Antiques & Art in NSW by World of Antiques & Art

antiques&art IN NEW SOUTH WALES

DECEMBER 2011 - MAY 2012

N E W S H I P M E N T A R R I V I NG I N F E B RUA RY

QUEEN STREET ANTIQUES & ART IN NEW SOUTH WALES

TIM MCCORMICK

Apsley Pellatt sulphide crystal portrait c. 1820 SOLD

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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Please send us any articles for publication in Antiques & Art in New South Wales. Length up to 1,000 words, preferably supplied on disk, or email with accompanying captions. Pictures should be digital images on CD. Article is conditional on an advertisement being taken. Next issue will be distributed in May 2012. Booking deadline 26 March 2012. Copy deadline 2 April 2012.

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A selection of antique sterling silver gifts for all occasions. At our Queen Street shop for your convenience

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ANTIQUES & ART IN NEW SOUTH WALES

Sally Beresford French Farmhouse Table in French oak or chestnut

EUROPEAN FOREST TIMBERS I

n this my fourth article on European forest timbers I will talk about oak (genera Quercus) and chestnut (Castanea) trees, their similarities and uses, both past and currently. There are many species of oak tree growing across Europe, and France offers the perfect climate and fertile soil. French oak is preferred by the best vineyards and furniture makers. Oak has other uses as well. It has been used since the Middle Ages for tanning leather. Indian ink was also made by boiling oak wood with iron which would turn the liquid black.

OAK: Responsible harvesting France is the main European producer of oak with annual sawn timber production of 950,000 m3. Oaks grow to a height of 40 meters, have a large diameter, a straight trunk and are slow growing. They are harvested when around 200 years old. The trees used in Sally Beresford French Farmhouse Tables are usually 400 years old, by which stage the tree has begun to die from the inside. The trees are tagged and harvested by the government and are available for inspection prior to felling. Felling occurs in winter and the process involves protecting the surrounding growth. The trees are removed immediately and four more trees of the same species are planted in the place of the felled tree. Later, two or three of these trees are removed leaving the best specimen to grow to maturity. This system is designed to ensure the continued viability of the industry. In 1827 the French government set up a controlled management system. Building on that wealth of experience, France introduced the PEFC certification scheme which guarantees resource renewal. Results are in accordance with the challenge; in the past 50 years French forests have increased by 35% while keeping its biological diversity.

CHESTNUT oak tree The chestnut is a member of same family as the oak and beech. Likewise, its wood contains many types of tannin making it very durable and suitable for external applications.

It also causes iron to corrode slowly, unlike oak which causes iron to corrode quickly. Chestnut wood was often used to make shutters, doors, and fortress gates. Today it continues to be used for outdoor applications such as gateposts, paling fences and furniture. A chestnut tree is fast growing, taking up to about 50 years, after which time the timber tends to split and warp. Oak is at its best from 50 to 400 years. Chestnut and oak resemble each other and have often been confused. In fact, part of the roof of Westminster Hall and Edinburghâ&#x20AC;&#x2122;s Parliament House were mistakenly thought to be chestnut. But as chestnut loses much of its durability when grown beyond 50 years and the timbers in these buildings are considerably larger than that of 50 yearâ&#x20AC;&#x2122;s growth, it has been proved these timbers are in fact Durmast oak. Europe is home to other timbers including cherry, elm and beech. These will be discussed in future issues. Sally Beresford SALLY BERESFORD ANTIQUES 02 9362 1733 info@sallyberesford.com.au www.sallyberesford.com.au

ANTIQUES & ART IN NEW SOUTH WALES

Editorial Content COVER Lorenzo Lotto The Mystic Marriage of Saint Catherine of Alexandria 1523 oil on canvas 189.3 x 134.3 cm Accademia Carrara, Bergam See page 98

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European forest timbers – Sally Beresford Out & about The Country Trader contemporary collection Indigenous art at the Hughenden A history of Navaho rug making Behind the scenes a quiet achiever and his life-affirming journey Caring for and maintaining rugs and carpets – Ahmet Solak The S-Z of oriental rugs – Ross Langlands Fine furniture, art works and more in the heart of Bondi Junction Pack & Send art and antique specialists From a special place: Burmese Buddhist arts The history surrounding an unusual piece of Beatles memorabilia Men’s accessories the devil is in the detail! – Tammy Palmer Ancient craft of gilding finds revival in 21st century – Brigitte Eggert At Doug up on Bourke find a place for everything and put everything in place Is now a good time to buy furniture, Laura Kincade has some suggestions – Beverley Brown Calling all greenies lovers of everything vintage or just plain quirky ... Napoléon III and the second French Empire style – Denis Geoffray Pack & Send now open at Botany Treasures of the Melbourne Mint Auction highlights at the Noble Numismatics sale AQUA – a journey into the world of water at the Australian Natiuonal Maritime Museum Australian National Maritime Museum celebrates 20 years – Shirani Aththas & Jude Timms A Scottish trophy presented by a Scotch whisky company for the Australian colonies lost and found – Daina Fletcher The classics: transformation by a single architectural element A piece of Australian aviation history: The Fairey 111D – Bianca Fazzalaro Collecting glass – Kim Hughes Investing in rare currency Mix it up with Resurrection A new and exciting antiques venture for two couples The Rotary Club of Hurstville’s 17th Antique and Collectables Fair A look at English 18th century chairs – Garry Auton Boston & Sandwich glass oil lamps and early burners – Jurgen Weissner Four Winds Gallery celebrating 30 years Clarice Cliff (1899-1972) leading ceramic artist of the 20th century – Eleanor Keene Plan a visit to historic Ballarat Take an antique light and create a special effect Old warehouse makes a beautiful showroom for French provincial and handcrafted floors – John Fredriksson Balmain Road Antique Centre is the newest antique centre in Sydney Be entertained at Balmain’s windows to watch Restoring furniture – David Foster The loving symbolism of Mizpah jewellery– Paula Rutlee Dragon – imperial symbol of China – Narelle Ward Islington Antiques in Newcastle since 1990 The Australian opal – Frank Piotrowicz Signed cedar furniture – Michael Lee Hat blocks: from industry tool to sculptural forms – Gaye Dawson The good life: Heartland - for sale with freehold Windsor and Hawkesbury antiques and collectables trail Visit historic Richmond and the Bank Bazaar The scenic Hunter Valley perfect for antique hunters The world’s largest private teapot collection Bygone Beautys cottages The etiquette of bargaining – Roger Garner UK buying orgy – Kathy Kasz Stories from the past, memories of Australian country antique dealers – Jane Crowley Visit Beauty & the Beast in Robertson – Ilona & Virgo Lentzkow A French timepiece discovered finds a home at Longbarn National Gallery of Australian collection: Lucien Freud Renaissance masterpieces at tthe National Gallery of Australia – Simeran Maxwell For the diary: Rotary’s Canberra Antique Fair – Les Selkirk The Forrest Hotel and Apartments Measuring time: Horology 1650-1700 – Michael Colman The Silver Jubilee Rotary Antiques & Book Fair 2012 A specialist furniture manufacturer: Churchill Chesterfield made in Australia Australian Antique & Art Dealers Association Another successful seminar series for the NSW’s chapter of the AAADA An exhibition fit for a Queen

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

Pink Sunday on Queen Street Woollahra

Out & About

Queens Street was pink on Sunday 16 October raising awareness and funds for Breast Cancer Network Australia organised by Dalia Sinclair NCJWA supported by Queen West Woollahra Association. The Hon Gabrielle Upton Member for Vaucluse, Mayor of Woollahra Susan Wynne and breast cancer specialist Dr Lesley Andrew opened Pink Sunday. There was storytelling by author Susanne Gervay, performances by Elvis impersonator Jacqueline Feilich, pink pooches, the pink foam party and celebrations.

From WA contemporary jewellery in Sydney Launched in early November after touring around the country and travelling to the UK was an exhibition of works produced by leading WA jewellers. The show Cinderella Stories at Artsite Gallery in Sydney was opened by Eva Czernis-Rhyl, curator of art and design at the Powerhouse Museum, her informed and interesting insights followed the entertaining Tilly, Rowena Robinson & and considered remarks of Professor Geoff Gallop AC. Bridget Kennedy

Dr Dorothy Erickson & Eva Czernis-Rhyl (Senior Curator PHM)

Professor Geoff Gallop AC

Frances Dunne (John D Dunne Vic)

Peter Young &Brenda Ridgewell (exhibiting jeweller)

Dr Dorothy Erickson (exhibiting jeweller) & Madeleine TuckfieldCarrano (Director Artsite Gallery)

Peter Valentine (Peter Valentine Antiques Vic)

Amy Seo

John Carrano & Hanja Bicknell

Jim & Helen Johnson (Fair organisers)

Nadia Ruben, Jamie Ruben, Tory Gervay

Elvis impersonator Jacqueline Feilich and Dalia Sinclair

The Hon Gabrielle Upton MP Mayor of Woollahra Susan Wynne Member for Vaucluse

Pink Pooch

Sheila Hammond & Susanne Gervay

Paul Rosenberg (Moorabool Antiques Vic)

Dawn Davis (Eaglemont Antiques Vic) & Mike Leatherland (Rare Coin Co NSW)

Helen Day (Day Fine Art NSW)

A fair to remember Sydney again played host to the iconic James A Johnson fair held at Moore Parkâ&#x20AC;&#x2122;s Royal Hall of Industries in October. Members of the antiques trade together with dedicated collectors mingled enjoying the fine displays of the 70 local and interstate dealers.

Fiona Wilkinson with Tammy Palmer (Vintage Times NSW)

Christopher & Fiona Day

Greg Currie with Don Knowles (Sydney Antique Centre)

Karl & Brigitte Eggert (Art Gilding Sydney) Ana Ristevski, Mario Romilo & David Bell

Gila & Henry Lieberman

Rod Cauchi & Kathy Kasz (Hunters & Collectors NSW)

Kevin Dahya (Grange Antiques Tas) & Kathy Kasz

ANTIQUES & ART IN NEW SOUTH WALES

Kate Moss & Barbara Moss

Carolyn Cartwright (Jennifer’s sister)

Liz Johnstone, Jo Richards, Jennifer & Loren Morton

Bill Lyons, Sandi Lyons, Jennifer, Greg Owen, Dee Turnbull, Mike Werbeloff

John Cartwright (Jennifer’s nephew) Bruce Guy (Jennifer’s father)

Barbara Pearce, Steven Laspina, Anne Lewis

Gayle Sutherland Jennifer with Barbara Pearce, Steven Laspina, Anne Lewis, John Neeson

Grant Wright, Amber Wright, Leslie Crawford, Martina Gerakiteys, Theodora Gerakiteys

Kate Cullen & Grace Wheeler

Four Winds celebrates 30 years Jennifer Guy invited clients, staff, family and friends to celebrate with her the 30th anniversary of her Four Winds gallery, Australia’s preeminent Native American art gallery. More than 70 admirers and appreciative collectors enjoyed the hospitality. It was a remarkable sight as all came wearing their amazing pieces of Native American jewellery and accessories.

Jeannette Arif, Andrew Stephenson

Leslie Wilson with Jennifer

Jennifer, Peter & Victoria O’Hanlon

Best dressed competition: competing for great prizes on Friday evening at the show

Winner of the Best Dressed in Vintage Competition Bonnie Rose

Getting dressed up and going shopping – what a great day out!

The Sydney Swing Katz got the crowd on their feet

Biannual Love Vintage a winner The Sydney Swing Katz got everyone dancing, the ‘Get Frocked’ models looked divine in chiffon, lace and tulle, Kelly Doust taught everyone how to rock a modern vintage look, and the shopping was amazing! The biannual Sydney Love Vintage Clothing Show & Sale, held in October at Canterbury Park, was a winner with both visitors and traders.

Mistress Chrissy from the Lindy Charm School For Girls worked her vintage make-up magic

Author Kelly Doust launched her new book Minxy Vintage at the show

Authentic vintage swimwear from Bonnie Rose Vintage Clothing

The special occasion gowns on parade wowed the crowd

This is the first show under new management of Australian exhibition company, Expertise Events, and proved to be very successful. The company plans on kicking off the 2012 calendar with the Sydney show at a new venue, the iconic Hordern Pavilion in Moore Park, from 23 to 25 March. :

ANTIQUES & ART IN NEW SOUTH WALES

THE COUNTRY TRADER contemporary collection FOR THE DISCERNING CLIENT PASSIONATE FOR QUALITY

he Country Trader is delighted to launch its new and inspiring line, The Country Trader Contemporary Collection. This is the result of three years’ collaboration and is now available from our emporium. With foundations in rediscovered French furniture and a keen eye for the new and ingenious, The Country Trader has throughout its 26 year history drawn on its own sources and designs to create collections that are simply astounding in their design, provenance and style. The Country Trader is one of the most famous interior design furniture sources in Sydney, specialising in exceptional and remarkable furniture, promoting the art of living well in a very sophisticated but unpretentious manner. The Country Trader presents the largest collection of decorative furnishings offerings in Australia. The company sources primarily from Europe. Our showroom is an emporium of approximately 1,870 square metres, located at the pyd building in Waterloo (corner of Phillip Street, 197 Young Street in the Danks Street precinct, or pyd). This design-driven centre was built with the purpose of retailing unique objects and leading brands, to become the prime destination for those who want to keep abreast of the latest trends.

CONTEMPORARY decorator items Now The Country Trader embarks on a new journey, with a collection of contemporary decorator items to inspire the home stylist. The Country Trader Contemporary Collection brings together an eclectic but achingly stylish set of objects, from high function furniture to low-function but appealing gewgaws, all with an impeccable aesthetic. The collection includes items as diverse as quirky lamps to dramatic silver cutlery; mounted nautilus shells to leather-clad vases; jaunty stools to elaborate hand-wrought Christmas decorations; and from elegant wire birdcages to fascinating leather boxes. The Country Trader Contemporary Collection

brings the best of the best for your selection. Each item within the Contemporary Collection is individual and inspired to breathe life into interiors and can be readily integrated into a modern lifestyle, whilst carrying The Country Trader’s trademark style and panache. The Contemporary Collection is only available at The Country Trader’s emporium at the pyd building in Waterloo.

REMARKABLE furniture A feature of the new Contemporary Collection is the remarkable furniture, a result of collaboration between Geoffrey Clark and a team of Dutch restorers, designers and antique dealers. Working with a combination of old techniques and recycled or sustainable materials, they have created some unique items. Their construction methods and finishing techniques follow the traditions of hundreds of years of bench-made, hand-finished European furniture, using the best materials available. The solid timber – walnut, elm, oak and pine – are sourced from reclaimed and/or sustainably farmed timber. The pieces feature classic European handles and hinges. These approximately 80 new furniture items in the Contemporary Collection demonstrate The Country Trader’s reputation of always offering fresh and exciting items and keeping pace with lifestyle fashion. This collection is specifically created for the discerning client passionate for quality, who doesn‘t want to compromise style, comfort and practicality. The Country Trader Contemporary Collection designs suit today’s lifestyle and architecture. Adjustable shelves deep enough for the latest coffee table books and low enough for modern ceilings, but retaining great proportions and classicism, are some of the special features in this collection. In keeping with The Country Trader’s objective of offering the very best furniture to its clients, this collection includes only items that have been carefully chosen. Each style will be produced in limited availability (not as limited editions), with only between 10 and 12 pieces available in Sydney. Please visit our showroom, open seven days to view The Country Trader Contemporary Collection.

THE COUNTRY TRADER 02 9698 4661 mail@thecountrytrader.com.au www.thecountrytrader.com.au

QUEEN STREET ANTIQUES & ART IN NEW SOUTH WALES

Indigenous art

AT THE HUGHENDEN A

rt historian Dr Garry Darby is hosting a free, all-day Indigenous art show on Saturday 24 March at The Hughenden, Sydney’s premier arts and literary hotel. A lecturer and tour guide specialising in Aboriginal art, Garry offers this annual selling exhibition of outstanding Aboriginal art from across the continent. In addition he is giving a free, invaluable lecture and will engage in discussions throughout the day. Garry has collected Indigenous art for at least 20 years and this show contains Aboriginal paintings mostly from the central and western deserts of Australia. His collection includes works by Gloria and Kathleen Petyarre, Lindsay Bird, Minnie Pwerle, Gracie Morton, Kathleen Whiskey Nungurrayi, George Milpurrurru, Janet Long Nakamarra, Anna Price, Marcia Turner, Colleen Wallace, Eubena Nampitjin and other leading Indigenous artists. The paintings are mostly acrylic on canvas, the preferred medium of all the desert painters. Whether you are a collector or wanting to learn more before you make an acquisition of Indigenous art, you will enjoy and benefit from visiting this one-day exhibition and event. All are welcome to attend.

FEATURED artists Yinarupa Nangala with one of her paintings

This year’s featured artists are Yinarupa Nangala and Thomas Tjapaltjarri. Both of these artists are exceptionally talented and

important in the current scheme of desert art. Their works are included in the description as ‘the outstanding art movement of the late 20th century,’ and are artists in the largest and best-known art movement Australia has ever produced. Thomas Tjapaltjarri (born c. 1964 in the Gibson Desert) is one of the famous Pintubi 9, the last nomads known to leave the western desert in 1984. He is painting at the height of his powers right now and several of his outstanding canvasses will be on show and for sale. Yinarupa Nangala (born c. 1948) is the daughter of the late Anatjari Tjampitjinpa, a founding member of the Papunya Tula art movement. Along with her brother Roy James Tjangala, they both continue the contribution as artists as did their father. Yinarupa won the 26th Telstra National Aboriginal and Torres Strait Islander Art Award, Darwin in 2009, according her recognition of her exceptional painting. On show will be her large works and smaller paintings by Yinarupa, a leading woman artist in the desert art practice. The free illustrated lecture, Last Nomads, The Pintubi 9, is at 2:30 pm. You need not be in the mood to buy a painting to attend the day, and the lecture is a great starting point for adding to an existing collection or planning your first purchase of Aboriginal art. The Aboriginal Art Day at The Hughenden will run from 10 am until 6 pm. The

Hughenden will provide outstanding refreshments, with morning tea, lunch and afternoon tea available. Later in the afternoon, enjoy cheese and a glass of quality sparkling wine from The Hughenden’s wonderful kitchen and cellar. All the paintings on show will be available for sale and range in price from $65 to $20,000, providing options for all collectors. Garry will be on hand to advise on purchases and to provide background on the painters and talk about their Dreamings. Informal discussions about the paintings will take place, throughout the day.

FREE appraisals Bring your indigenous paintings for free appraisal, if you wish to bring them along. Questions will be answered through the day, so treat this as a learning and appreciation opportunity. Do accept this open invitation to come to the Aboriginal Art Day. Hear the lecture, bring your paintings for appraisal and enjoy the desert artworks, ‘the outstanding art movement of the late 20th century.’ Make any enquiries to Garry Darby on 02 9583 9916 or THE HUGHENDEN BOUTIQUE HOTEL 02 9363 4863 Free call 1800 642 432 reservations@thehughenden.com.au www.thehughenden.com.au

Your boutique Sydney escape Buy one night, get one free • LITERARY EVENTS • ART EXHIBITIONS • RESTAURANT, PRIVATE DINING, CONFERENCE & FUNCTION ROOMS

FROM

188

PER NIGHT IN A COSY ROOM*

The Hughenden c. 1870, associated with Australia’s first philosopher Barzillai Quaife, is home to literature & the arts. Discover the works of Archibald artist Wendy Sharpe; 1930s Laurent works; c. 1850 painting of the Victorian girl, artist unknown. Jazz & musical evenings, art exhibitions and books are part of Hughenden life. *Not valid Friday and Saturday nights. Valid until 30 November 2011

HUGHENDEN BOUTIQUE HOTEL 14 Queen Street, Woollahra, Sydney Thomas Tjapaltjarri shows his work, Tingari Ancestors

www.thehughenden.com.au 02 9363 4863

Free Call 1800 642 432 9

ANTIQUES & ART IN NEW SOUTH WALES

A HISTORY OF NAVAHO RUG MAKING N

avajo women in the south-western region of the United States of America have woven textiles on an upright loom for 300 years. Anthropologists believe that Navajo weaving developed by learning the skills of their Pueblo neighbours and the Spanish colonists during the late 1600s. Others evidence indicates that the Navajo were introduced to weaving much earlier, possibly by other tribes they encountered during their migration south.

NAVAJO tradition Navajo oral history pays tribute to a far superior source of weaving. One version of a Navajo legend describes that when Changing Woman visited the underground home of Spider Woman she witnessed in awe her host’s loom. ‘The cross poles were made from the sky and earth, the warp sticks from sunrays, and the heddles from rock crystal and lightning. When Spider Woman wove, she used a batten stick of sun halo and a comb of white shell.’ When Changing Woman left the chamber of Spider Woman, she took the knowledge of weaving with her, and in turn passed the legacy onto the Navajo women. In another version, Spider Woman teaches Navajo women weaving. By 1706 Spanish writers described the Navajo as fine weavers. One hundred years later, they were reputed to be the best weavers in the region in the 1800s.

CLASSIC PERIOD: 1840-1863 During the classic period (1840-1863) of Navajo weaving, design became increasingly more sophisticated. Crosses, zigzags, wavy lines, diamonds, squares, rectangles and hexagons seemed to be influenced by the motifs used on basketry and pottery of the region. With increased exposure to outside influences, especially since the opening of the Santa Fe Trail in 1822, experimentation with design accelerated and flourished. Navajo weaving evolved into a significant local industry.

TRANSITIONAL PERIOD: 1864-1890 The transitional period of Navajo weaving had a violent initiation in 1864, during the American Civil War (1861-1865), one of the most violent times in the history of the USA. After a long period of hostility between white settlers and the Navajo, the US Government sent troops to destroy Navajo crops, livestock and homes and evict the traditional people. Thousands of Navajo were forced to walk in the Long March to internment at Bosque Redondo in today’s central New Mexico. During their close confinement with soldiers and their families, the Navajo weavers, unable to obtain their native wools, used the colourful commercial machine-made yarns provided by the Government. The availability of bright colours accelerated innovations in design of Navajo weavings. Only in 1869 were the Navajo allowed to return to their homelands, now an established reservation extending into today’s Utah, Arizona and New Mexico. Trading Posts licensed by the government were set up to provide food and supplies. During the 1870s Navajo weavers moved away from their traditional designs, becoming more influenced by the tastes of the Anglo-American traders and their patrons. The most significant change was the transition of their weavings from blanket to rug, although initially they were still worn wrapped around shoulders. Weavers also experimented with the new weaving materials available to them, often using them in preference to wool from their own sheep and the tasks of natural dyeing. The most popular of the commercial yarns were from Germantown, Pennsylvania; also available were inexpensive aniline dyes. One result was an innovative explosion of colour often using red, orange, purple, green and yellow next to each other in a zigzag pattern, producing a weaving referred to as an ‘eye dazzler.’ Believed to be a Navajo creation, they were initially discouraged by traders as they were considered gaudy by Victorian-era white American buyers.

The arrival of the railroad in 1880-81 provided an even greater range of manufactured goods.

REGIONAL PERIOD: 1890-1920 In the early 1890s a number of traders encouraged the Navajos to stop using commercial yarns and return to using wool from their own sheep. Little weaving was done for their private use, with the majority of rugs being produced for the tourist trade. Weavers were encouraged to work in larger and heavier weaves and to incorporate borders around their designs.

Two notable traders were Lorenzo Hubble of the Ganado district and T B Moore of the Crystal district, who developed their own distinctive styles of rug patterns and insisted on fine quality work. This was the beginning of regional designs from approximately 1890 to 1920. Each Navajo weaving district within the reservation had a distinctive style, still discernable in modern rugs. Ganado/Klagetoh made the most familiar weavings. They are simple in design and noted for their brilliant dark red character due to Hubble’s encouraging the use of double

DOUBLE BAY ANTIQUES & ART IN NEW SOUTH WALES

Michael Garcia was born in 1952, a Pascua Yaqui originally from the village of Guadalupe, Arizona. He is known today as ‘Na Na Ping’ a name derived from the Tewa language meaning Aspen Mountains, bestowed upon him by his wife’s grandfather. Na Na Ping’s lapidary and metalwork skills were taught to him at a young age by his uncles and by the age of 20 he was creating special individual pieces. Today, Na Na Ping is renowned for his immaculate and precise, highly contemporary, mosaic inlay jewellery. Set with silver or gold using high grade stones and exotic materials, he creates ‘works of art’ treasured by collectors around the world. Na Na Ping is an advocate for the promotion and protection of authentic Native American art and donates his time to teaching and mentoring young jewellers in Pojaque, Pueblo.

Please view our website for a more comprehensive selection SHOP 11 BAY VILLAGE 28-34 CROSS ST, DOUBLE BAY 2028 02 9328 7951 OPEN 7 DAYS Mon - Sat 10am - 5pm, Sun 11am - 5pm Email: fourwindsgallery@telstra.com Web: www.fourwindsgallery.com.au Black Jade and Morenci Turquoise cuff and ring

strength red dye. Black borders and the use of crosses, diamonds and stars are common characteristics. Klagetoh rugs are similar, with a greater use of vegetal dyes. Crystal/Chinle rugs are considered some of the finest weavings available, although they were tightly controlled by traders’ designs. Featuring vegetal dyes in brown, orange and yellow shades, the designs are usually banded in straight unbroken patterns. Storm/Western Reservation rugs are very strong in colour with red, black, grey and white dominating. Usually distinguished by zigzag lines and other storm-related symbols, they are more traditional. Wide Ruin, Pine Springs and Burntwater comprise the prime vegetal dye region. Weavers emphasised pastel colours and made use of banded non-bordered designs. Two Grey Hills is said to produce the most expensive and finely woven rugs, well-known for their combinations of greys, beiges and rich medium browns as well as black and white. Usually the four corners of the main field are emphasised and a large geometric central pattern is featured with a multiple border around the edge. Teec Nos Pos rugs have the most complicated and complex designs; the most typical having a strong outline and busy diagonals. In appearance, they are similar to Oriental rugs. The interior designs are not standard, using commercial colours and yarns.

Shiprock or Red Rock region is where pictorials appeared around 1900, notably the Yei holy figures and ritual sand painting designs incorporated into rugs. Weavers also began to depict images and scenes from their surroundings, leading to more folk art designs.

RESILIENCE and recognition Textile weavings of the Navajo have achieved international recognition for over two centuries. They have evolved from a wearable blanket to a floor covering and finally to a feature of distinction on the walls of museums, galleries and private residences. The Navajo ability to develop and refine an age-old craft into a unique and distinguished art is indicative of the flexibility and adaptability of their entire culture. The history of Navajo weaving and its transitions is synonymous with the history of the last 300 years of Navajo culture. FOUR WINDS GALLERY 02 9328 7951 www.fourwindsgallery.com.au

REFERENCES Eric Broudy, The book of looms: a history of the handloom from ancient times to the present, University Press of New England, Hanover NH 1993 Steve Getzwiller, The Fine Art of Navajo Weaving, Ray Manley Publications Tucson AZ 1984) Gilbert S Maxwell, Navajo Rugs: Past, Present and Future, Best-West Publications Palm Desert 1972 Marian E Rodee, Old Navajo Rugs: Their Development from 1900 to 1940, University of New Mexico Press Albuquerque 1987 Marian Rodee, One Hundred Years of Navajo Rugs, University of New Mexico Press Albuquerque 1995

ANTIQUES & ART IN NEW SOUTH WALES

BEHIND THE SCENES a quiet achiever and his life-affirming journey

In early 1980 Greg met Chet Krause (left), the publisher of the Krause Catalogue of World Coins, now the world’s biggest publisher of collector orientated coin and banknote catalogues and guides Greg with Stuart Devlin (right) in 2000 at official launch of the Sydney Olympic series of coins. Mr Devlin has designed most of the coins used in Australia since 1966

Australian Coin and Banknote Market Guide was illustrated with coins and banknotes from Greg’s personal collection

any people involved in a horror car crash might say that the accident was ‘life changing.’ Unfortunately for many it is a change for the worse. For numismatic dealer and author, Greg McDonald, the aftermath had a happy ending that led to a career path in its 33rd year, with 25 books published on coins and banknotes, a bi-monthly subscription newsletter and regular pricelists. Over the years he has attended over 400 coin fairs, including every Australian capital as well and bourses in Los Angeles, Chicago, New York, London, York, Basel, Singapore and Hong Kong. He was also the original co-owner and editor of the Australasian Coin and Banknote Magazine and a founding delegate for the National Numismatic Association that was formed in the early 1990s. He is also a founding member of the Australian Numismatics Dealers Association (ANDA) – member number 20 and a life member of the Australian Numismatic Society that was founded in 1913. From 1984 to 1989 he also had his own monthly column in the Australian Coin Review. In 1979 McDonald was a journalist with the Northern Daily Leader in Tamworth (see the advertising logo on what’s left of the car), asleep in a passenger seat when the car went through a barrier and flipped end-to-end five or six times. ‘To cut a long story short,’ McDonald said, ‘I spent about six months off work recovering from fairly serious neck and back injuries.’ An avid coin collector since a kid, while recovering Greg re-read a book received for his eighth birthday written by numismatic doyen Tom Hanley, and this book rekindled Greg’s interest. During rehabilitation he started writing his Coin Corner column for the paper while not being able to go out to interview people. The success of the column was a complete surprise. ‘I then stated to write to papers all over the country which was harder than you might think as this was before emails – or even computers. Before long I had around 30 papers taking the column every week in centres from Port Hedland, Mount Isa, Manly and Port Lincoln.’ A year later Greg was offered an A Grade journalist position with the Sydney-based Cumberland group. He visited Sydney’s coin shops and soon becoming a fulltime coin dealer. Now married, together with his wife Jennifer they hosted weekend coin shows and at the end of the year had driven over 100,000 km organising and attending over 60 shows. Adelaide based Rigby Books, on the recommendation of a Sydney dealer, invited Greg to write a coin book in 1981. In 1983 Rigby printed 6000 copies, illustrated with coins and banknotes mostly from Greg’s collection, and needed a reprint after six weeks. By 1985 dealers and collectors were asking for another book, and Greg decided to self-publisher, the first called How to Buy and Sell Australian Coins and Banknotes. Now, 27 years later this original book that cost $12.95 when it first came out sells for over $80 second hand when available. This was followed in 1987 with Australian Coin and Banknote Market Guide. Greg continues, ‘In October 1990 we published the most successful book we had produced to date. Collecting and Investing in Australian Coins and Banknotes was our first hardbound book we had written and at $40 it was an “up-there” price. Luckily the first edition sold out and an extra 100 or so pages were

added to the second edition produced about a year later.’ An early adopter of IT ($22,000 for his first computer and laser printer), he used new technology to produce the first pocketbook in 1993, which until this time had been coffee table size. ‘I had a table at a coin fair in Melbourne when a collector looking over my stock took a wad of folded sheets of paper from his pocket (photocopies of ) all the pricing section of my last book to tick off all the coins he had in his collection and to decide what price he should pay.’ This proved to be the trigger for Greg’s revolutionary and practical annual pocketbook. ‘Accuracy is very important to us – to the point that we have contacted a number of internet coin and banknote forums and encouraged them to let us know of any errors, omissions or suggestions on how to improve the book. You don’t want to be a shrinking violet when you put out that kind of challenge, as some people can be fairly blunt with their criticism. However it has been a fantastic outlet and many collectors and dealers have been very generous in offering illustrations and suggestions. Two years ago we took the step of going full colour – over 3500 coloured photos.’ Greg summarises life as a coin and banknote Dealer and as a publisher, ‘I’m looking forward to challenges the next 20 years will offer.’ For more information about POCKET GUIDE TO AUSTRALIAN COINS AND BANKNOTES Contact Greg McDonald at greg.mcdonald@optusnet.com.au

Pictured are the first 20 books produced by Greg and Jenny McDonald

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 petsâ&#x20AC;&#x2122; 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

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

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

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 13

ANTIQUES & ART IN NEW SOUTH WALES

Turkmen tent main carpets display this octagonal ornament known as the gul

View of Seljuk architecture in Central Asia

Marasali Shirvan rug from the Caucasus

Tree of life design in a Baluch prayer rug

Detail of a 16th century Safavid carpet

Yomud tent entrance rug known as an Ensi

The S-Z of Oriental Rugs

SAFAVID (Sefavid)

Persian dynasty (1501-1722) of which the first ruler was Shah Ismail followed by two other important rulers Shah Tahmasp and Shah Abbas. During this period, the arts flourished under court patronage and carpet designs were inspired by other contemporaneous art forms such as book illuminations and miniature painting. Court workshops were established and cartoons were introduced to facilitate the weaving of curvilinear designs. Magnificent carpets of palatial scale were produced. With the death of Shah Abbas in 1629, royal patronage of the arts declined.

