and crafts from all over the globe.

The striking designs and innovative colour combinations on these luxurious imported wares were forever to have a profound effect on the Dutch sense of style and aesthetics. This legacy is never more evident than in the brightly coloured and profusely decorated earthenware pottery produced in the late 19th and 20th centuries in the town of Gouda.

Gouda is situated on the banks of the river Gouwr and the river Ijssel in the south of Holland. With the two rivers acting as transport arteries, it was known as The Heart of Holland.

Its efficient road, river and canal transport system enabled the development of strong trade links with other areas, ensuring a continual and refreshing interchange not only of goods, but also artists, craftsmen, skills and ideas.

From the Middle Ages on, the Gouda area was a thriving commercial centre, trading originally in textiles, but also, by the 1700s, in a type of tin glazed earthenware, later known as Delftware, that was made to simulate imported Chinese porcelain. These wares became a leading export for the country and were successfully traded for many years.

Nevertheless, by the beginning of the 19th century, the supremacy of the Netherlands as a ceramic producing nation had greatly deteriorated and it was foreign factories such as Sèvres and

Limoges, Meissen, Wedgwood and Minton that controlled the decorative ceramics market. Dutch potteries in towns like Gouda could not compete with the technically sophisticated and welldesigned imported ceramics, and they refocused on the manufacture of pottery for domestic consumption. These functional pieces included kitchen and farm ware, building bricks and roof tiles but by far the most important item produced was the long, thin pottery pipe preferred by the multitude of Dutch smokers.

However, times were changing and by the mid-to-late 19th century, many areas in Europe, including the Netherlands, found a rapidly growing middle class emerge who chose to display their financial success with the obvious parading of material possessions, especially decorative arts. Consequentially, the trade in decorative pottery items and home furnishings became immensely profitable.

Towards the end of the 19th century, the Dutch Government, in order to stimulate the ceramics industry and encourage national production of these more lucrative pottery items, relaxed its tax laws. In addition, the Government began to strongly support art appreciation and education. This resulted in the opening of new art institutes and colleges that actively encouraged and promoted art and design. A growing number of technically trained designers and craftspeople emerged to help the resurgence of the Dutch ceramics industry.

During this period, the fashion for pipe smoking began to wane. The leading pipemakers realised that the importance of pipe manufacturing was fast diminishing. Having the necessary business expertise, clay-working knowledge and factory equipment, as well as highly skilled employees, and encouraged by the revised government attitude, they either founded new companies, or converted their old pipe manufacturing businesses to produce decorative ceramics.

PLATEELBAKKERIJ Zuid-Holland Opening in 1898, Plateelbakkerij ZuidHolland (Pottery Factory South Holland) or PZH was not only the first, but also the largest and ultimately, most important, of the new Gouda factories. Until 1915 they were the only Gouda factory to produce decorative highglazed pottery.

The earliest wares consisted of elegant, stylised decorations covered in a high gloss

finish. One of its earliest design groups was the Blue and Grey series with patterns influenced by both the Arts and Crafts and Art Nouveau movements. Production began around 1898, but by 1905 it had been phased out, and today examples are particularly hard to find.

Other early wares included Gouda Decor and Porcelain Decor. Though named Porcelain Decor, this line was produced in earthenware and featured swirling flowers, birds and butterflies painted primarily in blue, yellow, green and purple with dark lines shading the secondary pastel coloured patterns on a whitish ground.

Gouda Decor wares had hand-painted patterns a dark ground. The first designs were usually worked in Art Nouveau style abstract and freeflowing patterns. Later designs became more symmetrical with carefully outlined pattern areas. Colours frequently included black, green and purple with accents in blue, orange and golden tan.

Soon other companies (some of which had originally been pipe factories), including Regina, Goedewaagen, and Zenith, opened in Gouda and nearby towns. In an attempt to benefit from the success of the PZH factory, they too began to produce this style of highglazed, decorative pottery.

In 1909, PZH introduced a transparent matte glaze named ‘Damascus’. However, it was the matte glaze process named ‘Rhodian’, that would be PZH’s biggest success. It was developed around 1910, and apart from improving firing and enabling more uniform designs, the ‘Rhodian’ glaze process allowed a greater variety of colours with clearer and brighter tones. Hand-painted floral or abstract designs in brilliant colours of orange, gold, blue and white featured on a mottled matte green background.

This was the first matte glazed Gouda Pottery and it would form the basis for all of the Gouda Pottery that was to follow. Considered too experimental and primitive for PZH’s most sophisticated customers, it was exported mainly to Dutch colonies and non-European countries.

By 1911 however, the company realised its growing potential and designated top designers to its production.

The success generated by PZH awoke other studios to the potential of this new matte glaze.

Once more other factories including Regina, Ivora, Zenith, Eskaf, Arnhem, Distel/

Goedewaagen, Noordwijk and Schoonhoven learned to reproduce this new, appealing matte gloss formula. It proved to be so popular, that by the early 1930s high gloss wares of any kind were rarely produced by any of the Dutch factories.

With the end of World War I came an explosion in the demand for matte finish Gouda Pottery. Still leading the way, the PZH factory achieved a massive output in innovative wares by using a constantly changing array of original shapes and patterns. Then, in 1920, though the demand for the company’s matte green wares was still strong, they adopted a new-look, satin-finish, semi-matte glaze that was used over brightly coloured designs, often bordered in black.

Other factories soon adopted the new style.

These revamped designs took the public by storm and dozens more artists were hired to satisfy the demand. In the search for innovation, they began to create designs influenced by Egyptian, Islamic and North, South and Central American Indian cultures and more angular and stylised patterns inspired by the Art Deco movement. This second Gouda Pottery style was so popular that by 1923, the original green background style was made only by special order.

Matte glazed Gouda Pottery reached its peak of production towards the end of the 1920s. At its height, the number of workers ranged from a few in the small workshops to more than 400 men, women and children at PZH. Almost half of Gouda’s population of 80,000 was connected to the pottery industry in some way. But all too soon domestic woes, the Depression and another World War, would take their toll on the industry’s survival ● Narelle Ward COLLECTORS’ COTTAGE ANTIQUES 02 4389 1922 References Phyllis T. Ritvo, The World of Gouda Pottery, Font and Center Press, Weston MA, 1998.

Phyllis T. Ritvo, ‘The World of Gouda Pottery’, Journal of Antiques, November 2000.

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WEST CESSNOCK ANTIQUES & ART IN NEW SOUTH WALES

AYNSLEY CHINA - 240 years of perfection

M

ade since the late 18th century, Aynsley china is one of the best-known names in ceramics, not surprising with its 240 years of history.

Originally from little Harley Towers, near Newcastle upon Tyne, John Aynsley (I) (17521829) came to Lane End in Staffordshire

about 1770 in search of new opportunities and commenced his business, circa 1775.

In approximately 1788 he opened Aynsley & Company in Lane End. From 1802 to 1826 he operated as a designer, engraver, printer of transfers and decorator at this address. During this period he supplied transfers to other potteries and purchased earthenware in the white to which he applied his transfers. Careful examination of some transfer-printed views and romantic scenes will reveal ‘J. AYNSLEY’ in microscopic print.

They were one of the principal makers of marked lustreware.

James, the son of John Aynsley (I), went into partnership with his father, but that business failed and he left the pottery industry, dying in 1841. His son, John Aynsley (II) (1823-1907) started work at the age of nine for a local earthenware manufacturer, lighting fires underneath drying kilns for 12 hours a day and receiving two pence in pay. He later recounted, ‘I used to get up at five o’clock in the morning and go off whistling to work.’

ROYAL seal of approval

FROM lusterware to fine china

Range of wares

In 1840, he was apprenticed as a thrower at a pottery in Longton and in 1844 he joined the famous Minton factory in Stoke where he completed his apprenticeship. In 1857 he formed a partnership with Samuel Bridgwood as the new John Aynsley and Company that would focus on fine bone china.

In 1861, he commenced the Portland pottery in Longton, much of which still stands, and in the same year acquired the New Hall Works in Hanley. In 1873, he established Herbert Aynsley and Company as an earthenware producer for his eldest son, Herbert James Aynsley. John Aynsley (II) is remembered for his concern for the well-being of his workers and entrepreneurial spirit, exporting tea, breakfast and dessert wares to North America.

Aynsley small hand-painted multi-coloured porcelain items include buttons, thimbles and stickpins, known as florals. Aynsley hired floral designers to arrange porcelain flowers to ensure a realistic bouquet in the finished brooch or pin.

Aynsley China Ltd was bought from Waterford in 1987 for £17.5 million, with Waterford continuing as a distributor through its UK and key overseas markets.

Although most old Aynsley wares are in private collections, significant Aynsley wares are in a number of distinguished English museums: Allen Gallery, Alton Hampshire; Fitzwilliam Museum, Cambridge; The Potteries Museum and Art Gallery, Stoke-on-Trent; The Royal Pavilion, Art Gallery and Museums, Brighton; and the Victoria and Albert Museum, London ●

Fine domestic wares Fine breakfast services and dessert wares with fruit and flower decoration are highlights in the early references to Aynsley porcelains.

The Pottery Gazette observed in 1881 that John Aynsley and Sons had acquired an enviable reputation for richness of colour and artistic designs. Much of the wares was traditional in inspiration, with patterns after Derby, the blue and gold decoration reminiscent of 18th century Chelsea china and raised jewelling.

NOTABLE patterns

Paul Vinecombe ANTIQUES & DECORATIVES

After 27 years Now trading in Hunter Valley at Cessnock 92 Wollombi Road West Cessnock 2325 Ph: 02 4990 9212 Fax: 02 4990 9213

Mob: 0418 635 658 Web: www.paulvinecombeantiques.com Email: paul@paulvinecombeantiques.com

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Aynsley tea wares came in a variety of shapes with names such as Eugene, Florence, Twist and Diamond. In the years preceding WWI, John Aynsley and Sons was one of the largest manufacturers of china producing neatly patterned tea and breakfast wares, coffee cups and saucers, dessert services and specialities in china ranging from medium to the highest quality.

New designs in the 1920s and 1930s are characterised by dainty shapes painted as flowers such as Tulip, with butterflies as handles. By the 1950s, John Aynsley and Sons enjoyed a worldwide reputation for high-quality traditional wares.

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Aynsley tea wares came in a variety of shapes with names such as Eugene, Florence, Twist and Diamond

”

Royal connections date from when Queen Victoria gave John Aynsley (II) a royal commission, and Queen Elizabeth II and Diana Princess of Wales each selected Aynsley services as their wedding gift from the British pottery industry. Other royal links were Aynsley commemorative wares for the coronation of George VI and Elizabeth in 1937, and their 1939 royal visit to Canada.

Paul Vinecombe ANTIQUES & DECORATIVES 02 4990 9212 paulvinecombe@myway.com Further reading Frank Ashworth, Aynsley China (Buckinghamshire UK: Shire Publications 2002) Rayner W Hesse, Jewelry making through history: An encyclopedia (Santa Barbara USA: Greenwood Publishing 2007) G Bernard Hughes, Victorian Pottery & Porcelain (London: Country Life Limited 1965)

NEWCASTLE ANTIQUES & ART IN NEW SOUTH WALES

Harold Murray

TREASURE HUNTING NEWCASTLE STYLE: Mix it up – from exploring the region to discovering collecting delights – there is something for everyone

T

he Hunter region’s interest in antiques is booming and Newcastle – the sixth largest city in the country – is the ideal base for visiting the scenic Hunter region. The city is only two hours’ drive from Sydney, and has much to offer. There is enough diversity to cater to all types of holiday interests. Looking to immerse in the colour of early settlement days? Then the rejuvenated waterfront, known as the Honeysuckle Precinct, is full of historical maritime buildings and huge old warehouses that are the social hub of the city, so conducive to family enjoyment.

From this base explore Lake Macquarie in the south to Port Stephens in the north and the historic towns of Maitland and Cessnock inland. Take in the famous wine regions of the Hunter Valley in the west, or closer to the city centre, within five kilometres, dotted around the area are many small individual antique shops and five large and varied antique centres.

AT THE CENTENARY Antique Centre there is something for everyone Opening over 18 years ago, the Centenary Antique Centre is in an old, historic wool warehouse nestled in the heart of the Honeysuckle Precinct. It is the longest running antique centre in Newcastle and amongst the oldest and most successful centres in NSW. Put aside a good couple of hours, for this centre is BIG. With almost 1400 square metres of antiques and collectables, it is spacious with wide wheelchair and pramfriendly aisles. Always clean, the stock is well presented in well-lit cabinets. Manager Agnes Dando and her staff do their best to be helpful and efficient. They are frequently complimented about the appealing and inspiring displays of goods that are arranged in the foyer. Moreover, it has a reputation for affordable prices.

Our 25 dealers display a huge variety of genuine antiques and old and interesting collectables, covering a huge range of styles and eras. Many of the dealers prefer to offer an eclectic mix of items from the wild to whimsical, plastic to precious, refined to rustic, whereas others tend to specialise.

Several lady dealers particularly love their buttons, linen, lace and sewing collectables.

Robyn Greenwell’s passion is sewing items from the past – fabrics, patterns, lace, braid and trims, craft and sewing tools. She is a specialist in antique and vintage buttons, and offers a huge range and expert knowledge and advice.

Others such as Serendipity and Timeworn

Antiques specialise in vintage furniture from all styles and all periods. Patinations presents a constantly ranging array of childhood paraphernalia and toys, while Alec Anderson specialises in model cars.

Frank Piotrowicz of Gumleaf Antiques is an avid tool collector. He is happy to help customers identify old tools, give advice on correct use and restoration of tools, as well as having a wide range of tools available for sale.

Jeffrey Raberg is our clock man, offering repairs, restoration and a variety of clock styles for sale.

Old Technology offers possibly the largest range of genuine antique jewellery for sale in the Hunter region. Kimberley Wallace Wells is a gemmologist and valuer, as well as being an antique and estate jewellery specialist. His other stock includes the largest selection of original and modern Moorcroft in NSW. Lynne Blacklow of the Black Owl is particularly passionate about glass and amongst other items, offers a wide range of Scandinavian, Italian, Stuart, Webb, Whitefriars, crystal and pressed glass.

Australiana, especially pottery is well represented through the centre, notably with Anne Livingstone of The Compulsive Collector, Janice and Frank Piotrowicz of Gumleaf Antiques and Patricia Mitchell of Patinations. Together they offer a vast range to collectors of all things Oz. Narelle & Graham Ward of Collectors’ Cottage are specialists dealers in good examples of anything pre-1980, and especially keen collectors of old oriental wares. Jutta Perceval makes an annual pilgrimage to France to find interesting and affordable French antiques and vintage decorator items that are so hard to source here. It is always an exciting time when the latest container arrives!

On the other end of the collecting time line, the girls from Greyhound Rd and Shop 8 adore vintage clothing and retro. They search high and low to offer the coolest vintage collectables, records and retro clothes, shoes, handbags, belts, jewellery, scarves, hats that they can find and are particularly popular with the bargain hunting younger collectors – particularly from Sydney – who reckon the savings are worth the drive.

THE GROCERY Museum The most unique and colourful feature of the centre is the famous Grocery Museum. It is a replica of an early 1930s grocery store and is full of historical grocery memorabilia collected by the centre’s owners, the Owens family, since their initial entry into the business in 1909.

On open display all year, on every second and last Sunday of the month visitors are transported back in time by the energetic and engaging proprietor, Harold Murray. He began work in the grocery trade in 1930 and worked for the Owens family’s grocery stores for over 23 years. Harold graciously shares his knowledge of the business and his passion. This is a free event.

Now a youthful 92, Harold talks about his extensive experience in the grocery industry as though it was yesterday. He enjoys telling his stories to the curious youngsters who are fascinated by the items from way back when, while older customers who remember the friendly corner shops are happy to reminisce.

So whether an avid collector or the curious tourist, Newcastle has much to offer and the smart traveller would be wise to put aside a few days to explore the city and its treasures.

Centenary Antique Centre is open every day, 10 am until 5 pm. Closed Christmas Day, Boxing Day, New Year’s Day, Good Friday and Anzac Day ●

Narelle Ward CENTENARY ANTIQUE CENTRE 02 4926 4547 centenaryantiques@hunterlink.net.au www.centenarycentre.com.au

Open 7 Days - 10 am to 5 pm Visit our Old Grocery Store Museum

29 CENTENARY RD, NEWCASTLE 2300 100 metres from Civic Railway Station Phone: 02 4926 4547 centenaryantiques@hunterlink.net.au www.centenarycentre.com.au 79

HAMILTON ANTIQUES & ART IN NEW SOUTH WALES

2. Hunter Valley chest, c. 1850, made of cedar

1. Hunter Valley chest, c. 1880, made of cedar and pine

3. Cedar chest, c. 1845, place of manufacture uncertain, either Tasmania or Sydney

Chiffonier, c. 1880 made of cedar and pine

HUNTER VALLEY CEDAR – A rare find

R

are Find Country Antiques specialises in Australian cedar and in particular chests of drawers. One of the most common questions we hear is ‘Why are those two pieces different in price when they both look much the same?’ Let’s explore the differences between similar pieces of furniture to discover clues to various degrees of quality – because price mirrors quality.