SELJUK Dominant Turkic group from central Asia who moved westward as far as central Anatolia in the 11th century to establish their capital in Konya, and what is generally recognised as the first great period of Turkish carpet weaving. Several carpets and some fragments found in mosques in Konya and nearby Beyshehir are attributed to the 13th century. Designs displayed in these carpets are more in keeping with the geometry and repeat patterns of tribal rugs.

SELVEDGE The lengthways edges of a textile. Usually formed in rugs by outer warps (side cords) that are thicker and stronger than warps in ten main body of the rug. The ground wefts pass around the side cords, which are usually overcast (bound) with wool and/pure goat hair for protection from wear.

SENNEH A city now called Sanandaj, in western Persia. The inhabitants are predominantly Kurds who have for more than a century produced rugs of the finest quality employing a repertoire of commonly encountered small scale designs, such as the boteh and herati, often with a central diamond medallion superimposed. Floral patterns of European influence also appear.

SHAH ABBAS A Sefavid Persian ruler and great patron of the arts under whom the weaving of great court carpets flourished. The architecture of Isfahan, the capital of Persia during his reign, is a monument to his patronage.

SHAHSAVAN (Shahsevan) A confederation of mainly Turkic tribes whose name means literally ‘lovers of Shah’, inhabitants of northwest Persia in the province of Azerbaijan, they appear to have been loyal to the Shah in Sefavid times and have been their protectors against invading Turks. Many flatwoven rugs and trappings, to wit horse-blankets, saddle and bedding bags of sumak construction and hitherto called Caucasian are now recognised as the products of the Shahsavan.

SHI-ITE (Shi’a, Shiah) Moslem sect established as the national religion in Persia by Shah Ismail early in the 16th

century, that regards Ali as the first successor of Mohammed.

SHIRAZ The provincial capital of the south Persian province of Fars and market centre for village and tribal rugs of the region. Village-made rugs in the area from the Khamseh or Qashaq’i tribes are usually referred to as ‘Shiraz.’

SHIRVAN Rug producing region of the southern and eastern Caucasus.

SUMAK (Soumak) A form of weft wrapping in which wefts which are supplementary to the ground weave float pass consistently across then loop back under the required number of warps wrapping them. The structure is frequently across two and back under one, then across two again and then back under one, etc. The slants in each alternate row of wrapping wefts are usually reversed or countered, with each row worked in the opposite direction to the one before, creating a chain or chevron effect and concealing the ground weave. Sumak wefts are often discontinuous with different coloured wefts used for different pattern areas. Items woven in Sumak technique include large flatwoven rugs from the eastern Caucasus and bags from northwest Persia, and are often referred to simply as ‘sumaks’.

SUNNI (Sunnite) Orthodox Moslem sect who accept the traditional portion of Moslem law based on Mohammed’s teaching. The Ottoman Turks are of the Sunni faith.

SUZANI Floral embroideries traditionally made by women as dowry pieces in Uzbekistan. Suzani were traditionally embroidered by the women of the bride’s family. The bride herself would over several years have completed a ‘suite’ of embroideries. Household usage was as covers for bedding or furniture and curtains to annex the sleeping quarters from the living room. They also served a ceremonial role as a marriage textile. Although there are many different stitches employed in the making of these embroideries, the most commonly used are Bokhara couching, where ‘laid’ threads are stitched onto the ground weave, and several variations of the chain stitch. The ground weave itself was usually of cotton or linen while silk thread was used for the embroidery. The embroiderers of Shakrisyabz used a variation of single thread couching known as Romanian couching or Basma. The most important centres of production were towns within an approximate 300 km radius of Samarkand and, besides Samarkand itself, included Bokhara, Nurata, Shakrisyahz, Khodjent, Ura-Tyube and Tashkent. The inspiration for design came from nature and particularly from plants and flowers.

Border detail of a large pattern suzani from Uzbekistan

TABRIZ

VERAMIN

Capital of the north Persian province of Azerbaijan, a centre of city workshop production and market for (he products of the surrounding region, Around the middle of the 19th century, enterprising Tabrizi merchants were the first to recognise and profit from a burgeoning interest in oriental rugs in the West. A more organised system of urban workshops was then set to cater for this market. The most prominent local workshop weaver of this period was Haji Jalili.

Township to the southeast of Teheran en route to Meshed. It is notable mainly as a market centre for the products of the surrounding nomadic populations, many of whom produce lustrous rugs with dark jewel-like palette. There are people of both Luri and Kurdish stock. The township has become known for its cottage industry production of rugs using variations of traditional Kurdish designs such as the popular lattice and flower pattern known as ‘mina khane.’

TAPESTRY WEAVE

WARP

A decorative weave, typical in kilims, in which discontinuous weft threads of different colours are woven backwards and forwards in their own pattern areas to form separate motifs. These wefts, which are not supplementary but are part of the ground weave, may either cross the warps at right angles or actually follow the rounded contours of a design. Wefts of adjacent pattern areas may interlock with each other or loop around the same warps, leaving no break in the fabric. In slit tapestry, however, the wefts turn back and leave intentional vertical slits in the fabric between different coloured areas. The designs of slit tapestry rugs are rich in diagonals and crenellations to minimise the length of slits. Tapestry weave is usually weft-faced plain weave.

TORBA A small storage bag made by Turkoman tribes, about 30 cm deep by 60-90 cm wide.

TREE OF LIFE Design motif in the form of a stylised tree, and an ancient symbol with many and various interpretations. As a principal design in prayer rugs, where it appears in the field beneath the mihrab, the tree of life is seen by devout Moslems as symbolic of man’s ascension towards his heavenly ideals; the spreading branches represent the stages of realisation through which he passes. It also symbolises the connection between the earthly world and the heavenly world above.

TURKMEN (Turkoman) Turkic-speaking nomads who in the 19th and early 20th centuries inhabited Russian Turkestan, northeast Persia and northern Afghanistan. They comprised several main tribes and clans including the Tekke, Ersari, Yomud, Salor. Saryk and Chodor. They were outstanding weavers of knotted pile rugs, bags and animal and tent trappings bearing characteristic ‘gul’ designs in shades of madder red.

VASE CARPETS A group of Sefavid court carpets woven in the late 16th and 17th centuries most probably in the southern Persian workshops in Kirman. They feature complex floral designs of blossoms, stems and curling leaves, and take their name from the vases which are actually not prominent in the composition.

Lengthways parallel threads, part of the basic structure of a textile, with which the wefts interlace (usually at right angles) to form the ground weave and around which knots are tied to form the pile. Warps are held taut by the loom during weaving and, when the finished rug is cut from the loom, they emerge to form the fringes.

WEEPING WILLOW DESIGN An ancient and most beautiful Persian design featuring not only stylised willow trees but cypresses, poplars and fruit trees. It appears often in the cottage industry carpets of Bidjar and the Heriz region, but its prototype is found in the workshop carpets of the 17th century.

WEFT Threads which cross the warps and interlace with them, usually at right angles. Continuous wefts run from selvedge to selvedge. In pile rugs, the continuous wefts inserted between rows of knots form the ground weave. Closely-packed wefts may hide the warp, forming a weft-faced textile as in tapestry weave, in which the wefts are also discontinuous, and form both the ground weave and pattern at the same time.

WELD (Reseda luteola, Dyer’s weed) Weld is a plant, cultivated in Persia, from which a good, light, fast yellow is obtained.

YOMUT See Turkmen

YURT The traditional circular home of many Central Asian nomads including the Turkmen, who were highly skilled rug weavers. It is made of wooden trellis and struts covered with felts.

ZIEGLER Name given to carpets woven, during the latter part of the 19th century, around the central Persian township of Sultanabad (now Arak) at the behest of a Manchester-based Swiss firm Ziegler and Co., who had set up office there in 1883. They introduced new designs deemed popular in Europe, making and distributing small knotted pattern samplers (called ‘wagirehs’) for the village weavers to copy. ROSS LANGLANDS Nomadic Rug Traders 02 9660 3753 www.nomadicrugtraders.com

PYRMONT ANTIQUES & ART IN NEW SOUTH WALES

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

AN ONGOING PROGRAM OF EXHIBITIONS AND LECTURES THROUGH 2012

Exhibiting at the 2012 AAADA Melbourne Antiques Fair Exhibition Buildings May 3-6

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

THE VERY BEST IN ORIENTAL RUGS CARPETS & TEXTILES

NOMADIC RUG TRADERS

BONDI JUNCTION ANTIQUES & ART IN NEW SOUTH WALES

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

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

1A Hollywood Ave, Bondi Junction 50 metres from Westfield

Ph: 02 9369 4934 â&#x20AC;˘ Mob: 0416 131 015 ask for Ray Open: Mon-Sat 11 am - 6 pm 16

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.

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

“

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

” 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 computertrack 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 glassware, paintings and various antiques to be sent through the

freight system without compromising the safety of the item. Not only that, but Foam-inPlace 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.

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

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.

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 17

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. Visit www.aaada.org.au

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

PADDINGTON ANTIQUES & ART IN NEW SOUTH WALES

layered food container. The hsun ok is the most varied among all of the containers, ranging from a bamboo frame with plain red or black lacquer to the very ornate style – even decorated with gold, gilded and jewelled. All have a classic design and spiritual forms, unique to Burmese artisans.

MODERN challenges

From a special place

Burmese Buddhist arts Lacquer ware proceeds go directly to Burmese families

elebrating 20 years of trading in Paddington, Special Pieces has secured a number of unique Burmese artefacts from family sources in Burma. All products have been provided to retain Burmese art and culture, showing the remainder of the world how special these artisans are… and hopefully save these artefacts from being lost or destroyed. All images of Buddha within the collection contain a Burmese Government seal of approval to ensure a controlled program of artefact distribution.

BURMESE Buddhist arts Tales from the Life of Buddha, the Jataka stories of the 550 former lives of the Buddha and various teachings, have provided much of the subject matter and outlets for expression in the arts and crafts. Burmese practice Theravada Buddhism that emphasises the need for every person to seek his own way to salvation by following the precepts, meditating and performing acts of charity to improve karma in future existences. Burmese craftsmen were anonymous and were expected to follow various rules and formulae when creating a Buddhist icon – failure to observe established norms would render the object unsuitable for use in worship. Initially, artisans closely copied imported models, but over time the Burmese craftsmen assimilated foreign influences and blended them with a local style, so that works of art became unmistakably Burmese in spirit and method.

LACQUER ware We already are familiar with two words and one source of the lacquer used in Burma. Lac is the varnish made from certain insects’ shells, long known as shellac or cheik lac in Burmese. General usage now uses lac as the term for any of the various resinous wood varnishes, including that from the sap of the thit-si tree. This resin lac is used in making lacquer ware in Burma, China, Japan and Korea, but the Burmese thit-si tree (Malanhorrea usitata) that grows in Shan State is said to have better viscosity and last longer. Bagan is the centre of making ‘laureate’ or lacquer wares stretching back almost a millennium, prospering in the period from the 11th to 13th centuries CE when it was the seat of the Myanmar dynasty. Burmese kings would presents lacquer ware as gifts to other royals, along with silk and jewellery. It is still the hub of culture with many temples, pagodas and monasteries surviving, along with many arts and crafts. Bagan is located on the eastern bank of Ayeyarwady River, not far from Shan State where resin bearing trees grow. The other materials for making laureate are softwood and bamboo. The techniques of making lacquer ware have been handed down in the surrounding villages. There are instructors in the craft where a family member may work in an unpaid apprenticeship – to keep the art and culture alive. Artwork on the lacquer ware is either painted or etched in between the many layers of lacquer. The colours used in paintings are

natural products, such as trees, lime, earth, sand, rock, bones, smoke, charcoal and egg. In Burma, lacquer work is a major art and still a pride of the country.

TYPES of lacquer ware Lacquer wares were used not only by royalty but also by ordinary Burmese families to serve their daily meals. Usually, a threelegged low circular table made of bamboo strips and lacquer was used, such as still being used in remote villages and monasteries. The monks used lacquer thapeik (alms bowl) during their daily alms round of collecting their food from the villagers. Thapeik and its cover were made of bamboo, wood and resin. There are many types of lacquer ware vessels, the two primary types being the betel nut box and the hsun ok, the daily multi-

Due to increasing economic costs associated with resin retrieval and the desire of modern Burmese people for ‘western’ products, the lacquer ware art has less demand and is dying. Fortunately, some Burmese families, in an attempt to preserve the ancient art, have chosen to share it with the remainder of the world. Hopefully, through external interest, the unique talent of the Burmese people can be restored and flourish for all posterity. Visit Special Pieces in Paddington to view the selection of unique Burmese artefacts. Proceeds of product sales have gone directly to individual families – this project pays no third party. For more information contact SPECIAL PIECES 02 9360 7104 specialpieces@yahoo.com www.specialpieces.net.au

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 19

ANTIQUES & ART IN NEW SOUTH WALES

Giles Moon uncovers the history surrounding an unusual piece of memorabilia associated with the

BEATLES’ AUSTRALIAN TOUR OF 1964 I n 1964, Beatlemania was sweeping the globe. Sales of the Fab Four’s albums and singles had broken all records, even in the USA where few British bands succeeded. During one week in April, the Beatles monopolised the top five positions of the US singles chart with She Loves You, Twist and Shout, Can’t Buy Me Love, I Want to Hold Your Hand and Please Please Me. In that same week, they held another seven positions in the US top 100! No other musical act has ever come close to this astonishing level of success. Much of this success in the USA was fuelled by three appearances the Beatles made on the Ed Sullivan TV show in February 1964. More than 70 million viewers tuned in to witness each of these performances. By April of that year the Beatles had returned to England and were preparing for their first (and only) tour of Australia, which was to commence in June. A press reception was held for them at Australia House in London. The event took place on 22 April and was hosted by the High Commissioner to Australia, the Right Honourable Sir Eric Harrison. More than 700 guests and reporters packed Australia House, eager to meet the group, much to the consternation of Sir Eric who was heard to exclaim: ‘There has never been a reception quite like this in Australia House and I hope there will never be another one. I guess I am what you would call a square, but those photographers were just too much. They climbed all over the chairs and then when we went inside a closed office they were thrusting their cameras through the windows and rapping on the glass ...’ One of the attendees was John Mcdonald, Private Secretary to the Australian High Commissioner. Mcdonald’s 16 year old daughter Gillian was a huge Beatles fan but her father disapproved and would not allow her to attend the event. Rather suspiciously, when her father produced his invitation to the event for inspection there was a letter attached stating that under no circumstances would daughters of employees be allowed to attend the party. Although Gillian was not able to meet the Beatles in person, her father asked them to sign his invitation as a memento which he gave to his daughter. The unsigned invitation, in itself is an unusual and collectable piece of Beatles memorabilia. This particular signed example is exceptional for several reasons: • The Beatles hardly ever signed themselves. Generally, others would sign on their behalf. The best known exponent of this was their assistant, the ‘fifth Beatle’ Neil Aspinall.

• The autographs are signed on an invitation that is dated, for an event that the Beatles are known to have attended. • The provenance is impeccable – as Private Secretary to the High Commissioner, Mr Mcdonald was invited to the event and would have had access to the group. Existing film footage of the event confirms that he was there. This possibly unique signed invitation realised $12,000 (IBP) at Leonard Joel in December 2011. For more information about forthcoming memorabilia sales contact Giles Moon LEONARD JOEL 03 8825 5635 www.leonardjoel.com.au

SURRY HILLS ANTIQUES & ART IN NEW SOUTH WALES

MEN’S ACCESSORIES The devil is in the detail!

here are so many ways for a man to present his standards and taste to the world without ever saying a word. There is his choice of car, the clothing and the shoes he wears to work and to play. Problem is, all of these things are mass manufactured and available to anyone that shops in the same place. Men who decide to move away from away from the crowd and individualise their appearance, choose to accessorise the off-therack products that they wear. In other words, they use the mass produced as a base and customise to achieve their own unique look and style. So accessories, not the clothes, make the man. Here are a few suggestions on how to set apart one’s style from the masses.

CUFFLINKS Well you can’t go past cufflinks as the look of this fashion era. You see them everywhere, under a suit and on a shirt coupled with denim. It is what makes the look unique and a step above the rest. Vintage, in our humble opinion, is the way to go. It makes sense that if wanting a special look you would shy away from the mass produced basics made in China and found everywhere. With the resurgence in the 50-60s style due primarily to the American series Mad Men, increasingly, more men and women are looking to the fashions of this era wearing watches, cufflinks and jewellery from this time. This fabulous look is not available in big shopping malls. Items made in this period are also a great gift for the person who has everything as they are less likely to take the time to source such unusual pieces. While most of us regard cufflinks as objects designed to fasten the ends of button-less sleeves, the late Frank Sinatra had a different perspective. Spotting an elegant gentleman with two attractive women – one on each arm – the dapper leader of the celebrated Rat Pack summed up the scene in one word: ‘cufflinks.’ Cufflinks – like the tuxedo – make every man look good. They can be flashy or conservative, but always elegant; a statement about the wearer’s style. As one of the few accepted items in a limited line of men’s jewellery, cufflinks are practically guaranteed to get you noticed. It has worked for over a century. In Little Women, Louisa May Alcott had Jo remark that her suitor, Professor Friedrich Bhaer, ‘has gold sleeve buttons in his immaculate wristbands.’ Mr Bhaer’s sleeve buttons are cufflinks, circa 1868. Sleeve buttons or cuff buttons, as they were called in the United States, had rounded shanks on the back that looked like a flat metal button.

TIE PINS and tie bars Lately in our shop there has been a huge increase in interest in tie bars and tie pins. We chalk that up to the Mad Men effect. Another factor contributing to their rise in popularity is the accessory has found its place, so to speak, on the lapels and ties of prominent fashion figures. A small accent like a tie pin can coordinate and compliment the unique look a celebrity is striving to achieve. Vintage Times has dedicated half of one our men’s accessory cabinets to this small but very effective accessory.

VINTAGE watches ‘Cult’ ‘icon’ ‘iconic’ are all emotive words that in one way or another signify influence, desire, following, unquestionable loyalty. When it comes to iconic watches, every man is happy to own and wear something that has such a reputation. A watch that reaches cult status has committed followers who are loyal without query. Iconic timepieces will not be displaced by another brand, maintaining the allure that only an icon can possess, and will typically maintain or increase in value. I believe there are quite a few cult watches worth owning, and to make your choice a bit easier I have listed five wristwatch styles made by leading makers that are both iconic and affordable. The cost of these timepieces ranges from $1,000 to $5,000. Cartier: The Tank: The first design was made by Louis-Joseph Cartier in 1917. His inspiration for the Tank Normale was a new French armoured Renault tank featuring twin tracks that were longer than the machine between them. The first six production models went on sale in 1919 and every subsequent Tank model, more than 30, has imitated those first sketches. Jaeger LeCoultre: Reverso: This unique timepiece was patented in 1931. It could be slid into its support and completely turn over, or reverse, in its outer case. The design was a collaboration between a dental mechanic, Jacques-David LeCoultre and Edmond Jaeger. The Reverso was cased in English Staybrite stainless steel with a Swiss Tavannes movement. Omega: Speedmaster: Neil Armstrong was the first man on the moon, stepping on to the surface 20 July 1969. Armstrong, Buzz Aldrin and Michael Collins wore Omega Speedmaster Professional watches. Its official maiden voyage was aboard Gemini 3 on 23 March 1965. It is known as the Moonwatch. Since its introduction in 1957, over 250 models have appeared from Omega totalling sales of nearly 2 million dollars. We have been fortunate to acquire one of these legendary watches which will be available online at www.vintagetimes.com.au or in our shop in Surry Hills. Jaeger LeCoultre: Memovox was one of the most innovative wristwatches of its time and is still in production today in several versions. The Memovox incorporates an alarm mechanism into a men’s wristwatch with dual crowns/ winding stems controlling the movement and the mechanical movement separately. We currently have two of these unique watches in stock. Omega: Seamaster is another classic wristwatch from Omega. It was originally designed as a waterproof wristwatch. The case

design and essential movement design became classic Omega features which are highly sought out by collectors. Some of the most treasured Seamasters incorporated the original pie pan into the dials. The dial was segmented and bevelled outward, creating a pie pan effect which added dimension to what had previously been a world of flat dials. Vintage Times always strives to have Seamasters and other Omega models in stock as they are one of the best vintage or modern value watches in the marketplace. From all of us at Vintage Times, we wish you all a happy, healthy and prosperous 2012. Tammy Palmer VINTAGE TIMES 02 9361 3244 info@vintagetimes.com.au www.vintagetimes.com.au

SURRY HILLS ANTIQUES & ART IN NEW SOUTH WALES

ANCIENT CRAFT OF GILDING finds revival in 21st century EXPERT restoration for significant heritage collection

t Joseph’s Boy’s College in Sydney owns a large collection of paintings, many over 100 years old and in their original frames. The restoration of the original frames and the school’s heritage must ensure that only trained professionals are engaged to restore the frames to their original condition. Hence, Art Gilding was selected to help restore the frames of this wonderful collection, and have been doing so over the past few years. Art Gilding restored a very large frame (3 x 2.4 m) this year during the winter school holidays. Because of the large size of the frame, a classroom was provided for our work place. We had to finish this job during the school holidays, giving only two weeks to complete this large restoration. Not meeting the deadline was never an option as we aim to always complete restoration work on time and

St Joseph's Boys College Hunters Hill

budget to the full satisfaction of the client. In a sign of that college’s high satisfaction, Art Gilding has already been booked to restore and regild an even larger frame in 2012.

STUDENT opportunities at the Art Gilding Academy Art Gilding runs a unique Gilding Master Class run by Karl Eggert, the Master Gilder who teaches its students all the skills and techniques required to become a master gilder. One of the unique aspects of the Art Gilding Master Class is that when the opportunity arises, some students are invited to assist Karl on major projects. One recent student was given the opportunity to assist Karl with the restoration at St Joseph’s College, and was overjoyed to be given this opportunity of hands on experience. Here is what she said: ‘Your Art Gilding Academy is a fantastic, unique place and I had a really great time! The teachers and course

Karl with Master Class student Ana Ristevski

structure are brilliant, the atmosphere so friendly and relaxing, I should certainly recommend you and your course to all of my friends! As you noted on your website, gilding is a highly specialised field and as such holds “trade secrets” that many are not willing to share, so your generosity in giving away your gilding knowledge is very much appreciated. Thank you both so very much Brigitte and Karl, for providing this incredible experience! Many thanks again’ Have 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.

Like to learn food gilding? • Are you hosting a party and want to be

the envy of all your friends? • Decorate sweets, cheese and fruit with

24 carat gold leaf and silver leaf. • Add gold leaf into wine and other liquids.

Art Gilding is running Australia’s only food gilding workshop. Our evening food gilding workshop runs for 3 hours and by the end of it you will be able to decorate your favorite food with gold and silver leaf. This food gilding class will especially suit caterers. Cost is $198 per person and includes food, wine and 24 carat gold leaf and silver leaf. If you are interested in attending the workshop being held in Surry Hills, Sydney please contact Brigitte on 02 9310 3007 or by email artgilding@artgilding.com.au

Brigitte with gilding workshop project

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

Art Gilding Studio 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

Would you like to add skills and more profits to your business? Because of Karl’s special knowledge and teaching ability, you will learn intensively, but never feel pressured

MASTER Class 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.

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. For more information call Brigitte on 02 9310 3007 ART GILDING ACADEMY artgilding@artgilding.com.au www.artgilding.com.au

WATERLOO ANTIQUES & ART IN NEW SOUTH WALES

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

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.

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.

STORAGE need not be boring

IDEAS are endless

Let your imagination run wild at Doug Up On Bourke with its warehouse full of options. Crates have many purposes beyond their

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

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

ALEXANDRIA ANTIQUES & ART IN NEW SOUTH WALES

Is now a good time to buy furniture

Laura Kincade has some suggestions Should I buy furniture now? The question answered

. Times are uncertain but I need furniture. Should I buy inexpensive pieces for now that will serve a purpose and replace later when the economy picks up? A. The idea of buying anything to be replaced in a relatively short time is a waste of money. It’s a particularly expensive exercise when it comes to furnishing your home. A far better economic

solution is to work out your priorities and purchase the pieces you must have and forego the not-so-necessary items or buy pieces that could be utilised again in a different way.

The lounge room For example, you may need furniture for a lounge room. The most important items will be the seating so buy the best upholstered pieces you can afford. Quality upholstery will serve you well for many years and will prove to be a good investment if you choose a

timeless style and fabric or leather that you won’t tire of too soon.

Side and occasional tables Occasional tables will fill out the room and provide surfaces for lamps, drinks, books and accessories. But these pieces don’t have to be the hi-end tables that you would ultimately like. Less expensive materials like rattan or metal and glass can be elegant and later moved to the family room or bedrooms.

Lamps A pair of quality lamps is another investment. The warmth and ambience created by lamps are often underestimated but the use of table and floor lamps is often the key element in creating truly beautiful rooms.

Floor coverings A sisal rug can stand in for that fabulous rug of your dreams that you can buy later.

Artworks Well chosen prints or posters will complete the room and find a home in other rooms when you buy your Picasso.

WINE GLASS TABLE JUST ONE OF THE UNIQUE PIECES FROM ENGLISH DESIGNER, JULIAN CHICHESTER AVAILABLE EXCLUSIVELY AT

LAURA KINCADE 80 O’RIORDAN STREET, ALEXANDRIA (next door to Domayne) Open Monday to Saturday 10am to 5pm & Sunday 10.30am to 4.30pm

T: 02 9667 4415 · W: www.laurakincade.com 24

These ideas can be applied to any room in the home. Nothing is wasted and your rooms will evolve until your dreams are realised. We always like to think of a home as a work in progress. The secret is to work to a plan and set a budget. When it comes to buying quality furniture and lighting, there has never been a better time to buy American and European imports. Our dollar has been strong for some time now and Australian stores have good stocks. Laura Kincade imports luxury American and European brands and if you don’t see exactly what you want in the store, you can select from the many catalogues and have your customised furniture shipped in one of their regular containers. Some of the brands feature collections by high profile American designers who add a breath of fresh air to classic designs. For pure inspiration a visit to Laura Kincade should be a starting point for your furnishing project. And if you need more, a design consultation service is offered. To learn more contact Beverley Brown LAURA KINCADE 02 9667 4415 www.laurakincaide.com

ALEXANDRIA ANTIQUES & ART IN NEW SOUTH WALES

THE MITCHELL ROAD ANTIQUE & DESIGN CENTRE

Antiques, 20th century design, 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 Upper Level 76 Mitchell Road, Alexandria NSW 2015 I Open 7 days 10 am - 5 pm I P: 02 9698 0907 I E: mitchellroadcentre@yahoo.com.au I www.mitchellroad.wordpress.com

CALLING ALL GREENIES lovers of everything vintage or just plain quirky…

ou are in for a treat when you visit the Mitchell Road Antique & Design Centre. You can’t miss this huge yellow building with amazing retro graffiti art adorning the walls either side of the entrance, indicating that something fun and exciting is happening on the inside. The graffiti theme continues as you enter and climb the stairs to find the most enormous array of treasures from every era and many different parts of the world. Everything has been carefully sourced and brought back to its former glory by a band of enthusiastic people who believe that recycling not only helps our planet, but also gives today’s busy people a way of reconnecting with their roots.

DESIGN with retro style Collectors of retro and 20th century designwill not be disappointed. Add that accent or furnish with stylish teak sideboards, dining suites and Fler lounges. Here are extensive selections of 60s and 70s accessories to complete the look. Explore through the masses of coloured art glass, Danish and German ceramics and pottery, lighting and kitchenalia galore.

CONSIDER the industrial look The huge display of industrial benches, lockers, lamps and stools offers home decorators a smorgasbord of furnishing possibilities. All the pieces have been lovingly restored. Think outside the square and give these items new purpose that suits your

lifestyle. They retain the integrity and workmanship of the craftsmen who originally created them adding a fresh dimension to the space they placed in. There is a whole stall dedicated to designer Filip Sawczuk, filled with his amazing steampunk designs. The lamps and sculptures he creates from discarded industrial pieces have a seductive beauty of their own, giving new life to forms that would otherwise be relegated to landfill.

STALLS to visit Form Before Function is the centre’s Parker aficionado, meticulous in detail with his wonderful selection on offer. A welcome addition to the centre is Old School Industries. Here, unloved discarded furniture has been rescued and repurposed into one-off art pieces decorated with modern graphic designs. This exciting concept is receiving rave revues within the industry.

COLLECTING at the Centre Collectors of toys will find themselves in toy heaven with the huge range of vintage robots, spaceships and wind-up tinplate toys available from one of the biggest collectors in Australia.