CHESTS of drawers We will start by looking at three similar chests of drawers. Each has the same six-drawer arrangement; all are made of cedar; each has a revived original finish. However, they are vastly different in quality and therefore, price.

The first chest is of Hunter Valley origin, dated to about 1880. It has cedar front sides and top, with the rest of the timber being pine.

Having secondary timber as pine is not unusual, however earlier and better chests are usually fully cedar. The selection of timber in

the drawer fronts is good, although not highly figured or matching. These sorts of chests typically retail for $2,000 to $3,000.

The second chest is also of Hunter Valley origin but is earlier, approximately 1850, and is totally made from cedar. The timber shows a high degree of figure and the chest has dust covers underneath each drawer. The feet are larger and the chest is cantilevered, with half columns rising to underneath the top drawers.

Cross banding dominates this piece: the top, the blades between each drawer and the moulding to the base are all cross-banded.

All of these features indicate that the maker went to an enormous amount of effort and trouble to produce this quality item. Chests of this quality typically sell from $4,000 up to $6,000 – which are still relatively low prices, considering the amount of work and fine materials in such chests.

The third chest is again a notch above the second, and although found in the Hunter it

Rare Find Country Antiques A selection of our quality and rare Australian chests of drawers

The Hunter’s largest selection of genuine Australian antique cedar furniture, most of our stock is pictured on the website: www.rarefindantiques.com.au Opening hours: Saturdays 10 am - 4 pm or by appointment.

We are there most of the time as we live on-site.

Secretaire chest, c. 1869, labelled Lawson and Carter in three places

38 Denison St, Hamilton Ph 02 4969 3801 Mobile 0418 684 724 80

was probably Tasmanian or Sydney made.

This chest dates to about 1845. It has a panelled back, tight ring turned feet, dust covers under each drawer and lovely figured and matching timber in each drawer and sides. The top, sides, blades and base are all cross-banded. The dovetailed joints are fine and indicate quality cabinetwork – you can feel the quality in this sort of chest, and understand prices commencing from $6,000.

CHIFFONIERS Once again, age and quality of manufacture dictate prices for chiffoniers with good original or minimally revived finishes. The first chiffonier dates to circa 1880. Its untouched original finish has applied carving to the back. It is well made but the timber is fairly plain and pine has been used as a secondary timber.

The second chiffonier is earlier, about 1870, and is made entirely of cedar. Importantly, the maker’s name is on the back, J. Osborne Singleton. The top is cross-banded and the backboard is carved. The timber is more highly figured and the shield doors are more intricate. The maker’s stamp and the higher quality together place this chiffonier as slightly better than the first.

The third chiffonier was found in Maitland.

The lovely original finish highlights the exceptionally choice cuts of cedar used for the backboard, top, drawer and doors. The carving in the backboard is fine and restrained, as are the lovely turned half columns on the base.

The shelf and top are cross-banded and the raised shields are book matched. This dates to approximately 1845 and is a superior piece.

The fourth chiffonier is the same standard as the third, but its superbly carved backboard adds to its value. The choice of timber in the base is inferior to the third, but it compensates with its full columns rather than half columns, and the lavish cross banding under the doors, the top and shelf. Although found in a Maitland house it was probably made in Sydney.

WHICH is best?

Many factors determine which piece of furniture is the best. How much time and effort went into making a piece of furniture?

What are its age, the class of the handwork and its originality? Look at the grade of the timber, see if it cross-banded or cock beaded, and gauge the excellence of any carving.

Importantly, does it have provenance or a maker’s label? The price to pay depends on all these things and of course, on personal taste – there are no rules for that!

The Hunter was one of the richest sources of cedar for 19th century furniture makers and over our decades of trading we have recorded many rare finds.

Good pieces are becoming increasingly hard to find yet every now and again one turns up – hopefully in the back of our truck on its way to a grateful customer. Our aim is to find unusual and quality furniture suitable for all Australian homes, with an emphasis on

Cedar chiffonier made by J. Osborne Singleton, c. 1870

Cedar chiffonier, c. 1845 found in Maitland

original Australian furniture from 1840 to 1920. We also undertake restoration and conservation work.

We are usually on site so there are no set shop hours. Arrange an inspection at a time to suit and enjoy discovering your own rare finds in our warehouse in Hamilton ● M Lee RARE FIND COUNTRY ANTIQUES 02 4969 3801 / 0418 684 724 rarefind@bigpond.net.au www.rarefindantiques.com.au

Cedar 19th century chiffonier made in Sydney

NEWCASTLE / HUNTER VALLEY ANTIQUES & ART IN NEW SOUTH WALES

NEWCASTLE & HUNTER VALLEY ANTIQUES TRAIL featuring bed & breakfast accommodation and art galleries 1

The Centenary Antique Centre

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UNIQUE ANTIQUE ECLECTIC 29 Centenary Road, Newcastle Ph: 02 4926 4547 OPEN 7 days, 10 am – 5 pm 25 shops under the one roof: Newcastle’s largest antique centre with a great coffee shop and the Old Grocery Store Museum

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82 Elder Street, Lambton (opposite Lambton Park) Ph: 02 4957 8233 OPEN Monday to Friday 10 am – 4 pm Saturday 9.30 am – 3.30 pm Closed Sunday Affordable antiques – interesting china, jewellery, lamps and clocks. A range of items to suit the discerning buyer

Antiques & Collectables on Darby

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1/158 Darby Street, Newcastle Ph: 02 4926 3003 OPEN 7 days, 10 am – 5 pm 15 dealers: collectables, china, glass, jewellery, furniture and smalls

94 Maitland Road Islington Ph: 02 4961 0075 OPEN Friday to Monday 10 am – 5 pm A small shop with a surprisingly varied selection of antiques, eclectic, French and continental collectables and furniture

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Brunker Road Antiques

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Coliseum Antiques

118 Maitland Road, Mayfield Ph: 02 4967 2088 OPEN 7 days 10 am – 5 pm A large centre within a heritage building.

Buying and selling: furniture and collectables, huge selection. Coffee shop and art sales Georgian – Victorian – Retro

13 Cambridge

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7/54 Clyde St, Hamilton North Ph: 02 4927 6611 OPEN Monday – Saturday 10 am – 4 pm Sunday 10 am – 3 pm Selection of collectables, furniture, and antiques 106 Maitland Road, Islington Ph: 0411 683 496 OPEN Friday, Saturday and Sunday 11 am – 5 pm Specialising in contemporary art, with jewellery, accessories, furniture and more

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15

Ambleside Antiques Cottage

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Rare Find Country Antiques

38 Denison St Hamilton Ph: 02 4969 3801, Mobile: 0418 684 724 Open by appointment only Specialists in Australian antiques, specialising in cedar

Islington Antiques

105–111 Maitland Road, Islington, Newcastle Ph: 02 4961 0533 OPEN Friday, Saturday, Sunday & Monday 10 am – 5 pm Trading in Newcastle for 19 years.

We stock a large and varied range of quality furniture, china and collectables in our 2000 sq ft showroom

Paul Vinecombe

Antiques & Decoratives 92 Wollombi Rd, West Cessnock Ph: 02 4990 9212, Mobile: 0418 635 658 OPEN Tuesday – Sunday 10 am – 5 pm Closed Monday After 28 years now trading in Hunter Valley at Cessnock

108 Maitland Road, Islington Ph: 02 4962 1532 OPEN Thursday to Monday 10 am – 5 pm Attractive decorator pieces to enhance your home or that wanted item to add to your collection. Large affordable range: linen, tools, glass, china, furniture, jewellery, sewing items. Ample free street parking nearby. Air-conditioned.

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Steptoes 105 Lang Street, Kurri Kurri Ph: 02 4936 1511 OPEN Monday – Friday 9 am – 5 pm Saturday 9 am – 3 pm Sunday 10.30 am – 3 pm The largest antique and second-hand furniture warehouse in the Hunter.

Furniture is our forte

The Tyler Gallery

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Cottage

21 Paterson Road, Bolwarra Ph: 02 4930 1824 OPEN Fri – Mon 10 am – 5 pm Antiques, cottage garden nursery and water plants, recycled furniture, pottery and paintings by local artists

Lampworks Antique Centre

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The Exchange Galleries

327 High Street, Maitland Ph: 02 4934 3934 OPEN Thursday – Sunday 10 am – 4 pm Antiques, art and fine handcrafted furniture.

Visit this transformed Art Deco pub and find a treasure. Furniture, linens and laces, 20s – 50s jewellery, china and collectables.

Art, paintings and prints, old and new. Fine furniture handcrafted from local timbers

35 Brunker Road, Broadmeadow Mob: 0437 417 512 OPEN Friday – Sunday 10 am – 5 pm The place to come when you want something different

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Heartland Antiques & Arts

321 High Street, Maitland Ph: 02 4933 9923 OPEN Six days 10 am – 4 pm Closed Tuesday Most unusual mix of decorator pieces and traditional antique furniture along with old pine and period styles, china, chintz, pottery, paintings, posters and prints. All things suitable for furnishing a country house, a farmhouse, a weekender or the odd ranch with both flair and decorum

Bowerbird Antiques & Collectables

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Memory Lane Antiques & Decor

17 Antique Toy Collectables

TO ADVERTISE ON THIS PAGE PLEASE PHONE 02 9389 2919

* In the interests of better service for our customers, if you enjoy the convenience of this map, please tell the shops you visit. Thank you.

655 Hunter St Newcastle West 2302 Ph: John 0412 296 420 OPEN Mon – Fri by appointment (readily available) Sat 10 am – 4 pm Sun 11 am – 3 pm 100's of vintage toys, dolls, teddies, trains (Hornby O) plus pedal cars and doll prams. Largest range in Australia

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ANTIQUES & ART IN NEW SOUTH WALES

AN EXCITING MOVE FOR ANTIQUES & COLLECTABLES ON DARBY STREET

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elcome to the new home of Antiques & Collectables on Darby Street. Gaye and Chris Dawson moved this iconic antiques and collectables business from Beaumont Street Hamilton to Darby Street in Cooks Hill, which is a popular shopping and restaurant area.

This established business is well-known as a specialist store for antiques and collectables.

The fine stock of furniture is complimented with a wide range of ceramics, porcelain, figurines and glass. Explore quality items of silverware and silver-plate with interesting pieces cast from bronze, brass and other metals. Come to us for one of our exquisite Victorian lamps that will add mood lighting in your home.

treasures are prized and collected around the world, hand created from sterling silver and gemstones, each always one of a kind. We carry Déjà Vu Design jewellery for original contemporary pieces. Buy for yourself or as gift for a special person.

VINTAGE plus Just arrived is a fabulous collection of vintage wall posters. Add an interesting dimension to your décor with one of our heritage tin signs and create a talking point.

From wall art to fashion is our large stock of vintage clothing and accessories including fabulous cocktail hats and vintage clothing designs by Jan Gee.

MORE for our clients JEWELLERY We have a large range of gold, silver, vintage and costume jewellery. We also stock new and designer jewellery. View the creations of Renée Blackwell who combines ethnic beads and gemstones with exciting contemporary designs. Her rare and exotic

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We will continue to open seven days from 10 am to 5 pm. The new location has the benefit of more parking at the rear of the building for the convenience of patrons. This strategic relocation also means that as we are now in the arts precinct in Newcastle, after visiting us, check out this thriving area of

boutique shops and restaurants, conveniently situated just five minutes from Newcastle Harbour and Foreshore.

For tourists and locals, enjoy this diverse, friendly and very relaxed cosmopolitan destination with over 20 cafes and outdoor dining spots. After visiting Antiques & Collectables on Darby Street, which is an ideal stop if you are looking for that special gift, browse the art galleries, photography studios and home ware shops.

EVENTS to diarise Make sure you visit us next June for the Darby Street Coffee Festival and in October for the Darby Street Fair.

We would like to thank all our patrons from Beaumont Street and invite you see the fresh stock in our new location, 158 Darby Street Cooks Hill, just up from the Delaney Hotel.

ANTIQUES & COLLECTABLES ON DARBY STREET 02 4926 3003

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This established business is well-known as a specialist store for antiques and collectables. The fine stock of furniture is complimented with a wide range of ceramics, porcelain, figurines and glass.

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NEWCASTLE ANTIQUES & ART IN NEW SOUTH WALES

Antiques Collectables on DARBY

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1/158 DARBY STREET NEWCASTLE Formerly of Beaumont Street, Hamilton

PHONE 02 4926 3003 CALL IN AND BROWSE OUR NEW SHOP WHERE WE WILL CONTINUE TO STOCK AN AMAZING COLLECTION OF ANTIQUE AND VINTAGE CLOTHING, FURNITURE, JEWELLERY, CHINA, BOOKS, TOYS AND CURIO ITEMS, ALL UNDER ONE ROOF OPEN 7 DAYS

PLENTY OF PARKING AT REAR

A BIG THANK YOU TO ALL OUR LOYAL CUSTOMERS WE HOPE TO SEE YOU IN OUR NEW LOCATION

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NEWCASTLE ANTIQUES & ART IN NEW SOUTH WALES

ISLINGTON ANTIQUES in Newcastle since 1990

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elcome to over 2000 square feet of antiques and collectables and furniture from Victorian through to retro.

At Islington Antiques we have a special emphasis on quality Art Deco furniture at affordable prices, most lovingly restored by our skilled craftsman. If you want a special piece restored, we will do it in our own workshop.

Stripping, polishing, lock repairs and mirror resilvering are a few of the services we offer.

We restore old brass beds, including converting a double to a queen size bed.

Royal Doulton is one of our specialties, in a showroom housing an enormous range of quality china and porcelain. We have 1500 Royal Doulton pieces in stock including dinner service pieces, Series Ware, Bunnykins and Flambé. We also sell and stock a selected range of new Royal Doulton.

In our mirror showroom is a selection of modern, traditional and Art Deco mirrors displayed in all their different shapes and sizes. If you are renovating, redecorating or building we have a mirror for every room in your home – from lounge and dining to bedrooms and bathrooms.

Decorator pieces are another enhancement to find in our store. Hand-selected from importers from all around Australia, you can decide on lamps, figurines, paintings, prints and new furniture, any and all of which will complement both traditional and modern decors.

Our second store – Our Style Furniture and Decor opened six years ago and is dedicated to handcrafted solid timber furniture which we import directly. The stock includes traditional English styles in mahogany and cedar, French provincial dining suites, Louis-style chairs and sofas in fruitwoods and cream-painted

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OPEN 4 DAYS 10 am - 5 pm

Come and browse through our 2000 sq ft showroom where you will find a dazzling range of furniture, china and collectables. We stock an extensive range from Victorian through to retro, including some stunning pieces from the art deco period. Recent additions to our collection include an inspiring range of decorator items, antique and art deco style wall mirrors that complement modern or traditional decors.

When travelling to Newcastle and the Hunter Valley please pay us a visit, you will be glad you did.

• TRADING FOR 20 YEARS • FREIGHT CAN BE ARRANGED AUSTRALIA WIDE • • LARGE RANGE OF ROYAL DOULTON CHINA •

105-111 MAITLAND ROAD, ISLINGTON, NEWCASTLE Ph: 02 4961 0533 • Rod: 0414 610 533 • Tim: 0415 495 967 Open Friday, Saturday, Sunday, Monday 10 am - 5 pm • 3 km from the City centre

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Street with partners that she bought out. Staying in central Sydney she relocated several times over the years including Castlereagh Street, Pitt Street and Martin Place. During the Depression she had premises in Market Street, staying there until retirement in 1946.

From 1922, her niece Dorothy also relocated to Sydney where she completed schooling while living with Wager. In 1928, Dorothy, who had watched Wager working in Fiji, joined the firm as a jewellery apprentice. Rhoda was Dorothy’s mentor, teacher and aunt all in one.

Others working with Wager were Violet Dupre, Victoria Blashke and Dora Sweetapple.

Walter Clapham, her chief assistant, worked with Rhoda from 1919 until her retirement in 1946.

Wager married Percival (Percy) George Ashton, son of Julian Ashton the artist. He was later general manager of Sydney Ferries.

Several years after their retirement, they moved to Queensland in 1951 where Rhoda died in 1953.