Fashion includes vintage clothing, handbags and accessories. There is jewellery, country rustic, antiques, music, tribal, oriental, books and just so much more. The stallholders at Mitchell Road Antique & Design Centre are dedicated and committed to recycling and preserving our history. Like these passionate conservators why not give a huge Christmas present to the environment and give vintage, recycled gifts to all your family and friends this year! If you find the choice too hard, there are gift vouchers, giving lucky recipients the opportunity to enjoy unearthing something special themselves. The Centre accepts all major credit cards, has Eftpos and if visiting over the weekend, take a break at our weekend coffee shop. For the convenience of patrons we are open every day from 10 am to 5 pm. For more information contact MITCHELL ROAD ANTIQUE & DESIGN CENTRE 02 9698 0907 mitchellroadcentre@yahoo.com.au mitchellroad.wordpress.com

ANTIQUES & ART IN NEW SOUTH WALES

NAPOLÉON III AND THE Second French Empire Style

Small three-seat indiscret, Napoléon III period

he Napoléon III style refers to a mode of architecture and furniture in France that flourished during the Second French Empire with the patronage of Napoléon III (1808-1873), including most of Paris’s buildings and important avenues. He was the nephew and heir of Napoléon Bonaparte (1769-1821). After a visit to Biarritz in the south west part of France, that became renowned in 1854 when Empress Eugenie (Napoléon III’s wife) built a palace on the beach (now the Hôtel du Palais), I decided to write about this particular style. She was born in Granada, Spain and appeared at several balls given by the ‘princepresident’ at the Elysée Palace, and they married on 30 January 1853. Charles Louis-Napoléon Bonaparte (18081873) was elected the President of the French Second Republic by popular vote in 1848. After he initiated a coup d’état in 1851, he ascended the throne as Napoléon III on 2 December 1852, the 48th anniversary of Napoléon I’s coronation, ruling until 4 September 1870, thus being both the first titular president and the last monarch of France. Napoléon III is primarily remembered for an energetic foreign policy to reassert French influence in Europe and abroad. As in all of Europe, it was a major period of industrialisation.

NAPOLÉON III style The Napoléon III style is associated with the renovation of Paris under Baron Haussmann between 1852 and 1870, the buildings showing a singularity of purpose and design, an unusual consistency in urban planning for that time. The style is characterised by high façades, mansard roofs, more rarely pavilions and clearly defined outlines, altogether a very ornate and rich style. Napoléon III also refers to furniture and interiors of that period. This was the wealthiest period in French history with industrial expansion, and so with rising national wealth came an increase in the wealth of décor in private and public places. The décor was abundant, always using exquisite quality materials and plenty of furnishings and fabrics. The Second Empire designers loved grand interior architecture elements. The focal points of rooms were fireplace mantels, mirrors, candelabras, sconces and chandeliers with caryatids, the draped female figures used instead of columns among the decorative symbols of luxury. The Napoléon III style, also called Second Empire style, is summed up in one word – abundance. Plenty of inspiration, profusion of materials and a wealth of décor were derived from a generous mix of 17th and 18th century styles. It was an era of progress, innovations and industry. The technique for large tufted cushions was invented in 1838, as well as cast iron furniture that could be reproduced mechanically. New machines enabled very fine and precisely cut veneer, the process of gold electro-deposition was used on bronzes, while marble carving became easier and when papier-mâché was invented it allowed for fake sculptures.

Electrotyping and the use of silver plate, which Christofle excelled in, gave much creative freedom and access to products that had up until then been reserved for the extremely wealthy. In general, the Napoléon III style was characterised by exuberant shapes, a profusion of decorative motifs, and naturalism in the representation of human figures. The sculpture of nude women encircling the spirit of dance urging on the circle of bacchantes, completed in 1869 by Jean-Baptiste Carpeaux (1827-1875) for the façade of the Paris Opera, initially shocked the public.

Denis Geoffray in front of Villa Eugénie, now Hôtel du Palais, Biarritz

FURNITURE Whimsical shapes, the return of painted wood and mother-of-pearl featured in the furniture. Dark woods were used as well as exotic woods to create pieces sometimes inspired by colonial incursions in distant Vietnam and China. The chinoiserie style is very present in a Napoléon III décor. The period is remembered for its tortoiseshell and metal parquetry furniture in the manner of the French cabinetmaker, André-Charles Boulle (1642-1732); Louis XV and XVI style living room sets; and Renaissance style or King Henri II (r. 1547-1559) dining room sets. It was an eclectic mix of styles inspired by the prior 500 years, with often several styles used for one piece. The important names of the style are Bellangé, Beurdeley (Imperial warrant), Cremer, Dasson, Grohé, Diehl, Fourdinois (Empress Warrant), Linke and Sormani. The cabinetmaker Antoine Krieger added mechanisms inspired from 18th century furniture. Small side tables on rollers were created as were black-lacquered furniture covered with bouquets of flowers. Understanding the historical and economical contexts explains why this style created such rich pieces of furniture and also why they were so different. Here was an entire country which needed furniture and the new rich population wanting the same style of furniture that only the noble families could have afforded just a few decades before. With the help of machines, mass production of numerous pieces in solid wood became possible, reviving the heavy style of the Renaissance as well as the precious Louis XV and the elegant Louis XVI styles. Experts in furniture often describe the Napoléon III style as that which combines all other styles in one, with the best technical and quality realisation.

Opéra Garnier in Paris

Denis Geoffray UNIQUE FRANCE 07 3254 0404 www.uniquefrance.com.au

Napoléon III period cabinet in walnut and geometrical veneer of rosewood and burl wood, highly decorated with ivory incrustation inlays and ormolu, original Carrara marble top

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

358 Botany Road Alexandria NSW 2015

02 9698 2785 www.farmhouseantiquepine.com.au

www.foxantiques.com.au

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

Mob: 0429 994 664 mark_dempsey@bigpond.com

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

EARLWOOD ANTIQUES & ART IN NEW SOUTH WALES

the rug experts SPECIALISING IN CLEANING, HAND WASHING, REPAIRING AND RESTORATION OF RUGS AND KILIMS

Turkish Hereke

All jobs are guaranteed with free pickup and delivery to all suburbs. We also sell exotic rugs and kilims from around the world. Our showroom has a large range of rugs and kilims to cater for all our clientsâ&#x20AC;&#x2122; desires.

1300 166 266

02 9558 2288

info@therugexperts.com.au

www.therugexperts.com.au

21-23 Homer Street, Earlwood NSW 2206 28

BOTANY ANTIQUES & ART IN NEW SOUTH WALES

PACK & SEND now open at Botany

“

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

”

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.

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.

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 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.

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.

PACK & SEND 02 9661 1144 www.packsend.com.au/botany

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

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

Treasures of the

MELBOURNE MINT

1937 proof crown, the only limited edition proof coin released in 1937

1916 specimen proof set (florin, shilling, sixpence and threepence) presented to VIPs and dignitaries

Mint condition rarities from a private collection

Commonwealth silver coinage. Following the tradition of the Royal Mint London, the Melbourne Mint struck limited edition collector coins – always prized pieces within the numismatic investment market. This collection encompasses the period from 1916 to 1953. It is made up of nine elements, totalling 27 coins. Each piece was individually crafted by the Melbourne Mint as a high quality, limited edition collector’s item. The 1916 specimen proof set (florin, shilling, sixpence and threepence) is a presentation set that was especially minted in celebration of the Mint’s inaugural striking of Australia’s Commonwealth coins on home soil: mintage believed to be 25 in total. The 1927 proof Canberra florin was Australia’s first commemorative coin, minted in proof quality as a limited edition collector’s item in celebration of the opening of Parliament House in Canberra: mintage believed to be 400. The 1934 proof set (florin, shilling, sixpence, threepence, penny and halfpenny) was Australia’s first commercially produced six-coin proof set: mintage believed to be 40. The 1935 penny and halfpenny copper proofs are in their original state and are glorious: mintage believed to be 100. The 1937 proof crown was the only collector’s coin released during 1937. The December 1936 abdication of Edward VIII from the British throne interrupted the Mint’s 1937 plans: mintage recorded as 100. The 1938 proof set was the first commercial proof set struck depicting the new monarch, George VI who succeeded Edward VIII: mintage believed to be 70. The 1938 proof crown had a minuscule mintage, believed to be only 25. The 1939 proof halfpenny was released in a mintage of only 40, as the onset of WWII quelled the Mint’s plans to release 100 examples. The 1953 specimen proof set (florin,

‘T

reasures of the Melbourne Mint’ collection was officially launched at the Melbourne Mint on 29 November 2011. This superb collection was accumulated by Coinworks from 1993 to 2000 and subsequently sold to a Western Australian collector and investor for $174,750. Today these coins are again offered for private sale by Coinworks. The total collection is valued by the rare coin industry at $1.5 million. The coins are preserved in pristine condition and are exceptionally rare. They have the sheen and lustre, the sharpness of

design only found in the highest quality collector coins. These are elegant examples of the coin maker’s art that are sought after by collectors and investors alike. They were struck in the pre-decimal years before proof specimens were readily available and only small numbers were ever produced. As historic pieces and as finite assets, their rarity and investment potential is assured. As exquisite examples of the Melbourne Mint’s craftsmanship, they are numismatic gems.

MELBOURNE Mint The Melbourne Mint in Williams Street was opened in 1872 as a branch of the Royal Mint London, to strike Australia’s gold sovereigns and half sovereigns. In 1916 the Mint was commissioned to strike Australia’s

shilling, sixpence, threepence and penny) is the rarest in the collection. This set was struck for the Chase Manhattan Bank in New York to celebrate the coronation of Queen Elizabeth II: its tiny mintage is just twelve.

RARE coin investment Volatility in the stock market has encouraged many investors to rethink their portfolio and to look more closely at greater diversity. At Coinworks, we are regularly approached by people looking at rare coins to balance their investments either within their superannuation funds or as another means of preserving wealth. This collection demonstrates the potential for growth, having increased almost nine times in value, from $174,750 to $1.5 million over ten years. As with all investments, yield varies but there is always a pattern of growth in all rare coin categories. Coinworks can assist you in evaluating yield. Coinworks represents over 40 years’ experience in the rare coin industry and has dealt with the finest pieces. Our points of comparison come not just from books and catalogues but from our professional experience. Coinworks is one of the very few companies in Australia that researches both provenance and price background. Current market price guides are a starting point. Auction results, both recent and historic, help flesh out the picture. Current market conditions are a significant consideration, as is market trend analysis. Our experience in the market also enables us to asses a coin’s future potential. Contact Coinworks for an appointment to discuss the investment potential of coins, notably those within the magnificent Treasures of the Melbourne Mint collection. COINWORKS 03 9642 3133 info@coinworks.com.au www.coinworks.com.au

ROCKDALE ANTIQUES & ART IN NEW SOUTH WALES

ph 02 9567 1322 fax 02 9597 1782

CITY ANTIQUES & ART IN NEW SOUTH WALES

Strength in the market as prices for numismatics holds firm

AUCTION HIGHLIGHTS AT THE NOBLE NUMISMATICS SALE Rare Government of India 1931 George V 1000 rupees, signature Kelly, Calcutta circle. Sold for $23,300

four day auction sale achieved a more than satisfactory result after a record number of 600 plus bidders participated. A week of continuous rain and the gloomy financial markets worldwide failed to dampen the spirit of those who participated in this auction. The David Allen Collection of Australian Agricultural Medals in the seventh session was virtually sold out with one prominent institution being the principal buyer, thereby ensuring the preservation of these medals for all who are interested to view them in the future. The Indian paper money collection was sold out with strong internet bidding plus buyers in the room including a professional numismatist from India visiting Australia for the very first time. The collection was offered in session 13 in 87 lots. Estimated at a total of $200,000 collectively the lots sold for $305,000 including buyer’s premium and GST of 16.5%.

AUSTRALIAN currency results

Nearly uncirculated 1914 £20 Collins/Allen. Sold for $139,800

In Australian coins and banknotes, highlights were the Collins/Allen 20 pound note, which achieved $139,500, the highest price realised in the auction, and the Cerutty/Collins 50 pounds which sold for $110,675. Both notes were purchased at our March 1991 sale for $14,500 and $15,000 respectively. The top-priced coin was the gold 1852 Adelaide pound with an estimate of $35,000 that sold for $43,105. An 1855 Sydney Mint sovereign exceeded its estimate of $6,000 selling for $7,573. Bringing more than the estimate was an 1872 over 1 overdate shield sovereign that attracted $7,223. Other strong results were seen with inverted A for V varieties realising $8,155 and $4,660 respectively. Australian Commonwealth coins were on offer. The 1930 pennies all sold close to estimate with the exception of the last 1930 coin to be auctioned. It had an estimate of $13,500 selling for a very strong $31,455. In the silver a 1922/1 threepence achieved the top price of $18,058. In the proofs a 1939 kangaroo halfpenny, choice except for a carbon spot, brought $20,970.

Rare 1930 George V Indian die. Sold for $31,455

MEDALS From the David Allen Collection the first medal offered (they were listed alphabetically) was the Albury Industrial Exhibition 1879 medal in silver awarded to the resident GP, Arthur Andrews, the renowned numismatic author. It was purchased by a local collector with a personal interest in Andrews. The earliest medal known for South Australia went to a museum that paid $9,320, the highest price in the collection. The cover medal, which was in plated 22 carat gold, sold above the estimate of $4,000 for $5,126.

INTERNATIONAL currency A Chinese Kiangsi rebel copper ten cash dated 1911 with another normal issue in one lot with an estimate of $250 was purchased for $3,262. Another very strong result was for a 1908 Cyprus bronze piastre. Given an estimate of $300 it realised $1,923. Top price went to the Russian Family rouble at $75,725. Gold coins were also on offer. A China 1916 gold ten dollars sold above the estimate of $12,000 for $20,970. From Augsburg, Germany, a 20 ducats also sold above the

Handcrafted silver medal made for Aldinga Annual Ploughing Match of 1853, measuring 45 mm, inscribed ‘Awarded/to/John Bennett/at the/Annual Ploughing/Match/Aldinga/September 14th 1853’; obverse inscribed ‘Best/Man’. Sold for $9,320

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.

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: 0407 676 838 MONDAY to SATURDAY estimate. Valued at $12,500, a collector paid $16,310. In the British coins a profile left William the Conqueror penny, with an estimate of $1,000, sold well at $2,796. The Anglesey Pary’s Mine Co penny minted 1788 increased in value, selling for $3,379. In July 1998, sale 58B, it sold for $1,550. In the lots dedicated to military medals a good result was the sale of the Irish Assistant Police Commissioner’s group of nine, estimate $4,500, which went under the hammer for $9,320. Top price in the Indian banknotes went to the 1,000 rupees of George V at $23,300 (reserve $16,000). It sold to a local collector on the phone against the dealer from India in the room and after several email bids had been exhausted.

ANCIENT coins

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

Our next sale takes place in Sydney on 17-19 April 2012. Already included is the collection of the late Tom May which is strong in Greek, Roman and British coins and medals as well as the important Alexander Collection of Australian and New Zealand tokens. The year 2012 is a milestone year for our firm with our hundredth sale to be held in July. Our first sale was held in Sydney in 1977 and to commemorate this special occasion Sale 100 will also be held in Sydney. For more details contact NOBLE NUMISMATICS 02 9223 4578 www.noble.com.au

On the final day the ancient gold coins commenced the 16th session and the Roman gold did well. The best results were a Claudius aureus selling for $31,455 against an estimate of $22,000 and was topped by the Caracalla aureus which went for $40,775, well above the $23,000 estimate. Finally, the Galerius Maximian aureus at $23,300, again well above the estimate of $14,000, went to a buyer on the phone from the UK. Other competing bidders were a European bidder on the phone who was successful on three occasions, a bidder from Russia in the room who bought three lots and two collectors from Sydney in the room who were unsuccessful. In the silver, a tetradrachm of Athens went to a local collector for $3,845 (estimate $2,500) and a Roman Republic denarius of L. Plautius Plancus, estimated at $1,600, selling for $3,029, was the best of five examples on offer. Roman imperial coin Caracalla CE 198-217, gold aureus, issued 198, Rome mint, wt: 7.24 grams. Obverse: laureate bust, draped to right of Caracalla; reverse: Minerva standing to left, holding Victory and spear. Sold for $40,775

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)

Ph: 02 9252 0833 Email: dd@buttonsbuttons.net OPEN 7 DAYS 10am - 5.30pm 33

ANTIQUES & ART IN NEW SOUTH WALES

AQUA – A journey into the world of water at the Australian National Maritime Museum An exciting new experience using technology to tell an important story, until 26 February

ne of the world’s most sophisticated interactive video systems is at the heart of the National Maritime Museum’s new show AQUA: A Journey into the World of Water. This visually spectacular experience has been created by ONE DROP, an initiative of Guy Laliberté, founder of Cirque du Soleil to raise awareness of the importance of protecting and sharing water as a vital resource for all. AQUA tells the story of fresh water around the world using powerful interactive digital technology and surround screens. Inspired by the creativity of Cirque du Soleil, it draws attention to the fact that nearly one billion people do not have access to safe drinking water and reminds us that, one step at a time, we can all do something to help. ‘For many people, when they think of museum exhibitions they think of objects locked away behind glass showcases. AQUA is an opportunity for us to dispel this myth and show how museums today are creating new experiences with the latest technology that still deliver on our fundamental objectives of informing, inspiring and engaging our visitors,’ said museum director Mary-Louise Williams. Throughout the half-hour show, divided into three distinct spaces, visitors are able to actively discover water in all its forms and

gain an understanding of its vital role in humanity’s survival. Thanks to 360 degree screens, music, visual effects and actual water displays, visitors can live the AQUA experience as both actors and spectators. Technical director Martin Fassier says there was a conscious consideration in the development phase for the exhibit that the story had to take centre stage with the technology being used to bring it to life. He explains that AQUA uses one of the most cutting-edge interactive video systems, allowing us to mix footage with real-time interactive video on a scale not often seen. Fassier goes on to state that ‘parts of the system are highly complex, but when you go through you can appreciate why. It delivers an incredible experience for the audience.’ Despite the scale of the technology, AQUA has also been developed to conserve power and water usage with the displays recycling water and powering down overnight to a standby mode that uses less energy than a single light bulb. In 2010, AQUA received a NUMIX award of excellence in recognition of the technological feats involved in realising the interactive exhibition, and as a prelude to the exhibition, Sydney Catchment Authority has created the H20 2U room. This features local content on Sydney’s own water story.

H20 2U tells the story of Sydney’s dams and provides educational and enjoyable activities for children. ‘Many people know about the iconic Warragamba Dam,’ said chief executive of the Sydney Catchment Authority, Michael Bullen, ‘but fewer know about the other smaller dams that make up the water supply network for the 4.5 million people in greater Sydney.’ Michael Bullen points out that ‘visitors to H20 2U can learn which dams in Sydney were designed with Tutankhamen’s tomb in mind, and which of our dams is one of the thinnest in the world. They can find out how many Sydney Harbours Warragamba Dam can store and learn about the dams that had torpedo nets in place during World War II – and why.’ In Sydney, AQUA is presented in association with principal partner Sydney Catchment Authority. The exhibition will remain on show until 26 February. Entry is included in the museum’s Big Ticket – $25 adults, $10 child/concession or $60 families. This travelling exhibition has toured to Montreal (CA), Ottawa (CA), Quebec (CA) and Auckland (NZ). The Australian National Maritime Museum is its only Australian venue before it continues its route onward through south-east Asia. The Australian National Maritime Museum in Darling Harbour is open daily from 9.30 am to 5 pm (6 pm in January).

All inquiries to AUSTRALIAN NATIONAL MARITIME MUSEUM 02 9298 3777 www.anmm.gov.au/aqua Follow the museum at www.facebook.com/anmmuseum and http://twitter.com/anmmuseum.

DARLING HARBOUR ANTIQUES & ART IN NEW SOUTH WALES

Australian National Maritime Museum

celebrates 20 years I

n November the Australian National Maritime Museum celebrated 20 years of being open to the public, connecting national and overseas visitors with Australia’s maritime heritage. Since opening on 29 November 1991, the museum has grown to be one of Australia’s liveliest cultural attractions with a large fleet of historic vessels at its wharves, an everchanging temporary exhibition and events program and half a million visitors each year. Located on the waterfront in Sydney’s Darling Harbour, the museum takes a broad view of maritime history, showing visitors that Australians have always been closely linked to the sea. Over the last two decades it has staged more than 190 temporary exhibitions on a broad range of maritime subjects including the Japanese midget submarine attack on Sydney Harbour in World War II, Vikings, Britain’s child migrants, the history of swimwear, the Tudor ship Mary Rose and the Iceman Otzi. In addition to the Navy destroyer HMAS Vampire and submarine HMAS Onslow, the museum added to its fleet of historic vessels in 2005 when it took over ownership of the Australian-built replica of James Cook’s Endeavour. The museum has since sailed Endeavour on a number of small voyages along the eastern seaboard of Australia, and this year began an historic circumnavigation of Australia. The ship is currently half-way through the voyage, and has already welcomed more than 41,000 visitors and school children on board. The ANMM has also grown in popularity over the last 20 years, prompting London’s Sunday Times to name the museum on its list of the ‘world’s coolest museums’ in 2009. To commemorate its 20th anniversary the museum is hosting a special photographic exhibition, 20 years - a snapshot, which features some of the highlights from the last two decades.

The 90 framed photos show the museum’s early beginnings and demonstrate how the building comes to life, both behind the scenes and in its many exhibitions and special events, together with the many visitors which have made it a success over the years. Candid shots of the museum’s famous visitors including Queen Elizabeth II, George W Bush Jnr, Paul and Linda McCartney and Jessica Watson with her yacht Ella’s Pink Lady also feature in the exhibition. The photographs provide a glimpse into areas usually hidden from public view with images of exhibition installations and ships in dry dock undergoing maintenance. The photos are a record of the museum’s many outreach programs including a members’ tour of India in 2004. The museum is looking forward to continuing to serve the community well in to the future with a varied exhibition and events program on-site and greater outreach programs for remote and regional Australia. Future programs include the opening of AQUA: A Journey in to the world of water for the December/January school holiday period, a unique exhibition titled Fish in Australian art, opening in April and the first-ever national conference on Indigenous watercraft in May.

Vessels in partnership with Sydney Heritage Fleet to build a national picture of historic vessels, their designers, builders and owners. • Initiating the Maritime Museums of Australia Project Support Scheme (MMAPSS) to assist non-profit regional museums and organisations in preserving and maintaining Australia’s rich maritime heritage. Since launching in 1995, the scheme has given more than $850,000 in grants across Australia. • Developing the Welcome Wall monument as a tribute to the millions of people who have crossed the world to settle in Australia. To date, more than 24,000 names have been inscribed on the wall. • Welcoming over 30,000 school children a year as part of the museum’s Education program.

• Undergoing a building improvements program including the addition of new wharf and pontoon facilities, a new waterfront café and additional education and programming space.

20 years – a snapshot will remain on display until 4 May 2012. Entry included in general museum ticket, $7 adults, $3.50 child/concession or $17.50 for a family.

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

SOME of the museum’s key achievements include: • Growing the National Maritime Collection to over 135,000 items. • Administering a national volunteer work force of more than 1,000 who assist with guiding, conservation, events, fleet maintenance and general administration. • Acquiring national treasures such as the Saltwater Collection of Indigenous bark paintings, the 18th century Charlotte medal, the Omai collection of artefacts from Cook’s second world voyage, and the extraordinary mural from the walls of the Waterside Union headquarters. • Launching the Australian Register of Historic

ANTIQUES & ART IN NEW SOUTH WALES

Trophy inscribed ‘Presented by John Walker/22 Bond St/Sydney/To The Intercolonial Sailing Carnival Won by/J Mcmurtrie’s ‘Effie’/Sailed by N Johnson/ 1897–99’, 33 x 61 x 55 cm. ANMM, gift from the Wright Family. Photographer A Frolows/ANMM

Effie racing on Sydney Harbour. Photograph by William Hall, date uncertain. ANMM

A Scottish trophy presented by a Scotch whisky company for the

AUSTRALIAN COLONIES LOST AND FOUND

n December 1896 a most remarkable trophy took pride of place in the offices of the John Walker Whisky company in Bond Street, Sydney. Made in Scotland by Edinburgh silversmiths Robert & Henry Bruce Kirkwood, it was built upon the actual head of a merino ram – an icon of the colony’s prosperity – that also had the utilitarian function of a cigar box for the drawing room table.It was brought to New South Wales by John Walker, the spirit distiller and official ale supplier to the Queen, for the Intercolonial sailing carnival. The trophy caught the media’s attention. ‘It illustrates the ingenuity of the designer to a remarkable degree,’ reported The Sydney Morning Herald on 19 December 1986. ‘The ram, if one might judge by his enormous horns, must have had a distinguished pedigree.’The horns were polished and the points fitted with silver ornamentation in the design of the thistle of its Scottish patron. The head cavity was furnished with a double

From the Intercolonial regatta program of 1897. ANMM

canister, one fitted to receive cigars and the other to hold cigarettes.Its lid featured a cairngorm, or polished piece of quartz. The company had sponsored rowing and sailing races in the colonies for more than 25 years and its new trophy, the Walker Whisky Trophy, was aimed at raising its profile among open-boat owners and sailors and the enthusiastic crowds who supported them, who included many of Sydney’s business and working men of the inner suburbs of Balmain, Glebe, Pyrmont and the city itself. The Intercolonial Sailing carnival was held under the auspices of the Johnstone’s Bay Sailing Club of Balmain, then one of the harbour’s many inner-suburban open-boat clubs. Others included textile entrepreneur Mark Foy’s Sydney Flying Squadron at Kirribilli, the Sydney Sailing Club and the Sydney Dinghy Sailing Club. The Johnstone’s Bay club fielded a range of open boats from six to 24 feet (1.82-7.31 metres) in length. Today’s legacy of that

open-boat competition is the 18-Foot Skiff class but back then the glamour boats were the 22 and 24-footers, shallow-draught open boats with a length restriction but little else by way of rules, carrying huge rigs and great clouds of canvas. Their large crews worked as live ballast. These boats had evolved from ship’s boats and tenders raced on the harbour in the growing colonial competitions, at a time when you could count on one hand the ‘first class’ or larger, decked, privately owned keel yachts. By the time Yankee solo sailor Joshua Slocum visited Sydney on his famous 189598 solo voyage around the world, the open boats were widely acknowledged as a Sydney type. Slocum described them as ‘a handy sloop of great beam and enormous sailcarrying power.’ The Intercolonial series was first held in the 1893-94 season, hosted in turn by Sydney and Brisbane. The Walker Whisky company first offered the Intercolonial trophy to the 22 footers, as the premier class, in the 1896-97 season, attracting 11 of the crack 22 footers from both cities. The first race was held on Sydney Harbour on 23 January 1897, with vantage points crowded by picnickers and eight steamers and numerous buntingbedecked private vessels following the races. The Australian Town and Country Journal exclaimed that the event ‘saw the largest number of spectators ever seen afloat on the waters of our Harbour. Never before in the annals of Sydney aquatics has there been such an interest taken in a sailing race.’ The race and the £10 first prize was won by Balmain resident Mr A Kinnimont’s Irex skippered by Fred Doran, from Chris Webb in Figtree. The Queensland boats trailed the fleet on that occasion, either because of equipment failure or, as one commentator offered, because the breeze did not suit them. The race the following year was held in Brisbane in January 1898 when it was won by Sydney sailing official James McMurtrie’s Effie skippered by N Johnson who beat Irex and the Queenslanders. McMurtrie usually skippered his own boat but was suffering a bout of typhoid. Effie was built by Sydney builder Donnelly in 1886, 12 years old but still competitive. With its huge spread of canvas it often carried 20 crew. Walker Whisky’s ram’s head trophy was

offered to the boat that won the event twice, which should have set the stage for a showdown between the two crack 22-footers, Effie and Irex, in March 1899. Irex, however, had had been shipped to the UK for another challenge so it was left to Effie to contest the trophy. On 30 January 1899 on Sydney Harbour, Effie won the third and final race from a field of three Sydney and three Brisbane boats, so it was to McMurtrie that the Walker Whisky trophy went, presented at a concert to entertain the visiting Queensland crews. By this time the size of the big boats, the cost of campaigning them and the domination of the New South Wales boats had dampened the interest of the Queenslanders, and there were fears the competition would die. Many clubs would champion the smaller 18-footers as the competitive craft for the coming century. Effie remained a champion for the next few years but the 22-footers were soon superseded. The trophy was donated to the Australian National Maritime Museum by the Wright Family of Roma, Queensland through Donna and Ross Fraser and Lesley and Stanley Harrison. It had been found under a house at Tewantin, Queensland in the 1970s. Keen amateur historians piqued by the qualities of the trophy, Donna and Ross spotted a similar trophy when on holidays in the UK. Known as the Taymouth Ram, it was presented to the winner of the men’s open golf tournament day at Taymouth Castle Golf Course in Perthshire, Scotland. This serendipitous find sheds light on the Australian trophy and its origins – a Scottish trophy presented by a Scotch whisky company for the Australian colonies. The museum is planning the conservation program for the trophy, which is missing much of its wool and some of its ornaments. More than 115 years after it first went on public display, the trophy will be prepared for an exhibit exploring the appeal of the regatta in colonial society and the open boats to which this idiosyncratic artefact of colonial adventure belongs. Daina Fletcher Senior Curator AUSTRALIAN NATIONAL MARITIME MUSEUM 02 9298 3777 www.anmm.gov.au

LEICHHARDT ANTIQUES & ART IN NEW SOUTH WALES

rom F s e te inu Centr M 5 ity C

www.Veiew our new bl lement og ~ silove.c om Visit Our Website To View Stock On Line.

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www.elements.net.au Showroom | Workshop Tues to Sat 10am - 5pm | 124 James Street, Leichhardt 2040 | 02 9560 3067

THE CLASSICS: Transformation by a single architectural element

hose who believe that a single architectural element has the ability to transform an interior or an exterior into a space of harmony and beauty need look no further than the classics. With the latest shift in architectural trends, the classical seems comfortable and again secure in its timelessness. Eclectic interiors where various periods and styles are combined are increasingly de rigueur. There is growing interest in the revival periods that surround the 18th and 19th centuries and specifically ornamentation from French Empire, Baroque and NeoClassicism. Now one has the opportunity to incorporate architectural features that were simply not being considered a few years ago.