One aspect that I find absolutely amazing about the work of Rhoda Wager is her meticulous detail. She made every tiny little piece of gum leaf and foliage decoration individually by hand, and then each tiny piece was soldered on individually.

She mentioned that opals and yellow sapphires were her favourite stones because of their light reflection with the sun. She

furniture are prominent features.

Newcastle, the gateway to the Hunter Valley, is a leisurely two-hour drive from Sydney. Please visit on your next trip. We can arrange freight Australia-wide ● ISLINGTON ANTIQUES 02 4961 0533

used Australian and imported stones. Some of her favourites were moonstones, turquoise, lapis lazuli, black onyx, cornelian, coral and chalcedony.

Her maker’s mark is on jewellery such as brooches and pins. She soldered a little plate on the reverse with the word (in capitals) WAGER. Rhoda Wager never signed her rings but they do have her signature double band.

For pieces that look like Rhoda’s work but do not have the WAGER nameplate, then the chances are her niece Dorothy (Wager) Judge made them. Some of Dorothy’s early works were displayed as designed by Rhoda Wager and made by Dorothy Wager.

Rhoda Wager’s contribution to the Australian jewellery industry was immense; her hand wrought designs of the highest quality workmanship in the arts and crafts tradition. Examples of her works can be viewed at the National Gallery of Australia in Canberra.

Kellies Antiques want to share its small collection of Wager and Wager-attributed jewellery. If you own a Wager piece and would like more information about it, please drop by to Kellies Antiques on the Gallery Level of the Brisbane Arcade. All collectors are invited to see firsthand works

by Rhoda Wager, a truly amazing jeweller and businessperson ● Moira Drexler KELLIES ANTIQUES 07 3221 4825 www.kellies-antiques.com.au Further reading Kenneth Caville, Graham Cocks & Jack Grace, Australian Jewellers, Gold & Silversmiths – Makers & Marks (Roseville: C.G.C. Gold, 1992) Anne Schofield, Kevin Fahy, Australian Jewellery 19th and early 20th Century (Balmain: David Ell Press 1990)

MAITLAND ANTIQUES & ART IN NEW SOUTH WALES

FOR SALE

This wonderful restored heritage building known as the Queen Victoria Building of Maitland in the heart of the Hunter Valley is FOR SALE with or without the Antique business. The large, ground floor houses mainly antique furniture and the first floor is an art gallery. The large two-storey, three bed apartment above has been fully restored and there is back access with a secure yard for parking and loading.

Please phone 0414 012 608 or A/H 02 4930 6984 for further information or inspections.

Country prices and big discounts All our stock sourced locally in the country Why pay big city prices – we need to clear space for stock held in storage

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ANTIQUES & ART IN NEW SOUTH WALES

Lake Macquarie Art Gallery. Image courtesy City of Lake Macquarie

THE SCENIC HUNTER VALLEY perfect for antique hunters

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rom small shops specialising in music collectables or toys to the larger centres, the Hunter Valley caters for all tastes. You will find everything from buttons and linen and stunning Art Deco pieces to exquisite Georgian furniture, tools and old farm rustics to delightfully kitsch 50s and 60s home wares and charming country pine furniture. Just a two-hour drive north of Sydney, you could be enjoying the many delights of the Hunter Valley this weekend.

NEWCASTLE Founded in 1804 as a penal colony, Newcastle is a city rich in history. Discover Newcastle’s convict past and the birthplace of Australian industry; visit Victorian mansions and villas; marvel at the grand cathedral; or learn about the area’s colourful maritime history and how Fort Scratchley was built to protect the city from possible Russian invasion.

Newcastle Tourism’s visitor information centre on Hunter Street will supply you with details on heritage walks through the city, art galleries and museums, just a few of the delights Newcastle has to offer.

Of course, another delight is hunting through Newcastle’s many antique shops and centres. A fabulous city to explore, stay awhile and enjoy the comfort and history that Newcastle’s bed and breakfast homes can offer you.

Australia’s sixth largest city and the capital of the Hunter region, Newcastle has much to offer the visitor here on a short break or an extended stay. Newcastle is a beachside city boasting a spectacular coastline with some of Australia’s best surfing beaches. Newcastle has a large working harbour, its entrance guarded by Nobby’s breakwater and lighthouse, probably the most famous Newcastle icon.

THE MAITLAND Region Maitland is a lovely heritage city in the heart of the Hunter Valley, a short drive from the famous Hunter Valley vineyards and acclaimed wilderness areas. Just minutes from Maitland you will discover the most delightful villages and towns.

East Maitland: The original city site, this is an architecturally heritage-rich town with many beautiful buildings to appreciate including churches, the old Maitland Gaol and great antique hunting opportunities.

Rutherford: A few minutes on the other side of Maitland is Rutherford, home to the historic Annanbah House, where the Australian movie

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15 Amore (2000) was filmed, with still more antique hunting to enjoy.

Lorn: Located just over the bridge from Maitland is Lorn. Fine examples of Federation houses, together with wonderfully preserved late Victorian homes set in magnificent gardens, make this place a true delight. Enjoy the Heritage Walk or just indulge in more antique hunting.

Bolwarra: Just a few minutes along the road is Bolwarra with even more charming historic homes and gardens and even more antique hunting. This lovely town sits on the edge of some of the most beautiful, gentle farmland in the region.

DUNGOG With the first European settlement of the township occurring in the 1820s and 1830s, historic Dungog has much to offer visitors.

There are quality antiques to discover in Dowling Street and a B&B set in magical rural surrounds in which to soak up the country atmosphere.

The Visitor Information Centre on the corner of Brown and Dowling Streets (02 4992 2212) can supply you with maps and details on the many historic buildings in this beautiful township.

Dungog is the perfect base for exploring the nearby Barrington Tops National Park.

This unspoiled World Heritage listed area offers so much to experience, from cascading rivers and primeval wilderness to rare and endangered species of plants and animals.

The many walking trails in the park cater to all, ranging from 20 minutes to the 22 km Link Trail Walk ● NEWCASTLE AND HUNTER VALLEY ANTIQUES TRAIL 02 4974 2999 www.newcastletourism.com

KURRAJONG ANTIQUES & ART IN NEW SOUTH WALES

KURRAJONG ANTIQUE CENTRE spanning 740 sq metres (8,000 sq ft)

Antiques and Collectables LOTS OF NEW STOCK Come up and visit our centre now with an increase to over 50 fully stocked display cabinets with china, glass, silver, silver plate, jewellery, crystal, porcelain and bric-à-brac.

We have a large range of original art (oils, watercolours, etchings and lithographs), brass, as well as Victorian and Edwardian furniture (cedar, mahogany, pine and oak).

All in a lovely old Art Deco Cinema/Theatre

UP TO 30% OFF ON VARIOUS CABINETS

101 OLD BELLS LINE OF ROAD, KURRAJONG • PHONE 02 4573 1683 OPEN 7 DAYS 10 am - 5 pm

A WORKING JEWELLER: In the workshop of Troy O’Brien

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ith a flash of light Troy O’Brien repairs a tennis bracelet link without removing the stones or running the risk of solder flowing into the hinge and destroying its mobility. Proprietor of Troy O’Brien Fine Jewellery in Sydney’s Neutral Bay, he undertakes repairs to all manner of jewellery. An expert in fine restorative work, Troy can repair an antique enamelled pin without damaging the enamel or leaving visible signs of the restoration

work. Repairs to gemstone claws are achieved without removing the stones as would be traditionally required.

STATE of the art techniques The one tool that allows Troy to do each of these jobs so expertly is a laser welder. This is state of the art technology not found in most jewellery workshops and manufacturing facilities. Troy’s investment in this machine allows him to apply a sharply focused beam of light that produces very high heat. Lasers

provide jewellers with the ability to accurately direct heat to a small area. This allows them to routinely accomplish tasks that would once have been either impossible or too time consuming to be worthwhile.

‘It is like performing microscopic surgery on jewellery,’ says Troy. ‘We can work very close to heat sensitive stones without damaging them. Because you’re working under a microscope, and because you’re able to adjust the laser beam from two-tenths of a millimetre up to two millimetres in diameter, you can keep complete control of where you are firing the laser. We can work as close as half a millimetre away from heat sensitive stones.’

Repairs that once required multiple steps can now be completed in a single step. Before the introduction of the laser it was necessary to disassemble a piece. This involved unsetting stones, completing the repair, and then re-setting the stones. Today, for example, natural emerald cluster rings can be repaired safely and quickly, as opposed to the hours it can take to remove and re-set the stones, plus the associated risk of damage, explains Troy.

REPAIRING antique jewellery The laser’s concentrated heat also facilitates delicate repairs without risking further damage to fragile antique jewellery. ‘You can repair missing bridgework in antique filigree pieces without solder,’ says Troy. ‘With a blowtorch, you just can’t do a nice job.’

The use of the laser welder can make a tremendous difference in the value of a piece of

antique jewellery. ‘Once you remove the stones from a piece of jewellery, you ruin the integrity of that piece,’ comments Troy. ‘No matter how good you are, you’re never going to get it back together as it was before you started.

With the laser welder, you keep the integrity of the piece by not removing heat sensitive stones, and the patina, the look that an old piece of jewellery has is not destroyed.

That patina tells a story. When trying to repair or restore a piece using a conventional torch, the patina is lost. The piece of jewellery gets oxidised, the colours change, and you need to polish the piece. This means a piece that is 200 years old now looks like new.’

WORKING on contemporary designs Not only can lasers help maintain the look of antique jewellery in need of repair, but also that of newer designs. The laser is ideal for repairing mesh bracelets and fine chains. ‘A piece may have wire poking up and catching.

With the laser you just push it back and zap it easily. You don’t lose the intricacy of the design, which you would if you had solder flowing through, freezing the links. Many other repairs are just so much cleaner and neater,’ Troy says.

Troy has found that he can repair watch cases and bands. It is especially effective with stainless bands. As he points out, ‘In the past, when we had links that separated, we had to call the manufacturer and order a whole new bracelet. Now we are able to weld components like that back together.’ ● For advice on the repair and care of your valuable jewellery Troy can be contacted at:

TROY O’BRIEN FINE JEWELLERY 02 9908 3130 tojewellery@bigpond.com.au

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ANTIQUES & ART IN NEW SOUTH WALES

The Junkyard

Kurrajong Antique Centre

WINDSOR & THE HAWKESBURY Antiques & Collectables Trail

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indsor and the Hawkesbury is restablishing itself as a great destination for antiques, collectables and old wares. Windsor is a comfortable drive north west of Sydney in the picturesque Hawkesbury Valley. It is a popular short break, weekender and day trippers location. It is also a popular stopover point for city folk heading to the Blue Mountains, Hunter Valley, Central West as well as the North and South Coasts.

Windsor boasts some magnificent historic buildings, its own paddle wheeler and horse drawn restaurant with the region being home to great national parks and the picturesque

Hawkesbury River. Windsor and the Hawkesbury is also home to 19 unique antiques, collectables and old wares shops within a short drive of each other.

On Sundays, you can enjoy the Windsor Craft Market in the mall from 9 am – 4 pm. An overnight stay at one of Windsor’s boutique B&Bs ensures you miss nothing and allows a leisurely pace for browsing.

If visiting on a Saturday you must fit in a visit between 10 am and 2 pm to Empire Beds, which is about 3 km from Kent’s. Phil and Peter Jurd’s workshop is good fun for blokes and fascinating for iron and brass bed enthusiasts.

Phil has been in beds for over 25 years and this is Sydney’s one-stop brass bed shop for made to order, restoration and extensions from double to queen.

Walking down George Street to New Street you will see Maureen’s delightful dusky pink rendered store, Thompson’s Country Collectables. Maureen has an elegant range of antiques and collectables from 1750 to 1950, but specialises in Victorian furniture, silver, jewellery, china and glass.

Around the corner from Maureen’s is Windsor Restoration Supplies. David has arguably the Hawkesbury’s most comprehensive

range of supplies for the restorer including brass and period lighting, cabinet fittings and handles, traditional timber finishes and period home restoration supplies. They also have an elegant range of outdoor furniture.

Jump in the car and head out to The Junkyard at Londonderry. Sue and Gary have five acres of recycled farmyard and building materials, bric-à-brac from antiques to op shop stored in a variety of sheds, old bus and train carcases. The astute collector can find real bargains here – its nickname is ‘the five acre garage sale’ and you should allow some serious scrounging time here. One the boys will love for sure.

John and Anne Koster, of Kostercraft, further on in North Richmond can help you out when you have found that special piece, but it needs some TLC. They specialise in preservation and restoration of antique and modern furniture and art. They can also repair and restore distressed ceramics.

Further along the trail, Kurrajong Antiques Centre has a very large range of antiques and collectables. Brian has several large rooms, an upstairs and a downstairs filled with English china, glassware, art, furniture, toys – there’s probably very little he hasn’t got. Brian’s is the kind of large rambling antiques emporium you remember from the old days and has a wonderful yesteryear feel.

We all look forward to seeing you on our trail one day soon ●

Windsor Restoration Supplies

Maureen Partridge, Thompson’s Country Collectables

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John Koster, Kostercraft

Peter and Phil Jurd, Empire Beds

WINDSOR & THE HAWESBURY ANTIQUES & ART IN NEW SOUTH WALES

WINDSOR & THE HAWKESBURY antiques & collectables trail 1

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To advertise on this page please phone

02 9389 2919 Email: info@worldaa.com

3. Windsor Restoration Supplies, Windsor Proprietor: Dave Crawshaw Phone: 02 4577 4853 Opening Days & Times: Mon to Fri 9 am to 4.30 pm Sat 10 am to 2 pm Public Holidays: Closed Address: 268 George Street, Windsor

1. Empire Beds, Wilberforce Proprietors: Phil Jurd & Peter Jurd Phone: 02 4575 1223 Website: www.empirebeds.com.au Email: jurdp1@optusnet.com.au Opening Days & Times: Mon to Fri 9 am to 5 pm Sat 10 am to 2 pm Public Holidays: Closed Address: 2/11 Ti-Tree Place, Wilberforce

2. Thompson’s Country Collectables, Windsor

4. The Junkyard, Londonderry Proprietors: Gary & Sue Evans Phone: 02 4572 5211 Opening Days & Times: 7 days 10 am to 4 pm (weather permitting) Public Holidays: Closed Address: 11 Bennett Road, Londonderry (Just a 10 minute drive from the centre of Windsor)

5. Kostercraft, North Richmond Proprietors: John and Anne Koster Phone: 02 4571 1320 Mobile: 0412 571132 Email: kostercraft@hotmail.com Website: www.kostercraft.com.au Opening Days & Times: Mon to Fri 9 am to 6 pm Sat, Sun: Available for enquiries and drop offs Public Holidays: Available for enquiries and drop offs Address: 27 Elizabeth Street, North Richmond

6. Kurrajong Antique Centre, Kurrajong Proprietor: Brian Briggs Phone: 02 4573 1683 Opening Days & Times: 7 days 10 am to 5 pm Public Holidays: 10 am to 5 pm Address: 101 Old Bells Line of Road, Kurrajong

Proprietor: Maureen Partridge Phone: 02 4577 2381 Opening Days & Times: 7 days 10 am to 5 pm Public Holidays: 10 am to 5 pm Address: 11 New Street, Windsor

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BLUE MOUNTAINS ANTIQUES & ART IN NEW SOUTH WALES

The world’s largest private teapot collection ON DISPLAY AT BYGONE BEAUTYS

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ygone Beautys, often described as an Aladdin’s cave due to the sheer volume of collectable and colourful items on display, is a unique shopping experience. This emporium is overflowing with antiques, jewellery – both new and estate – collectables, gifts, furniture, lamps, an entertaining array of gift cards, soft furnishings and much more.

Bygone Beautys Emporium is also home to the world’s largest private teapot collection and is one of the most popular attractions in the Blue Mountains. Located one block east of the Leura shopping centre, the antique

centre is home to the collection.

Thirty-two years ago Ronald Hooper started collecting teapots and in 1992 joined with Maurice Cooper to establish Bygone Beautys.

Cooper, affectionately referred to as the ‘teapot man,’ brought to the partnership his passion for teapots and so between them they have built a significant and important display.

There are examples dating from 1680, 1700s, 1800s to contemporary miniature collectables. Among the special pieces is a teapot commissioned by the Emperor of Japan in 1900. Another fine example is a piece from

Josiah Wedgwood’s first creamware range made in 1792. A mint condition Britannia metal tea service on display is a rare find. Tea ware made from this metal proved not so practical as the plating did not respond well to the constantly changing temperature.

On show is the first teapot that started the collection more than 30 years ago. Much care and thought has gone into the displays and visitors can explore the history of the various styles and learn about the origins of tea taking. For example, a predecessor of the teapot is the c. 4000 BCE wine jug from China and which can fetch in excess of $200,000 at auction. A more recent example is the 300-year-old cast iron Chinese teapot.

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Bygone Beautys Antiques

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‘Treasured Teapot Collection’’

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s seen on Getaway, Sydney Weekender, and in ABC Collectors Show

20~22 Grose Street, Leura Phone 02 4784 3117 Fax 02 4784 3078 info@bygonebeautys.com.au

www.bygonebeautys.com.au Open 7 days ~ 10 am ~ 5:30 pm Bus groups are welcome by arrangement, and you can organise a ‘Teapot Talk’ by contacting Bygone Beautys direct Winner of Regional Tourism Business of the Year 2009 90

Much care and thought has gone into the displays and visitors can explore the history of the various styles and learn about the origins of tea taking

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HIGH TEA experience Of course, you can buy a unique teapot or sample fresh, fine-tipped tea served in the tearoom, which offers silver service – a highly recommended experience. The waiter, wearing a top hat and tails, serves tea in a shimmering silver teapot with finely rolled sandwiches as done by the Ritz Hotel in London, freshly baked scones, home-made jam and whipped cream and a range of delicate pastries served on fine bone china. All this to the refrains of ‘Land of Hope and Glory’ combines to make an unforgettable experience – bring your camera.

High Tea is served daily and bookings are recommended.

The Tearoom provides a perfect backdrop to the teapot collection where light gourmet lunches, soup, sandwiches, cakes, hot and cold refreshments are served.

For those memorable mountain spring, summer and autumn days, enjoy the ambience of outdoor dining, soaking up the Federation past among the magnificent rhododendrons and roses ● BYGONE BEAUTYS ANTIQUES 02 4784 3117 info@bygonebeautys.com.au www.bygonebeautys.com.au

BLUE MOUNTAINS ANTIQUES & ART IN NEW SOUTH WALES

Bygone Beautys COTTAGES RETREATS in the Blue Mountains

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ocated in the beautiful Blue Mountains west of Sydney, Bygone Beautys Cottages offer a range of self-contained cottages at Wentworth Falls and Bullaburra. Each is a perfect destination and base for a romantic weekend in the Blue Mountains or a family or group planning an active mountain holiday.

Enjoy the moderate summer temperatures with a high of 22° C, 800 metres above the hot plains and sweltering suburbs. The novelty of winter temperatures that average highs of 9° C down to just above freezing makes burning log fires a welcome entertainment and comfort, as well as keeping children busy carrying in logs from the ample supply.

Browse the largest private emporium of antiques and collectables in the Blue Mountains at Bygone Beautys in Leura, just a short walk from the train station. Appealing to collectors and those who appreciate history, here you will find jewellery, furniture, fine china and dinner services, dolls and toys and excellent service by knowledgeable staff.

WENTWORTH Falls Both Wentworth Falls and Bullaburra are on the Blue Mountains rail line as well as reached by a local bus that runs between Springwood and Katoomba. These transport options make return trips easy for hikers and bicyclists who plan nonmotorised exploration from their cottage.

For superb Blue Mountains scenery without going too far from civilisation, Wentworth Falls

Pine Lodge’s elegant dining table seats ten diners, in Wentworth Falls

is ideal. Canyons contain microclimates supporting many ferns and soft leafed trees where you can hear lyrebirds. Cliff-top walks are less strenuous than valley walks and you may see canyoners abseiling down Valley of the Waters.

There are many craft and antique dealers through the area.

Bullaburra Located between Lawson and Wentworth Falls, Bullaburra is nine kilometres east of Leura and 91 kilometres from Sydney. Located only 10-12 minutes drive from the bustle of the major tourist attractions, it is a sleepy village along the highway. Its attraction is that it is in the heart of the mountains and most areas are adjacent to bushland.

COSY comforts On arrival at a Bygone Beautys cottage, your burning log fire is set and every bed freshly made up with an electric blanket for chilly mountain nights. Awaiting you are fresh fruit, flowers and chocolates. A country-style breakfast platter is stocked for guests to prepare when and how they choose in a well-equipped kitchen. An ample supply of fluffy towels and bath toiletries ensures luxury during your stay.

Bronte Cottage, a modern French provincial style country house in quaint Bullaburra

Bygone Beautys Tearooms in stylish Leura will serve you a delicious complimentary Devonshire Tea as part of your cottage booking.

Enjoy the Bygone Beautys Treasured Teapot Museum with over 3,000 teapots on display, old and new from all over the world in an astounding range of styles, shapes and tastes.

PICK Your Winter Getaway Bronte Cottage is a modern French provincial style country house in Bullaburra, with beautiful established gardens and a full size tennis court. It accommodates eight people.

Chalet Cottage is an elegant cedar chalet in Wentworth Falls, designed for two people and accommodating up to four.

Pine Lodge retreat is an elegant cedar federation-inspired country house set in five acres of gardens in Wentworth Falls. It accommodates ten visitors, including ten comfortably seated at its traditional dining room table.

Robin’s Nest is a very cute 100-year-old cottage in one of Bullaburra’s quiet streets with a lovely bush outlook. Come up and feed the possums or spot the wallabies in the early mornings and evenings, with accommodation for four people.

1920s Wentworth Falls Worker’s Cottage in five acres of beautiful gardens

Tarcoola Cottage was built in the 1930s in Bullaburra, set in a traditional garden on one acre with an elevated canopied verandah overlooking the Blue Mountains National Park. It accommodates up to ten guests and its duck pond with koi carp will entertain children while the cooks rule in the fully equipped kitchen.

Wentworth Falls Worker’s Cottage is a 1920s cedar weatherboard cottage set in five acres of beautiful gardens and a gentle half hour stroll into the village of Wentworth Falls. It accommodates four visitors.

Blue Haze cottage is an ideal bushwalking retreat, set opposite the Red Gum Park in Bullaburra. This 1950s weatherboard cottage is on the edge of the National Park and accommodates four people.

Sharphens in the township of Wentworth Falls is a charming 1940s cottage situated on three acres of bushland. It accommodates seven visitors.

Bring good friends and good cheer to your Bygone Beautys cottage and everything else will be ready for your best Blue Mountains getaway ● BYGONE BEAUTYS COTTAGES Freecall 1800 663 619 info@bygonebeautys.com.au www.bygonebeautys.com.au

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BLUE MOUNTAINS ANTIQUES & ART IN NEW SOUTH WALES

Club carved from greenstone, New Zealand

Blanket box, New Zealand, carved with Ma ri motifs and designs

Carved wood decorative objects, New Zealand

Club carved from whalebone, New Zealand

HERITAGE AND COLLECTING: Maori artefacts and the importance of taonga

A

s a proud expatriate New Zealander, I started collecting carved Maori artefacts as a reminder of my origins and as a connection with my homeland. To me, these pieces represent the strong independent spirit that has infused modern New Zealand culture.

INSIGHTS from a new collector The first thing I discovered as a new collector was that collecting is not a hobby, but relentless obsession! Holidays back to New Zealand were no longer just to reconnect with places, family and friends, but became an opportunity to add new pieces from contemporary artists to my collection. So trips back to New Zealand suddenly became a lot more expensive.

As with any new interest, the learning curve was steep. I started collecting the simple teko

teko (totem) carvings, replica carved paddles and boxes that make the majority of the pieces carved for tourism sales. I tried to choose pieces with carving that was more intricate and of better quality. Regretfully, there were very poorly executed pieces made for the tourist market. Given the volume of items available, I needed to learn more.

BUILDING a knowledge base An important reference book I was fortunate to receive was Maori Treasures of New Zealand: Ko Tawa co-authored by Paul Tapsell. It documents 27 of the 247 taonga that make up the Gilbert Mair Collection at the Auckland War Memorial Museum – Tamaki Paenga Hira. This book is especially important to me because it introduced and clarified the concept of ‘taonga’, best explained in Tapsell’s well-researched words.

BLACKHEATH, BLUE MOUNTAINS

VICTORY THEATRE ANTIQUES & CAFE 17 Govetts Leap Road, Blackheath www.victorytheatre.com.au

‘A taonga can be any item, object or thing that represents the ancestral identity of a kin group in relation to particular lands or resources. Taonga can be tangible like a cloak, a greenstone weapon or a war canoe, or they can be intangible like the knowledge to be able to carve, recite genealogy or sing a lament. As taonga are passed between generations, they become more valuable as the number of descendants increases. They are seen as the spiritual personifications of particular ancestors either as direct images or through association.’

ETHICAL collecting Learning what is associated with taonga changed the focus of my collecting. Collectors will generally seek out older or more original pieces, deeming them rarer and more desirable. This was not possible for my collecting focus.

Firstly, it would mean removing someone’s family history from its country, as did collectors of the late 19th and early 20th century. I would not emulate that colonial attitude.

The second reason I could not collect older pieces was that it is illegal to remove Maori items from New Zealand if they are over 60 years old, and are of national historic, artistic or cultural value (Antiquities Act, 1975).

My current focus is on contemporary pieces, mainly carved in the early to mid-20th century for the tourist trade – not of historic or cultural value. In the spirit of taonga, I try to find pieces that have a special meaning or attachment to the particular time and place in which I find them, or perhaps have a historical connection to something in my life.

A SPECIAL piece

More than 50 dealers selling bric-à-brac, antiques & collectables Largest antique centre west of Sydney Open 7 days 10am–5pm Phone: 02 4787 6002 92

Having learned of taonga and its lore, I believe I have taonga in my collection, in just one item that is not much older than I am. A number of years ago a local wished to dispose of a desk that he no longer needed, so I agreed to view the desk and subsequently purchased it.

While at his home, he noticed my slight New Zealand accent and told me that his wife was from New Zealand. He showed me a large blanket box belonging to her; it was intricately carved with Maori motifs. He mentioned that when I picked up the desk, his wife would be home and would be happy to tell me the box’s origins.

Upon my return, the lady of the house and I chatted for a good hour over coffee before she told me the box’s history. Her father had made it for her mother; he decided to carve the Maori motifs and designs that she loved into the box’s surface. The original drawings for the box that her mother had made on the family business letterhead were still inside the

box. Although I knew that there was little hope, I said that if ever she planned to sell the box, I would be very interested in buying it.

In that very direct New Zealand way she fixed me with a glare and asked me, what would I do with the box if I got it? I told her that it would form the basis of my collection, which was just starting at that time. She then asked if I would ever sell my collection.

I laughed and said that if I ever tried, my daughter would protect it as she already viewed the collection she loved as hers.

The lady next told me that she would never be able to sell something that had been made by her parents. Her next words floored me: ‘I want you to have it. I want you to have it for your daughter. I have no kids – I’m giving it to you.’

Sadly, I have lost contact with this wonderful woman. However, she will always be remembered in my family for generations to come, through this taonga, this beautiful blanket box with Maori motifs and designs.

TIES that bind: Provenance Does the concept of taonga have any parallels in non-Maori or ‘pakeha’ culture?

The answer is yes, although in lesser forms.

The Cambridge Dictionary defines a keepsake as ‘a small present, usually not expensive, that is given to you by someone so that you will remember that person.’

In the antiques industry, it is very desirable to know the provenance of any piece: who made it, for whom, who purchased it and where has it lived since. Such information is very important for many people, especially about pieces that have been in the family for generations, to provide a connection with the past. Unfortunately, for others, it is just a way to improve an antique’s value.

I encourage visitors and clients who mention something left to them by family members to record its details. For example, write down when, where and from whom the piece came, with a history of the people connected and then keep the record with the piece. Even if you already know where the piece came from, will later generations know?

Applying the lessons of taonga will enhance the collecting experience, whether beginning, adding, or exploring new directions ●

Roger Garner VICTORY THEATRE ANTIQUE CENTRE 02 4787 6002 victorytheatre@bigpond.com www.victorytheatre.com.au Further reading Paul Tapsell, Krzysztof Pfeiffer, Ron Crosby, Maori Treasures of New Zealand: Ko Tawa (Auckland War Memorial Museum, 2006)

SOUTHERN HIGHLANDS / WINGEN ANTIQUES & ART IN NEW SOUTH WALES

MOSS VALE

BERRIMA

MITTAGONG

VILLAGE ANTIQUES A TOUCH OF BRASS Jellore Street, Berrima 2577 02 4877 1366

ANTIQUES ON CONSIGNMENT

Open Wed, Thur, Fri, Sat 11am - 4pm Sun, Mon, Tues by appointment

Huge selection of antique beds in metal (fancy iron, and brass and iron) and various timbers, pine sleigh beds, mahogany halftester beds, French beds, etc. All sizes.

SALLY BERESFORD DESIGNS Mobile 0413 875 289 www.sallyberesford.com.au French provincial furniture, industrial, architectural & decorative Items.

MITTAGONG ANTIQUES CENTRE 85-87 Main Street (Hume Hwy) Mittagong 2575 02 4872 3198 Fax 02 4872 3216 Open 7 Days 10am - 5pm 650 sq metres (7,000 sq ft) with large variety of stock. Plenty of parking. Excellent loading docks. Eftpos & credit cards welcome.

Old Hume Highway, Nth Mittagong (Braemar) 02 4872 2844 Mob 0416 251 946 Kamilaroi c. 1906 has 6 rooms of French, English, Oriental and Scandinavian antique furniture, mirrors, clocks, chandeliers, porcelain, silver, jewellery, paintings, objets d’art and decorative items.

Also the Parterre Garden and the Barn and Cottage with other exciting items.

Sutton Forest PEPPERS MT BROUGHTON A SOUTHERN HIGHLANDS GRAND COUNTRY ESTATE Kater Road, Sutton Forest 2577 02 4868 2355 Fax 02 4868 3257 The estate’s extensive facilities include an à la carte restaurant, cocktail bar, swimming, tennis, cycling, volley ball, gym and walks through the glorious old gardens. A round of golf at the adjoining Mount Broughton Golf and Country Club can be arranged.

VISIT THE HIGHLANDS

BestRegional Attraction*

over 45 Antique Dealers plus a coffee shop all under the one roof!

B URNING M OUNTAIN

ANTIQUES & P LOUGH I NN NEW ENGLAND HIGHWAY, WINGEN, NSW 2337 TELEPHONE: 02 6545 0235 Barry and Stephen Daniel FOR AUSTRALIANA AND COLLECTABLES

OPEN EVERY DAY 10.00AM TO 5.00PM 85-87 M AIN S TREET • M ITTAGONG T ELEPHONE 02 4872 3198 • FACSIMILE 02 4872 3216 porcelain • fine arts • furniture • silver • books • & more

* WINNER

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OF THE 1999 SOUTHERN HIGHLANDS OUTSTANDING BUSINESS AWARD FOR

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ATTRACTION

Everything from antique furniture, jewellery, memorabilia & other paraphernalia.

Housed in the Historic Old Post Office in Wingen, on the New England Highway about 20 minutes north of Scone

OPEN 7 DAYS • TELEPHONE: 02 6545 0235 93

BOWRAL ANTIQUES & ART IN NEW SOUTH WALES

DIRTY JANE’S EMPORIUM & ANTIQUE MARKET Find the unusual rather than the usual in Bowral

W

hen you hear the name Dirty Jane’s, perhaps images begin to form in your mind – some of them may be not so good! However, this new store and antique market in the heart of Bowral shows there is more to a name than first impressions. Dirty Jane’s definitely delivers when it comes to variety, quality and quantity of stock and value.

OUR namesake Dirty Jane arrived in Australia in 1840 aboard the convict ship Surrey I. She was sent to Gundagai to assist the owner of the local general store where she found her true calling: identifying items of rarity and value and purchasing them to resell for profit. She gradually took on the role of running the business when the original proprietor saw how

well the business was doing under her mantle of Dirty Jane, as she was widely known. She lived for the thrill of the sale – able to sniff out a treasure in the morning and sell it by sunset. Her career as Australia’s first female second-hand dealer spanned 40 years until she died in 1883 of old age, as the story goes.

At this destination store in Bowral, you will not find any convict girls serving behind the counter! Instead, Jane Crowley and her father, Athol Salter who started The Shed in Mittagong, have combined their knowhow with the experience of their team to bring Dirty Jane’s to life.

DIRTY Jane’s Emporium The Emporium on Bong Bong Street in Bowral is a vast array of beautifully presented furniture and decorative items. Many are antique and all are second-hand. The front window boasts the quote ‘the best in vintage’ and it is easy to see why. Decoy ducks from the USA and cheese boards from France are nestled amongst some of the finest examples of country style ten-seating dining tables and overstuffed couches this side of Sydney. We ship fresh stock regularly from Europe, the UK and recently North America to keep giving you new choices.