COLUMNS Take architectural columns; they are a powerful and visually arresting design element that architects, designers and home owners love to use. The availability of original timber, iron or if you are in the UK, stone columns is limited. In the 19th century, cast iron columns were popular in Australia. While still found today they are becoming scarce. Originally used to support the upper storey of a terrace house they were usually very slender and tall compared to the classic styles. Alternatively one may look to teak timber columns from India. These handsome columns come in a variety of diameters, some having a

more classical appearance than others. Antique Indian columns with beautiful patina and old paintwork can add a classic design element as well as texture and colour to an interior. They can be incorporated as a structural, load bearing element or as a purely decorative feature of an interior. The classical column is part of an architectural recognised order: Doric, Ionic, Corinthian, Tuscan and Composite. Despite the column and in particular the capital being the most readily recognised element of each order, it is worth remembering that the column is merely a component. However, when viewing an historic building most people would look to the column capital for quick identification of a classical order â&#x20AC;&#x201C; thus making the columns the stars of the orders. The rediscovery of the classics and the realisation that old building elements can be worked into the structure as well as being used decoratively opens up many possibilities when creating a new interior. Nowadays it is common to see a rich mix of contemporary and antique pieces. The renewed appreciation of these elements confirms that good design is timeless. ARCHITECTURAL & ANTIQUE ELEMENTS 02 9560 3067 www.elements.net.au

ANTIQUES & ART IN NEW SOUTH WALES

A piece of Australian aviation history:

The sterling silver model Fairey 111D before restoration

The Fairey 111D The story of its restoration at W J Sanders

or a silversmith there is nothing more satisfying than restoring a truly historic piece of silver. When CMDR David Goble RANR visited W J Sanders in 2011with the most magnificent silver model of a vintage aeroplane work ceased immediately. The scale model Fairey 111D was a masterpiece of craftsmanship and skill drawing the admiration of the team of skilled artisans.

HISTORY of the Fairey 111D The Fairey 111D is the first aircraft to circumnavigate the Australian coastline and was originally ordered for service in the Royal Australian Navy in the early 1920s. Seaplanes were commonly used for survey, reconnaissance and pioneered flights along the Australian coastline. In April 1924, Flying Officer Ivor McIntyre and Wing Commander (later Air Vice-Marshal) Stanley Goble left Point Cook in the RAAF Fairey 111D, the aim of the flight to show the usefulness of seaplanes and to complete the first aerial circumnavigation of Australia. During the journey, McIntyre and Goble experienced many difficulties including barely missing cliff edges at Bulli; the compass had exploded and one of the floats had been damaged. They also experienced engine trouble and were delayed because of bad weather. Forty-four days later, the two men landed safely in St Kilda, Melbourne where they were welcomed by the Governor of Victoria, the Earl of Stradbroke and a cheering crowd. Prime Minister Mr Stanley Bruce (1883-1967) said that McIntyre and Goble’s journey had ‘demonstrated the great possibilities of air flight not only for the defence of Australia but also for rapid communication with its widely separated and outlying settlements.’ Wing Commander S J Goble and Flight Lieutenant I E McIntyre were subsequently awarded the prestigious Britannia Trophy in 1924 for ‘A flight round Australia taking 44 days and covering 8,568 miles in 90 hours flight time in a Fairey IIID.’

HISTORY of the silver model It was no surprise that the W J Sanders silversmiths were impressed by the intricate workmanship of the replica after they discovered the Mappin & Webb maker’s mark and the stamp signifying the London assay office hidden under the RAAF insignia on the wing. Mappin & Webb, founded in 1810 originally in Sheffield, became one of the United Kingdom’s most prestigious silversmiths and in 1897 they were granted a Royal Warrant. From information obtained from a 30 year old newspaper clipping, we discovered that two sterling silver replica models of the Fairey 111D were made, presented to Goble and McIntyre shortly after their landing. Many years later the replica awarded to McIntyre ended up in the hands of London antique dealer John Bourdon-Smith. In 1988, Bourdon-Smith visited Melbourne where he decided to put it up for sale in the hope an enthusiastic aviator would buy it and give it to the nation. Unfortunately this did not happen, and it was later sold. The current owner of McIntyre’s silver replica is unknown. Meanwhile in 2011, the silver model seaplane presented to Goble and now in the care of grandson CMDR David Goble RANR was in need of repair and restoration. He brought the model to W J Sanders & Co hoping it could be restored to the way he remembered it when he was a young boy. He reminisced, recalling a time when he used to want to play with it but was not allowed, told that it was not a toy.

A brush made of very fine brass is used to flick off the now softened dirt. Step 3. Silver solder the attachment for the base and machine hand polish all the silver parts. A very labour intensive task that took over six hours to complete. The machine hand-polishing with soft brushes removed all scuff marks returning the model’s original silver patina. Wax was applied after polishing.

Step 1. Firstly, the seaplane needed to be taken completely apart. The propeller, inside housing, all strut wires and engraving plates were disassembled in preparation for cleaning.

Step 4. Make replacement silver wire struts. The original wires, some of which had become detached, were quite brittle and most could not be re-used. In order to do this, seven metres of 0.2 mm thick sterling silver twisted rope was made. Accurately re-rigging the wires was one of the most difficult tasks for the silversmith as no existing photograph of the replica seaplane was clear enough to determine exactly how each wire sat. Eventually, thanks to internet research, some close-up shots of a Fairey 111D in an aeronautical museum supplied us with the answers.

Step 2. All the components were chemically cleaned. The procedure involves soaking the items in a chemical solution to soften the dirt. Following this, the parts were scratch brushed.

Step 5. The Air Force badges were very faded and impossible to re-use. These were recreated in-house and the tail of the seaplane was then repainted, matched to the original colour.

THE RESTORATION process

The sterling silver model Fairey 111D after restoration

Step 6. The wooden plinth, also in bad state of disrepair was stripped back, sanded and then repainted with high gloss black paint. New felt was affixed to the base. Step 7. Finally, each piece was painstakingly reassembled and placed on the plinth. The seaplane was given a final light buff and was now ready to be collected. The fully restored seaplane was picked up and then taken on a visit to the home of the recipient’s eldest son, Commodore John Goble RAN (Rtd) who was favourably impressed with the W J Sanders craftsmanship. ‘It is better now than I remember it,’ he said. The model Fairey IIID seaplane is now in the hands of the Chief of Air Force, having been presented to him at the RAAF history conference held in Canberra on 4 November. It will be placed on public display at the RAAF museum in Point Cook, Victoria as a permanent loan item from the Goble family. Bianca Fazzalaro W J SANDERS & CO 02 9557 0134 www.wjsanders.com.au

MARRICKVILLE ANTIQUES & ART IN NEW SOUTH WALES

AUSTRALIA’S PREMIER MANUFACTURING GOLD & SILVERSMITH Manufacturing Our craftsmen continue to use their traditional skills to hand craft beautiful pieces in gold, sterling silver, EPNS and brass. These include a wide range of trophies, table silverware and ecclesiastical metalware. OUR SERVICES INCLUDE

Excellence in Craftsmanship since 1911

W J Sanders & Co 36F Fitzroy Street Marrickville Phone: 02 9557 0134 Phone Fax: 02 9557 0086 email: wjsanders@optusnet.com.au www.wjsanders.com.au

Sterling silver salver recently crafted by W J Sanders for the Australian Jockey Club. The edges are decorated with sterling silver gum leaves, the AJC crest and recipient details are all hand engraved. The salver is stamped 925 Stg Silver along with the now well recognised W J Sanders elephant head mark.

WE USE MANY DIFFERENT TRADITIONAL SKILLS TO PROFESSIONALLY AND AUTHENTICALLY RESTORE MANY TYPES OF ANTIQUES — BELOW ARE SOME EXAMPLES OF THE WORK UNDERTAKEN IN RECENT TIMES

Authentic and quality restoration of antique metalware Restoration and replating of gold and silverware Restoration, repair and engraving of trophies Restoration of all church metalware Restoration of old kitchenware and brass beds Specialists in the complete restoration of brass & copper Baked enamelling of brass and other metals Quality engraving Free no obligation repair and insurance quotes Free advice on maintenance and care Where possible, free pick up and delivery of restoration work

Australiana Silver Steiner Centrepiece (circa 1870) Remove glass bowl, take off wooden base, remove one small frond, remove one large frond, cast 4 small fronds, cast 2 large fronds solder new fronds on, chemically clean silver, hand carve missing boomerang, ebonize base, re-assemble

Sydney Grade Cricket EPNS Trophy

Antique Cruet Set Take apart remove lids from glass de-scale metal chemically clean straighten stem fix hinge, round off spoon machine hand polish silver plate, re-attach lids re-assemble, final polish

Take apart, chemically clean scratch brush remove all dents, re-shape bowl machine hand polish silver plate, re-assemble

Antique Spelter Horsemen Chemically clean and scratch brush, hand carve missing arms and legs in wax, cast missing arms and legs in metal, solder on missing pieces and clean, polish out pitting and rust, patinate metal to the original colour, clean and wax

Antique Model of Lindy’s Spirit of St Louis Take apart, made new hubs, sandblast surfaces and remove rust, polish areas for painting, polish prop and engine housing re-engrave original insignias paint all parts as original, re-assemble

Sterling Silver 1 Gallon Rum Ration Trophy Chemically clean scratch brush remove 32 dents machine hand polish

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 BCE. 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.

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 BCE. 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.

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

NOW ALSO STOCKING RETRO & INDUSTRIAL FURNITURE & LIGHTING • OPEN 7 DAYS from 10 am • CAFÉ • We Buy - Sell & Hire 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.

245 Princes Hwy, Kogarah (near St George Leagues)

20 minutes south of the City

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

Phone: 02 9553 7843 Mobile: 0410 436 933 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

KOGARAH ANTIQUES & ART IN NEW SOUTH WALES

Investing in

RARE CURRENCY T

he history of numismatics dates to around 650 BCE and the Greek civilisation of Lydia. Since then, people of wealth and power have collected coins, appreciating the rich history and beauty only this form of collectable holds. Coins and banknotes are an important historical reference and a reliable store of wealth. Historically, financial support for the numismatic market has come from collectors who have bought rare coins and banknotes for their beauty and heritage value. Yet it is the substantial profits realised by the owners of high profile collections which have attracted collectors in more recent times. Select Australian coin and banknote rarities boast an outstanding record of strong and dependable capital growth. They have ranked as one of the highest performing asset classes available to Australian investors over most periods. In many cases, during the past 40 years, their annual capital growth has exceeded 15 per cent compounded per annum. As an example, one selected portfolio featuring a combination of quality rare coins and banknotes has averaged 16.1 per cent per annum compounded, underpinning the strong and sustained market performance and demand for such rarities.

SUCCESSFUL collectors and investors When the late Dr Alan Nicholson sold his renowned collection of 436 Australian banknotes at auction in November 1995 for

$2.2 million, the capital growth on just one note was a staggering 34.12 per cent compounded per annum. This superscribed Queensland Government Treasury one pound note purchased in 1970 for just $55, realised $84,700. Prominent Australian collectors hail from varied backgrounds. Mick Vort-Ronald, who once owned Australia’s most comprehensive banknote collection, was a South Australian police officer. Richard Williams financed his superb collection in the late 1970s through his Victorian cotton farm. He bought only the rarest numismatic material preserved in the best possible condition. Following his death in 1990, the collection of 605 items was sold for $605,000 – 20 per cent above the auctioneer’s estimate. His 1930 penny, regarded as the second finest known, sold for a strong $26,000. A similar example sold in late 2000 at a Sydney auction for $85,000. This equates to an 18.44 per cent compounded per annum rate of growth. In 2009, the famed Quartermaster Collection of Australian gold coins sold at auction for a staggering $10.2 million dollars. Assembled in the late 1980s and 1990s, this collection, featuring the finest and rarest quality pieces, delivered the owner a significant return on his original investment. The goal of most investors is to employ their money to generate funds for use in retirement or for some other objective. Numismatics has a very low to negative

correlation to stocks and bonds. Investors can reduce their total portfolio risk by holding a portion of wealth in such items as they are tangible assets. In the recession of the early ’90s, a successful business person who owned several medium sized hotels and motels discovered the benefits of diversifying his investment portfolio. An airline pilots’ strike and the economic downturn severely reduced his business cash flow. Fortunately, he had chosen to build a portfolio of high quality coins and banknotes several years earlier. As the numismatic market had continued to perform, by selling his collection he was able to work through a trying financial period.

THE benefits An investment in rare coins and banknotes offers many advantages unavailable in other asset classes. They are one of the few remaining assets accumulated privately with no title deeds or certificates, allowing the complete confidentiality of your investment. Rare coins and banknotes can be easily and discreetly stored according to the owner’s wishes and readily moved anywhere, which means clients are not limited to where or when they can move and store their investment. No tax is payable on items while held. This results in a full compounding effect, thus maximising capital growth. Rare coins and banknotes rank amongst the most liquid collectables in the country. Select Australian material is also in big demand overseas. Careful selection of superior quality items in strong demand can make it easier to liquidate your investment in the long-term.

A PRIVILEGE to own Historically, rare coins and banknotes have been a safe store of wealth during such

Robert Jackman, co-founder and Managing Director of the Rare Coin Company

upheavals as world wars and the Great Depression of the 1930s. They also mirror the economic and cultural development of our nation. Many coin and banknote designs are considered works of art in their own right. The satisfaction and privilege of actually owning a piece of currency history is one only a select few investors will ever enjoy. We strongly recommend that prospective investors consult with a qualified and accredited numismatic specialist and financial advisor for professional advice in this lucrative and enjoyable field of investing. THE RARE COIN COMPANY 1800 181 239 www.rarecoin.com.au

CARLTON ANTIQUES & ART IN NEW SOUTH WALES

Mix it up with Resurrection and find your unique style

oday we are encouraged to mix it up when we decorate our homes. Put the old with the new, the worn with the polished and the traditional with the quirky. It looks fabulous in the decorating magazines but how can this look be achieved by anyone and with success? Really it is about staying true to yourself – your passions, your interests, and your history. Antique furniture is no longer viewed as exclusive to those who choose to furnish in period style. Furnishing with antiques has evolved into seeking unique, accessible pieces that will add interest, dimension and character to an existing space. How to get started? There are no rules, but as a general guideline buy what you love, incorporate what you already have, let each piece breathe and trust your instincts.

CONTRAST Yes you can put beautiful rustic timber chairs with a contemporary glass dining table or a Victorian pedestal table beside a modern suede lounge. Often it is the contrast in materials that provides the wow factor and brings a room to life. At Resurrection, we are fond of the term ‘polished rustic.’ This applies to many of our pieces which bridge the gap between elegant and provincial. Such pieces exude warmth and individuality and blend seamlessly with both contemporary and traditional surrounds.

HISTORY Whether an accent piece is a family heirloom, a travel memento or a treasured antique much of its appeal lies in the life it has lived and its relationship to you. There is a meeting of stories, two separate histories combining to

form the whole. What is the history of the piece? Is it a trunk that has travelled the globe, or a beautifully carved desk that has witnessed many an emotional letter? What drew you to the piece and why did you acquire it? Often something quite magical will happen and it may seem that the piece has chosen the owner rather than the other way round.

COLOUR & timber Sometimes a room that incorporates disparate pieces can easily be united by small but consistent touches of colour. A beautiful embroidered runner, a simple glazed vase or a painting positioned above will make an instant difference if a piece at first appears out of place. Do not be afraid to mix timbers, it would be a mistake to overlook a piece that was perfect in appeal, shape and design simply because it is a different timber to other pieces around it.

Resurrection Antique

Vintage

Rustic

ALL IN the detail Sometimes the beauty of a piece lies in a detail of its design – gorgeous handles, an unusual carved motif, beautiful leadlight, interesting wood grain. In any room, even the most contemporary, such details on a singular piece will create that feeling of magic and individuality which brings the space to life.

ADAPTABILITY Some antique furniture has aged untouched by changing times, its original function intact, for example desks, display cabinets, beds. Others now seek new employment and with a little imagination the options are plenty. An early dresser base or buffet makes a fabulous television stand, a wardrobe can be fitted with shelves to make an excellent linen press, an art deco kitchen dresser works well in the study as a filing / stationery cabinet. Use beautiful travelling chests as coffee tables or end of bed storage, a rustic workbench takes on a new purpose in the dining room. That obsolete washstand works well as a desk. Using a piece of furniture in a different context instantly adds interest and personality to a space. So next time you need that unique, original piece to lift your home start with Resurrection where you’ll find a myriad of antique, vintage and rustic selections. RESURRECTION PTY LTD 0404 327 909 aslan@unwired.com.au

Bringing character to your home Resurrection is an antique store with a contemporary slant. We source unique versatile pieces to enhance the character of your home. Decorate in style with original furniture & accessories across a broad range of styles – everything from rustic industrial, vintage cottage to classic traditional.

55 Andover Street Carlton NSW 2218 OPEN Thursday – Saturday 10 am – 4 pm. Other times by appointment Dave & Fiona 0404 327 909

Email: aslan@unwired.com.au Cabinets & Chairs Desks & Tables

Antique

Fine Art Tea Ware

Vintage

Lamps & Vases Rustic Boxes

Rustic

Chests & Trunks & much more…

CARLTON ANTIQUES & ART IN NEW SOUTH WALES

Baker Houghton Baker && Houghton ANTIQUES ANTIQUES Experienced dealers in a new, exciting showroom and 400 sq m warehouse packed with furniture, collectables and objets d’art

Specialists in FRENCH, ENGLISH AND AUSTRALIAN FURNITURE DIRECT IMPORTERS 20TH CENTURY PORCELAIN & GLASS ANTIQUITIES We buy and sell. Come to us, or we’ll come to you Visit our great new location with onsite parking 66 Planthurst Rd, Carlton NSW 2218 Open 6 Days 10am – 5pm, closed Tuesdays P: 02 9547 3698 E: baker.houghton@bigpond.com Formerly trading as Brae-Mar Antiques and Janda Antiques

A NEW AND EXCITING ANTIQUES VENTURE for two couples who have joined to present a great shopping experience

he owners of Brae-mar Antiques and Janda Antiques, with a collective experience base of 35 years, have combined; the merger enabling these experienced dealers to expand their buying capabilities. Customers looking to add to collections or buy special accent pieces will find a fresh range of fine antique furniture sourced from England, Europe and North America. Now trading as Baker and Houghton Antiques, they have established a 400 square metre showroom/warehouse in the Sydney suburb of Carlton. The new business has an amazing array of French, English and Australian antique furniture, beautiful glassware, porcelain, silver, antiquities and all things imaginable for the avid collector and home decorator.

MEET the partners Peter and Leigh-ann Baker from Brae-mar Antiques have been trading for 25 years, opening their first shop in Wollongong and then moving to the Southern Antique Centre

where they traded for 15 years. As well as maintaining a shop in the centre, they regularly participated at antique fairs. Over the years Peter and Leigh-ann built a reputation for honesty, integrity and providing customers with good quality stock. Andy and Julie Houghton of Janda Antiques were also based at the Southern Antique Centre where they traded for 10 years. During their time at the centre they built a large client base, and as passionate dealers continued their pursuit of knowledge. Andy is the antiquities expert, having an Honours degree in History and Archaeology. As well as being a dealer Andy is also a serious collector building his personal collection over many years. He delights in sharing his expertise and knowledge with other collectors.

CONTAINER for Sydney

FOR collectors

Our container arrived in October, the first in a stream of regular shipments. It is exciting to be able to provide stock new to the Australian market. If anyone had said that we would be starting a new business at this stage in our careers we would all have said that it would not have been possible. But here we are, exploring fresh horizons and forging ahead. This just goes to show that baby boomers continue to be doers and as antique dealers, just keep going on and on.

Julie and Leigh-ann are great at decorating and love helping clients create a warm and inviting home using antiques. Peter and Andy are the muscle, lifting, moving, cleaning and delivering. They are also great with the customers and love to share their knowledge.

WHOLESALE to the trade

Baker and Houghton Antiques look forward to making a real and different contribution to the antiques scene in Sydney. Do come and see us, whether to buy or just for a chat we look forward to seeing you at our new Carlton address.

The focus of the importing arm of our business is to supply stock to the trade at very keen prices. We are able to offer the antiques trade good stock in one location, no more running from place to place to replenish your shop.

BAKER AND HOUGHTON ANTIQUES 02 9547 3698 baker.houghton@bigpond.com

HURSTVILLE ANTIQUES & ART IN NEW SOUTH WALES

THE ROTARY CLUB OF HURSTVILLE’S 17TH ANTIQUE AND COLLECTABLES FAIR incorporating the 13th Royal Doulton Collectors Fair 10-12 February

urstville Rotary extends a warm welcome to all to attend the much anticipated 2012 fair. This brings together an exceptional treasure trove. There is antique jewellery, fine china, drapery and linen, books, small furniture, tools and bric-àbrac. Here are two centuries of collectables, waiting for you! The fair is held in the air-conditioned Marana Hall, part of the Hurstville City Entertainment Centre. Our goal is to raise funds to support Cystic Fibrosis NSW for their important research and ongoing vital work. As a volunteer-run fair, you are assured that profits do reach the charity of our choice.

BILLYCART Bunnykins, no 1 of 1,000 Made from leftover wooden crates and second-hand wheels with just a small space for the fearless driver, the billycart was a favourite ride-on toy of many Australian children in the last couple of centuries. Kindly donated by Royal Doulton Australia, the valuable Billycart Bunnykins, numbered 1 of a worldwide issue of 1,000, is being auctioned on Friday 10 February, the opening gala night of the fair. All proceeds from the auction of Billycart Bunnykins No 1 go directly to Cystic Fibrosis NSW.

have both kindly donated their services for the identification and valuation of visitors’ treasures brought to the fair. There is a limit of three items per person, with a donation of $3 per item requested.

CATERING delights Onsite catering allows visitors to relax over morning or afternoon tea and enjoy a more substantial lunch. Choose from delicious sandwiches, cakes and the legendary scones with jam and whipped cream, all made by the volunteers at our Rose Coffee Shoppe.

OPENING times Opening gala night is Friday 10 February at 7 pm sharp, until 9 pm. The entry fee is $15 which includes champagne, wine and refreshments. Importantly, th this night is your opportunity to have first pick among the treasures for sale. In addition, the opening gala night ticket entitles you to free re-entry over the entire weekend fair. The daily ticket fee is $8 or $5 concession. Opening hours on Saturday 11 February are from 9 am to 5 pm, and on Sunday 12 February from 10 am to 4 pm.

1 Annu al ANTIQUES & Doulton figurines, limited edition of 300, (clockwise from top) Lady Wahlenbergia, ACT’s official COLLECTABLESRoyal FAIR flower, Royal Bluebell; Lady Swainsona, South Australia’s state flower, Sturt’s desert pea; Lady Epacris, Victoria’s state flower, pink common heath

GETTING there The Marana Hall is part of Hurstville’s City Civic Centre in MacMahon Street. It is a short walk from Hurstville railway station and from the bus terminal (east side). There is ample Council and free street parking, or park in the large shopping centre complex nearby. Brief drop-off of passengers at Marana Hall entrance is permissible.

ROTARY CLUB OF HURSTVILLE Inc.

For further information contact Dorothy Dixon ROTARY CLUB OF HURSTVILLE 02 9153 6922 dmd2006@bigpond.net.au

Gala preview

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

1 Annu al ANTIQUES & COLLECTABLES FAIR

Friday 10 February 2012 - 7 pm to 9 pm Admission – $15 per person Includes entertainment and refreshments Saturday 11 February – 9 am to 5 pm Sunday 12 February – 10 am to 4 pm Entry $8 Concessions $5 Children under 15 free must be accompanied by an adult

Royal Doulton figure Billycart Bunnykins, 2011, no 1 of 1,000

ROYAL Doulton figurines Another major donation by Royal Doulton Australia is a set of three Australian flower lady figurines. They are Lady Epacris, Victoria’s state flower, pink common heath; Lady Wahlenbergia, ACT’s official floral emblem, the Royal Bluebell; and Lady Swainsona, South Australia’s state flower, the well-known Sturt’s desert pea named after the early explorer, Charles Sturt. Valued at $800, this set of three figurines is in a worldwide limited edition of 300, and is the first raffle prize. Second prize is a handcrafted quilt kindly donated by Carole Wright, valued at $700. Third prize is a highly collectable Royal Doulton character jug, donated by East West Collectables.

VALUATIONS

Valuation service by Phillip Thomas of Raffan, Kelaher & Thomas Auctioneers & Valuers & Mrs Jane Reed jewellery

Saturday – 10 am to 5 pm Sunday – 10 am to 3 pm $3 per item (limit 3 items per person) Royal Doulton, ‘Billycart’ Bunnykins

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

Sponsors

Phillip Thomas of Raffan Kelaher and Thomas, and Jane Reed, a jewellery specialist,

ANTIQUES & ART IN NEW SOUTH WALES

A LOOK AT ENGLISH 18TH CENTURY CHAIRS

urniture is often defined as something to put things on or in, to sit on or lie on. Any antique dealer will tell you that chairs are a nagging addiction and one is continually seduced by the charm, style,variety, design and craftsmanship of chairs. They can identify age, origin, employment, quality,fashion, comfort and utility. Chair making is a great and honoured tradition requiring much skill in design, materials and construction. In this edition, I am looking at some of the history of chairs to the end of the 18th century.

EARLY beginnings Beginning with Pharonic Egypt, furniture and fragments recovered from the tombs suggests that primitive chairs date before the first dynasty. By the Middle Kingdom there was the high backed chair and in the New Kingdom (18th Dynasty), the golden throne of Tutankhamen which has a scene on the back of the king seated on a chair of normal height padded with a cushion or roll of linen. Sculptured reliefs and painted vases of the ancient Greeks provide information about their domestic furniture and tastes. By the 5th century BCE rectangular legs were popular. The klismos, with its plaited seat, set on curved legs and three uprights fitted into a backboard influenced chair designs of the French Directoire, English Regency, Austrian Biedermeier, Swedish Art Deco plus an almost continual undercurrent of interest in the1970s.

enough no glue would be required. Craftsman of note include Andre-Charles Boulle – Louis XIV period; Jean-Francois Oebed (d. 1763) – Transitional period; Jean-Henri Riesener (1734-1806) – Louis XVI period.

CHAIR DESIGNS IN ENGLAND 1700-1765 The 18th century was of course the advent of civilised domestic life facilitated by the rewards of the Industrial Revolution. Furniture styles change slowly. The delightful Queen Anne chair of the early 18th century featured cabriole or serpentine legs ending in a pad foot, and in the early years of the century, the Palladian movement (1715-1765) begun in the reign of George I, set the style of the first years of the century. Many fine pieces were made of walnut; walnut veneer was also popular. This reflected the dawning of classical correctness and of quiet restraint inspired by the designs of architect Inigo Jones (1573-1652), who was inspired by Renaissance architect Andrea Palladio. By the reign of George II in 1727 the style was well entrenched. From Yorkshire, architect William Kent (c. 16851748) moved to England employed by the aristocracy for whom he created dramatic interiors. His chairs were functional; those designed for Palladian mansions were often with carved and gilt frames and cabriole legs finishing on lion paw feet. By the 1730s, mahogany began to replace walnut and the impact of the French rococo was to follow. Chair designs in the 1740s incorporated scrolls, interlaced bands and leaves. The irony is that while architecture followed the ordered theories of the ancient classical world, interiors tended to be opulent Baroque. Chairs of either walnut or mahogany were often boldly carved with a lion’s mask or an eagle’s head in a vigorous Baroque manner until the middle of the century. In the meantime Kent’s contemporaries in France had moved on and were deeply involved in the charms of the Rococo at the court of Louis XV.

1765-1800

Egypt New Kingdom 18th dynasty, golden throne of Tutankhamen. Cairo Museum

DOMESTIC seating in France Under Louis XIV the aristocracy resided in Paris, this new way of living continued under the reigns of Louis XV and Louis XVI extending to landed gentry and wealthy trader classes. Building and renovation of chateaux and the introduction of smaller intimate spaces was undertaken. Informality meant a greater concern for comfort; chairs were often padded with deep cushions. A new design was the deep wide armchair. New fashions emanating from Paris found their way across Europe. Guilds sprang up to protect various skills and to train artisans. Cabinetmaking was perhaps the most skilled and it was from this class that chair making evolved and chair making was considered the most important of all the furniture crafts. Only the most skilful cabinetmakers were employed in chair making. Experience with timber selection is critical, especially the cut and moisture content. For instance with a mortise and tenon joint the timber for the mortise would be a little greener so that the mortise when drying out would shrink onto the tenon creating the strongest join. If the chairmaker was accurate

Over the second half of the 18th century England produced four of the most influential cabinetmakers/ designers who all happened to have a passion and a penchant for chairs. Thomas Chippendale (1718-1778), considered by many a genius in his field of design, published his Gentleman and Cabinet-maker’s Director in 1754 and the theme was rococo – the style of Louis XV. A second edition was published in 1755, a third in 1762 exploring designs in the Chinese and gothic tastes as well as the French. At about this time Robert Adam (17281792) was introducing the neoclassical style to England and the design of many of his chairs are similar to much of the French ébéniste of the Louis XVI, although the execution and finish is quite different.

With his brother James, Robert published in 1777 a folio of engravings – The Works in Architecture f Robert and James Adam. After Robert Adam’s death, Sir John Soane bought an exceptional collection of over 9,000 drawings which are today in the Soane Museum, London. These are working drawings tracing the development and evolution of Adam’s furniture designs. Final drawings were sent to cabinetmakers and not returned. Adam’s furniture designs are found at Syon House in the classical style, Osterly Park and Nostell Priory. Only few of his designs for chairs survive against the numerous designs for side tables and pier tables. He inspired a generation of craftsmen. John Linnell and Samuel Norman worked to Adam’s drawings, while Chippendale made furniture for Adam’s clients to his own designs in the neoclassical manner, following the Adam movement. Masterpieces from the Adam period include pieces made by Chippendale for Harewood House in 1771. The impact of his style spread throughout the fashionable world to all levels in the furniture trade. The classical forms and motifs were incorporated into furniture made in large workshops such as that of Seddon and Sons who employed over 400 workmen, to small firms based in London and extending to country areas and individual craftsmen. His influence extended to European and American styles of the 1760s to the 1780s. The Cabinet Maker and Upholsterer’s Guide published in 1778 by George Hepplewhite’s widow addressed the need for furniture designs in the new style. Not too much is known of Hepplewhite. He had a cabinet shop in London and died in 1776. The Guide was significant because it set out designs in the neoclassical style strongly influenced by Robert Adam enabling craftsmen to satisfy a growing demand for middle class homes. The Guide was a great success and is chiefly remembered for the chairs; oval, heart and shield back designs, the legs are usually straight and tapering, either round or square in dining and carver chairs. Chair making in England reached a high standard in the second half of the 18th century. This reputation and the popularity of designs spread throughout Europe and the colonies creating an evergrowing market. Thomas Sheraton (1751-1806) published his Cabinet-Maker and Upholsterer’s Drawing Book in four parts between 1791 and 1794. He illustrates and describes furniture during the peak of cabinet making in England. He prefaced his work by acknowledging that he ‘applied to the best workmen in different shops’ but there is no doubt that a lot of his designs are of his own invention. Although there is no record of any cabinetwork other than a single piece – a glass-front bookcase stamped ‘T.S.’ inside one drawer – there is

little doubt from the fine details illustrated in his book that he was a skilled craftsman. His chairs squared up on the backs. Only two shield back examples are given and have a lightness and delicacy that give an almost fragile appearance. The skill in design and construction provided such strength so as to defy the years. This grace and sophistication marked the end of that phase of English chair design that began with Robert Adam in 1760 and which explored the subtle changes of round, oval, shield and square open back designs. Sheraton’s appeal to the middle class market suggests beech as the timber of choice, especially with painted chairs and the use of cane for seats and parts of some chair backs. This was a time which can never to be repeated because the most talented of today’s youth who are probably studying at university, would in that time be apprenticed artisans. They were meticulously trained to work with sharp tools and selected timbers to produce beautiful items that combined comfort and utility. These chairs from Chippendale in the mid 18th century to Sheraton at the beginning of the 19th century are now in their second millennium and a great thrill to have and enjoy. Garry Auton GLEBE ANTIQUE CENTRE 02 9692 9577 www.glebeantiques.com.au Adam armchair, featuring ornate neoclassical carving

Armchair in the Chippendale manner, straight leg, upholstered seat, pierced and carved splat

George II wingback chair, c. 1727-60, upholstered, cabriole legs finishing on ball and claw feet

Hepplewhite dining chair, square tapering legs, shield back

Above: Chair inspired by 5th century BCE Greek klismos, featuring upholstered seat set on curved legs Left: Chippendale style upholstered armchair

GLEBE ANTIQUES & ART IN NEW SOUTH WALES

GLEBE ANTIQUE CENTRE

Victorian balloon back walnut dining chairs $395 each

Early Victorian bar-back mahogany chairs $485 each

Victorian style mahogany balloon back dining chairs, many available $450 each

French Louis XV style fauteuils c. 1920 $1250 each

Set of six mid Victorian balloon back dining chairs $2370 the set

Set of ten late Victorian oak dining chairs, including two carvers $4500 the set

Victorian leather horseshoe chair c. 1850 $1950

Walnut Edwardian dining chairs $485 each

George I style walnut carver c. 1910 $1850

Pair of William IV bar back occasional chairs c. 1845 $485 each

Victorian elm and beech smoker’s bowl c. 1850s $850

Stuart revival style oak carver c. 1920 $850

Reproduction admiralty back mahogany dining chairs $385 each

Set of six Hepplewhite style shield back dining chairs with two carvers $3600 the set

American oak spindle back carver leather upholstery $695

Hepplewhite style mahogany occasional chair c. 1920s $550

Victorian mahogany salon chair c. 1870 in late Rococo style $1950

English oak dining chairs c. 1780 $395 each

Set of four Hepplewhite style leather dining chairs with two carvers $2850 the set

Gainsborough style leather dining chairs $745 each

George IV mahogany chair c. 1820 in original condition $650

Pair mid Victorian cedar hall chairs $1950 pair

Queen Anne style wing back lounge chair upholstered in aniline leather $2450

Set of six Henri II Renaissance revival walnut dining chairs $2950 the set

Louis XV style French walnut bergère upholstered in white duck canvas $1450

Incorporating Desks of Distinction 2 Levels at 62 Parramatta Road, Glebe NSW 2037 (Opposite Sydney University Veterinary Hospital) www.glebeantiques.com.au • www.desksofdistinction.com.au • Email: sales@glebeantiques.com.au Open 7 days – 10am to 6pm PArking and other entrance rear of building at 74 Arundel Street. Phone: 02 9692 9577 47

CLYBUCCA ANTIQUES & ART IN NEW SOUTH WALES

Whale oil burner fitted with lamp glass or shade, 1825-1845

Turned timber pick-wicks, 1825-1870

Brass and marble base, 1840-1870

Girandole with blue glass fonts fitted with whale oil burners, 1842

Boston & Sandwich Glass Oil Lamps and Early Burners A

round 1840 The Boston & Sandwich Glass Co. came under fire from the publishers of newspapers for producing glass lamps to be used with ‘burning fuels’ which included alcohol, camphene, gasoline, naphtha and mixtures of those and other fuels. They were one of the most volatile and dangerous fuels put into use. There was a call for the replacement of glass lamps with metal lamps to avoid the subsequent fire when a glass lamp was broken. Boston & Sandwich persevered and employed the improved safer burners from inventors such as Isaiah Jennings and James Nichols. As ‘burning fluid’ was mostly a mixture of volatile fuels, it was important that the burner could not let vapour from the fuel escape, apart from the small amount from the wick needed to burn. The improved burners’ tubes did not extend into the font as did whale oil burners, so that no heat could be transferred from the burner tube into the fuel. The burner tubes were tapered to the top meaning that the wick had no air gap around it and so no air or flame could enter into the lamp font. They were later fitted with metal caps to prevent vapour escaping when the lamp was not lit. Another form of burner was the vapor burner which used gas oil, much like modern gasoline. The burner had a tiny pinhole in the end of each tube for the vapour to escape, and a separate heat source was needed to heat the lower part of the tubes. When the tubes were hot enough the lamp could be lit. The burner flame was enough to continue to vaporise the fuel drawn up by the wick. These burners are rare as they were dangerous if not handled

properly and fiddly to use. People still had the choice of burning fluid, which provided more light, or the safer whale oil. Both types of burners had threaded plates to fit the same collar of a lamp. Another safety improvement was the manufacture of a metal font that could be inserted into a glass base. The metal font reduced the risk of fire if the lamp was knocked over, because it would not break like a glass font. Whale oil burners had a small slot at the base of each tube so the wick could be raised by the use of a pick wick. The simplest type was a steel pin or a sewing needle. More elaborate models had a turned timber handle holding the steel needle and a turned base which the needle could be inserted into when not in use. Burning fluid burners did not need the wick to be raised as the fluid was vaporised resulting in very little wick burning, but they did need a wick awl, which was used to pull the wick into the tight burner tube. The hooked steel needle was inserted all the way down to the bottom of the tube, the wick was hooked onto it then pulled up the tube. It was then trimmed ready for lighting. The use of the first chimney on a whale oil burner is shown on a toy lamp, produced for the use of children. The chimney is fitted so the flame is not affected by air movement rather than for the improved performance of the burner. Children had to learn how to use an oil lamp otherwise they would be without light at night. Whale oil and burning fluid burners could be fitted with a shade or glass. In 1825, Deming Jarvis produced four

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/

illustrations of a glass with a flared fitter which could be secured to a specially made holder with a set screw attached to the base of the burner. They were apparently in much demand but very few have survived as they had to be removed from the holder for the burner to be lit and could be easily broken due to carelessness. The shape of the lamps changed from the early free-blown round fonts with applied bases to the more elaborate elongated fonts with multi-stepped bases. This was mostly the result of furnaces used for moulding the glass being changed from wood fired to coal fired, producing a higher temperature. The glass became more liquid and so could be moulded more easily, with fewer faults. By the 1840s the elongated fonts of whale oil lamps were shortened for the use of ‘burning fluid’, reducing the air space in the font which could heat and expand forcing the vapour out, and cause an explosion. The higher temperature furnaces also enabled the use of more elaborate moulds to produce the highly patterned glass and coloured glass pieces. The fonts were made separately from the base so that different fonts could be placed on different stands as long as the proportions were compatible. After 1840 Boston & Sandwich produced some lamps to mimic candelabras; these were called girandoles. The fonts were mould blown with similar patterns as the table lamps but with the addition of a glass peg at the base of the font. They were fitted with a brass ring cemented onto the glass peg so it could be placed into the holder. Another variation was the peg lamp where a small font was placed into a base and surrounded by a glass shade; the stand could also be used with an ordinary candle. These fonts with pegs can be found on brass and marble bases. These bases were made by a separate company to whom Boston & Sandwich shipped the fonts for assembly. The fonts were cemented to the top of the brass column, a metal rod was fastened to the bottom of the brass column and passed through to the bottom of the marble base. The Boston & Sandwich Glass Company produced beautiful lamps and lamp shades for many years. JUERGEN WEISSNER The Everburning Light 02 6565 0104 oil-lamp@zip.com.au

Toy hand lamp with whale oil burner and early lamp glass, 1828-1835

Two tube burner with shade ring, 1830-1860

Wick awl for burning fluid burners, 1840-1870

Pressed glass base with removable metal font, 1855-1870

GLEBE ANTIQUES & ART IN NEW SOUTH WALES

Four Winds Gallery celebrating 30 years

allery director and owner Jennifer Cullen, after finishing high school in Sydney, moved with her family to Pittsburgh, Pennsylvania where she attended the University of Pittsburgh summer school. Whilst living in Pittsburgh Jennifer was introduced to Native American jewellery and art. An instant affinity developed and on her return to Sydney she decided to forgo university and open a small gallery in Double Bay. So in 1981, at the age of 21, Jennifer began the journey of Four Winds Gallery. Opening Four Winds meant that Jennifer was able to combine her love of collecting Native American jewellery and art while also educating herself about the history of the people and different the art forms they created. She also travelled to the South West of the United States every year personally selecting every piece of pottery, jewellery or sculpture, which was then shipped back to Australia. Trading directly with the artists and American dealers meant Jennifer was able to build strong and trusting relationships that have evolved over many years and over successive generations of artists. Turquoise, Jennifer’s obsession and interestingly also her birthstone, has been the cornerstone of her personal collecting. Gem quality turquoise (which is not found in Australia) is mined in the South West. The stone is then set in silver or carved into extraordinary forms by gifted Navajo and Pueblo Indians, creating exquisite wearable art. The gallery’s jewellery collection has a dual

focus: rare, turn of the 20th century jewellery and cutting edge contemporary pieces. Turquoise, coral and exotic shells set primarily in silver represent the talent of some of the best silversmiths and lapidarists of the Navajo and Pueblo regions. Collecting this jewellery is not only a vehicle of investment for the enthusiast, but also exotic wearable sculpture for women or men who appreciate unique and special designs. Pottery, textiles, beadwork, paintings, stone and bronze sculptures are also represented in the gallery. Four Winds’ comprehensive inventory of 30 years chronicles the development of North American Indian art. Four Winds Gallery is ever evolving as Jennifer continues to source her finest pieces through her extensive network of close personal relationships developed through 30 years of business. Her contacts include significant US collectors and international auction sources together with artists and their agents. Her passion is infectious, and she is renowned for dealing in the finest quality historical and contemporary North American Indian art. Her sterling reputation built on 30 years trading continues to reap rewards for her clients, many of whom have become friends as they share in the joy of collecting works of art that are records of a proud heritage and a legacy for the future.

Buying pottery for her gallery in the 1980s, Jennifer in the USA’s South West

FOUR WINDS GALLERY 02 9328 7951 www.fourwindsgallery.com.au See page 58

Jennifer with R.C. Gorman (1931-2005)

ANTIQUES & ART IN NEW SOUTH WALES

CLARICE CLIFF (1899-1972)

leading ceramic artist of the 20th century

larice Cliff is a recognised household name in ceramics, famous for her bold designs from the 1920s and 30s, from humble beginning she went from paintress to designer and in 1928 had her name added to the already popular Bizarre range, that had been launched the year before.

EARLY years: training Growing up in Staffordshire it was inevitable Clarice would end up working in the potteries. In 1912, at the age of 13 she started working in ceramics, her apprenticeship as a paintress with the lesser-known Lingard Webster & Co. In 1915, half way through her apprenticeship she jumped ship moving to Hollinshead & Kirkham, this time as an apprentice lithographer. However, within a year she had moved on again to A J Wilkinson, where she stayed.

ROLE at A J Wilkinson Wartime created roles that gave women opportunities which would have not

previously been available to them. Wilkinson Pottery succeeded and survived two wars with a strong workforce of women, together with a forward thinking director/manager Colley Shorter – the son of the owner Arthur Shorter. As Colley’s brother went off to war and his father was near retirement, Colley was left holding the fort. New staff had to be recruited as the men working in the pottery also left for war. A young and determined Clarice Cliff stepped in. Her enthusiasm and talent was recognised early, and she quickly moved from lithography to an apprentice model maker, which saw her working with art director John Butler and designer Fred Ridway. Clarice progressively worked further on the design side of the business and started designing for the Devonport range.

DESIGNS at Newport Pottery Just as Clarice was getting started in this role, she was moved to work in the neighbouring Newport Pottery, which Colley had independently bought some years earlier.

Shortly after it is said Colley, who had a soft spot for Clarice, secretly took her with him to the 1925 Exposition des Art Decoratifs et Industriels held in Pairs. It is apparent that the Pairs art movement heavily influenced her work, with the bold colours, designs and geometric shapes. From this trip Clarice returned and created her boldly painted designs, which would later transpose into the highly successful Bizarre range. When Colley had purchased Newport along with the premises, there was left a great quantity of unfinished white pottery. It is said Clarice suggested to Colley that these be painted in modern bold designs, to create the ‘not so fashionable’ shapes into more marketable products. Decorator Gladys Scarlett was brought over from the Wilkinson workshop to help start the range, which took off with great success

MARKETING strategies The intuitive Colley realised the importance of associating their product with the name of their designer together with a branding that would be highly marketable to women. The items were affordably priced and were bright, modern and cheerful, after the dark times of World War I. Colley promoted his products to women, having teams of paintresses sent out to department stores to demonstrate the painting techniques. He arranged shop window

displays and he also invested in printed advertisements in household magazines. This is basic marketing by today’s standards, but forward thinking for the time.

THE iconic Bizarre range In 1942 Newport Pottery closed with the downturn in production during World War II, and the remaining staff were moved to Wilkinson’s. Post-war ceramic back stamps changed in configurations, and earlier in 1936 the Bizarre label was removed from Clarice’s new designs. It is believed that 18.5 million pieces of Bizarre were created and that 18,000 pieces of Bizarre were reputably produced a week at its height of popularity. Today Clarice Cliff is very collectable, the prices for her pieces rising in value. The Sydney Antique Centre has a large range of Clarice Cliff pieces scattered amongst their dealers, including tea sets and one-off plates from the Bizarre range, crocus collection, along with a rare Marlene mask, and some her less iconic pieces including a blue and green glazed vase. Eleanor Keene SYDNEY ANTIQUE CENTRE 02 9361 3244 www.sydantcent.com.au

WOOLLAHRA / SURRY HILLS / QUEENSLAND ANTIQUES & ART IN NEW SOUTH WALES

FELLIA MELAS

GALLERY

“Works on Paper” From January 18 Whiteley Olley Coburn Boyd Dickerson French Crooke Friend

Brett Whiteley, Undressing, lithograph

FELLIA MELAS GALLERY Woollahra Times Art Gallery 2 Moncur st Woollahra www.fmelasgallery.com.au 02 93635616 Open 7 days – Gallery will close 31 December to 17 January 2012

SeanCullip Antiques FINE GEORGIAN AND VICTORIAN SILVER

George II Hallmark Sterling Silver Coffee Pot Richard Gurney & Thomas Cook London 1755 $4,750

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

PADDINGTON 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

NEW SHIPMENT OF BURMESE TREASURES JUST ARRIVED 53

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

ALEXANDRIA ANTIQUES & ART IN NEW SOUTH WALES

Fine Furniture Designed and Hand Made in America by Hickory Chair Company IN AUSTRALIA ONLY AT LAURA KINCADE 80 O’RIORDAN STREET, ALEXANDRIA (NEXT DOOR TO DOMAYNE) Open Monday to Saturday 10 am to 5 pm and Sunday 10.30 am to 4.30 pm Telephone: 02 9667 4415 Website: www.laurakincade.com 55

setting a new

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Porcelain, Glass, Lighting, Metalworks, Prints, Victorian, Edwardian & French Furniture, Ephemera, Watches, Statuary

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One of two hand-made German ice buckets, made in Germany for Leonardo Rinaldi, Italy, 800 silver, smaller one $2200, larger one $4300 Louis XV style carved walnut hall chair featuring asymmetrical scrolled back $1795 Late 19th century French wall bracket oil light, c. 1887, wrought iron bracket, leadlight shade Hibbert & Bougley (Burslem England) Chinoiserie trios, c. 1889 $150 each set Handmade metal flag coffee table $1200 Bronzed spelter inkstand $2995 Arts & Crafts refractory table set on pierced supports and stretcher frame $2295 Biedermeier four-drawer secretaire chest, c. 1820 $5950 Louis style bèrgere of limed wood with ottoman printed toile $1295 Sutherland burr walnut table, c. 1880 $3800 French bevelled mirror, c. 1880 set in silvered bronze frame $3800 Ferdinand Preiss (Germany 1882-1943), Pomona, gilt, bronze, ivory on marble base. Preiss & Kasler foundry mark Pair tapering form lidded glass vases decorated all over with enamelled floral design, h: 67.5 cm, shown at Royal Exhibition Building (REB), Carlton, Victoria, 1880-1881. Manufacturer possibly Harrach (Bohemia) with artwork by J. & L. Lobmeyr, Austria. Count Harrach of Nový Svet (Neuwelt) presented the largest display of Bohemian glass at the Melbourne International Exhibition Vintage Italian Venetian style mirror $495 Micklos Mihalotis (1877-1960), Untitled (reclining figure), oil set in gilt frame $3500 One of a pair contemporary diamond buttoned leather sofas $5500 French oak twin pedestal partner’s desk with leather top and two hidden drawers $8625

Silver, Ceramics, Adverttising, Clocks, Kitchenalia, Bakelite, Perfume Bottles, Oriental, Costume Jewellery, Cruet Sets

LIMITED FLOOR SPACE / CABINETS AVAILABLE. CONTACT DENISE 02 9550 5554 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

DOUBLE BAY / GLEBE ANTIQUES & ART IN NEW SOUTH WALES

C E L E B R AT I N G 3 0 Y E A R S O F T R A D I N G

FOUR WINDS GALLERY 1981-2011 Jennifer would like to thank all of her clients for sharing in her passion over 30 years She continues to deal in collectable jewellery and artworks from the South West of the USA (See page 49)

www.fourwindsgallery.com.au

GLEBE ANTIQUES & ART IN NEW SOUTH WALES

Gilded console table with marble top $2350

Set of six George IV rail back mahogany dining chairs $3510

Edwardian cedar chest of drawers $2950

George IV piano secretaire desk $5650

Early 19th century card table $2250

Chinese six panel screen $1250

Walnut drum table $2850

George III style mahogany extension table $2950

Glebe Antique Centre 62 Parramatta Road, Glebe NSW 2037

French three door armoire $3850

(Opposite Sydney University Veterinary Hospital) Two levels of quality furniture, lighting, jewellery, glass, porcelain and general collectables

Open 7 days â&#x20AC;&#x201C; 10am to 6pm Email: sales@glebeantiques.com.au Check out our up-to-date websites A W Pugin designed Gothic revival dining table $2850

www.glebeantiques.com.au www.desksofdistinction.com.au

Edwardian inlaid walnut work table $1950

The largest collection of genuine antique furniture in Sydney

Meakin jug and basin set $485

Oak tantalus fitted with three cut glass decanters $1350

Victorian double pedestal mahogany desk $2950

French walnut bedside cabinets $1950 pair

Louis Philippe cylinder top oak desk $7650

Victorian brass desk lamp $385

Keith Naughton, Country Races $1850

Walnut bibliotheque or armoire c. 1890 $3850

Victorian eight-door breakfront mahogany bookcase of grand proportions $39,500

Double pedestal roll top oak desk $4850

VICTORIA ANTIQUES & ART IN NEW SOUTH WALES

Valentineâ&#x20AC;&#x2122;s Antique Gallery IMPORTERS OF FINE QUALITY ANTIQUES ESTABLISHED 1947

Georgian walnut 3 drawer lowboy

Georgian mahogany tilt top breakfast table

Georgian mahogany slope front fitted sewing cabinet

Fine quality late Victorian mahogany breakfront robe, c. 1890, featuring central drawers and cupboards with beautifully carved panels, flanked by 2 mirrored doors

Late Georgian mahogany twin pedestal sideboard, c. 1810, sunken centre section with tapered and fitted pedestals

Regency mahogany twin pedestal sideboard, c. 1830, with twist columns flanking doors, 3 central drawers

Please refer to our website: www.valentinesantiques.com.au for a full listing of new stock

Valentineâ&#x20AC;&#x2122;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 60

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

NOW NO OW CON CONSIGNING NSIG GNIING COLLECTABLES

DECORATIVE ARTS & MODERN DESIGN

PRE-OWNED LUXURY

IMPORTANT WW1 DFC, DCM GROUP OF EIGHT AWARDED TO FLYING ACE AND QANTAS CO-FOUNDER LIEUTENANT PAUL JOSEPH MCGINNESS

A FINE QUALITY LOUIS XVI CUT BRASS AND TORTOISESHELL INLAID PEDESTAL CLOCK SOLD NOVEMBER 2011 $38,400

A BIRKIN HANDBAG BY HERMES SOLD OCTOBER 2011 $16,700

SOLD NOVEMBER 2011 $252,000 IBP

obligation free For an obligatio on fr ee appraisal contact: Giles Moon Head of Collec Collectables Memorabilia tables & Sporting Memorab bilia (03) 8825 5635 giles.moon@leonardjoel.com.au giles.moon@leo onardjoel.com.au

Guy Cair Cairnduff ndufff Decorative Head of Decorati ive Arts & Modern Design (03) 8825 5611 guy.cairnduff@leonardjoel.com.au guy .cairnduffff@leo onardjoel.com.au

LEONARD JO JOEL EL 333 Malvern Ro Road, oad, South Y Yarra, arra, V Victoria ictoria 314 3141 41 Australia www.leonardjoel.com.au www w..leonardjo oel.com.au

John D’Agata Pre-owned Head of Jewelleryy & Pr e-owned Luxury (03) 8825 5605 john.dagata@leonardjoel.com.au john.dagata@leon nardjoel.com.au

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

VICTORIA ANTIQUES & ART IN NEW SOUTH WALES

Plan a visit to historic Ballarat C

raig’s Royal Hotel has been the scene of glittering social events in Ballarat as far back as 1865, when a group of visiting American Civil War officers waltzed blushing Ballarat belles around the hotel’s ornately decorated ballroom at a subscription ball held in their honour. Built in 1862 on the site of Bath’s Hotel, Ballarat’s first officially licensed pub, Craig’s has been a goldfield icon since Prince Alfred, Duke of Edinburgh, slept in its ornately decorated rooms in 1867 and Dame Nellie Melba famously sang from its balcony in 1908. Mark Twain and Sir Donald Bradman were also recipients of the hotel’s hospitality. Situated in Lydiard Street, one of Australia’s most important heritage streetscapes, the hotel has undergone a multi-million dollar restoration that has returned this grand colonial building to its former glory. You can see Craig’s legendary history in the fine details of its beautifully restored exterior and interior. There are now several bars, including the original Craig’s Bar restored to its 19th century grandeur, a coffee shop, five-star restaurant and conference facilities. Visitors to the region can book unique accommodation packages or perhaps experience the hotel’s famous High Tea. Every Sunday, fine china is stacked high with delicate cakes iced in a rainbow of colours, savoury pastries, ribboned sandwiches and more, all washed down with the finest teas of the world. Or something a little stronger if you so desire.

For information and details contact Craig Royal Hotel on 03 5331 1377, email: info@craigsroyal.com.au.

Art Gallery of Ballarat Further down Lydiard Street is the Art Gallery of Ballarat, Australia’s premier regional art gallery. The gallery is home to an extraordinary collection of Australian art spanning early colonial through to contemporary art. See works by Roberts,

Streeton, McCubbin, Dobell, Nolan, Whiteley and other major Australian artists. A display of work relating to the Lindsay family of artists includes a recreation of the parlour of their home in nearby Creswick. The gallery’s summer exhibition program includes a major retrospective on Australian realist Michael Shannon (1927-1996) until 12 February. A contemporary of John Brack and Fred Williams, Shannon was one of the first artists in the post-war period to explore the urban landscape.

Another exciting exhibition for the autumn season is Marion Manifold’s Through the Notebook–Marie Antoinette opening 24 March. She draws on Marie Antoinette’s Notebook of Ladies’ Attire held in the Archives Nationale, Paris, and referencing the tragic queen’s life and times has created works that are variously, richly beaded, embroidered or painted. For more information and details contact Art Gallery of Ballarat on 03 5320 5858 or visit www.artgalleryofballarat.com.au.

BRT048 BR RT048 T

A stay in Ballarat Ballarat offers you y a glimpse into a living history. histoory. Born in the romantic and turbulent turrbulent gold rush era, Ballarat’s Ballaraat’s story story is intermingled with the nation’s nation’s own own history. history. To To experience the legends, legendss, tales and stories of Ballarat Ballaraat go go to visitballarat.com.au visitballarat.com.au or call 1800 1800 44 66 33. 33. Download your FREE iPhone and iPad iPadd apps apps today from the iTunes iTunes store. stoore. Download 63

ANNANDALE ANTIQUES & ART IN NEW SOUTH WALES

Take an antique light and

CREATE A SPECIAL EFFECT F inally, we are seeing the demise of the ubiquitous down light. Lighting a room is changing from ceilings punctured with multiples of heat conducting, difficult to change, interrogation style beams, of highly unflattering tones of white/ blue light. Rooms are now spaces for relaxation and are statements of the occupant’s personal style. A main change in the approach to lighting is the return of the focal point – the placement of a central light. Viewing a cohesively styled, well-proportioned room is visually satisfying, the decorator usually following tried and true principles. To achieve this effect includes the application of the focal point principle. The placement of a central light can be pivotal in the overall effect of a room, from style to the appearance of a room’s proportion.

Another significant factor is the impact lighting has on a room at night. The lux (luminosity of the light) conveys a sense of drama or perhaps conviviality, adding a fresh and perhaps different effect to that achieved with daytime natural light. From an ambience of intimacy to making a statement, this brings all the elements in the room together to create a cohesive whole. Why is it that despite large sums of money and time invested in the renovation of a room the outcome is not always satisfactory? It seems to lack punch and falls flat. If analysed, in most cases, the missing component – the ‘glue’ that brings the room together – is missing the focal point: the central light. In most cases a timid or safe approach will not achieve the desired effect, of unifying a room. Interior decorating can now break with tradition and incorporate an unexpected

Eliza Jane Antiques

* SPECIALISTS IN GENUINE ANTIQUE LIGHTING * Large showroom with an extensive collection complemented by quality furniture, timepieces and decorative & collectable items.

Phone 02 9518 6168 34C TAYLOR ST ANNANDALE NSW 2038 BUYING & SELLING Full restoration service for lighting and metal polishing

www.elizajaneantiques.com.au 64

element whether in the requisites or accessories to great effect. Try something different. Just as some traditional interiors are uninspiring and bland, so too are many contemporary interiors. They have become the predictable boring white boxes, more like a blank canvas waiting for the hand of the artist. Some of the most successful contemporary interiors are those that combine ‘slick and streamlined’ counterbalanced with one or two striking items. A successful antithesis to those clean lines is the central light, one that brings a sensational mix to the interior, enhancing all elements. A common reason given for not including a fabulous vintage/antique light is the height restrictions of many of the new apartments. This is no excuse. I advise you to have a closer look at many of the fittings. Most can be shortened. With advice from experienced and expert lighting suppliers and restorers, it is possible to find that unique fixture that can be adjusted to fit most interior spaces. In many cases the length can be adjusted quite dramatically, while still maintaining the correct proportions without destroying the light’s aesthetic appeal. It should be remembered that many buildings from the last century had rooms with ceilings of varying heights so many lights were made to be altered to accommodate the space they were placed in. There are so many options to choose from. Consider an Arts and Crafts pendant down light chandelier that sits well in a traditional or contemporary setting, placed in a dining or living room, or perhaps in a kitchen. From the same period there is the effect coloured glass shades found in a Tiffany style drop light can have on a room. Or perhaps the impact achieved by placing an Art Deco light in an otherwise monochromatic themed space. Whether fitting out a traditional or contemporary interior, before compromising consider the unusual, an element that works to create the perfect setting for you and your guests, a hallmark of your personal style. ELIZA JANE ANTIQUES 02 9518 6168 www.elizajaneantiques.com.au

ANNANDALE ANTIQUES & ART IN NEW SOUTH WALES

BALMAIN ANTIQUES & ART IN NEW SOUTH WALES

Centennial Hotel’s dining room floor of recycled Australian blackbutt

An example of recycled tallow wood

Old warehouse makes a beautiful showroom for French provincial and handcrafted floors

ohn Fredriksson, designer at Antique Floors salvages timber from demolition sites around NSW including old houses, factories, bridges and wharves that would otherwise go to landfill.

Using recycled Australian timber adds instant character and history to a home, office or restaurant as is evident at the Centennial Hotel dining room in Woollahra, which utilises Australian blackbutt saved from a disused woolshed.

With the world’s trees being cut or burned 30 times faster than they are being planted it is common sense to recycle and repurpose. ‘When this is not possible it is essential to use timbers from sustainable forests,’ says Fredriksson.

CREATING an authentic look European wide oak floors have their own inherent charm and can be manufactured from new boards and expertly treated to look old. These floors can be pre-finished or treated with natural oils dependent on your taste. Available in many different widths these boards are laid randomly to create that authentic oak planked floor look. For a personal sense of what it is like to walk on and feel these beautiful floors, visit Antique Floor’s charming showroom in one of Balmain’s oldest warehouses. It has been fitted with numerous flooring styles and examples of John’s custom joinery, furniture and a selection of antiques.

Flooring on display in the showroom

John Fredriksson ANTIQUE FLOORS 02 9810 8838 info@antiquefloors.com.au www.antiquefloors.com.au

BALMAIN ANTIQUES & ART IN NEW SOUTH WALES

BALMAIN ROAD ANTIQUE CENTRE is the newest antique centre in Sydney!

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 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 the centre first, as there are many items never previously on offer in Australia’s antique industry.

THE KINDEST CUT: a unisex hair salon An exciting new addition to Balmain Road is The Kindest Cut. At the helm is Tony Meredith who is no stranger to the area having previously run the

salon in Balmain for many years. He is now back and doing it again. If experience counts for anything look no further. Trained at Intercoiffure the leading international hairdressing organisation, Tony has been personal hairdresser to many international stars including Raquel Welch, Omar Sharif, Nancy Kwan and Laura San Giacomo, to name but a few. Tony looks forward to offering you the same care and attention and a consultation costs nothing. To make an appointment call 02 9555 1952. The Kindest Cut @Balmain Road is open Tuesday to Saturday 10 am to 6 pm.

BALMAIN ROAD open everyday Balmain Road is open seven days a week. We open at 9 am and plan to close at 6 pm, although we often stay open later to accommodate customers and our passionate dealers. Note that during the festive season we are closed on Christmas day and New Year’s Day, but are open all public holidays.

Take a stroll through our huge warehouse space and browse the ever-updated stock on our website. You will be surprised and delighted by what you discover at BALMAIN ROAD 02 9818 4990 info@balmainroad.com.au www.balmainroad.com.au

EASY TO find and park Located 500 meters from Victoria Road Rozelle, turn onto Darling Street that then becomes Balmain Road after five cross streets. Local landmarks include the Callan Park Health Centre and the Sydney Collage of the Arts, across the road. There is plenty of street parking and some customer parking from the Alberto Street entrance.

PUBLIC transport Balmain Road is serviced by bus and light rail. Bus routes L37, 440 and 4456 travel along Balmain Road directly to the 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.