RECYCLED Rags Jane began Recycled Rags within the Emporium, and ten months after opening, the clothing sales have grown to three rooms in the establishment from just one room. Twice every week new consignments of clothing, including Bally shoes and bags, Escada dresses and Jigsaw blouses, replenish the racks. ‘We price everything in the Emporium to sell quickly,’ said Jane, ‘We love the challenge and sight of new stock coming in and sold stock going out.’

THE Antique Market Behind the Emporium is the Antique Market in several vast sheds that originally housed the machinery for the Electricity Commission. Now they house over 20 dealers who display their wares.

The market is fresh and relaxing, reflecting the fact that it is located in a country town.

French furniture, industrial and retro, English

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pine and Tibetan antiques all share the space.

The team has been very careful to structure the antique market so that it is not too upmarket and or over-selective.

Local artists show their pieces, cabinets are full of beautiful 1950s beads and jewellery; there is garden ware and many wonderful found objects. All the stallholders take enormous pride in the presentation of their stands and the market seems to stock everything from gorgeous French enamelware, Welsh pine dressers to vintage American college pennants.

This ever-changing montage is a feast for the eyes and still growing! By next year another three warehouses will be open for more stallholders and variety. ‘We have a list of dealers wanting to take space in the market, we simply need to complete some building work and then we hope to have up to 50 stallholders in Bowral’s first permanent antique market,’ says Athol.

FIND us in Bowral On your next visit to or through Bowral stop in and wander through Dirty Jane’s Emporium & Antique Market. If you are driving from Sydney, drive on Bong Bong Street to the south end of town where Banyette Street crosses the main street at a roundabout – we are on your left at the roundabout. There is plenty of off-street parking off Banyette Street beside our buildings.

The namesake might be a vision of the past, but this shop and market bring the thrill of the find well and truly into the 21st century.

Incorporating antique furniture, lighting, architectural, beautiful quality pre-loved home furnishings and our fabulous Recycled Rags, it is the one-stop shop for style on a budget.

Dirty Jane’s Emporium & Antique Market is open 10 am – 5 pm daily, closed Christmas and Boxing Days (25 and 26 December) and on New Year’s Day (1 January) but open on all the public holidays ● DIRTY JANE’S EMPORIUM & ANTIQUE MARKET, BOWRAL 02 4861 3231 janecrowley@crowleyandgrouch.com www.dirtyjanes.com.au

BRAIDWOOD ANTIQUES & ART IN NEW SOUTH WALES

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ANTIQUES & ART IN NEW SOUTH WALES

Léon Bakst (1866-1924), costume for the Blue God from Serge Diaghilev’s Ballets Russes production of Le Dieu Bleu [The Blue God] 1912

Mikhail Larionov (1881-1964), costume for a buffoon’s wife from Serge Diaghilev’s Ballets Russes production of Chout [The Buffoon] 1921

Henri Matisse (1869-1954), costume for a mourner from Serge Diaghilev’s Ballets Russes production of Le Chant du Rossignol [The Song of the Nightingale] 1920

National Gallery of Australia BALLETS RUSSES: THE ART OF COSTUME 10 December 2010 20 March 2011

B

allets Russes: the art of costume celebrates the centenary of the first Paris seasons of the legendary Ballets Russes, the company that revolutionised ballet with its sensational fusion of art, movement and music in new productions organised by its founder, the Russian-born impresario Sergei Diaghilev (1872-1929).

SERGEI Diaghilev (1872-1929) As a producer and creative director, Diaghilev rejected conventional ideas of ballet. He encouraged the collaboration of contemporary artists, designers, choreographers and composers and was the first to bring Russian culture to the Western stage. Diaghilev integrated traditional dance narratives with modern design, folk art, contemporary music and new approaches to choreography, bringing modernity and a new excitement to ballet.

By raising every aspect of dance performance – dancing, choreography, music, stage and costume design and publicity – to an equal level of creative invention and excellence, Diaghilev unleashed a torrent of creativity to European theatre. He placed the moribund art of ballet into the modernist framework of early 20th century design and culture.

Diaghilev’s first designers for the Ballets Russes’s costumes and sets were Léon Bakst and Alexandre Benois, long-standing colleagues from his formative years in St Petersburg when they worked together on their influential art journal Mir Iskusstva (World of Art) from 1898 to 1904.

RUSSIAN and European avant-garde artists From 1910 other artists of the emerging Russian and European avant-garde also became associated with Diaghilev and the company. Among them were Michel Larionov, Nicholas Roerich, Natalia Goncharova, Georges Braque, Pablo Picasso, Henri Matisse, Giorgio de Chirico, José Maria Sert, André Derain, Robert and Sonia Delaunay, Georgy Yakulov and Pavel Tchelitchev.

Igor Stravinsky launched his career with the Ballets Russes and was Diaghilev’s closest musical collaborator. Diaghilev employed some of the 20th century’s most innovative choreographers to develop performances for the company. Among these whose choreographic innovations laid a foundation for later 20th century dance were Michel Fokine, Vaslav Nijinsky, Léonide Massine, Bronislava Nijinska and George Balanchine.

Performances by émigré Russian dancers such as Vaslav Nijinsky, Tamara Karsavina, Serge Lifar and Adoph Bolm became legendary.

LES BALLETS Russes de Monte Carlo

Natalia Goncharova (1881-1962), costume for a seahorse from Serge Diaghilev’s Ballets Russes production of Sadko 1916

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After Diaghilev’s untimely death in 1929, several new companies were formed to continue and develop his legacy. The most important of these was Les Ballets Russes de Monte Carlo, formed in Monaco in 1932 by the Russian entrepreneur Colonel Wassily de

Basil. Using some of the original Diaghilev sets and costumes, de Basil’s company revived many of the Ballets Russes’s earlier productions and commissioned new works in the innovative spirit of Diaghilev’s earlier company.

Following the Ballets Russes tradition, prominent artists and designers were invited to design for these productions, including André Masson, Oliver Messel, Étienne de Beaumont, Jean Lurçat, Natalia Goncharova, and the Australians Sidney Nolan and Kathleen and Florence Martin.

De Basil’s companies, which ceased with his death in 1951, toured in Australia, under several names, three times from 1936 to 193940 creating enthusiastic new audiences for ballet and an appreciation for the avant-garde.

This set in train the formation of modern dance companies across Australia from 1940 by former Ballets Russes associates.

COSTUMES The costumes designed and made for the Ballets Russes had been conceived in the context of powerful and emotional artistic collaboration and they command attention as persuasive works of art in their own right long after they ceased to be worn on stage. Their ingenious design, cut and construction, innovative colours and patterns, along with their use of a variety of fabrics and trim materials, come together with the purpose of being worn in complex action by athletic dancers for maximum visual impact on stage.

Even while bearing the ravages of time, use and neglect, they are tangible reminders of the craft of their makers and their wearers.

The National Gallery of Australia holds one of the world’s most extensive collections of costumes from the productions of the Sergei Diaghilev and Wassily de Basil periods of the Ballets Russes and is an important part of the international legacy of dance and stage design from the early 20th century.

deteriorated to be put on display, having been fully restored. Included are some of the Gallery’s most famous costumes: Alexandre Benois’ costume for Petrouchka, worn by Nijinsky in the 1911 ballet of the same name Léon Bakst’s costume for the Blue God worn by Nijinsky in Le Dieu Bleu 1912 Henri Matisse’s powerful costume for a mourner from Le Chant du Rossignol 1920 Natalia Goncharova’s joyous folk costumes from the 1914 and 1937 productions of Le Coq d’Or Mikhail Larionov’s cubist costumes for Chout Chout [The Buffoon] 1921 Giorgio de Chirico’s surrealist vision for the young man in Le Bal 1929 Leonard Massine’s futurist costumes for the symphonic ballet Les Présages 1933 These costumes are only parts of the larger context of the productions for which they were made, but each retains the power to evoke the intimacy and emotional charge between designers, performers and audiences that was central to the Ballets Russes experience.

Through these fragments we can glimpse the work and passion of Diaghilev and his designers, dancers, collaborators and successors. They provide insights into their interpretations of both the great romantic stories and legends of history against the framework of the moral contradictions of the emerging 20th century.

This exhibition aims to celebrate the centenary of the Ballets Russes by showing how its spirit continues for our time and place ● Dr Robert Bell AM Senior Curator Decorative Arts and Design NATIONAL GALLERY OF AUSTRALIA 02 6240 6411 www.nga.gov.au

NGA conservation project The exhibition reveals the result of a major Gallery conservation project over the past five years with 140 of these costumes, many of which were previously too fragile and

All costumes are from the collection of the National Gallery of Australia, Canberra.

Photography: Brenton McGeachie, National Gallery of Australia.

CANBERRA ANTIQUES & ART IN NEW SOUTH WALES

Canberra | nga.gov.au

Art meets design, dance and music – 150 costumes and accessories by Matisse, Picasso and renowned artists from the early 20th century.

10 December 2010 – 20 March 2011 Tickets: nga.gov.au Hotel and ticket packages: 1300 889 024

Presenting Partner

Principal Partners

Léon Baskt Left: Tunic from costume for the Blue God c.1912 (detail) from Le Dieu Bleu National Gallery of Australia, Canberra, purchased 1987 Right: Illustration of the Blue God costume (detail) page 29 in Official programme of the Ballets Russes at the Théâtre du Châtelet May–June 1912 National Gallery of Australia, Canberra The National Gallery of Australia is an Australian Government Agency

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ANTIQUES & ART IN NEW SOUTH WALES

Above: Restored overdress of costume for Aurora from Le Mariage d’Aurore, c. 1922 designed by Alexandre Benois, Left: Stains, pulled threads, damaged fabric on front waist of dress

Above: Restored costume for Chiarina from Le Carnaval, c. 1910, designed by Léon Bakst Left: Detail of the fragile blue silk skirt before treatment

Above: Detail of restored costume for the Chief Eunuch from Schéhérazade, c. 1910 designed by Léon Bakst Left: Stencilled appliqué hearts on the overskirt in a very fragile state

The conservator’s role in preparing textiles for display:

THE COSTUMES OF THE BALLET RUSSES

O

ne hundred years ago, Ballets Russes (French for Russian Ballets) revolutionised dance with a sensational fusion of art, movement and music. Directed between 1909 and 1929 by Sergei Diaghilev, the touring company performed in many countries including England, the USA and Spain. Many dancers originated from the Imperial Ballet of Saint Petersburg and after the 1917 Russian Revolution, younger dancers trained in Paris.

A number of Ballets Russes types of companies formed after Diaghilev’s death in 1929. Between 1936 and 1940, three such companies visited Australia, all organised by Colonel Wassily de Basil with 44 works performed. Their panorama of choreography, music and design were new to Australian audiences.

Due to WWII, some dancers remained or returned to Australia, founding now-legendary Australian ballet companies – the Kirsova, Borovansky, West Australian and the Polish Australian Ballets. A few Australians dancers joined, including the 14-year-old Valrene Tweedie OAM (1925-2008) who auditioned for Colonel de Basil in Sydney and toured with his Original Ballet Russe in 1940 – as Irina Lavrova, dancing several roles mentioned in this article.

THEATRE costumes present unique problems for the conservator The NGA textile conservation team invested three decades and thousands of hours to return the Gallery’s 150 Ballets Russes costumes and accessories to their former splendour, some weighing several kilograms.

Over 6000 fibres were identified and hundreds of metres of fabric were dyed to undertake repairs, with every aspect of the manufacture of the costume and its history documented.

Every thread, fibre, dye and stain must be studied to determine its composition and stability.

For example, silk is very fine and easily damaged when in contact with metal braids, sequins and painted designs, while later synthetic fabric and decorative elements are inherently unstable and prone to deterioration.

Above left: Restored costume for a Squid from Sadco, c. 1916 designed by Natalia Goncharova. Courtesy ADAGP. Licensed by Viscopy 2010 Left: Poor condition of blue silk

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HISTORICAL records The hand painted designs, composite fabrics and the predominance of metallic decorative elements ensured the costumes were never washed when worn – thus accruing stains, dust from the stage floor, mould, corroded fasteners, and transferred or lost dyes resulting from inferior storage. These contribute to the chronology of the life of the costume.

NOT ALL stains should be removed Sometimes stains are so important they are retained. For example, makeup stains provide a unique insight into the stage appearance of dancers before the advent of colour photography. Bodice linings have inscriptions by the dancers who wore them, the productions they were intended to be worn in and occasional customs stamps from tours.

Careful cleaning leaves these important historical aspects intact.

COMMON damage Most costumes of the Ballets Russes were constructed to a very high quality, often by the leading costumers of the day. Inevitably stress occurred from the physical nature of dance, years of being packed, unpacked and storage. Alterations and repairs were constant during tour and for replacement dancers: seams let out or taken in, hemlines raised or lowered, but rarely with great precision.

Regrettably, alterations cause damage such as pulled threads, holes from crude stitching and split seams.

IMPACT of unstable materials As some costumes were made of unstable materials these have deteriorated over time. Two such examples are the blue skirt of Chiarina from Le Carnival (based on Robert Schumann’s Carnaval for piano) and that of Squid from Sadco (Rimsky-Korsakov’s greatest opera). The

fabric became brittle, leading to extensive splitting and disintegration.

The silk was in such poor condition that normal conservation techniques could not be applied. Instead, the conservators unpicked the costume, dyed a support fabric to match and fused it to the reverse of the original fabric, which provided new structural support.

The process requires each thread to be exactly positioned and attached to the adhesive and support fabric. This is achieved using a tiny iron, no larger than the nail on the little finger.

COSTUMES are designed to be worn not displayed Costumes were never designed to be on constant display for many months. To avoid the extreme pressure on seams and stitches, especially to those costumes that weigh several kilograms, special display forms were designed and built. These custom mannequins provide maximum support and reduce the risk of damage from the stress of gravity during display. The mannequins are individually tailored to each costume and have taken many weeks to construct.

The Ballets Russes have delighted lovers of ballet, costume, fashion and design for a century. Continuous conservation by the NGA textile team, even daily monitoring of costumes on display, ensures these remarkable costumes will inspire audiences well into the future ● Many highly skilled conservators have restored the NGA Ballets Russes collection and contributed to this article: Micheline Ford, Hannah Barrett, Chandra Obie, Jane Wild, Blaide Lallemand and David McRoberts NATIONAL GALLERY OF AUSTRALIA 02 6240 6411 www.nga.gov.au

CANBERRA ANTIQUES & ART IN NEW SOUTH WALES

Canberra | nga.go nga.gov.au ov.au

OPENING SEASON

Explore the new Aboriginal and Torres Strait Islander Galleries

Don’t D on’t miss miss tthese hese special special e exhibitions: xhibitions: Now showing until unttil 6 February 2011

Now w showing until 27 February y 2011

10 December 201 2010 0 - 20 March March 2011

IIN NT THE HE SPOTLIGHT: SPOTLIGHT:

SPACE S PACE INVADERS: INVADERS:

BALLETS B ALLETS RUSSES: RUSSES:

photographs hotographs Anton Bruehl ph 1920s - 1950s Fr Free F ee entry

australian • s australian street treet • s stencils tencils posters zines stickers p osters • z ines • s tickers F Free ree entry entry

The art of costum costume me Tickets: nga.gov.au nga.gov.a au

Ramingining Artists Ramingining Artists T he A boriginal M emorial The Aboriginal Memorial 1987-88 National 1 987-88 ((detail), detail), N ational G allery o Australia, Canberra, Canberra, Gallery off Australia, purchased assistance p urchased with with tthe he as ssistance o unds ffrom rom tthe he N ational off ffunds National Gallery admission charges and G allery a dmission c harges a nd c ommissioned in in 1987 1987 commissioned T he N ational G allery o ustralia The National Gallery off A Australia iiss an an A ustralian Government Government Australian A gency Agency

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JAMBEROO / CANBERRA ANTIQUES & ART IN NEW SOUTH WALES

Nerilee Antiques

ACT SEASONAL ANTIQUE FAIRS present

(inc. Micawber Antiques)

ANTIQUES AND COLLECTABLES FAIR

2011 AUTUMN in the

ALBERT HALL COMMONWEALTH AVENUE CANBERRA on FRIDAY NIGHT 25 March 2011 SATURDAY 26 March 2011 SUNDAY 27 March 2011

antique jewellery glass ◆ porcelain ◆ silver furniture & collectables Member of AAADA & NSW ADA

Presented by Rotary Club of Canberra City Admission $7 Concession $5 (children under 14 years admitted free)

Established Genuine Antiques and Collectables Fair Enquiries: 02 6231 5244 or 0418 631 445

26 Allowrie Street Jamberoo NSW 2533 9 km from Kiama

R E F R E S H M E N T S AVA I L A B L E

Tel: 02 4236 0389

Sponsors of the fairs include WIN TV and other local businesses

THE ROTARY CLUB OF CANBERRA is holding their annual Autumn Antique and Collectables Fair 25-27 March

I

n autumn the deciduous northern hemisphere trees that dot Canberra turns the nation’s capital into a visual feast of vibrant colours. A picture perfect setting for sightseeing and a visit to the capital’s antiques and collectables fair planned for autumn.