BALMAIN / PARRAMATTA ANTIQUES & ART IN NEW SOUTH WALES

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

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

Be entertained at Balmain’s windows to watch

elcome. Please take a seat. ‘Entertaining is about bringing something special to the table,’ Marion Malcolm says. ‘Simple and pleasing food served on favourite china; the use of special glassware and quality cutlery and some curiosity pieces tossed in as conversation starters all create a welcoming atmosphere for family and friends.’ Her fascinating store overflows with pieces from especially Victorian and Edwardian eras. ‘Dressing your table is as important as dressing yourself. Take the trouble. Create those little extra traditions. Everyone will be delighted and the pleasures will be shared.’

Dressing your table 1. Napery. Set your table with a quality tablecloth, or place mats and serviettes in damask or linen. A splash of colour against a neutral background adds a touch of extra glamour. 2. Cutlery. Mixing the styles and eras of knives and forks is charming. Include the unusual when setting the table: pickle forks, fish knives, jam spoons, beetroot scoops, salt spoons, bread forks, even asparagus tongs. Marion will give you creative ideas about how to use them. All of these items are inexpensive and connect you to our social history. 3. Crockery. Mix and match for a great effect. It’s the fun, modern thing to do. Imagine the discussions about time periods and patterns. Include great finds from antique shops and markets. They all have their stories. Keep in mind colour and textural themes so the vision flows. For greatest impact have the table laid with all the plates when guests arrive. It’s show time!

4. Glassware. Crystal can be bought so inexpensively today. Explore the glamorous options at Malcolm Antiques. Experience a taste of history with cordial glasses, water tumblers, water pitchers and a variety of wine and champagne glasses. Consider using crystal or glass dessert dishes as finger bowls and for something different – crystal custard cups for nips of liqueur or as containers for tea lights. Marion will show you these unusual beauties. 5. Centrepiece. Decide to create a statement with a proud centrepiece; either a historically interesting piece or something of your own creation. It can be moved for dining but will be the dynamic focus when guests arrive. A forest of candles or flowers in unusual containers can set the mood. ‘It’s the wow factor,’ says Marion. ‘Use your imagination and do something a little different. There are no rules. It’s better to be over the top than under the fence,’ she adds in her inimitable way. Let Marion show you great conversation starters for your celebratory table, all at very reasonable prices. Enjoy searching the shelves of this much admired shop, exactly halfway between Balmain and Rozelle, at 450 Darling Street and opposite the famous Cat & Fiddle Hotel.

MALCOLM ANTIQUES 02 9810 9333

MOSMAN ANTIQUES & ART IN NEW SOUTH WALES

Web: www.orlandobrown.com.au

Need help cataloguing your collection or recording your possessions for insurance or personal purposes? Digital photos up close. Suitable for most art, collectables, jewellery, furniture, household items, vehicles â&#x20AC;&#x201C; with various print, album or disk options available.

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THERE IS NOTHING ELSE LIKE IT! Proudly Australian produced and owned World of Antiques & Art is the only authoritative decorative and fine arts magazine with a local, national and international reach in the country. â&#x20AC;˘ Read 20 articles on 20 different subjects written by 20 highly respected authors. â&#x20AC;˘ Be informed on developments in the international contemporary art world. â&#x20AC;˘ Curators explain their shows â&#x20AC;&#x201C; a boon if visiting, being informed if not travelling. Want to collect and not sure of current values? Major and boutique auction houses list their most interesting sales. Covering coins, stamps, sporting memorabilia to world of furniture, vintage fashion, jewellery, fine art, and so much more, read about a 1917 one penny block that sold for $155 to a $27 million Andy Warhol canvas. To find out more visit p: 02 9389 2919

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For credit card orders call 02 9389 2919 or fax this coupon to 02 9387 7487 or mail to Collectables Trader, PO Box 324, BONDI JUNCTION NSW 1355 Cardholder Name:.....................................................................................Expiry Date: ........................... Signature: ................................................................................................Date:........................................ Send Collectables Trader to: Name: ...................................................................................................................................................... Address: .................................................................................................................................................. .....................................................................................................................Postcode: ........................... Daytime phone: ......................................Email:.......................................................................................

Level 1 at the rear of 537 Military Road, Mosman (entry off Harbour Street) Tel: 61 2 9960 7768 Mobile: 0411 323 319 or 0400 099 021 Email: brown.bowral@gmail.com Web: www.orlandobrown.com.au BY APPOINTMENT ONLY 69

ANTIQUES & ART IN NEW SOUTH WALES

RESTORING FURNITURE

o it yourself furniture restoration is a now all the rage. If you’re new at this game it will pay you to be bit careful with how you proceed. With old furniture don’t assume that you need to strip the battered surface. Mostly it’s just not necessary. Traditional finishes such as shellac and varnish (as shown in our photo story) can be restored easily using Howard Restor-A-Finish. If your furniture was varnished years ago using shellac or even a nitro-cellulose finish, your job is likely to be pretty easy and very rewarding. How do you tell? Well, a rule of thumb is that anything manufactured before 1960 will have been finished in a traditional manner.

After that you may be looking at polyurethane. Modern furniture that’s a bit battered can still respond beautifully to Restor-A-Finish but not all new furniture. If Restor-A-Finish can’t soften that hard polyurethane finish there’s another product more suited for the job which is Howard Restor-A-Shine. Best be described as car polish specially made for furniture it can be checked out on our website. Always test first using Restor-A-Finish on a leg or somewhere inconspicuous. Saturate a small piece of cloth with Restor-A-Finish and flow it onto the surface. Go with the grain wherever possible but rubbing where needed in a circular or sideways motion is fine. If minor scratches and marks begin blending away that’s great, but if they appear to be a bit stubborn this is when you switch over to four zero steel wool for the best result. Make sure you use Howard’s American #0000 grade steel wool, otherwise you could see fine scoring appear. Never use cheap, coarse steel wool. Pour some Restor-A-Finish into a pad of this fine steel wool until it’s squishy and go lightly over good areas but apply more pressure where the marks are stubborn. Restor-A-Finish amalgamates with the surface it’s being applied to and actually becomes part of that finish. During this process of amalgamation, marks and blemishes blend out which in some cases can create a near new finish. If you still see marks in the wood through the polish that’s ok, it’s known in the trade as patination and it lends character. When the finish looks good to you, stop what you’re doing, take a clean, dry, cloth and wipe the surface dry. You’ll be amazed at the difference. To protect and maintain the new surface use

These Howard products are all you need to revive and maintain your furniture advice@howardproducts.com.au

1800 672 646 www.howardproducts.com.au Buy online or find a stockist near you 70

Howard Feed-N-Wax. It contains beeswax, orange oil, and carnauba wax, arguably the hardest and toughest wax known to man. In our photo story we’ve chosen to go with our wood colour tinted Citrus Shield paste wax. This great product is much thicker than Feed-N-Wax and the wood tint, in the case Golden Oak, really helps put the life back into that once battered finish. This whole process will have taken you a fraction of the time and money you may have spent stripping, re-staining and re-polishing. All you need to think about now is dusting. Avoid chemical cleaners! As long as you have a spray pack of Howard Orange Oil on hand your furniture will look beautiful for years. Now, get on with it and have lots of fun, because that’s what DIY should be. David Foster HOWARD PRODUCTS (AUST) advice@howardproducts.com.au 1800 672 646

NORTH SHORE TO HORNSBY ANTIQUES & ART IN NEW SOUTH WALES

www.aada.org.au

Abbott’s Antiques

Member

Now celebrating 80 YEARS of quality antique dealing

Fine pair of Royal Worcester jewelled fruit painted plates signed by Richard Sebright dated 1938

Regency period mahogany adjustable duet music stand with brass candle sconces c. 1820

Two 18th century English colour twist wind glasses c. 1765

17th century silver trefid spoons (L to R) James II London 1688; William III Dunster c. 1700; William III London 1699

Fine pair Regency bronze and Sienna marble athénienne or tripod candlesticks, c. 1815

Fine Royal Crown Derby floral and bird painted enamelled and gilt decorated covered vase decorated by Désiré Leroy c. 1900

Pair 19th century Derby flower gatherer and companion figurines c. 1870

Royal Worcester floral painted blush ivory pot pourri vase dated 1897

Late Qing dynasty carved lavender jade Buddha on stand

Max Dupain, ‘AWA Tower Sydney’ c. 1940 silver gelatin photograph

William IV rosewood nest of three tables with chessboard top to one c. 1830

Max Dupain, ‘Public Library of NSW’ 1946 silver gelatin photograph

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 71

ANTIQUES & ART IN NEW SOUTH WALES

THE LOVING SYMBOLISM of Mizpah jewellery

or those who have heard of Mizpah jewellery you will know that is carries a very purposeful meaning and, for those who are hearing it for the first time, please enjoy this article. Firstly, where does the word ‘mizpah’ come from you ask? The Bible: Genesis 31:49. It reads, ‘And Mizpah: for he said. The Lord watch between me and thee, when we are absent one from another.’ Referring to mizpah (Hebrew) as a watchtower, symbolising a place a sanctuary. It refers to Jacob and Laban agreeing at Gilead to a God-sent peace, and they built a memento of stone and named it like the wise covenant Mizpeh. Therefore, symbolising the wish that two people who have been separated from one another will remain safe and well while they are apart, and carrying the hope that that they will be reunited. During the Victorian era (1837-1901) Mizpah jewellery gained popularity as a token of love given to the wearer for safe passage or in memory of someone who had died. Not surprisingly then the romantic and sentimental emotions represented in this token reached its height of popularity with sailors and soldiers during World War I. Soldiers bound for the trenches would give a piece of Mizpah jewellery to girlfriends. Some soldiers also gave Mizpah jewellery to their mothers. The women wore these symbolic tokens of love proudly, no doubt touching them superstitiously every so often as though they had talismanic power. Given the carnage of World War I, it is sobering to think of the heartbreak that must have been suffered by so many wearers of these little brooches, whose war-enforced separation from their sweethearts would, in the end, last a lifetime.

MESSAGE in a brooch Today, I mostly see Mizpah jewellery in the form of brooches; these were worn across the heart. A popular design was the double heart. On one is the word MIZPAH inscribed over the biblical text while the other heart is decorated with a cross symbolsing faith, an anchor for hope and a heart meaning charity. Another brooch with a sentimental message was in the form of a serpent, the symbol for wisdom. It was frequently shaped with its tail in its mouth to symbolise eternal love. Mizpah jewellery was also made in other forms, commonly rings as well as lockets. The Victorians’ fondness for sentimental jewellery extended to their preoccupation with death. Very popular were mourning brooches that had a locket compartment in the back to hold a lock of hair from a loved one. Jewellery from the Victorian period and World War I era is a fascinating area of collecting as they are social and historical documents as well as carriers of intriguing secret meanings.

Paula Rutlee DURAL ANTIQUES 02 9651 2113 www.duralantiques.com.au

DURAL ANTIQUES & ART IN NEW SOUTH WALES

Dural Antiques Well Worth the Drive…

We Buy & Sell

Licensed Dealers

The largest range of antiques in the Hills District A large 4000 sq foot showroom, plenty of parking, air-conditioned comfort

857 Old Northern Road, Dural NSW 2158 Phone: 02 9651 2113 • Mobile: 0411 116 084 Trading hours: Open 6 days (closed Tues), 10:00am – 5:00pm, Sunday 10:00am – 4:00pm www.duralantiques.com.au 73

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 FOR SALE: Bed restoration parts. Twenty years of collecting, the photographs are only a glimpse. Enquiries by email please. Price on application.

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

Victorian amethyst and peridot pendant/ brooch set in 9 ct yellow gold, c. 1880. $2,200

Turquoise surrounded by 12 diamond cluster ring set in 14 ct yellow gold. $2,750

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.

Iconic 1950s vinyl lounge suite. $1,450

German fiddlebase sewing machine. $375

ANTIQUES & ART IN NEW SOUTH WALES

Early Celtic dragonesque enamelled bronze brooch, France, 1st or 2nd century CE

World War I English and German propaganda posters incorporating dragon images

Chinese blue and white porcelain vase, 14th century

Chinese silk gauze rank badge, 16th century

DRAGON Imperial symbol of China

ragons are mythological reptilian type creatures similar in form to a crocodile but usually represented as having huge claws, a fiery breath and in some cases wings. They are an important ingredient in the symbologies of many different peoples throughout the world. In some folklore, the dragon symbolises destruction and evil when represented as a primeval creature that must be defeated by the gods. In Christian art, it is the embodiment of the diabolical entity, Lucifer, and is often portrayed amidst the fires of hell. The dragon is commonly represented as crushed under the feet of saints and martyrs, symbolising the triumph of Christianity over paganism. In later mythologies, the dragon had to be killed by hero dragon-slayers who were usually portrayed as noblemen or heirs to the throne. These legends symbolise the intellectually superior human overcoming the untamed, natural world. In certain mythologies, the dragon is credited with powers that are more beneficial. The ancient Greeks and Romans believed that the dragon had the power to understand and convey to mortals the secrets of the earth. Partially because of this concept of the monster as a benign, protective influence and partially because of its fearsome qualities, it became a military emblem. Among the Celts, the dragon was a symbol of sovereignty. It also appeared on the battle standards of the English kings as late as the 16th century. In sharp contrast to Europe, the oriental concept of the dragon is one of happiness and immortality. In Japan and elsewhere in Asia the dragon is deified in Taoism and is a significant decorative and symbolic device. However, in no other country in the world is the dragon symbol more important, or prevalent, than in China. The dragon motif was established in China well over 6,000 years ago and is still regarded as the spiritual symbol and the national emblem of the Chinese people. Belief in the dragon and drawings of the imaginary animal has been traced to early

society when certain prehistoric tribes in China adopted the dragon, among other totems, as their symbol and guardian. Earliest legends in China described the dragon as a miraculous animal with fish scales and long beards. Over time, its form became more embellished. Chinese dragons could manipulate their size from gigantic to minute. They could also change colour and disappear instantly. Any sighting of a dragon was believed to be a good omen, meaning that Heaven was letting the people know that their ruler was doing a good job. Obviously, rulers welcomed reports of dragons in their area. Since ancient times the Chinese have used physical objects to convey feelings and express abstract ideas. Pictorial images conveyed meanings by association with characteristics or attributes shared by the image and the idea. Symbols derived from nature, religious and philosophical concepts or legendary and historical characters have endowed the arts of the Orient with a distinctive vitality and charm. The ancient Chinese believed the world was ordered in multiples of five. Five directions, five elements, five colours and five animal deities were integrated with the four seasons into a cosmic diagram, the concept of which formed the foundation of Chinese symbolism. They believed that the yellow dragon that was symbolised by the element earth, the origin of all things, governed the centre of this conceptual universe. The south was governed by the phoenix; the element for the south was fire, the colour red and the season, summer. The west’s governing animal was the tiger, its element metal, its colour white and its season was autumn. Both the tortoise and the snake ruled the north; north’s element was water, colour was black and the season was winter. The east represented the element wood and it was ruled by the azure or green dragon. It also symbolised the rising sun and the season of spring. The dragon ruler was believed to be a charitable creature whose breath turned into clouds and whose power manifested itself as thunder and rain that

Chinese bronze ho featuring a dragon-shaped handle, 10th century BCE

nourished the land and created new life. They were often represented as having a thunder ball or a pearl in their claws. This pearl symbolised wisdom. The Chinese believed that the great and beneficial power of the dragon could be brought to the people by the governance of a good leader, and dragons were believed to appear just before the birth of great sages and wise and benevolent emperors. Many Chinese legends created connections between the dragon and the emperor. Liu Bang, the first emperor of the Han dynasty (206 BC-220 AD), was said to have descended from a dragon and from that dynasty on, all emperors were believed to be its incarnation. Being such an auspicious omen, the dragon motif was chosen as the centrepiece of an elaborate set of emblems that would symbolise the authority of the emperor. By the Song dynasty (960-1279), the meaning of the dragon and the set of emblems were well established. From the Ming dynasty (1368-1644) onwards, the dragon was synonymous with the emperor. It appeared as a prominent emblematic figure on almost everything associated with the emperor, such as the throne and all the imperial architecture, furniture, garments and articles of daily use. The symbol was reserved for objects and institutions associated with the Emperor and his court. However, the phoenix, another mythological creature, was the symbol for the Empress. Eventually the names in the Chinese language for nearly all the things connected with the emperor or the empress were preceded by the epithets dragon or phoenix. Hence, ‘dragon seat’ was the throne, ‘dragon robe’ was the emperor’s ceremonial dress, he slept on the ‘dragon bed,’ while ‘phoenix carriage’ and ‘phoenix canopies’ were for the imperial processions. Because of the dragon’s place in Chinese philosophy, its image has continued to evolve

The dragon and the flaming disc (pearl): the phoenix, symbol for the Empress of China

and today it remains as significant a symbol as ever. It continues to play an important part in modern Chinese culture. Dragon lanterns, dragon boats, dragon and phoenix dances are still highly popular among the people of China and internationally the dragon motif is China’s most readily recognised symbol. For people from Western cultures, understanding its symbolism can be a complex and difficult task especially for those unfamiliar with Eastern ideas. As with most Chinese mythology, the meaning and symbolism of the dragon can change depending upon the context in which it is used. Learning to understand the use of the dragon in its varying connotations and differing symbologies throughout China’s varied and turbulent history, helps with the identification, interpretation and hence appreciation of many of China’s wonderful works of art. Narelle Ward Collectors’ Cottage Antiques 02 4389 1922 References http://encarta.msn.com/encyclopedia/dragon http://www.livescience.com/animals/top10_dragons http://www.chinavista.com/experience/dragon http://www.sacred-texts.com Anthony J. Allen, Allen’s Introduction to Later Chinese Porcelain (Auckland: Allen’s Enterprises, 1996) Hans Biedermann, translated by James Hulbert, The Wordsworth Dictionary of Symbolism: Cultural Icons and the Meanings Behind Them (Wordsworth Editions Ltd, 1996) Judith and Arthur Burling, Chinese Art (New York: Bonanza, 1953) Valerie M. Garrett, Chinese Clothing: An Illustrated Guide (Hong Kong: Oxford University Press, Hong Kong, 1998) Hazel H. Gorham, Japanese and Oriental Ceramics (Rutland USA: Charles E Tuttle Co, 1990) National Gallery of Victoria, Dragon Emperor: Treasures from the Forbidden City, exhibition 1988 Judith Rutherford, ‘Dragons-Symbolism in Rank in Chinese Costume’ in Antipodes, vol.1 no.1, 1987

NEWCASTLE ANTIQUES & ART IN NEW SOUTH WALES

ISLINGTON ANTIQUES in Newcastle since 1990 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, Louisstyle chairs and sofas in fruitwoods and creampainted furniture are prominent features.

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.

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

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.

WE ARE OFFERING READERS AND SUBSCRIBERS A BONUS 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

VALUE PLUS online and hard copy

Read all the magazines online and still receive them by post

Inquiries to info@worldaa.com

NEWCASTLE ANTIQUES & ART IN NEW SOUTH WALES

THE AUSTRALIAN OPAL A

ustralia has the best opal in the world. The opal belongs to the large group of minerals which are composed of silica, combined with varying amounts of water. The stone is made up of minute, sub-microscopic crystallites which are the high temperature form of quartz. Water in an opal is held within this framework of tiny crystals and normally ranges between three and ten percent of the total volume. The most basic division in an opal is between the precious opal (the colourful stones used in jewellery) and the common opal which does not show the colour play. Precious opal is found in New South Wales, Queensland and South Australia. The common opal is more widespread. The most precious of all opal is black opal from Lightning Ridge in NSW. This is the only place in the world that black opal is found. It occurs in irregular nodules (known as nobbies) and is erratic in distribution. It can have a fiery display of glowing dark green to gold, blue, black, pale violet or crimson colours that can be seen as it is rotated in the light. The variety of colours in opal is due to the presence of small amounts of impurities of a number of different minerals. White opal has a white body colour and ranges from common opal to white opal with fire (colour). The best known fields are at White Cliffs in NSW and Coober Pedy in South Australia, where the opal is found in veins or seams in sedimentary rock, and at Andamooka in South Australia where opal is found in conglomerate rock and in layers on boulders. White opal is used extensively in jewellery, as true black opal is very expensive. Other varieties of precious opal used in jewellery include crystal, harlequin and pin fire opal. Each has clear bright colours, is very attractive and highly sought after. Boulder opal is found in Queensland but this is mainly used for specimens. For opal jewellery there are basically three categories: solid opal, doublets and triplets. Solid opal, as the name suggests, means a solid stone but it may have inclusions of common opal. A doublet is a layer of opal

glued onto a backing of dark or black common opal which enhances the colour of the layer of opal and protects and strengthens the stone. Comparatively speaking, it is not as valuable as a solid stone. A triplet is constructed in the same way as a doublet but the layer of opal is usually finer and a clear silicon layer is placed on top to give a cabochon shape which may also enhance the colours. A triplet is the least valuable of the three varieties.

CARING for opal jewellery Opals are reasonably soft (5.5 to 6.5 on the Mohs hardness scale). This is due to the presence of water in the silica structure. Because they are soft, they scratch easily (but can usually be repolished) so care must be taken to prevent this from happening – perhaps keeping them for special occasions. Opals are also porous. Substances such as detergent, soapy water and oils can be absorbed causing the lustre of the opal to dull. It is a good idea to remove rings before washing dishes, for example. Opals are the birthstone for the month of October and with the wide range of colours available you are sure to find one to please. Every opal is different – each has its own particular reaction to light. They are truly individual and this can make it difficult to match opals for the same piece of jewellery, e.g. a pair of earrings, but it means that your opal is unique. Many precious and semi-precious stones on the market today are ‘created’ or man-made. With recent increases in technology it is possible to make opals, but it is much more difficult to manufacture an opal which can be mistaken for a natural stone. As a child I spent all my school holidays at Lightning Ridge where my father was an opal cutter and my love of opals has remained with me always.

Notes ■

Wolf Mayer, A Field Guide to Australian Rocks, Minerals and Gemstones ■ Barry Krause, Mineral Collector’s Handbook

Frank Piotrowicz THE CENTENARY CENTRE 02 4926 4547 www.centenarycentre.com.au

Open 7 Days - 10 am to 5 pm Visit our Old Grocery Store Museum

29 CENTENARY ROAD, NEWCASTLE 2300 Phone: 02 4926 4547 centenaryantiques@hunterlink.net.au www.centenarycentre.com.au 77

HAMILTON ANTIQUES & ART IN NEW SOUTH WALES

SIGNED CEDAR FURNITURE W

e are often asked about signed pieces compared to furniture that is unmarked with regard to price and quality of manufacture. Most cedar buyers are familiar with the quality pieces made by Joseph Sly and Andrew Lenehan, yet there are grades and levels of quality despite having a Sly or Lenehan stamp or label. Years ago, I purchased a pine piece bearing a Lenehan stamp. It was obviously not a fake, and other than the Lenehan stamp it was a fairly ordinary piece of furniture. The Lenehan stamp increased the value but not by an enormous amount due to the average nature of the piece. A label is very handy with identifying the place and date of manufacture, such as in the case of the following pieces. Whether a label increases the value of the item or makes it more desirable is arguable.

SECRETAIRE CHEST c. 1869: Lawson & Carter and label The secretaire chest is labelled Lawson & Carter in three places, and as they only worked together for a few years from 1867 to 1870, is circa 1869. It is a very well made piece of furniture with expensive locks, fine cabinet work and the label only enhances its value.

CHIFFONIER CHEST c.1885: Alfred Jenkins of Terang label It is quite a rare design as few chiffoniers have a fitted interior like this. The cabinet is made of cedar with secondary pine timbers and would be worth the same without the label. A similar cabinet with a Sly or Lenehan stamp would substantially increase the value and would most likely be better made.

CHEST OF DRAWERS c. 1868: stencil for John Osborne of Singleton The chest of drawers was made by John Osborne of Singleton and has three large stencils on the back making it circa 1868. It is full cedar and like all Osborne pieces we’ve had over the years, is beautifully made. All of the Osborne pieces we have had are quirky in

some way and this adds to the charm of his furniture. With this chest of drawers for example, the drawer decoration is carved out of the drawer face rather than an applied piece as is usually the case.

CHEST c. 1900: retailed by Anthony Hordern and Sons SIDE TABLE c. 1880:

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

Broomfield, Singleton stencil The side table is made of cedar and pine and is stamped Broomfield, Singleton. George Broomfield was active in Singleton from 1872 to 1898, making the side table circa 1880. Although the signature gives the piece provenance it doesn’t add value to the piece. Broomfield pieces we have had in the past range from utilitarian pine pieces to fine cedar, usually with a stencil similar in design to the Osborne one.

WASHSTAND c. 1860: The early cedar washstand has two W.G. Moore of Sydney labels, and was therefore made circa 1860. It is in lovely original order with two drawers in the base and again, is beautifully made. W.G. Moore sold the goods of other cabinetmakers and often advertised this fact. Although it bears his trade label, this washstand may have been made in another cabinetmaker’s shop, and received its label when delivered. The label enhances an already fine piece of furniture.

FOUR DOOR ROBE c. 1870: Chiffonier made by John Osborne of Singleton in 1863

38 Denison St, Hamilton Ph 02 4969 3801 Mobile 0418 684 724 78

The addition of a label or stamp always adds interest to a piece and can add value. However, this is not always the case as worth is very dependent on the quality of the piece in the first place. Michael Lee RARE FIND COUNTRY ANTIQUES 02 4969 3801/ 0418 684 724 www.rarefindantiques.com.au Reference Kevin Fahy, Christina Simpson and Andrew Simpson, Nineteenth century Australian furniture, David Ell Press, Sydney 1985

W.G. Moore of Sydney label

Opening hours: Saturdays 10 am - 4 pm or by appointment. We are there most of the time as we live on-site.

A large pine chest bears the stamp of Anthony Hordern and Sons in several places and was made in Sydney, probably around 1900. The chest is well made has all the original handles. The label, although interesting, does not make the chest worth more.

Alex Moore & Co of Sydney label The four door cedar robe bears an Alex Moore & Co of Sydney label, and was made circa 1870. It has two book matched highly figured panels in the centre doors with good original finish. The label again adds value to an already quality piece of furniture.

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

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 and home to the Old Grocery Store Museum.

82 Elder Street, Lambton (opposite Lambton Park) Ph: 02 4957 8233 OPEN Monday to Friday 10 am – 4.30 pm Saturday 9 am – 3.30 pm Closed Sunday Affordable antiques – interesting china, jewellery, lamps and clocks. A range of items to suit the discerning buyer. Boutique splendour. WINNER of Hunter Small Business Awards 2011 Antiques and Gifts

Antiques & Collectables on Darby 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.

35 Brunker Road, Broadmeadow Mob: 0437 417 512 OPEN Friday – Sunday 10 am – 5 pm The place to come when you want something different.

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.

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.

(formerly Lampworks Antique Centre) ** UNDER NEW MANAGEMENT ** 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.

108 Maitland Road, Islington Ph: 02 4962 1532 OPEN 10 am – 5 pm, closed Tuesday 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.

Antique Toy Collectables

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. *** JUST OPENED ***

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 20 years. We stock a large and varied range of quality furniture, china and collectables in our 2000 sq ft showroom.

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.

Ambleside Antiques Cottage

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 29 years now trading in Hunter Valley at Cessnock.

The Tyler Gallery

Steptoes

Revampt on Clyde

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.

Brunker Road Antiques

Memory Lane Antiques & Decor

15 Old

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.

Cinema Antiques

80 Maitland Road, Islington Ph: 0450 103 633 or 0416 438 371 Open Friday-Monday 10am-5pm Dutch imports of antique furniture, paintings, clocks. Large collection of collectables, French polishing.

ANTIQUES & ART IN NEW SOUTH WALES

HAT BLOCKS

from industry tool to sculptural forms

he role of the wood block maker became obsolete with the introduction of metal blocks and today there are less than a handful of master wood block makers working in the millinery industry. Lorenzo Ré is based in Paris and not so long ago wooden blocks could be ordered from Riefenstahl & Co in Germany, even though the company’s main trade is in metal blocks. Hats are once again back in fashion and this has given the few remaining block makers a

new lease of life. Hat makers looking for old wooden factory hat blocks are finding it almost impossible to obtain any blocks, certainly in any quantity. Since there were once so many hat factories producing hundreds of different designs, it might be reasonable think that old blocks are easy to find. But this is not the case because over time and with use most blocks wore out. They were thrown out, many given to factory workers for use as firewood.

Manufacturers were happy for the blocks to be used as fire kindling if they decided the designs were no longer useful. It was also an effective way to prevent competitors copying their designs. A bit like china companies breaking their moulds. Not all blocks were destroyed; some were kept in storage against the time when the shape might once again become fashionable. It is these blocks that have resurfaced. However, even this source is now all but exhausted, and as with the manufacturers of old, they are guarded jealously lest they fall into the wrong hands. From the original purpose as a production tool, special blocks are now valued as examples of exceptional craftsmanship and are held in museum collections. These blocks are elevated to works of art, regarded more like sculptures. In England especially their worth has been recognised outside millinery circles. Dealers and collectors alike are happy to pay a premium price for these works of art.

SOME better-known makers Maison Riva Marchesi - Paris was the premier maker in Paris for many years. The firm closed in the 1960s. The company was formed by two Italian artisans originally from Florence who had settled in Paris before World War I. Riva was a wood carver and Marchesi a sculptor. They were makers to the leading haute couture fashion houses including Patou, Lanvin, Balenciaga, Dior and Givenchy who made samples of their hats in-house, which went to a small elite group of milliners. After the main fashion shows of the season, Riva-Marchesi were permitted to sell the shapes to hat manufacturers. The company was known all over the world as the block maker for all the latest designs. Lorenzo Ré of La Forme is based in Paris and is one of the few hat block designers working today. He makes blocks for French couture fashion houses. Boon & Taylor a major wood block maker based in Luton, England. Boon & Taylor later became Boon & Lane. They are still operating making wooden and metal blocks plus other supplies to the industry. William Plant & Co operated in Manchester and made wooden blocks for the men’s hat trade in particular at Stockton & Denton, Manchester. The company ceased making blocks in 1976. The contents of their factory are now on display in a museum in Stockport. Charles Muller in Zurich, Switzerland had an international reputation for high quality hats, so much so that companies from other

countries would buy models or blocks from Muller in order to copy them. Charles Muller had their own wood block-making department. They ceased wooden block making in the 1970s. Brunschwig in Switzerland was an internationally regarded firm. Their models and blocks were purchased by other companies. They were Charles Muller’s main competitor. Riefenstahl & Co in Wuppertal, Germany mainly supplied German factories, and was one of the few amongst those listed to sell off-the-shelf shapes of popular mass-produced designs. They continue to trade, their main business supplying metal blocks and other tools for the hat trade. Off the shelf wooden hat blocks were often impressed with the trade name Rico. Other international hat-making companies which had their own block making departments included Familiare, near Florence, Italy; Mayser Miltz and Ottmer Reich, both in Lindenburg, Germany. The businesses of Christys, Failsworth Hats and Joseph Howe, were based in Manchester, England. Individuals who worked in the industry, Charles Mutti (Paris) renowned for top quality blocks and (first name unknown) Bushby working in Luton, England. Although he is said to have been the best of the Luton wood block makers, very few details are available.

COLLECTING hat blocks An unusual collecting option, hat blocks are certainly one the average enthusiast has probably never considered. The mixing of different styles, timbers and colours, all showing degrees of wear, when grouped together are an impressive display, to say nothing of giving you somewhere to hang your hat. Gaye Dawson ANTIQUES & COLLECTABLES ON DARBY 02 4926 3003/ 0407 526 955 glo89014@bigpond.net.au Acknowledgement Thanks to Paul Whitaker for his contribution to the article.

NEWCASTLE ANTIQUES & ART IN NEW SOUTH WALES

Antiques Collectables on DARBY

1/158 DARBY STREET NEWCASTLE Formerly of Beaumont Street, Hamilton OPEN 7 DAYS – PLENTY OF PARKING AT REAR

PHONE 02 4926 3003 WISHING YOU A VERY MERRY CHRISTMAS FROM ALL AT ANTIQUES & COLLECTABLES ON DARBY A BIG THANK YOU TO OUR WONDERFUL CUSTOMERS FOR YOUR CONTINUED SUPPORT AND WE HOPE TO SEE YOU SOON

WE WILL CONTINUE TO TRADE UP TO CHRISTMAS EVE AND WE WILL BE CLOSED DEC 25, 26, 27 & 1 JAN 2012

ANTIQUES & ART IN NEW SOUTH WALES

THE GOOD LIFE

Heartland â&#x20AC;&#x201C; For sale with freehold I f the lifestyle of a country squire appeals then Heartland, a freehold antique store in Maitland, may be the answer. Strategically located at the entrance to the Hunter Valley, this beautiful heritage building is an opportunity to incorporate a business with a more leisurely country lifestyle â&#x20AC;&#x201C; the best of both worlds. Maitland is now the fastest growing local government area in NSW and locals are benefitting from the injection of entrepreneurial investments in the region. The arts and culture renaissance has resulted in food festivals, commercial growth and the development of historical themed programs such as heritage walking tours before or after tourists visit the vineyards of the Hunter region. Maitland has been the hub of the Hunter for more than 150 years. It is steeped in history and fascinating heritage buildings. Located on the New England Highway, it is about 30 minutes drive from Newcastle and is accessed from Sydney via the F3 taking approximately two hours.

A FREEHOLD antique store in Maitland

This architecturally incomparable building is unique. There are three floors including a large two level three bedroom apartment that has been fully restored. The first floor is reached by a cedar staircase that features Victorian iron lace balustrades and the craftsmanship of cedar joinery. A conservatory style roofline means that the centre of the building is given lots of natural light. The apartment is reached by another cedar staircase that covers the two levels. Why sell such an asset? The owners have come to that time in their lives when age and necessity have forced them to reconsider their options. Now into retirement, they have serious health issues that can be no longer ignored. After a lifetime of being involved in the antiques trade, they are leaving a business that has been kind to them and which has given them a lot of pleasure. It is time to pass the reigns onto the next generation of collectors and dealers. Opportunity knocks for a younger person with vision and enthusiasm. Whoever acquires this asset also gets the business for free and a choice of stock at value.

It is only by visiting Heartland that one can truly appreciate the value added and charm of this heritage site.

To inspect this unique property, phone Marion on 0414 012 608 or after hours on 02 4930 6984.

MAITLAND ANTIQUES & ART IN NEW SOUTH WALES

ANTIQUES & ART IN NEW SOUTH WALES

Windsor Restoration Supplies

The Junkyard

Windsor & The Hawkesbury Antiques & Collectables Trail

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

Peter and Phil Jurd, Empire Beds

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. Take Windsor Strreet and continue to The Bank Bazaar, a haven of mysterious and stunning antiques, furniture, artworks, designer jewellery and so much more. Situated in the historic town of Richmond, The Bank Bazaar is housed in the old 1880s bank that has been lovingly restored, and complementing the antiques are one-off pieces of furniture and a refreshing mix of contemporary decorator items for the home. The pieces come from across the fashions of the century and range from pianos and marble mantelpieces to tea cups and model planes. Customers are welcome to sit amidst the wares

and enjoy a cappuccino from our coffee shop with a piece of cake and a good book, or relax with friends for lunch under the shade of a giant elm in the tea garden. 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.

Kurrajong Antique Centre

Maureen Partridge, Thompson’s Country Collectables

Megan Wood, The Bank Bazaar

John Koster, Kostercraft

WINDSOR & THE HAWKESBURY ANTIQUES & ART IN NEW SOUTH WALES

WINDSOR & THE HAWKESBURY antiques & collectables trail 1

2 3

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. Thompsonâ&#x20AC;&#x2122;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

7. The Bank Bazaar Proprietor: Megan Wood Phone: 02 4588 6951 Opening Days & Times: Weekdays: 9.30 am to 5 pm, weekends 9.30 am to 4 pm, closed Tuesday Address: 290 Windsor Street Richmond NSW 2753 www.bankbazaar.com.au

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

WINDSOR ANTIQUES & ART IN NEW SOUTH WALES

Visit historic Richmond and the Bank Bazaar R

ichmond is only around an hour’s drive from Sydney’s CBD, perfect for an outing to the Bank Bazaar housed in the beautifully restored historic former Commercial Banking Company building.

HISTORIC Richmond As early as 1789 Governor Phillip had explored the district and, although it was considered isolated, the colony’s need for food and the richness of the alluvial Hawkesbury

river flats, ensured early settlement. It was Phillip who climbed a small hill near the river and named it Richmond Hill in honour of the Duke of Richmond. Richmond was first settled by Europeans in 1794 and quickly became the granary for the colony. Five years later the area was providing Sydney with half its grain requirements. The problem was that the Hawkesbury River flooded regularly. Thus, in 1810 when Macquarie established the five Macquarie

towns in the Hawkesbury Valley: Windsor, Richmond, Castlereagh, Wilberforce and Pitt Town, he specifically located the township on a ridge above the Hawkesbury River. This decision was due to the 1809 flooding which devastated the farms in the area. Macquarie exhorted all the settlers in the area to ‘move to these places of safety and security’ and it was on this basis that the town of Richmond began to grow. Throughout the 19th century the town prospered and grew due to the rich agricultural lands which surrounded it and because it was ideally located on the cattle routes from the west and the north.

COMMERCIAL Banking Company Building The rising wealth during this period resulted in the construction of many outstanding buildings including the Commercial Banking Company Building in Windsor Street. The building was designed by the architects, the Mansfield Brothers who were responsible for the design of many CBC bank buildings in major country towns in and around NSW. The bank is a double storey stucco brick construction of Victorian Italianate design. The structure comprises the banking chamber and vault as well as drawing, dining and ante rooms downstairs and the bank manager’s residence upstairs. There is also a stables

The Bank Bazaar, 290 Windsor Street Richmond NSW 2753 T: 02 4588 6951 • www.bankbazaar.com.au Open weekdays: 9.30am to 5pm, weekends: 9.30am to 4pm, closed Tuesday

building at the rear as well as a garden shaded by enormous jacaranda and elm trees, both over 100 years old. In the 1970s a sympathetic extension was added which doubled the size of the banking chamber. The bank continued to operate in Windsor Street until 2008 when the National Australia Bank decided to vacate the premises and the building was put up for auction. The current owners completely renovated and refurbished the premises.

A NEW purpose The banking chamber now houses the Bank Bazaar antique shop incorporating a coffee shop and tea garden. The Bank Bazaar offers an amazing range of quality antiques, artworks and home wares. There is vintage lead crystal, period and contemporary glassware, furniture, jewellery, fashion accessories, fine china, soft furnishings, books, unusual curios and much more. Come in for a browse and stay for a coffee. Open on weekends from 9.30 am to 4 pm and during the week from 9.30 am to 5pm. Closed on Tuesday. For more information contact THE BANK BAZAAR 02 4588 6951 www.bankbazaar.com.au

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

THE SCENIC HUNTER VALLEY perfect for antique hunters

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

Lake Macquarie Art Gallery. Image courtesy City of Lake Macquarie

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 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

BLUE MOUNTAINS ANTIQUES & ART IN NEW SOUTH WALES

The world’s largest private teapot collection

ON DISPLAY AT BYGONE BEAUTYS

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-three 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

“

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

”

Bygone Beautys Antiques

‘Treasured Teapot Collection’’

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 88

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.

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

BULLABURRA

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.

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.

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 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.

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. 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.

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. 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

Top right: 1920s Worker’s Cottage in five acres of beautiful gardens Right: Bronte Cottage, a modern French provincial style country house in quaint Bullaburra Below: Pine Lodge’s elegant dining table seats ten diners, in Wentworth Falls

BLUE MOUNTAINS ANTIQUES & ART IN NEW SOUTH WALES

THE ETIQUETTE OF BARGAINING B

ritish inspired reality antique shows have much to answer for in this industry of ours! Every week on TV there are programs encouraging unprepared and mainly ignorant teams to rush out into the depths of an antique fair, charge around madly and are advised to haggle, haggle, haggle. The contestants harass poor stallholders, asking for and receiving 50%, 60%, even 75% discounts on items. So how real to life is all this? Well, the answer in Australia is not real at all! Any antique shop owner or stallholder when asked for discounts of 50% or more will at best laugh. At worst one might be sent packing with one’s ears burning. In one extreme case, a stallholder badgered aggressively by the same customer over the course of morning for a 50% discount on a

$50 English porcelain trio became so exasperated that he smashed the trio on the ground rather than give it to the customer at any price. Over the top perhaps, but he felt an extreme response was required for an extreme situation with extreme rudeness.

SO, how should buying antiques and collectables be approached in Australia? 1. Most importantly – please be polite! Smile and ask nicely: ‘What is your best price?’ Whether the price named by the dealer is suitable or not thank them for their time. They will work out very quickly if you are

BLACKHEATH, BLUE MOUNTAINS

VICTORY THEATRE ANTIQUES & CAFE 17 Govetts Leap Road, Blackheath www.victorytheatre.com.au

serious or not and often a more advantageous price may be forthcoming. However, a negative response accompanied with a sneering countenance is rarely if ever a winning formula. 2. Be respectful. Put yourself in the dealer’s shoes. How would you feel if your employer approached you and wanted you to work for half your hourly rate? Asking for a generous discount is effectively asking a dealer to take a pay cut. Dealers price their stock fairly leaving little room for discounts, minor or substantial. Also aware of the competitive nature of their business, dealers are conscious that prospective customers will pass them by to go to a trader whose starting prices are lower. It is advisable to consider stopping at a dealer’s stall even if the starting price seems too high, this offers the possibility of negotiation and perhaps a discount, substantial or otherwise. 3. Every location and situation is different. It is important to be sensitive to the customs and expectations of where you are, whether local or international. Ask about the customs and accepted practices. Remember, all antique dealers are different. Even in markets under the same roof, many dealers will be happy to oblige with a discount, some not so happy. When in doubt see rule 1. 4. No means no. Asking ten times about the same piece is an exercise in futility. There is an exception to this rule. If you have politely asked a price on a piece early in a short term market or fair, it is quite acceptable to go back and renew your offer at the end of the day or end of the fair. But as always, see rule 1.

WORKING well with the trade Cash talks. Most forms of electronic payment attract a fee or commission that the vendor pays on completion of transaction. A

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 90

cash sale removes that overhead cost. No, a cash card linked directly to a savings account is not the same as cash. Your bank might not charge you for its use, but they certainly do charge the dealer. We don’t mind you asking, if you don’t mind the answer. This is a subtle warning. If you are rude or your offer is insulting, be prepared to receive an abrupt response. The dealer is telling you turnabout is fair play. When in doubt see rule 1. Lay bys accepted. Fairly straightforward one would think. Not quite. If you have managed to negotiate a bargain forget about trying to put it on lay by. Lay bys effectively triple a dealer’s handling costs as well as forcing them to pay for the item to be stored for an indefinite amount of time. There is no way that they will take money off the asking price in this situation. Courtesy and respect is the common thread throughout all negotiations, regardless of locale. Any request made politely and accompanied with a smile has a much better chance of succeeding. You never know, you might just get that bargain you have been looking for. I hope some of the does and don’ts outlined will make your next foray into the fascinating world of antiques and collectables more enjoyable. Good luck and good hunting! Roger Garner VICTORY THEATRE 02 4787 6002 victorytheatre@bigpond.com

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

BEST

OF THE 1999 SOUTHERN HIGHLANDS OUTSTANDING BUSINESS AWARD FOR

REGIONAL

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 91

BOWRAL ANTIQUES & ART IN NEW SOUTH WALES

UK BUYING ORGY T

his was to be our first UK buying trip where we had planned to spend one month following the market and fair trail in England. With the luxury of a rented motor home, we could choose our preferred routes and venues. Our buying strategy was to concentrate on ‘smalls.’

NO time for jetlag We arrived at Heathrow at 5 am and with only three days in London, not a moment was wasted. Rather than go to our hotel room, we caught the underground to Bermondsey Square Antiques Market which starts every Friday at 4 am. We arrived at 6 am, buying voraciously and even meeting dealers from Sydney and Queensland. Next morning we were at Camden Passage by 7 am. Located in an 18th century laneway in Islington made into a pedestrian thoroughfare, we discovered that since last being there some 30 years ago, it had shrunk. We explored every mall, arcade, shop and market stall with a wide variety of specialist antiques. We bought some good items and enjoyed the top quality mixed with lots of funky vintage. Crowds swept us along to Portobello Road Markets. It is now intermixed with fashion shops and the markets are riddled with reproductions, some of which are pretty good so buying was a careful process. Expensive but great fun, there are still good things to buy if you are careful and knowledgeable. The dealers were pretty honest about their stock and ready to do deals when they realised we were serious. It is advisable to get there early and we found it advisable to leave before 10 am when the crowds became unbearable.

We also bought great pieces at an antiques fair at the Rembrandt Hotel down the road from Harrods – one of four upmarket antique fairs at London hotels.

ENGLISH countryside fairs First stop in our motor home was Sheepcote Valley Park (near Brighton) as a base. The first fair was Ardingly International Antiques and Collectors Fair with about 1600 dealers from all over the world and a parking area as large as the stalls’ area. Seasoned visitors come with trolleys, motorised bikes and scooters used to cover the distance quickly. We carried our purchases because it is often impossible to retrace steps back to the stalls. A typically wet English day we were knee deep in mud, but still had an amazing day and shopped until we dropped. The next day was spent in Brighton which has only a couple of antique shops to explore, after which we headed to the weekly Potters Bar market in a farmer’s paddock. We found nothing to buy here. Next stop was Nottinghamshire (think Robin Hood and Maid Marion) near Lincoln and the Swinderby Antiques and Collectors Fair. It is held on the runways of the old RAF Swinderby airfield, with about 800 dealers. Here, people ride pushbikes with trailers attached to hold their purchases. Rod and I perused one side of each air strip then met at each end and did really well again, sticking (mostly) to our plan of not buying furniture, even though the temptation was overwhelming. Oxfordshire and the Cotswolds were absolutely beautiful, although little to buy. The small fair in Wendover’s Town Hall was great fun with lots to buy as well as great

HUNTERS & COLLECTORS ANTIQUES Trading in Antiques & Collectables from the 18th, 19th & early 20th century With special interest in Australiana, antique firearms, advertising paraphernalia, daggers, bronzes, boxes, ivory, whaling items, maritime, taxidermy, Whitby jet, vintage clothing & classic labels, leather gloves & vintage sunglasses.

Antique 3 tier revolving bookcase, c. 1890s

French Art Deco spelter lamp with alabaster shade, c. 1920s

Bagpipes made with ivory and African Blackwood fittings, c. 1920s

Right: Indo Persian Kulah Khud (helmet), late 18th century, h: 60 cm Far right: French Art Deco mannequins, c. 1930s, h: 130 cm & 115 cm

www.huntersandcollectorsantiques.com Open 7 days 10 am to 5 pm

We have opened at 8 Bowral Road Mittagong after trading in Mosman for 16 years. As

Above: Flintock blunderbuss pistol, c. 1770, l: 48 cm

Tel: (02) 4872 1661 or 0414 449 366

Rod Cauchi & Kathy Kasz

homemade scones, and a few good antique shops in town. Rod’s efficient packing allowed more shopping. Cheddar (yes, for its cheese) in Somerset was our base for Shepton Mallet Antiques and Collector’s Fair, the West Country’s premier antiques event, running over two and one half days. Housed in four halls and over 40 shopping arcades at a showground, there were 600 stands with everything, from paintings and antique furniture to vintage. We queued in gale force winds where a kind dealer from Witney gave us his free entry tickets. One day’s intensive buying was sufficient. We drove past Stonehenge, were stuck in an infamous London traffic jam to be ready for the Alexandra Palace Antiques, Art Deco & 20th Century Fair. True, it was in an amazing venue but stock was disappointing compared to our earlier experiences, yet I still managed to buy. After a couple of fair-free days, we headed to the Hungerford Antique & Collectors Fair, a local treat with lots to buy and plenty of antique shops to explore. Our next big fair was at a racecourse, braving outside stalls first and then retreated indoors and did some serious shopping. The next small fair, Grandma’s Attic was in an upmarket boutique hotel (one of ten Grandma’s Attics per year) where we barely left anything behind. Kempton Park Racecourse hosted the Sunbury Antiques Market, the largest and longest running bi-monthly market in the country, already packed at 5 am. Arriving in the dark, we checked the inside stalls first that were a treat, requiring numerous trips to unload great purchases into our vehicle. By the time this fair ended at 1 pm, we had both reached saturation point. A whole month of antiquing had worn us down and our vehicle was so crammed that our sink was even full of stock! It was time to pack our goods for Australia. Both our finale and encore were at the Covent Garden Antique Market, fortunately a weekly event that we visited twice while awaiting connecting flights from London. Looking back, all I can say is that it was a fantastic experience and am asking Rod when are we going again?

MITTAGONG shop

All things interesting & unusual 8 Bowral Road, Mittagong NSW 2575 (80 minutes south of Sydney)

Amazingly, on any day of the week there are enough dealers and buyers to support fairs, varying from small upmarket, small ordinary, huge or mega fairs spread over a couple of days as well as car boot sales. We found English dealers a pleasure to do business with. Charity shops in every village and town have great and fun buys, for me and my daughters.

Vintage toy battery operated Atom motorbike & rider made by Masudaya (Japan)

Sterling silver boudoir mirror, hallmarked for London 1896, h: 54 cm

Chinese gilded silver tea caddy, c. 1880s, red coral & turquoise, decorated with enamelled birds and filiage, h: 16 cm

Art Deco spelter lamp, c. 1920s, h: 41 cm

members of the AAADA we take pride in the quality and variety of stock we carry, with no reproductions. We are open every day of the week, just 70 minutes south of Sydney on the M5. Check stock on our extensive and updated website – www.huntersandcollectorsantiques.com Kathy Kasz HUNTERS & COLLECTORS ANTIQUES 02 4872 1661 / 0414 449 366 www.huntersandcollectorsantiques.com

BOWRAL ANTIQUES & ART IN NEW SOUTH WALES

STORIES FROM THE PAST Memories of Australian country antique dealers brief look given the horrific smell of the pig had now impregnated every room in the house. Theo drove back through the dusty paddocks and creaking gates to the main homestead to give Mr Rosebay their verdict. The main homestead was in a similar state of disrepair as the cottage, minus dead livestock. Mr Rosebay ambled out onto the veranda and listened patiently as Theo listed what he would take and what financial remuneration he would make in return. A nod and a word of thanks was all it took. Theo took a small roll of notes out of his pocket and counted out the required number into the proffered hand. Mr Rosebay nodded his thanks once more and then turned his back and ambled back into the cool of the house. No refreshing drink was offered and no mention of the dead pig was made. Theo was a little concerned that he would be asked upon to help retrieve the rotting carcase from its makeshift grave. He wiped the sweat off his forehead with a handkerchief and returned to the ute to drive once again through the dry paddocks and endless gates to the forlorn cottage. Final episode in Antiques & Art in NSW, autumn 2012.

Cedar chest of drawers, restored

PART I: THE WONDERFUL SMELL OF OLD FURNITURE

or the next few issues I would like to share with you a few stories told to me as I was growing up, about antique dealing in the 1960s in country Australia. These stories always made me laugh and I hope that similar characters still exists today and that these adventures and finds can be still made... obviously names are changed. I hope you enjoy these tales.

THE tale of an unexpected find One December day in the sweltering heat of a Wagga Wagga summer, a man walked into the furniture shop in Corio Street. His flannelette shirt and work trousers swamped his small, stocky frame. ‘You the boss?’ was his question to Theo, and then he stated the reason for his visit. ‘Me dad just passed on. I want to rent a cottage on the property – only it’s filled with furniture. Will you come and take a look?’ With a time set for the following week, the man walked out into the blistering heat. The appointed day dawned with the same unrelenting heat as the past two weeks. Theo and one of the lads took the old Holden ute to the farm, and were directed through a series of gates and paddocks to the weather-beaten board cottage. It was a four room dwelling, two rooms at the front and two at the back with a skillion kitchen tacked on to the rear. Paint peeled and the corrugated iron roof sagged. There was no garden except for the remains of dried bushes, that may have once been hydrangeas. The front door was open in a sense, hanging off its hinges. Theo took out his pocket diary and pencil then walked in to see what furniture could still be possibly in a recognisable state. The front rooms held nothing but weeds

Jane Crowley DIRTY JANES 02 4861 3231 janecrowley@crowleyandgrouch.com www.dirtyjanes.com

growing through the floorboards and the odd broken chair, so as he ventured to the back bedrooms, Theo didn’t hold a lot of hope. The first bedroom had an old iron bed, not unlike hospital beds of the early 1900s. No fancy scrollwork or porcelain panels, it was just a practical bed. Theo jotted down a notation with a price. The cedar washstand in the room was also early, although the joints had rotted through. Theo’s notation was ‘NW’ – needs work! The second bedroom’s door was shut. Putting his shoulder against it, Theo gave it a shove. It released with a jolt and sent Theo stumbling into the room and almost into a vast hole in the wooden floor. A powerful odour escaped through the door as the air had been trapped in that room for years and now was finally released. Tears surged at the foul smell. Adjusting his vision, Theo strived to see in the darkened room where only dirty sealed window allowed a few weak splinters of sunlight to enter. There was a huge cedar chest of drawers standing against the wall on what was left of the floor. Theo could see that the chest of drawers was handsome, with its four large drawers topped by a row of three smaller drawers. It was in surprisingly good condition, barely needing a wax polish to return it to its former glory. The other item, in the hole in the middle of the room, was the remains of a very large wild pig, the source of the vile odour. The old sow must have wandered into the cottage and been caught in the room when the door had slammed shut. A panicked pig of her vast size caused the rotting floorboards to collapse. Unable to get out of the hole in the floor that is where she died. Trapped! Leaving the room Theo moved onto the kitchen which held the traditional turned leg table and spindle chairs, crockery, a gauze-side food safe and a couple of small stools. It was a

ROBERTSON ANTIQUES & ART IN NEW SOUTH WALES

Antique collecting in the Southern Highlands?

Visit BEAUTY & THE BEAST in Robertson I 84 Illawarra Highway Robertson NSW enquiries welcome Ilona & Virgo Lentzkow p: 02 4885 1117 m: 0458 201 953 OPEN 5 DAYS 10am â&#x20AC;&#x201C; 5pm (closed Tuesday/Wednesday)

lona and Virgo Lentzkow are the proprietors of Beauty & the Beast Antiques & Collectables. We formerly operated as All Time Treasures and have been trading in antiques and collectables for 20 years. In 1998, we relocated our shop from Jamberoo to Robertson where we ran our business for six years, deciding with the birth of our twin grandsons to change direction. We closed the shop and operated in antiques centres, which gave us greater flexibility to pursue other interests. We also took stands in antique fairs. However, after seven years of trading in this merry go round fashion we decided it was time to reassess. We made the decision to reopen our shop here in Robertson, which is also attached to our home. The several trips to Europe made in the last six years were very instructive. We developed an immense appreciation for the beautiful and interesting items they have over there, inspiring us to expand our genres and acquire some of these gems for our new shop. A few examples are religious artefacts, jewellery, German militaria, top hats, Art Deco, Bakelite and knife sets, just to name a few of the collecting options we have on display and for sale.

Eclectic and affordable Our shop is very eclectic and we try to cater to all tastes and budgets. We have over 1000 books, postcards, ephemera, vintage magazines, vinyl records, still and movie cameras, coins, lots of boys things, rustics, sewing-related collectables, selection of furniture, prints, paintings, silver, jewellery, militaria covering conflicts dating back to the Napoleonic wars and lots more. We are a small shop compared to some, but we are certainly not lacking in quality and variety.

Finding us We are located 20 minutes southeast of Bowral. Our shop is on the main road through

town, across from the Old Cheese Factory, just look for the purple signs. The township of Robertson is in a very picturesque region where the Babe movies were made. Take a break at one of the many cafes in the town, or explore the region. A visit to the Robertson Nature Reserve is a must â&#x20AC;&#x201C; this remnant of a temperate rainforest provides a good idea of how the whole plateau once looked. Another must-do is the spectacular Illawarra Fly treetop walk. There are three stunning waterfalls to view. We are open Thursday to Monday 10 am to 5 pm, closed Tuesday and Wednesday. We welcome enquiries, so please call us. Ilona & Virgo Lentzkow BEAUTY & THE BEAST ANTIQUES & COLLECTABLES 02 4885 1117/ 0458 201 953

BRAIDWOOD ANTIQUES & ART IN NEW SOUTH WALES

A French timepiece discovered finds a home at Longbarn

very now and again, if we are lucky, we come across a piece which is special. Something catches your eye, and moreover your imagination, and so it is with this clock face. It weighs more than is practical, is in need of repair, but is a ‘must have’ item. What drew us? It is the wonderfully durable heavy cast iron mounting. The amazing lava stone with the fired enamel face together with the rusty and broken but romantically shaped hands, not to mention the words which conjure up images of Paris and make you want to go there and learn more. This is a very alluring and imposing piece. It is a stunning addition in the forecourt of the Longbarn. Longbarn deals in all things useful, beautiful, practical, interesting, quirky and historic. We love things from all over the world, but especially France. Although we do not specialise in any particular period or field of antiques, our many years of trading and dealing has heightened our awareness and appreciation for the outstanding and special. I think because this clock has a maker’s mark, unlike some of the other more mysterious pieces we have, it invites you to delve and want to learn the history. What we learnt was most exciting.

The maker’s mark is for Henry-Lepaute of Paris. Fortunately this maker was easy to trace and research. Born Augustin Michel Henry (1800-1885), he was the son of Pierre Henry (1744-1806) who was a nephew of the famous clockmaker Jean Andre Lepaute (17201787/89?). He came from a line of important Parisian clockmakers whose horological masterpieces were made for French royalty. Augustin’s great uncle, Jean Andre Lepaute came to Paris in 1748 and started a business with his brother Jean-Baptiste Lepuate. Jean Andre became clockmaker to the king and also made public clocks for Paris. His clock for the Ecole Royal Militaire is still working. Augustin’s father, Pierre Henry, joined his uncle’s firm in 1761 and was made a partner in 1774. Like his uncle he was also clockmaker to the king. Pierre Henry retired in 1798. Augustin Michel Henry joined the firm. He used the business name Henry Neveau Lepaute. In 1851 he obtained permission to add Lepaute to his family name and so changed the firm’s name to HenryLepaute. Continuing the family tradition, Henry-Lepaute was clockmaker to the French rulers – making timepieces for Louis Philippe and Napoleon III.

For more about our provincial, architectural, industrial and garden antiques and to view this remarkable clock visit us at Braidwood, open Thursday to Monday and public holidays. LONGBARN 02 4842 2784 www.longbarn.com.au

Some commissions • The firm of Lepaute et Fils was commissioned to make a series of clocks including large clocks for the Observatory, Stock Exchange, Post Hotel in Paris and the Louvre and the firm also showed at the Exposition des Produits de l’Industrie in 1819 and 1823. • Augustin Michael Henry began to work with Fresnel in 1825, designing the clockworks that would power the revolutionary design for Fresnel’s revolving lenses for lighthouses. He continued working with the Frensnel brothers supplying clockworks and later the lenses themselves, and opened his own factory in 1838. • Henry-Lepaute also worked for Gustave Eiffel’s engineering company, designing the Eiffel Tower. The clock may no longer keep time with the accuracy and precision which made the mark of Henry-Lepaute of Paris famous, but it tells us of times past, carries history with it and it has made its way here to the Longbarn and we love that!