The 2011 Autumn Antique and Collectables Fair is in the Albert Hall in old gracious Yarralumla. Albert Hall is one of the city’s major historical buildings and has undergone major restoration. Now returned it to its original glory, it is a fitting setting for fine antiques, artworks and collectables.

A CANBERRA institution The fair is noted for its consistently high standard. Dealers who support the event always feature an excellent blend of high quality, genuine, affordable antiques, old world nostalgia and wonderful collectables, all for sale. Whether you are seeking dining tables and chairs, fine china, diamonds, linen or lace, any one of the 23 antique dealers showing at the fair is sure to have something

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6 pm - 9 pm 10 am - 5.30 pm 10 am - 4 pm

to help your collection grow or select a special gift for someone special.

All dealers who attended the Spring 2010 ACT Seasonal Antique Fair immediately booked for this next Autumn ACT Seasonal Antique Fair – with a queue of dealers a mile long waiting to get in.

ACT Seasonal Antique Fairs have distinctive customer protection.

Organisers assure prospective buyers of the quality and authenticity of all items.

Intending dealers must agree to and follow these quality controls: • Every item must be accurately described • No reproductions • No new merchandise • Any restoration must be disclosed to a prospective buyer.

SUPPORTING the community Almost $250,000 has been raised for charities in Canberra since the seasonal ACT Seasonal Fairs commenced 24 years ago. The

Proceeds to support local organisations that assist the less fortunate in the ACT Wheelchair access is available

The Hall Attic CANBERRA’S NEWEST ANTIQUE SHOP

Looking for that elusive item or gift?

You may well find it at The Hall Attic, an eclectic range of antiques, collectables, old wares and craft.

Located in the delightful village of Hall, ACT, take a browse through The Attic and then enjoy a Devonshire Tea at the local coffee shop. We are always interested in buying antiques and old wares.

We also sell on consignment Tim & Glenda Bloomfield 6 Victoria St Hall ACT 2618 Tel 02 6230 9377, Mob 0418 162 830 0pen weekends and public holidays 11am - 4pm

Selkirk

ANTIQUES & RESTORATIONS Offering personalised service and sales Specialising in Georgian, Victorian and Edwardian mahogany and walnut furniture Small silver items, both sterling and plate Selkirk Antiques have selected pieces of Doulton, (including Flambé), Shelley & Moorcroft Ceramics Furniture restoration service available 29 Summerland Circuit, Kambah ACT 2902

02 6231 5244 Fax 02 6231 3656 Mobile 0418 631 445

Rotary Club of Canberra City and all exhibitors are proud of the standard of each fair. They are equally proud of how they give back to the local community through the proceeds from the events.

The 2011 Autumn Fair will help the ACT Lions Youth Haven dormitory building project where youth have a residential alternative to unhappy home life and can continue their education in a positive supportive environment.

SPONSOR support Proudly supporting the Rotary Club of Canberra City’s annual Autumn Antiques and Collectables Fair are WIN TV, First Choice Liquor Superstore Phillip ACT and Cosmorex Coffee.

GALA opening night Gala opening night is Friday evening, 25 March from 6 to 9 pm. For the first hour (6-7 pm) there are complimentary drinks and hors d’oevres, all for only costs $7. Of course, donations will be accepted for charity at this gala evening.

For each of Saturday and Sunday, all-day entry is still only $7 and just $5 for concession holders. Children 14 years and under are admitted free (with an accompanying adult), so make this a family excursion to visit childhoods from the past.

Wheelchair access is cheerfully organised, on request to 0418 631 445 ● For further information contact Les Selkirk ROTARY CLUB OF CANBERRA CITY 02 6231 5244 / 0418 631 445

ANTIQUES & ART IN NEW SOUTH WALES

Esso lightbulb

Graetz Carburettor

EHRICH & GRAETZ: lamps for the 20th century

O

n 2 January 1866, the master plumber, Albert Graetz, and his distributor Emil Ehrich, founded the Lampen-Fabrik Eric & Graetz OHG or the Eric & Graetz Lamp Factory Unlimited.

The factory was located on Dresdner Street, Berlin. Albert Graetz set out to end the dark times when vegetable oil lamps were used. He developed and introduced his improved lamp designs and Erich & Graetz manufactured and sold them very successfully. Graetz also invented the Akaria, the Iris and the Matador burners.

By 1889 Emil Ehrich had left the company and then Albert Graetz relinquished his managerial position to his sons Adolf and Max who assumed joint leadership of the company.

Max Graetz, an inventor and athlete, was very familiar with the latest manufacturing methods, as he had stayed a long time in the United States where he met Henry Ford. Adolf acted as the distributor.

The brothers were soon well known worldwide due to the large exports of their products. In 1899, they moved the company into the Berlin suburb of Treptow and employed around 1000 workers. They opened overseas branches including factories in Bridgeport Connecticut, London, and Paris.

In 1905, the Graetz gas igniter was introduced which used a pressure wave in the gas supply to ignite the gas burners and so eliminated manual lighting of streetlights. An electric light bulb was introduced in 1908 with the name Esso.

Kaiser Wilhelm II awarded the highest civil honour of Kommerzienrat to the Graetz family on 9 November 1909, but Max paid 3000 gold marks for this honour.

Max Graetz was the driving force with his new and refined products. In 1909 the Graetzin Light was developed, the first of many coal gas fuelled lamps that used an incandescent mantle, increasing the light output from 200 to 1000 candlepower. Its design proved to be reliable, safe and very portable. Max Graetz was known to work with petroleum, which is the German word for kerosene, so some friends suggested calling a pressure lamp after him ‘Petro-Max’ instead of Graetzin Light. The Petromax name was registered on 5 November 1910.

Due to war reparations that Germany had to pay the Allies, the Erich & Graetz Company lost its overseas factories after the World War I. In the 1920s, two new factories were built, in Lunzenau in Saxonia Germany and in Bregenz, Austria.

On 9 April 1921, a refined lantern design with vertical vaporiser was added to the patent registry. The Petromax design was a worldwide

success, the result of cooperation between several companies, and is still used today, with production mounting well into the multi-millions.

On 20 May 1922 the Ehrich & Graetz AG was founded, the shareholders were Max Graetz and his sons Erich, Fritz, Hans and Rudolf and his son in law Pahl. Once more, the Ehrich & Graetz AG had enormous success due to efficient engineering, designs and marketing focussed on exports. Many new electrical products were developed and Erich Graetz further improved many of them. All types of electrical items such as irons, electric kettles and room heaters were sold under the name Graetzor.

In the 1930s, Erich Graetz introduced the famous Graetz radio, which took him many years to develop. The best years for the sales of the Petromax were undoubtedly the 1930s.

On 9 May 1935 the famous blowtorch preheater, named Petromax Rapid was patented.

More than 500 Berlin Jews were bound to forced labour at the Ehrich and Graetz factory in Berlin Tureptow between 1940 and 1943 until the last remaining Jewish forced labourers were seized, interned and then deported to concentration camps. Towards the end of the war, two employees saved the passport photographs of the over 500 forced laborers in their company which are now on display in the permanent exhibition at the Jewish Museum in Berlin.

About this time, probably in 1943, Ehrich and Graetz AG became Graetz AG, as Emile Ehrich had departed long ago. The logo changed slightly, with the EG combination replaced by G. Earlier in 1928, Ehrich & Graetz acquired an interest in Jacob Hirschhorn AG who manufactured under the brand AIDA, considered by some the ‘mother’ of the Petromax. This culminated in the 1942 full takeover by Graetz AG that continued to use the name AIDA on their lanterns, so Graetz now controlled around 80 per cent of the world market in kerosene pressure lamps.

After the Russian invasion of Germany at the end of World War II, Soviet invaders appropriated the Graetz family main production facility in East Berlin, the family estate in Brandenburg and the factory in Bregenz.

The original Graetz Company AG kept producing the Petromax pressure lantern in the Berlin plant under Russian management.

On 8 February 1948 the Graetz plant in Berlin was renamed VEB Graetz. Werk (People’s Enterprise Graetz Factory). The name changed on 4 February 1950 to VEB Fernmeldetechnik Treptow (People’s Enterprise Communications Factory

Kosmos burner Max Graetz, (1861-1936)

Salvator 16 line matador burner

Single burner gas lamp

Treptow). It mainly produced telecommunication equipment and pressure lamp manufacturing ceased soon thereafter.

Erich and Fritz Graetz and three workers started a new production line in Westfalen, Altena in West Germany. The Graetz KG was founded (Graetz Ltd), listed and financed on the stock market, a major change from its family-owned history.

Graetz KG achieved a comeback with production of pressure lamps rising to the hundreds of thousands in the 1950s and into the millions in the 1960s. Almost all (99%) was for export, the remaining one per cent supplied the German railway, army, construction companies and the postal service. The Graetz company started new factories in Altena and other West German cities.

The Graetz Company now concentrated on electronics, with the Petromax pressure lantern playing a very small part. Erich Graetz sold 74.5 per cent of Graetz KG to Standard-ElectronicLorens AG in 1961, 95 years after his grandfather founded the original company.

Westfalia Copper and Brass Factories Corporation held the remaining 25.5 per cent.

The Petromax pressure lantern was built in Germany until the 1970s and then production was moved to Portugal. A Chinese company now manufactures the lantern ● Juergen Weissner THE EVERBURNING LIGHT 02 6565 0104 oil-lamp@zip.com.au www.zip.com.au/~oil-lamp/

Antique, old and new Kerosene Lamps Spare parts including shades, shade holders, burners, mantles, lamp oil, specially treated wicks for better burning, custom made high quality chimneys. ● Aladdin Mantle Lamps that produce 60 watts of light with no smoke or smell, ideal for emergency lighting. ● Restoration and repairs, brass polishing, nickel plating, copper plating and antique copper finish for small items. ●

The Everburning Light 2265 Pacific Highway, Clybucca NSW 2440. Phone: 02 6565 0104 e-mail: oil-lamp@zip.com.au Website: www.zipworld.com.au/~oil-lamp/

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ANTIQUES & ART IN NEW SOUTH WALES

Chinese great steelyard arm clepsydra of Keng Husn and Yuwn K’ai

Waterclock by Ctesibius of Alexandria (fl. 285-222BC)

Alabaster cast of an outflow clepsydra, Karnak Temple, 1415-1308 BC

The BEGINNINGS OF TIME in Horology

T

he term ‘horology’ stems from two Greek words, hora, which means time, and logos, which means word or telling.

The modern dictionary defines horology as being the ‘science of time.’

Where does one start on understanding time? A good starting point would be when man began to record time. Two famous Greek philosophers in the 6th century BC defined time as follows. Pythagoras (c.582-c.507 BCE) stated that ‘time is the procreation element of the universe’ whereas Parmenides argued, ‘Time does not pertain to anything that is truly real.’ So our time base is the result of a Greek modification of an Egyptian practice combined with Babylonian numerical procedures. Sound confusing? Let us start at the beginning.

Many thousands of years ago time was recorded as one day at a time. Time was ‘day to night’, ‘hungry or full’. Then, as man developed and understood the environment better, time started to be recorded by more accurate means. Days would have been added together to the time frame of the moon, then the moon to the seasons and so a general structure started to develop.

Clearly, time became less haphazard as man began to develop the ability to predict the seasons. Suddenly, they knew when it was time to plant crops or harvest the grains and they had a better knowledge of how long they could store their food.

Dawn was chosen by the Egyptians to represent the start of a new day, whereas the

Babylonians, Hebrews and later Muslims chose sunset. The Romans chose sunrise to mark the start of a new day but later midnight was chosen because of the variable length of the day. Most of Western Europe adopted sunrise as the start of the new day until the arrival of the mechanical clock in the 14th century.

Astronomers like Ptolemy (c. 90-170 CE) chose midday as the start of the day and this stayed as the beginning of the astronomical new day until 1 January 1925 when, by international agreement, the astronomical day was made to coincide with the civil day.

The first man-made solar, sun or shadow clock was from Egypt and dates from around 1500 BC. It was shaped like a T-square with marks on each side therefore giving no shadow at noon. This type of instrument, however, did not allow for changes in the seasons such as the longer and shorter days of summer to winter.

The oldest surviving shadow clock (14791425 BCE) is missing the top of the T and without it is now similar in layout to the letter L. But it is an improved model as it takes into account the changing seasons. It has irregular marked intervals on its length, to compensate for a faster moving shadow, the further the sun moves from its zenith. The shadow clock was faced east before noon and west after.

Star clocks were used as a night timing instrument. This incorporated a ‘merkhet’ which was basically a plumb line hung from an L shaped and marked holder. Through the merkhet astronomers could observe selected

Reconstruction of the Antikythera mechanism

Byzantine portable sundial calendar in brass c. 520 AD

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stars moving across the meridian (zenith) of the night sky. While doing this they discovered that certain stars crossed this meridian at a roughly even nature and at a certain point. In conjunction with this they used another instrument called a palm leaf (palm rib of the observer of the hours) which was basically a stick with markings that were roughly Y shaped with a slot at the top for sighting and setting the point for observations with the merkhet.

The Egyptians were the first to set 365 days to the year, broken into three seasons of four months and then 12 months of 30 days and five additional days at the end of each year.

They created a very good calendar and the Egyptians matched the day to the night by dividing the day into 12 intervals – 10 intervals for daylight and two extra for twilight.

The Egyptians were also the first to use a water clock to measure the duration of night hours. Later, the Greeks called this device a‘clepsydra’. This basically required a tapered container to be marked into set parts to match the leakage of water that gave a time frame of water loss.

The Egyptians also created the 24-hour pattern from the night stars. These were 12 ‘decans’ (each of the three divisions of a zodiacal sign) or diagonal star-clock calendars.

These periods were carefully monitored by the priests who chose a new star every 10 days, creating 36 decans a year, three decans per month plus five days for the full year.

The Babylonians left us with the first astronomical computations which were in a sexadecimal (60) system instead of our decimal system. These were taken up by Greek astronomers creating equal hours, breaking them into 60 firsts or minutes and each of these also into 60, creating seconds.

The first sundial appeared in Greece in the 4th century BC. Scholars studied these instruments mathematically creating much greater accuracy for future generations. Their sundials were very robust and simplistic in their construction and were eventually adopted by the later early Christian communities and spread to Central and Western Europe.

The Greeks were great philosophers and storytellers and by the 5th century BC were the first to record history in a chronological manner. For the first time in history the passage of time became more relevant, not only in the written form but in laws, contracts and expectations of the community.

Rome’s first sundial clock apparently was brought from Sicily in 263 BC. It was very inaccurate, as it was set from where it was made and, for example, 4 degrees latitude south gave incorrect time readings because of the angle of the sun. It was almost 100 years later before one was made appropriate to Rome’s latitude in 164 BC and within only six years Scipio Nasica set up a public clepsydra in Rome.

Following this, clepsydras were installed in Roman law courts to formalise a time in law.

It is reported that many wealthy members of the Roman population would pay the ‘clock’ watcher to slow down the clock so they would not be late for their day in court!

By the time of Caesar, water clocks were used in the military camps to time the four night watches; evening, midnight, cock crow and morning. Around this time wealthy members of the upper class obtained private water clocks and special slaves were appointed to look after, read and announce the hours to their masters. This is the first time clocks became a significant status symbol.

Even with improvements in these clocks, they still could not agree or keep equal rate of loss. This led the Roman writer Seneca to complain ‘that it was impossible to tell the exact hour, since it is easier for philosophers to agree than for clocks!’

When the Romans started using the Greek calendar, the months were equal of 30 days with 5 days of celebration. But the Romans were never as mathematically precise as the Greeks and after political manipulation and corruption the Roman calendar was always out by almost three months from the true solstice.

This was the position when Julius Caesar introduced his calendar on 1st January 45 BCE. By the advice of the Greek astronomer Sosigenes, Caesar extended the previous year 46 BCE to 445 days to correct the anomaly of political power games where months had been shortened or lengthened at whim to prolong or shorten terms of office.

Julius Caesar fixed the civil year at 365 and introduced the leap year of 366 every 4 years to compensate for the extra quarter day. He ordered January, March, May, July, September and November to have 31 days and all other months to have 30. The exception was February with 29 days except in leap years when it would have 30.

Augustus interfered in 7 BCE and renamed Sextilus after himself and assigned the same

VICTORIA ANTIQUES & ART IN NEW SOUTH WALES

Roman Scaphe shadow clock of truncated form (hemicyclium). The gnomon was placed in its hole at the top parallel to earth, the hour read off indicated scale, c. 100 CE

number of days as the months before and after. He stole (or perhaps bought) the day off February (probably a poorer rich family represented the smallest month). To avoid having three months of 31 days, September and November were reduced to 30 and October increased to 31. Hence the calendar once again reverted to an illogical number of days in the months and has been copied throughout most of the world. Christianity originated from the world of the Roman Empire, so it was natural to start the Christian calendar on the Imperial Roman model that has continued more or less to this day.

The Islamic world became the true successor of the former intellectual capital of the Hellenistic world – Alexandria. Alexandria had been a city of the Eastern Roman Empire, which outlived the Western Empire.

Fortunately it was not over-run by barbarians and managed to keep intact much of the writings of the ancient worlds. Most Greek works were translated into Arabic by the end of the 9th century.

The Muslim religion required mathematically educated people who could determine the astronomically defined times of prayer and the direction of Mecca. It is not surprising that many portable instruments for determining time were required, the chief instrument being the astrolabe. This instrument can be traced back to Ptolemy in the 2nd century CE and was the forerunner of the sextant. Some of these became elaborate double-sided instruments and later mechanical devices. Still the principal clock mechanism was the water clock, with added features giving sunrise, sunset indicators, month, moon and a celestial layout.

Many of the ancient water clocks were instruments of incredible complexity as many were constructed to indicate the hour which varied from the sunrise starting point during the year. This required a complex in-built means of changing the starting and setting points. Although there were no mechanical clocks in antiquity mechanical advances were made for devices to reproduce the movement of the heavenly bodies.

One remarkable Hellenistic geared mechanism that has survived was discovered in 1900, in the wreck of a Greek ship near Antikythera, off the south coast of Greece. In 1974 D.J. de Solla Price reported on the results of x-rays and gamma rays of the corroded remains of this bronze mechanism.

He concluded that it was a calendrical computing device, determining the positions of the sun and moon in the zodiac and involved a series of wheels and fixed gear ratios for working out the metonic cycle in which 19 years correspond to 235 Lunar months. This was possibly the closest to a

Cleopatra’s Needle once stood at the Temple at Heliopolis where its shadow kept the hour

mechanical clock found in antiquity.

But in 1983 four fragments of a geared instrument of early Byzantine origin possibly made around the reign of Justinian I (483565) were acquired by the British Museum. It has been possible to reconstruct the complete instrument, which was a brass sundial with a geared calendar that showed the approximate shape of the moon and its age in days and may also have shown its position and that of the sun in the zodiac. Two of the fragments have gears of 59 and 19 teeth and of ten and seven teeth. This instrument appears to be similar to an instrument described by the Persian scientist al-Bruin (973-1048). This would appear to be a direct practical link between the Greek and early Islamic times.

In ancient China, time keeping was recorded using water clocks and sundials. The great steel yard arm clepsydra of Keng Husn and Yuan Kau (CE 610) seems to be the missing link between the normal in-flow or out-flow clepsydra and the one following. The steel yard arm or beam balance weighed water, along the beam was a container suspended by the controlling weight allowing the container to be lowered or raised acting as an in-flow and out-flow into a reservoir. The container was lowered into the water holder causing in-flow, filled to a certain point, then the clock observer would move the counter weight backwards raising the container, causing out-flow. This in effect was the first escapement, whereby the counter weight was moved as the escapement with the help of a human, in effect the weight could be changed in many positions allowing for the change in seasons.

In China many astronomical devices had been made. Some of these had copied European lines, particularly with Greek science making its way from Alexandria, down through to India and then into China.

An example is at this time there were three clans of Indian astronomers working in the capital. They manufactured a variety of astronomical instruments and clocks along these principles and also invented new ways of keeping the heavens synchronised for observations.

Chang Sui (682-727), a Tantric Buddhist monk, known as I-Hsing with the help of a scholar named Liang Ling-Tsan explored the concept of self-running escapements. Liang Ling-Tsan is credited with developing a solution to the problem of elliptically mounted sighting tubes over the more common equatorial sighting system. Using these two systems together gave the astronomers the ability to make better observations and IHsing was able to develop a better calendar able to accurately predict eclipses, for example.

The emperor Hsuan Tsung in 723 gave

A drawn example of a Roman hemicycle and examples of Hemicyclium or Scaphe shadow clocks

permission for the bronze casting of new astronomical instruments to be used by I-Hsung, Liang Ling-Tsan and other capable men. This was a water wheeled system and apparently is the first time in history that an escapement used scoops filled with water. As the water flowed in a trip system it advanced the scoops.

The Chinese also used incense burners as a form of time keeping. These apparently burnt uniformly making them suitable. Some were single incense sticks and others were placed in a track system like a maze burning at certain intervals. I am not sure when they started using this form of time keeping but these were far more accurate than the candle clock being developed in Europe during this period.

The candle clock was the next major

Byzantine portable sundial calendar in brass, c. 520 CE

invention in keeping time and is attributed to the Anglo-Saxon King Alfred (848?-899).

According to his biography, Alfred the Great devoted eight hours to public duties, eight hours to studying, eating and sleeping with eight hours for worship. To apportion his time, he took 72 pennyweights of wax and made 12 candles each a foot long. Each burned for four hours or, an inch in 20 minutes. One of his chaplains, charged with the keeping of the candle, reported that they burned quicker in a draft. So the king devised a lantern (lanthorn) with frames of wood and sides of horn scraped thin enough to be translucent ● Michael Colman COLMAN ANTIQUE CLOCKS 03 9824 8244 www.colmanantiqueclocks.com

Colman Antique Clocks WAT C H & C L O C K R E S T O R E R S

French Louis Philippe carriage style mantel clock, c. 1840 in tortoise shell veneer with fine ivory Inlay by Barbot, 9” handle up.

French mantel clock c. 1880 in fire gilded ormolu on bronze finish with 3 hand painted Sèvres panels possibly depicting 16th century Prague with cartouche style dial

French Empire figured mantel clock, c. 1810. Bronze ormolu finish with simple automaton, signed to dial Le Cointe - Renard à Laon. Secretly signed Pons to the pendule de Paris silk thread movement striking on silvered bell Pons, Honoré Pons DePaul awarded 2 silver & 3 gold medals in French Industrial awards as ébauche maker

George II double fusee verge bracket clock, c.1760, England, signature maker’s case, mahogany, ormolu mounts by Ellicott (England: London), profusely engraved back plate with pull cord repeat, in fine original condition

French 18th century waisted Boulle bracket clock c. 1760, on original wall bracket. Original finish and fittings, brass inlay, tortoise shell veneered case. The dial made of cast and chased surround with 25 fired enamel cartouche numerals, superb hand chased blued steel hands. Thirty day movement and large proportions, 5 turned shaped pillars, shaped plates engraved with maker’s name to rear plate and fitted with recoil escapement, Sun King pendulum

English mahogany cased bracket clock, 19th century on original wall bracket made

by Smith & Son’s, of Clerkenwell, London.

1421 Malvern Road Malvern, Victoria 3144 Australia Au s t ra l i an An t i q u e a n d Art Deal e rs A s s oc iat i on

Ph: 03 9824 8244 Fax: 03 9824 4230 Email: michaelcolman@optusnet.net.au Website: www.colmanantiqueclocks.com Member of the Watch and Clock Makers of Australia (formerly HGA) and the BHI

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VICTORIA ANTIQUES & ART IN NEW SOUTH WALES

F I N E & D E C O R AT I V E A R T S , ANTIQUES & JEWELLERY HEAD OFFICE: 47 GLENFERRIE ROAD, MALVERN 3144 T: +6 3 9509 6788 F: +6 3 9509 3455

email: philips@philipsauctions.com.au www.philipsauctions.com.au

Call for details or to receive a complimentary catalogue when you mention this advertisement

ACN 005 240 200

1. Zebra shoulder mount, complete with full mane, h:76 x w: 37cm. SOLD $12694

1

2. Teardrop shaped diamond pendant on wheat link chain, 18 ct white gold, brilliant cut diamonds.

A.T.D.W.: 4.70 ct. SOLD $9809

2

3. Victorian diamond set serpent bracelet, 9 ct yellow gold, enamel, sapphire set eyes, three brilliant-cut diamonds, totalling 0.45 ct, concealed pin clasp. SOLD $3000

3

4. French three piece regulator clock set, c. 1880, marble, white enamelled dial, Roman numerals, visible escapement, matching pair of pedestal shaped garnitures, h: 47 x w: 71 x depth: 17 cm.

SOLD $1731 5. Royal Worcester lidded urn, c. 1911, decorated

by H (Harry) Davis (signed), almond shaped form features lion mask lugs, relief acanthus leaf decoration, central cartouche of a riverside scene with heavy gilt highlights on a deep cobalt ground, h: 27 cm. Stamped to base. SOLD $4154

4

6. Chinese globular vase with elephant head lugs, Qianlong mark ( 1736-1796), flared rim heavily patterned in famille jaune depicting repeat chrysanthemum, bats and Buddhist motifs, h: 39 x diam: 25 cm. SOLD $1731

5

6

7. Tanzanite and diamond cluster ring, 18 ct white gold, tanzanite approx 11.95 ct, claw 18 brilliantcut diamonds, total approx 2.00 ct. SOLD $9232

7

8. Art Deco panel ring, 18 ct white gold, grain set onyx, old-cut diamond 0.40 ct, 12 diamonds, total wt: 0.16 ct. SOLD $3346 9. William IV Ladies mahogany desk, c. 1830, leather writing slope, adjustable mirror over six small lockable drawers set on twin pedestal base, hinged folding top, faux drawers to back, h: 83 x w: 107 x d: 57 cm. SOLD $2638

9

8

AUCTION SCHEDULE 2011 Fine and Decorative Arts Modern and Antique Jewellery Entries close Viewing

Sunday 28 February Monday 1 March Thursday 4 February Mon 22 to Sat 27 February

Fine and Decorative Arts Modern and Antique Jewellery Entries close Viewing

Sunday 11 April Monday 12 April Thursday 18 March Tues 6 to Sat 10 April

Fine and Decorative Arts Modern and Antique Jewellery Entries close Viewing

Sunday 23 May Monday 24 May Thursday 29 April Mon 17 to Sat 22 May

Visit www.philipsauctions.com.au for details of all current lots 104

QUEENSLAND ANTIQUES & ART IN NEW SOUTH WALES

Lancaster’s Auction Rooms

NEXT AUCTIONS

3 Railway Street TOOWOOMBA QLD 4350

Sunday 6th February 2011

Ph: 0418 730 904 Fax: 07 4613 1111

“Annual Blokey Auction” Car Swap Weekend

Email: info@gdlauctions.com

Saturday 19th February 2011

View Catalogue & Photos One Month Prior to Each Sale: www.gdlauctions.com

“Antique Bottles & Stoneware” Bottle Show Weekend

WE AUCTION We are Australia’s leading auction house for: ◆ Australiana, pottery and carnival glass ◆ Advertising signs, tins and pub mirrors ◆ Antique bottles and stoneware We conduct both ‘In House’ auctions and ‘On Site’ sales

Sold $6,650

Sold $4,450

We will travel anywhere in Australia for major collections.

For professional and confidential service and the very best results

Contact Graham: 0418 730 904

WE BUY

Sold $330 & $1,220

Sold $16,650

We are always interested in buying or consigning entire collections or quality individual items We are especially interested in antique bottles, advertising signs, Australiana & pottery.

We pay top cash prices for good collectables!

For prompt service and the best price

Contact Graham: 0418 730 904 Sold $19,400

Sold $13,500

WANTED Sold $5,550

For Next Auctions

Sold $18,200

◆ Enamel Signs ◆ Garagenalia ◆ All Things "Blokey" ◆ Antique Bottles ◆ Whole Collections or

Quality single items Sold $11,000

Sold $4,800 Sold $12,750

Sold $20,000

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QUEENSLAND ANTIQUES & ART IN NEW SOUTH WALES

Antiques – Antiques: Celebrating 24 years of the ROTARY ANTIQUES FAIR & GOLD COAST BOOK FAIR 6 - 9 January 2011

W

hat an incredible achievement!

Twenty-four years of providing the perfect setting for browsers and collectors while raising an amazing amount of funding for distribution to the needy.

The fair will be held at Jupiters, Broadbeach on the Gold Coast 6-9 January, and later in July (22-24) we are running our

mid-year fair at the Albert Waterways.

The annual fair is a major Rotary Club of Palm Beach fundraising project, so make a point of visiting. Enjoy the buzz of browsing among a stunning array of antiques and collectables presented by dealers from around Australia.

The elegant Jupiters ballroom will be

Celebrating Our Celebrating O ur 224th 2nd

ROTARY ANTIQUES FAIR jewellery, porcelain, china, silver, clocks, pottery, furniture, historic documents – and much more! and

GOLD COAST BOOK FAIR rare books, prints, posters, maps and postcards

Antiques on The Gold Coast - January 2011

by The Rotary Club of Palm Beach at Jupitors January 2011 Fair Dates Thursday 6 Jan Friday 7 Jan Saturday 8 Jan Sunday 9 Jan

6 pm 10 am 10 am 10 am

– – – –

Admission 9 pm 6 pm 6 pm 4 pm

Adults Concessions Under 17

$12 $10 Free

Over 70 dealers present all types of antiques including estate jewellery, rare books, prints, posters, works of art, furniture and much, much more Don’t forget our Mid-Year Fair: 22 - 24 July at Waterways Centre PROCEEDS TO CHARITY Enquiries: Phone +61 7 5598 8188 www.rotaryantiquesfair.com

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overflowing with an alluring range of porcelain, silver, linen, furniture, jewellery, lithographs, prints, maps and postcards, historical documents and much more to tempt the discerning buyer.

Books of every kind will cater to those collectors with a taste for the written word, with an enticing selection of literary treats gathered from many parts of the world – including old and rare volumes, weighty tomes, children’s classics and books covering a wide range of subjects and pastime pursuits.

The Rotary Antiques Fair & Gold Coast Book Fair has a special ambience, and the elegant surroundings, together with the diverse range of items available and the helpful assistance and interest of the many organising Rotarians, all contribute to the enjoyment, guaranteeing a memorable experience for all.

The outstanding venue provides a superb setting for the display of fine pieces, while offering the astute visitor the opportunity to enjoy spectacular entertainment and excellent dining.

Highly regarded by dealers and collectors and supported by the tourism industry, proceeds from the fair have assisted youth, aided in disaster relief, fulfilled community needs and contributed help to many areas of health, locally, nationally and internationally.

Whether you are into serious collecting, or

simply enjoying looking, allow time for relaxed viewing among the alluring assortment of collectables and antiques. The overwhelming variety of treasures will guarantee that something will catch your eye.

Lucky Door prizes drawn at regular intervals during the fair are a special attraction. Who knows, it could be you – wouldn’t that be nice?

Twenty-four years of ‘doing it right’ has earned the Palm Beach Rotary Antiques & Book Fair the reputation for being one of the most varied and professionally presented in the country. Club members look forward to welcoming one and all in January 2011 and thank dealers, sponsors and public for their continued support �

ROTARY ANTIQUES FAIR & GOLD COAST BOOK FAIR 07 5598 8188 www.rotaryantiquesfair.com

QUEENSLAND ANTIQUES & ART IN NEW SOUTH WALES

Batteries of Bacca Tigris

Irrigation wheel

Itinerant barber

Loading tea junks

CHINA REVEALED TO THE WESTERN WORLD Antique hand-coloured steel engravings, c. 1842 to 1845

A

ustralia’s international reputation in the colourful department is often with respect to our colloquial expressions, as well as the native flora and fauna. In contrast, colourful is a word that one associates with most aspects of China: a huge landmass with a long history of grand battles, ceremonies with richly hued costumes, exotic architecture, transport, entertainment and professions; and the distinctive public punishments and superstitions observed.

China’s population is 1.3 billion in 2010, while during the Ming dynasty (1368-1644) the population was already over 160 million.

The Ming dynasty was a stable period of government, with strict hierarchy and traditions established when the merchant class rose in power. In 1616 a feudal group in the north formed what became the Qing dynasty (16161911, overlapping the Ming Dynasty), and attempted to create more equality. Corruption by later rulers triggered social unrest and eventually this dynasty’s decline, but art and scientific achievements still thrived.

In the 16th century, trade between Europe and the Far East was almost monopolised by the Portuguese who zealously protected their knowledge of the Spice Islands: a Portuguese envoy was the first European to set foot in China. In 1513, Jorge Alvares landed in the Pearl River Delta on Lintin Island. Three years later Raphael Perestrello (a cousin of Christopher Columbus) became the first European to reach mainland China, with regular trade commencing in 1514 after Ferneo Pires de Andrade arrived in Canton from Portugal.

Silk was probably the most glamorous commodity exported from China to Europe, and Chinese porcelain was, for many years, a tantalising subject for the European artisans who tried to emulate it.

The British in India cultivated opium, specifically for export to the large customer base they had established along the Chinese coast, developing the opium trade. British warships were sent from India to protect their merchant ships and trade, resulting in the first Opium War (1839-1842) and ending with the Treaty of Nanking when Hong Kong was ceded to the British. Foreign entry to China was no longer restricted.

THOMAS Allom, English architect and artist One of the first to capitalise of the tremendous British interest in China was English architect and artist Thomas Allom (1804-1872). Born in Suffolk the son of a coachman, at 15 years Allom was apprenticed to the architect Francis Goodwin, remaining

for seven years. He then studied art at the Royal Academy School. Allom was a founding member of what later became the Royal Institute of British Architects. He designed of a number of prominent buildings in London, and collaborated on several others including the Houses of Parliament.

Allom’s passion was historical art and he became best known as a topographical artist.

From the late 1820s, Allom travelled extensively through Britain and Europe, noting the differences in architectural details and styles. He later provided finely detailed sketches of the distinctive buildings, people and costumes of Istanbul and Asia Minor followed by China and Hindustan. Allom’s views of China provide a comprehensive overview of the country, the people and their customs. His love of history, appreciation of architectural detail, and artistic ability enabled him to sketch an amazing range of scenes.

Thomas Allom beautifully portrays the distinctive architecture of the porcelain tower, grand gates and temples, the important homes of mandarins and wealthy merchants, and the elaborate dress of the ruling classes and their retainers. He reveals to the outside world the life of the general populace, their celebrations, sports and entertainment including an opium den.

He illustrates the processes in the production of silk, rice, cotton and tea; kilns for the production of porcelain; and itinerant professions and trades. With captivating detail, Allom depicts the mood and action in each situation he sketches. Other distinctive illustrations of China are the spectacular land and rock formations tortuously carved by nature, the Great Wall of China painstakingly built by man, and ingenious engineering structures, including a bamboo aqueduct and an irrigation wheel. Allom shows a colourful dragon boat, sampans and junks – and even the British military presence in China, with sailing ships, battles, victories and woes.

Eminent English topographical engravers were commissioned to carve Allom’s sketches onto steel plates for publication. Most of these steel engravings were traditionally hand-tinted with watercolour to highlight their fine detail and decorative appeal. We are fortunate that Thomas Allom had the artistic skill, dedication and passion to create these marvellous images. These fascinating illustrations are wonderful historic records of the period.

SELLING: Thomas Allom’s China & the Chinese antique engravings Prompted by current international interest in China, Antique Print & Map Company in Brisbane is currently presenting an exhibition

at our Antique Print Club gallery in Brisbane.

We are located at Camford Square at the corner of Douglas and Dorsey Streets in Milton, just five minutes from Brisbane’s CBD, off Park Road between Coronation Drive and Milton Road. All works are for sale.

These antique hand-coloured steel engravings (c. 1842 to 1845) are from ‘China & the Chinese. A series of views, from original sketches, displaying the scenery, architecture, social habits, etc., of this ancient and exclusive empire by Thomas Allom Esquire.’ These works are displayed with rare copperplate-engraved maps of China from the 17th to the 19th centuries.

These antique engravings will also be available at the Rotary Antiques Fair at Jupiters in Broadbeach from 6 to 9 January.

Preview these rare and affordable works of historical art at your convenience on our website www.antiqueprintclub.com.

We been dealing in antique maps and prints for 30 years and are members of the International Map Dealers’ Association, the International Map Collectors’ Society, and an associate member of the Confederation Internationale des Négociants en Oeuvres d’Arts ●

Derek and Kathryn Nicholls ANTIQUE PRINT& MAP COMPANY 07 3368 1167 sales@antiqueprintclub.com www.antiqueprintclub.com

Antique Print & Map Company Camford Square corner Douglas & Dorsey Streets MILTON Brisbane Wednesday – Friday 10 am – 6 pm Saturday - 10 am - 4 pm

Phone 07 3368 1167 M: 0412 442 283

Antique Print Club Member discounts for website purchases

www.antiqueprintclub.com

Email sales@antiqueprintclub.com Antique Print Club gallery in Milton, Brisbane closes Christmas day until Wednesday 26 January.

Antique Print Club exhibits at Broadbeach Jupiters’ Rotary Antiques Fair from 6 to 9 January.

- featuring special collections of Antique Maps, Antique Prints of Allom’s ‘Views of China’,

Gazette du Bon Ton 1920s Fashion Pochoir, and John Gould Birds and Australian Mammals...

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ANTIQUES & ART IN NEW SOUTH WALES

AAADA SHOW SYDNEY – Antiques in a brand new setting

T

he Australian Antique & Art Dealer’s Sydney show is acknowledged as the most important showcase of art and antiques in the region. Nowhere else will buyers and browsers find such an exquisite collection of the items that make a collector’s heart beat faster! Next autumn, the new ‘sister’AAADA show commences in Melbourne.

AAADA dealers came to Sydney last September from all over Australia bringing their finest stock, most of it never seen before and much of it specifically sourced for the show. The Pavilion Building at Royal Randwick Racecourse was the AAADA venue for 2010 and helped make the show a resounding success as visitors enjoyed two considerable benefits: easy access and abundant free parking. The restaurant/cafe was popular with visitors and dealers.

All AAADA members guarantee the authenticity of their stock and all items at the show are reviewed and authenticated before they are offered to the public. This and the superb range of quality works are two reasons why Australians say that the AAADA show ranks with the world’s best.

Dealers were pleased with the in-the-round layout, which meant that all stands had equal prominence and all treasures were in view, offering an eclectic range of rare and fascinating pieces ranging from magnificent jewellery to early colonial items, porcelain, glass, memorabilia, important furniture and art. The majority of members had their best fair in years. We look forward to welcoming you again to the 11th show at Royal Randwick from 7 to 11 September 2011.

EVENINGS to treasure Adrienne Wilson, secretary of the AAADA NSW Chapter recommends the Spring series of antique seminars run by the AAADA’s NSW chapter. ‘These lectures are really more of an intimate evening as they are held in our dealers’ premises, where small groups can get to know the expert and handle treasures that they would never normally experience.’

In the 2010 series, at Hartley Cook’s Grafton Galleries, Hartley discussed wine related antiques and illustrated the subject with a diverse range of decanters, wine glasses, rare bottles and corkscrews.

Jolyon Warwick James, one of Australia’s leading experts on silver, held a connoisseurs evening, where attendees brought favourite pieces for discussion and identification.

Liz Stevens of Chilton’s Antiques held an evening focusing on the jewellery of the women’s suffragette movement.

Ben Stoner’s workshop evening involved demonstrating his talk with furniture currently in his workshop, pointing out construction techniques and issues that collectors should look for when they are choosing a good piece.

At the Nicholson Museum, well-known jewellery expert Anne Schofield gave participants a slide presentation and then a memorable tour of Beauty and Betrayal. Anne served as advisor on this exhibition of neoclassical jewellery.

A RIGHT Royal AAADA show in Melbourne 5–8 May 2011 The AAADA is mounting an antiques and art show at Melbourne’s Royal Exhibition Building that offers a magnificent setting for antiques and art. Set in the in the lovely European-style Carlton Gardens it is easy to access from all areas of Melbourne, close to the CBD and near an extensive choice of accommodation.

The gala preview is on Thursday 5 May from 6 pm. Opening hours are 11 am to 7 pm on Friday 6 and Saturday 7 May. Mothers will enjoy free entry on Mother’s Day, Sunday 8 May, with prizes and events to celebrate.

We will have several special guest exhibitors and some interesting new members who are bringing great attractions. All items will be fully vetted and of course, for sale. We look forward to seeing you there!

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Spring 2010 AAADA Show at Royal Randwick Racecourse

Planned for next year’s antique seminars are a fabulous selection of topics and collectors can look forward to many memorable evenings. Beginners and old hands are encouraged to attend these lectures so check topics on www.aaada.org.au or contact the AAADA NSW Secretary Adrienne Wilson on 02 9332 3882 or adriennewilson@iinet.net.au.

NEWS from New South Wales members Sarah Mellish from Patina Antiques & Interiors in Military Road, Mosman, hosted an event for key clients and designers in November. Themed the ‘new contemporary,’ Karen McCartney, group editor of New magazines spoke about the role antiques can play in defining modern spaces and enhancing rooms by mixing styles. She also spoke about the importance of having a statement piece that brings character and patina to a home.

Frank and Georgina Howell of Howell & Howell at 84 Queen Street Woollahra importers of 17th to 19th century, French, Spanish and Italian furniture and decorative arts, have a new shipment in store featuring an excellent selection of very interesting, original and hard to find pieces – see www.howell-howell.com for more details.

Roger Carter of Humble House Australia has moved to new premises with a showroom downstairs and a gallery upstairs. A museum space will feature the rarest and oldest pieces as well as hold exhibitions on themes, such as date marking on Chinese furniture. This broad and inclusive gallery encourages exhibitions from contemporary Australian artists as well as international artists, inviting exhibitions of media such as pottery, glass and sculpture. The antique Chinese furniture showroom is now open and other spaces will be open in the New Year.

THE Australian Antique & Art Dealers Association

Anne Schofield’s talk at the Nicholson Museum

For a copy of the AAADA’s Essential Buyers Guide for Antiques & Art which lists all current members and service providers, please contact our Executive Secretary by secaada@ozemail.com.au or phone 03 9576 2275.

The advantages of buying and selling antiques and the decorative arts through a registered member of the AAADA members • Members of the AAADA are fully qualified professional dealers in their chosen disciplines.

• The AAADA represents around 130 members

Australia wide with a collective of some 5000 years experience in the industry, their disciplines and interests stretch across all fields of the decorative arts and collecting.

• Unlike non-member dealers and auctioneers, all members are governed by a strict code of ethics and practice.

• The AAADA operates a conciliation service that assists buyers to resolve any dispute that may arise with any of its dealer members.

WHAT members of the AAADA do for you • Buy and sell quality antiques, decorative arts and related items.

• Provide after sales service to ensure you will continue to enjoy your purchases.

• Guarantee all items with written authentication when selling goods.

• Give you the agreed price immediately when you sell your antiques to an AAADA member – no commissions charged as by auction houses.

• Abide by a strict code of ethics and business practice.

• Offer additional services to the public: restoration, valuations, educational forums and seminars, lecturing services and advice on selling ● AUSTRALIAN ANTIQUE & ART DEALERS ASSOCIATION 03 9576 2275 secaada@ozemail.com.au www.aaada.org.au

ANTIQUES & ART IN NEW SOUTH WALES

Integrity guaranteed Meet the top people in antiques and art The Australian Antique and Art Dealers Association is the national body that links the country’s most respected antique & art market professionals. It insists on and ensures the highest levels of conduct and probity by its members.

Dealing with an AAADA member assures you of quality, expertise and professional service.

The AAADA Website Log on to a unique resource - a constantly changing shop window which will open your eyes to a wealth of treasures, as well as bringing you up-to-date news and articles from the antiques and art world.

AAADA Directory & Essential Buyers Guide Your printed guide to: – the shops, galleries and websites of the leading people in the antiques and art business, the people the experts deal with.

– plus listings of service providers for all your restoration, conservation, framing and valuation needs.

Order a free copy from secaada@ozemail.com.au or telephone 03 9576 2275

Visit www.aaada.org.au

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ANTIQUES & ART IN NEW SOUTH WALES

Jacques Cadry (1910-2003)

WOVEN IN TIME: The heirs and the heirlooms The enduring legacy of Jacques Cadry (1910-2003)

J

acques Cadry’s all-consuming passion and infinite knowledge of the rug business is legendary. He more than inspired his sons and their children whose latest rug pursuits represent future heirlooms, and are among the best in the world.

He was the proprietor of Sydney’s first Persian-owned Persian carpet shop. A highly respected rug dealer, scholar and philosopher Jacques Cadry loved to share his encyclopaedic knowledge. He shared fascinating tales from the magical sources of his latest rug treasures, from the bustling business centres of Iran, Armenia or Turkey through to the remotest villages – wherever he found the unique antique turkomans, kazaks and kilims adorning his historic sandstone showroom in Edgecliff.

There was much more to Jacques Cadry than carpets. He was a zealous collector of quality and significant antiques: Russian icons, over 90 rare historical portrait carpets, 19th-century Russian silver teaspoons, perfume bottles and ikat ceremonial gowns from Uzbekistan. Works on paper included hand-written Korans, illustrated Persian manuscripts of the 16th and 17th centuries and rare old books.

An inveterate collector of people, surrounded by a treasure trove of rare and exotic rugs, he welcomed a constant stream of artists, philosophers and judges along with the children of friends long passed for whom he acted as a mentor. Ecumenical in outlook, he received rabbis from Jerusalem universities, archbishops of obscure Eastern rite Christian churches and a Catholic priest who was a leading Islamic scholar, as well as historians, museum curators, Francophones, Francophiles and carpet lovers. A notable Australian visitor was the renowned designer, Florence Broadhurst.

Jacques Cadry was also a visionary, something his younger son Bob cherished from an early age. ‘I would be on a buying trip with my father, and he would buy a particular carpet, something I knew would not sell quickly in the shop. When I asked him why he was buying it, he would simply say, “Because you will never be able to find something

110

like this again.”’ His vision created a legacy collection of international standing comprising some of the rarest tribal, village and city weaves from Persia, the Caucasus and Turkmenistan.

An eye for the unique, the irreplaceable and the beautiful informed Jacques’ aesthetics, that remain the raison d’être of the family business. Heritage played a part, as the son of Hajji Israel Cadry who started the family business during the 1860s in Tehran.

Inclination and education were other influences. Travelling from Teheran to boarding school in Paris, Jacques journeyed for 15 days through places where he saw fine carpets treated as admired works of art.

His shop at the corner of New South Head Road and Glenmore Road has been a Sydney landmark for the past 50 years. Eddy and Bob inherited their father’s expertise, passion and knowledge, already passed to the next generation as Bob’s son, Jared recently joined the family business.

CONTEMPORARY and Custom Gallery Another grandson, Mark (Eddy’s son) has totally made over the contemporary rug selection.

Across the street from the traditional showroom, enter Cadrys Contemporary and Custom Gallery at 498 Glenmore Road to see their extraordinary variety of ever-changing rugs, including rugs by leading European designers, such as Germanbased Jan Kath. European works complement one-of-a-kind contemporary hand knotted rugs from Afghanistan, India and Nepal.

Mark has transformed the Florence Broadhurst Design Library into a tribute to the genius of one of Australia’s most creative and accomplished women who epitomised style and flair for over five decades. Cadrys have translated a selection of Florence Broadhurst’s iconic designs into exquisite hand-woven rugs, made in Nepal using Tibetan wool, silk and natural fibres creating textiles of unparalleled quality, innovation and value. Cadrys will customise her designs to suit clients‘ preferences.

Mark Cadry says, ‘All our contemporary rugs are hand knotted as opposed to hand tufted and are made in an authentic and traditional manner that has existed for centuries which will ensure lasting quality and value. For us it was of primary importance that each piece was made with high-quality materials and produced in an ethical and sustainable manner.’ Cadrys can make any rug design, from the simplest rug with subtle nuances of colour to a massive colourful masterpiece in pure silk and pashmina.

VINTAGE Patchwork Collection Traditional rugs that are the worse for wear are given a fresh lease of life through the Vintage Patchwork Collection. Bob explains, ‘We take old damaged rugs and recycle them into a new form of patchwork rugs, which we can then overdye. The dye takes differently on each piece of the patchwork, but the tone is the same. The result means we can create something original and fresh out of an old kilim or fragment of rug which would have otherwise been thrown away.’

Jacques Cadry would have loved the idea that even rugs past their prime could be reworked and reborn into something modern and useful, as well as become a piece of history for which another person could fall in love.

Bob Cadry laments that ‘fashion designed tufted rugs are tomorrow‘s landfill, whereas an authentic hand woven rug is a piece of timeless beauty and intrinsic quality that will be loved and admired for decades. They will become heirlooms and works of art for your floor that tell a story about an exotic place, a people, a craft and a time.’

The two rug collections, traditional and contemporary, share the same hallmarks of lasting quality, beauty and value that mark the Cadrys values ● CADRYS HANDWOVEN RUG SPECIALISTS 02 9328 6144 Traditional 02 9328 9188 Contemporary cadrys@cadrys.com.au www.cadrys.com.au

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THE COUNTRY TRADER DISCOVER SYDNEY’S ANTIQUE AND DESIGN RESOURCE

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