ANTIQUES & ART IN NEW SOUTH WALES

National Gallery of Australia collection

Lucian Freud (1922-2011), After Cézanne, 1999-2000 T

his year marks the passing of one of the greatest British painters of the 20th century, Lucian Michael Freud OM CH (1922-2011). As a central member of the School of London, Freud was an artist who challenged the dominance of abstraction and painted exclusively in a figurative style. The National Gallery of Australia has one of his most significant late paintings, After Cézanne, 1999-2000, an intriguing and impressive example of the artist’s mature style. Freud, the grandson of the famous psychoanalyst Sigmund Freud, was born in Berlin. His family moved to Britain in 1933 and later he became a citizen. Freud completed his formal art studies in 1943 and held his first solo exhibition the following year. For most of his life he painted portraits, characterised by their

psychological depth and unflinching emotional honesty. After Cézanne is an impressive and large painting that took Freud nearly nine months to complete. It stands out as one of the artist’s few deliberately ‘theatrical’ works, where the subjects act out an implied narrative. This story derives in part from the French master Paul Cézanne (1839-906), from whom Freud takes his theme, but is also expressed in the human drama at the centre of the work. In the 1870s, Cézanne completed a series of small paintings entitled Afternoon in Naples based around a boudoir scene. Freud bought one of these works at auction in 1999 and another is in the National Gallery collection. Both works show two lovers resting on a bed while a maid enters carrying a tray. These pictures are light,

sensual scenes that demonstrate Cézanne’s interest in the classical subject of the nude, and his engagement with masters such as Titian and Manet. Freud’s After Cézanne translates the French artist’s work on a monumental scale. While his painting retains the two lovers and a maid, the mood is completely different. At the heart of the painting is a tense moment between the man and woman, who sit on a pile of crumpled sheets. Although the scene implies an intimate moment, the body language between the two appears strained. She touches him with a look of concern; he turns away, leaning on a block of stairs which seems to lead out of the work – but doesn’t. Freud applies paint in a thick impasto style. He distinguishes between the male and female bodies in his choice of colours and

technique. The women are softly modelled in a peachy pink palette, while the man is depicted in darker colours accentuated with reds and browns. The rest of the painting is marked by muted tones, with an emphasis on brown and yellow hues. This scene, like most of Freud’s paintings, is set in his studio. More than a mere backdrop, the studio is a character in the drama. The grungy interior, with its peeling walls and dirty floor boards, adds to the tense atmosphere. The overturned green chair in the foreground mirrors the disorder in the painting, while the cabinet against the back wall suggests enigmatic secrets. Like the figures themselves, Freud makes no effort to ‘romanticise’ the room. He retains the rising damp lines on the back wall, which in this case appears like the silhouette of distant mountains. One of the most striking aspects of After Cézanne is the unusual shaped canvas. Freud often added sections to his paintings if he felt that it was necessary to complete the work. In this case, a small canvas was joined when he decided to show the maid’s entire body. Interestingly, Freud did not make the addition the full length across the top. The final work echoes the shape of the block of stairs. Another significant change was to the maid. She was originally dressed in a gown but was later repainted in the nude. This reworking can be traced in the layers of paint streaks visible around her back. By portraying her in the same manner as the two lovers, the maid is no longer a secondary figure as she was in Cézanne‘s work; instead, she becomes a key player in the drama. Her presence raises additional questions about the complex relationships in the painting. Is she interrupting the scene, or is she entering it? The relationship between the three figures is never articulated. Lucian Freud’s After Cézanne is a compelling painting with an ambiguous meaning. More than an appropriation, it is a visual re-imagining of Cézanne‘s Afternoon in Naples that also intensifies the human drama. Freud’s interest in the character of his subjects is emphasised by his unflinching and honest depiction. Although the painting contains few elements, every object reflects the larger sense of disorder. In this work, one of Freud’s most ambitious and intriguing, numerous questions are posed but never answered. NATIONAL GALLERY OF AUSTRALIA CANBERRA 02 6240 6411 www.nga.gov.au

Lucian Freud (1922-2011), After Cézanne, 1999-2000, oil on canvas, 214 x 215 cm (irregular). Purchased with the assistance of members of the NGA Foundation, including David Coe, Harold Mitchell AO, Bevelly Mitchell, John Schaeffer and Kerry Stokes AO 2001. National Gallery of Australia, Canberra

CANBERRA ANTIQUES & ART IN NEW SOUTH WALES

OF THE Sponsored by

Canberra | nga.gov.au A. B. Webb Shags 1921-22 colour woodcut National Gallery of Australia, Canberra Purchased 1987

ANTIQUES & ART IN NEW SOUTH WALES

Giovanni Bellini, Madonna and Child (Alzano Madonna), c. 1488, oil on wood panel, 84.3 x 65.5 cm. Bequest of Giovanni Morelli 1891. Accademia Carrara, Bergamo

Sandro Botticelli, The story of Virginia the Roman, c. 1500, tempera and gold on wood panel, 83.3 x 165.5 cm. Bequest of Giovanni Morelli 1891. Accademia Carrara, Bergamo

Renaissance masterpieces, only at the National Gallery of Australia, Canberra this summer

enaissance: 15th and 16th century Italian paintings from the Accademia Carrara, Bergamo is showing in Canberra until April 2012. Be stunned by the beauty of the more than 70 works and the skill of the artists who made them. The exhibition explores some of the relationships between the Catholic Church, the donors of the paintings, the artists’ patrons and the artists themselves. These relationships changed as the Renaissance moved away from the prevailing Gothic period at the start of the 1400s and into the High Renaissance in the 1500s.

EARLY Renaissance Many aspects of art changed during the course of the Renaissance, including style, technique, medium and subject matter. From around 1400, now known as the Early Renaissance, artists began to experiment with perspective, with fuller rounded figures replacing the previous flat forms and with more detailed backgrounds instead of the large blocks of gold of the previous era. The lingering influences of that major period can be seen in many of the paintings in the first rooms of the exhibition.

EXPLORING new mediums Many art academies encouraged experimentation with new technology. One of the most important of these innovations was the medium in which artists worked. The earliest works in the exhibition typify the traditional practice of painting in tempera on wood panel. The later works, however, demonstrate the adoption of oil painting and the preference for canvas as a support. There was no clean and decisive break in the use of the old and the new techniques. Some remained true to the old medium, while others completely shifted to both canvas and oil.

Two paintings of the Madonna and Child by the master Giovanni Bellini reveal this important transition. The first was painted in tempera on wood panel in about 1475 and then 12 years later Bellini is shown to have completely mastered working in oil.

CONSCIOUS return to classical patterns Alongside innovations in style and medium, Renaissance artists took a renewed interest in the art of classical antiquity, in particular, the incorporation of visual elements of classical architecture into their pictorial repertoire. For instance, Botticelli’s The story of Virginia the Roman, c. 1500, the tragedy of a young girl whose death saved the Roman Republic, is set within a powerful structure in the style of antiquity. The theatrical scene has rich colour and rhythmic movement, but above all is dominated by the triumphal arches, thick pillars, barrel vault and carved moulding of Botticelli’s imagined classical architecture.

BEGINNING of landscape painting Landscapes were another popular background for religious works for the first time during the Renaissance. Titian’s Madonna and Child of about 1507, resplendent in colour, sensuous in its rendering of flesh and drapery, is set in the countryside surrounding Venice. This local scenery brought the sacred stories home to their audiences, and signals the birth of landscape painting.

UPSURGE of the human spirit By revisiting classical texts and theories, the Renaissance also saw the rise of the ideas of Humanism. As a consequence, Renaissance art saw a shift toward the importance of the individual and gradually portraits took the place of religious themes. Patrons were no longer satisfied with being a diminutive inclusion below the main image of the divine figures; instead, they themselves became the main subjects.

Portraits also demonstrate the sometimes outrageous fashions of the Renaissance. Cavazzola’s Portrait of a lady, c. 1515-17 is not only remarkable for its size but also for the imposing presence of the young woman. Great attention was given to her dress, which is typical of a northern Italian Renaissance gentlewoman. The most arresting element, however, is the hairstyle known as a capigliara – a framework with ribbons and locks of false hair placed over the woman’s own hair.

DEVOTIONAL art Large altarpieces clearly proclaimed a donor’s wealth and importance, but smaller devotional panels were also very popular. Small-scale devotional paintings such as Andrea Solario’s Ecce homo, c. 1503-05 were meant not only to be seen, but also experienced. Empathy with the suffering Christ featured prominently in religious life during the Renaissance.

ALLEGORICAL imagery Almost all works in the exhibition are richly layered with symbolism. Even a simple image of the Madonna and Child is not simply what it might appear to a modern viewer. In Crivelli’s Madonna and Child, c. 1482-83 for instance, the cucumber in the foreground is a sign of the Resurrection. After three days and nights in the belly of the whale, Jonah awoke beneath a bower of pumpkins or cucumbers.

SACRED and secular art Many paintings in the exhibition focus on or include popular Catholic saints, who were revered during the Renaissance. One of the most stunning works is Saint Sebastian, c. 1501-02 by Raphael, painted before the artist was 20 years old. The saint is depicted delicately holding an arrow, which would become the instrument used by his torturers. All elements in the panel demonstrate the Raphael’s consummate skill in handling this

Paolo Cavazzola, Portrait of a lady, c. 1515-17, oil on canvas, 96.4 x 74.2 cm. Bequest of Giovanni Morelli 1891. Accademia Carrara, Bergamo

early Christian subject, placed in an idyllic central Italian Renaissance landscape. The art of the Renaissance is exquisite in its detail and technique and can be appreciated today as much as it was when first made around 500–600 years ago. Renaissance: 15th and 16th century Italian paintings from the Accademia Carrara, Bergamo is an exciting opportunity to see beautiful paintings, which will provide a better understanding of why Italian Renaissance art is still so very popular and important. Tickets are available from www.ticketek.com.au/renaissance. Simeran Maxwell Exhibition Assistant for Renaissance NATIONAL GALLERY OF AUSTRALIA 02 6240 6411 www.nga.gov.au

CANBERRA

Raphael Saint Sebastian c. 1501–02, oil and gold on wood panel, Accademia Carrara, Bergamo

ANTIQUES & ART IN NEW SOUTH WALES

15TH & 16TH CENTURY ITALIAN PAINTINGS FROM THE ACCADEMIA CARRARA, BERGAMO

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The Exhibition is organised in partnership with the City of Bergamo and its Pinacoteca Accademia Carrara, Bergamo PRESENTING PARTNERS

PRINCIPAL PARTNERS

nga.gov.au

MAJOR PARTNERS

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JAMBEROO / CANBERRA ANTIQUES & ART IN NEW SOUTH WALES

Nerilee Antiques (inc. Micawber Antiques)

For the diary ROTARY’S CANBERRA ANTIQUE FAIR 30 March – 1 April

I antique jewellery glass ◆ porcelain ◆ silver furniture & collectables Member of AAADA & NSW ADA 26 Allowrie Street Jamberoo NSW 2533 9 km from Kiama Tel: 02 4236 0389

ACT SEASONAL ANTIQUE FAIRS present

2012 AUTUMN

t’s time to put a reminder in your 2012 diary for the March ACT Autumn Antique and Collectables Fair to be held at Canberra’s historic Albert Hall. There is no better to welcome autumn to the national capital than relaxing and browsing through high quality antiques, collectables and objets d’art on display and for sale at the fair that marks the beginning of the 2012 collecting calendar. Astute collectors know that quality antiques are impervious to economic vagaries and hold their value regardless of downturns in other areas. This is supported by the diverse and high quality goods brought to the ACT fair.

HISTORIC Albert Hall Heritage listed Albert Hall sits in acreage surrounded by magnificent trees and is a stone’s throw from Lake Burley Griffith, the perfect venue for the fair. Here, 23 experienced antique dealers from across the country will be showing wares especially sourced for the event. As well as an impressive range of small antiques there will be a fine selection of furniture including dining tables and dining chairs. From glassware to silver, ceramics, jewellery, works on paper to antiquarian, there is something for all collecting interests.

GUARANTEE of quality The ACT fair is a Canberra institution, built on a reputation for quality and authenticity. Fair policy forbids the selling of reproductions

and new merchandise. All items must be accurately described and dealers are obligated to state if a piece has received any restoration.

ENJOY a break at the fair While at the fair, take time to sample some of the mouth watering delights on offer in the Supper Room. Enjoy a light luncheon, or a coffee or tea break accompanied with homemade cakes, biscuits and slices.

SUPPORTING the community The Rotary Club of Canberra City and exhibitors are proud to be associated with the ACT antiques and collectables fairs presented seasonally. Proceeds from the fair are directed to charities in Canberra. The recipients of the autumn fair are the Zonta Clubs of Canberra who will use the monies raised to help disadvantaged women in the local region. Opening night is Friday 30 March from 6 pm to 9 pm. The fair continues on Saturday 31 March, 10 am to 5.30 pm. The last fair day, Sunday 1 April, the hours are 10 am to 4 pm. Entry to the fair is $7 ($5 concession). Children aged 14 years and under are free. Wheelchair access is available on request. For more information contact Les Selkirk ACT SEASONAL ANTIQUE FAIR 02 6231 5244 / 0418 631 445

ANTIQUES AND COLLECTABLES FAIR in the

ALBERT HALL COMMONWEALTH AVENUE CANBERRA on FRIDAY NIGHT 30 March 2012 SATURDAY 31 March 2012 SUNDAY 1 April 2012

6 pm - 9 pm 10 am - 5.30 pm 10 am - 4 pm

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 R E F R E S H M E N T S AVA I L A B L E Proceeds will go to the Zonta Clubs of Canberra to provide support to local Canberra women experiencing homelessness, domestic violence and other disadvantages

Wheelchair access is available Sponsors of the fairs include WIN TV and other local businesses 100

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

CANBERRA ANTIQUES & ART IN NEW SOUTH WALES

THE FORREST HOTEL and Apartments

he Forrest Hotel and Apartments recently won the annual award for the Best Standard Accommodation in the Canberra and Capital Region Tourism Awards. The Waldren family, owners and managers of The Forrest, give credit to the great team effort by their staff and its suppliers to achieve this award, illustrating that your stay in Canberra will be ‘the best.’ The Forrest Hotel is located in the heart of Canberra within the parliamentary triangle and is the closest hotel to Parliament House. The Forrest Hotel overlooks beautiful parkland with views right up to Parliament House. There is a rich political history in the Forrest Hotel and Apartments, with at least five different politicians as former owners! Forrest Hotel and Apartments is within a tranquil setting of old oaks and parkland, giving vistas that change with the season from the Sherwood Restaurant, our Conference Room and hotel suites. Cosmopolitan Manuka Village is minutes from Forrest Hotel, a social and shopping hub with many cafés, shopping boutiques, cinemas and fascinating mix of people. The ItaloAustralian Club, located behind the Forrest Hotel and Apartments, welcomes every Forrest guest to be a temporary member, providing a special cultural experience during your stay in the national capital. Perhaps your schedule can include a game of AFL or rugby at the Manuka Oval. The choice of accommodation styles at The Forrest is our way to help you customise your stay. With a mixture of 76 hotel rooms and 40 apartments, guests can choose a standard hotel room, a hotel suite or a family

hotel suite with a kitchenette. You can select a one or two-bedroom apartment (fully serviced). Every room has broadband and free car parking. Conference facilities are flexible. The fully equipped Nottingham Conference room seats 35-40 people when set up boardroom-style, or seats 80 people in a theatre layout. We offer tailored packages for business, trade and private functions to meet your goals and needs. Chef Craig Mclaren oversees delicious à la carte cuisine in our licensed Sherwood Restaurant. His very contemporary Australian cuisine is presented stunningly in the hotel’s restaurant and bar overlooking the parklands. If you are planning a trip to Canberra, stay at the Forrest Hotel and Apartments for convenience, quality and value, as a centrally located base for your visit to the wonders of the national capital. If planning to explore by foot, bike hire is available through our reception. Please contact the Forrest Hotel and Apartments to book your superb art lovers’ package. We include overnight accommodation, full hot buffet breakfast for two people, one bottle of wine per room. For guests’ convenience, tickets to the NGA Renaissance exhibition are available at the Forrest Hotel Reception. FORREST HOTEL 02 6203 4300 reservations@forresthotel.com www.forresthotel.com

101

ANTIQUES & ART IN NEW SOUTH WALES

Measuring time: Horology 1650-1700

Christopher Gould, Grande Sonnerie

Thomas Tompions Greenwich regulator, c. 1676

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he pendulum, first used around 1657 by Salomon Coster and made after the drawings of the Dutch scientist Christian Huygens, had found its way to England via John son of Ahaseurus Fromanteel, a renowned London clockmaker. Clocks became more accurate; accurate enough for government, the law and trade to move away from temporal hours into structured 12 hour, 60 minute timeframes. The quest was established: it was to win accuracy in horology; the science of time. The wealth of talent chasing accuracy goes from Galileo of Italy, through Pascal of France, Hooke and Newton of England, Huygens of the Netherlands and Leibnitz of Germany, along with clockmakers Salomon Coster in the Hague, Isaac Thuret in Paris, to John Fromanteel and Thomas Tompion, among others, in London. Several things fell into place for London to lead the way into this golden age of horology. The establishment of the Worshipful Company of Clockmakers in London, which achieved a royal charter in 1631, led to the control all things horological in London. It was known officially as ‘The Master, Wardens and Fellowship of the Art or Mystery of Clockmaking of the City of London’. Nobody in the kingdom was allowed from then on to make or sell in watches or clocks without approval of this body. Horology became a protected industry; this allowed potential clock and watchmakers of good work, both English and alien, to establish a united craft of clock and watchmakers with their influence spreading outward into the provinces. This development prompted English horologists both to no longer follow continental work and designs and encouraged open dialogue within their own ranks and the refinement of a

national character within clockmaking, both in mechanism and design. They were ready and waiting for the next step in horological evolution. Ahaseurus Fromanteel (1607-1693) and his son John Fromanteel (1638-1680), who had studied under Salomon Coster just after their release of the pendulum, moved to London about 1658 – they advertised their first sale on 27 October 1658 – and, soon after, produced a case to hide the unsightly weights needed for the pendulum movement and so initiated the tradition of the English tall or long case clock. The description ‘grandfather clock’ is not correct and first appears around 1876. During this period cases were normally made or designed by the clockmakers themselves. This meant that the Clockmakers Company of London also influenced design and some believe that the clocks made during this period are the best designed and balanced clocks. Over the next century, as cabinetmakers began designing and manufacting cases, a marked degradation in style and quality of cases can be discerned. The first cases made by Fromanteel were architectural, tall and slender with pitched roofs, brass and silvered dials with ormolu spandrels and mounts with, in the fashion of the period, the best being made in ebony. The movements were verge with a short pendulum inside the hood. In provincial areas these cases were copied normally in oak of similar style, most likely after drawings by potential owners seeking to have made what they saw in London. Often these cases are slightly wider than the originals, but still more slender than later case styles. This modification was perhaps caused by the technology in movement design advancing faster than case design with the later long pendulum requiring a wider case as clocks became taller. These provincial oak

cases, again as with the furniture of the period, were ebonised and are mostly seen today as rich dark oak decorative furniture, produced 10 to 20 years after the fashionable London decorative styles. Around 1670 an important technical change appeared in London with the invention of the anchor escapement, the name being derived from its shape. There was no apparent single person responsible for this amazing advance although the names linked to this discovery are the scientist Dr Robert Hooke and the clockmakers William Clement and Joseph Knibb. John Smith recorded in 1694 that clockmakers were trying to solve the shortcomings of the short pendulum and that William Clement had the good fortune to give it the finishing stroke. Part of the pendulum can be attributed to Dr Hooke for, in 1666, he demonstrated the suspension – a thin short length of spring steel supporting the pendulum – to the Royal Society; this development dramatically increased the accuracy of the existing escapement. With this escapement and suspension, the arc required for tooth release from the escape wheel was reduced and it was possible to produce a ‘Royal’, a one-second pendulum with amazing accuracy. Cases became wider but mostly still in balance to allow the swing of the longer pendulum. Along with this escapement came the ability to produce a sub-dial, normally below the 12, indicating the seconds. Another critical development in the evolution of horology occurred in 1675 when Charles II established the Royal Observatory at Greenwich for ‘The finding out of longitude of places for perfecting navigation and astronomy’ three years after the French had completed their observatory in Paris. Earlier, Charles II

VICTORIA ANTIQUES & ART IN NEW SOUTH WALES

Joseph Knibb Bracket clock, c. 1675

had appointed a committee that included a member of the Royal Society, Dr Robert Hooke, to look into the French idea of using the heavenly bodies as an aid in navigation. John Flamsteed (1646-1719), a man of singularly exact and business-like habits, was appointed the first Astronomer Royal. Flamsteed appreciated the importance of the science of horology as an effective timer for the meridian transit of stars to determine precise location and engaged an outstanding London clockmaker, Thomas Tompion (16391713), to make a pair of observatory clocks. Unfortunately the royal purse was kept tight; the construction of the observatory and Flamsteed’s salary were dependent on the sale of spoilt gunpowder. Flamsteed’s astronomical almanac was not published until after his death. The astronomical figures determining location, as requested by Charles II, were eventually produced by the fifth Astronomer Royal, Nevil Maskelyn (1732-1811), and published around 1763. The next notable breakthrough in horology and specifically watchmaking was the invention of the balance spring in its spiral form. The spiral spring applied pressure to the balance wheel causing a powered return to a central position, improving timekeeping. The inventor is uncertain, but Hooke was working on a balance spring before 1660, lectured on it in 1664 and demonstrated an example in 1668. It seems that, soon after this demonstration, Hooke put his work on the spring aside leaving Huygens to bring this development to a successful conclusion with the help, in absolute secrecy, of Isaac Thuret. In 1675 Huygens wrote to Oldenburg in London offering him the English rights to his pirouette watch; this Huygens-Thuret watch was eventually presented to Charles II, who nonetheless preferred Hooke and Tompion’s hastily made up and presented watch. But there were obviously some problems and to the benefit of English horology, no patent was granted. Soon after, along with inventions designed by Hooke in tooth cutting, Thomas Tompion began producing watches capable of keeping time accurate to a minute or two a day that were unsurpassed in any country. These watches were not based on the Huygens pirouette designs but on a verge balance with spiral balance (hair-)spring incorporating a specially designed regulator, a mechanism that continued in use well into the 1800s. For a short period these watches did away with the fusée as it was thought that with the

The camera stellata at the Royal Observatory, Greenwich during Flamsteed’s time as Astronomer Royal; to the left of the central door are the two Tompion regulator dials.

isochronism advantages of the balance spring, it was not necessary. This notion was very soon dispelled and with this final advantage England and, more importantly, London led the way in horology. There were many great clockmakers in late 17th century London; much of their work is still around and still able to function after over three centuries. Besides Ahaseurus and John Fromanteel there was Edward East, Joseph Knibb, William Clement, Christopher Gould, Daniel Quare and others, along with possibly the most celebrated of them all, Thomas Tompion, often referred to as the father of English horology. Moreover, there were many gifted provincial makers of note such as John Williamson from Leeds, who made a year running long case clock with strike and quarter repeat in about 1690. From about 1330 a strike system called a locking plate or countwheel strike was available, where a wheel is moved with sequential cut outs to allow a stop lever to drop after the next series struck. This was an effective system with the simple advantage that the strike could be stopped while the time mechanism continued to run. Annoyingly, the strike could go out of sequence, that is, where the hands do not match the strike number. In about 1675, the Rev Edward Barlow invented rack striking, a mechanism that gradually superseded the countwheel system. Most rack strike systems were front plate mounted but, occasionally, internal racks are encountered despite the fact that they were more difficult to make. The rack invention was a great leap forward but there was more to this invention, for it allowed new and wonderful strike systems to be made. These included the repeat strike, the grande sonnerie (great strike) and the musical chime all available automatically or on command. The countwheel strike was still seen in the British provinces until after 1750. Continental and American horologers continued to use the countwheel system as the principal means of strike in the clock mechanism, probably from ease of manufacture in France, well into the 20th century with some exceptions: Austrian horologers began using the rack strike as their normal strike after 1800; the French in the mid 1870s; and the Germans in the 19th century for high quality productions. From being an exclusive curiosity in 1650, timekeeping had improved considerably to become an accurate necessity in government, the law and trade. By 1700, clocks were at the forefront of contemporary technology

Michael Colman COLMAN ANTIQUE CLOCKS 03 9824 8244 www.colmanantiqueclocks.biz References F J Britten, Britten’s old clocks and watches and their makers: a history of styles in clocks and watches and their mechanisms [9th ed.], (London, Methuen, 1982) Herbert Cescinsky, English domestic clocks. (Woodbridge, Suffolk Chancery House Publishing Co. for the Antique Collectors’ Club, 1976) R W Symonds, Thomas Tompion: his life and work, (Feltham, Spring Books, 1969)

Edward East architectural wall clock, c. 1665

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.biz 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

4. 3.

2. 1. 7.

5. 1. Nyurapayia Nampitjinpa (Mrs Bennett), Untitled, 2005, synthetic polymer paint on linen, 297x 181 cm. Sold $23,300 2. Jadeite pendant, 18 ct white gold, 6 brilliant cut diamonds, totalling 0.10 ct, l: 3.7 cm. Sold $6757 3. Art Nouveau sterling silver notebook pendant, h: 54 mm. Sold $128 4. Sapphire and diamond drop earrings, c. 1890s, set in 18 ct yellow and white gold; sapphire 1.50 ct. A.T.D.W. 2.65 ct. Sold $3728 5. Pair of 18th century Dutch Delft vases, h: 33 cm, of baluster form with moulded and painted cartouche panels, stamped with an underglaze blue leaf to the base. Sold $932

6. Clifford Possum Tjapaltjarri, Bushfire Dreaming, 2000, 152 x 244 cm. Sold $23,300 7. Vintage Omega Constellation ladies wristwatch, c. 1960s, 18 ct yellow gold, manual movement, case with claw set brilliant cut diamonds, cross hatched golden dial, woven bracelet, fold over clasp and concealed safety catch, l: 7 cm wt: 48.4 grams. Sold $1747 8. Victorian serpent collier, 18 ct yellow gold, cabochon garnets, pave set turquoise and seed pearls, concealed clasp. Sold $932 9. Victorian mourning jewellery photo locket bracelet, 9 ct yellow gold, fitted to reverse is a further glass insert for woven hair. Sold $1398

AUCTION SCHEDULE 2012

FINE & DECORATIVE ARTS, ANTIQUES & JEWELLERY HEAD OFFICE: 47 GLENFERRIE ROAD, MALVERN 3144 T: +61 3 9509 6788 F: +61 3 9509 3455 email: philips@philipsauctions.com.au www.philipsauctions.com.au

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Fine and Decorative Arts Modern and Antique Jewellery Closing for entries Viewing

Sunday 19 February Monday 20 February Thursday 27 January Wed 15 - Sat 18 February

Special Asian Antique Auction Modern and Antique Jewellery Closing for entries Viewing

Sunday 25 March Monday 26 March Thursday 2 March Wed 21 - Sat 24 March

Visit www.philipsauctions.com.au for details of all current lots

QUEENSLAND ANTIQUES & ART IN NEW SOUTH WALES

Our Annual ‘BLOKEY’

AUCTION (Toowoomba Car Swap Weekend) Sunday 5th February 2012

FEATURING: The Ray & Eileen Park Collection (Perth WA)

Garagenalia, Enamel Signs, Tins Cow Bells, Railway Memorabilia Cast Iron, Kitchenalia, Pedal Cars Toys and much more

ENTRIES CLOSING SOON

Graham Lancaster Auctions 3 Railway Street TOOWOOMBA QLD 4350

Ph: 0418 730 904 Fax: 07 4613 1111 Email: info@gdlauctions.com Colour catalogues $10 each (Cheques payable to G. Lancaster)

View our online catalogue from early January, 2012

www.gdlauctions.com.au 105

QUEENSLAND ANTIQUES & ART IN NEW SOUTH WALES

The Silver Jubilee ROTARY ANTIQUES & BOOK FAIR 2012 Celebrating 25 years! 5 – 8 January 2012 hat an incredible achievement for the Rotary Club of Palm Beach as the organisation plans that the Silver Jubilee Fair is a celebration event. Since its inception, the fair is always held in the Convention Centre of Jupiters Casino on the beautiful Gold Coast. Here, in this perfect setting browsers and collectors are treated to stunning displays from over 80 dealers. Such is the reputation of the fair that dealers travel from across the country to be part of this exciting event. The additional benefit of being in the Gold Coast’s landmark venue is that visitors can extend their visit to a fine dining experience or perhaps take advantage of the entertainment options showing in the Casino’s theatres. The Rotary Antiques and Book Fair has a special ambience. The elegant surroundings, together with the diverse range of items on offer and the helpful and cheery assistance from the organising Rotarians, all contribute to the enjoyment, guaranteeing a memorable experience for all who attend the fair.

excess of one million dollars, which has been distributed to assisting disadvantaged youth, disaster relief, building schools, housing in needier countries. The Rotary Club contributes to many areas of health and community wellbeing locally, nationally and internationally. The fair is the major fundraiser of the Rotary Club of Palm Beach, so please make a point of visiting.

THE MAJOR FUND RAISING EVENT

RAFFLE FOR CHARITY

The Silver Jubilee ROTARY ANTIQUES FAIR jewellery, porcelain, china, silver, clocks, pottery, furniture, historic documents – and much more!

AND

GOLD COAST BOOK FAIR 2012 rare books, prints, posters, maps and postcards BROUGHT TO YOU BY THE ROTARY CLUB OF PALM BEACH

Celebrating Our 25th year

As well as providing a forum for lovers of the arts, the fair serves to raise significant funds for projects to aid the needy both here in Australia and overseas. Over the years, the Rotary Club of Palm Beach has raised in

Convention Centre of Jupiters Casino Broadbeach, Gold Coast, Queensland

Thursday 5th - Sunday 8th January 2012 January 2012 Fair Dates Thursday 5 Jan Friday 6 Jan Saturday 7 Jan Sunday 8 Jan

6 pm 10 am 10 am 10 am

– – – –

Admission 9 pm 6 pm 6 pm 3 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: 20 - 22 July 2012 at Albert Waterways Centre Sunshine Boulevard, Broadbeach Queensland

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FOR COLLECTORS Enjoy the buzz of browsing among a stunning array of collectables and antiques presented by dealers from all around Australia. As usual, the elegant Jupiters Ballroom will be overflowing with an alluring range of porcelain, silver, linen, furniture, jewellery, lithographs, prints, maps, historical documents and much more to tempt the discerning buyer.

ANTIQUARIAN BOOKS Books of every kind ranging from early editions to fiction and reference as well as sought-after out of print editions will cater for those collectors with a taste for the written word. We are fortunate to have the support of the antiques industry, and again this year dealers are kindly donating spectacular prizes for the raffle. Twenty five years of ‘doing it right’ has earned the Palm Beach Rotary Antiques and Book Fair the reputation of being one of the most varied and professionally presented fairs in the country. Club members look forward to welcoming one and all in January 2012, and wish to thank all dealers, sponsors and the public for their continuing support. For more information contact Denis Hawksley SILVER JUBILEE ROTARY ANTIQUES & BOOK FAIR 0410 887 537 / 0414 321 186 www.rotaryantiquesfair.com

QUEENSLAND ANTIQUES & ART IN NEW SOUTH WALES

A SPECIALIST FURNITURE MANUFACTURER

Churchill Chesterfield made in Australia

ased on Queensland’s Gold Coast, Churchill Chesterfields are leather chesterfield and bespoke furniture manufacturers.Proudly Australian made, the firm makes an extensive variety of designs. Choose from English reproduction traditional chesterfields, a range of Queen Anne wing chairs and recliner chairs. There are leather office/study swivel chairs, such as Captains, Admirals, Director’s, Gainsborough, Mountbatten’s, London swivel and larger wing swivels, also office/study or commercial compact chesterfield tub chairs, plus many more designs. All furniture is hand made by one of Britain’s most experienced craftsmen, using only the best possible resources available today to create everlasting masterpieces.

SPOILT for choice Our many ranges are all available in leather and fabric in a wide range of colours. We use original English antique rub off leathers plus

the aged distressed pull up aniline and waxed aniline leather which are imported from the UK exclusive to us. The leather is fire resistant and is of the finest A grade hides. Imported from the UK are five leather ranges with a choice of over 70 different colours. If preferred, choose fabric or velvet upholstery. Perhaps you have a fabric already purchased – let us make it up in the style of your choice.

FRAMES and more Match your choice of fabric or leather with our selection of timber.Our frames are made of the finest European beech hardwood timber all from renewable forest plantations, the timber is the same used by 95% of UK chesterfield manufacturers. All frames come with a 10-year structural guarantee, are dowelled glued and screwed. The looks include traditional mahogany; dark, medium, golden and light oak; walnut, plus many more.

OUR special chesterfields The chesterfields are made with sprung seats and hand-built sprung backs units, dispelling the myth that these designs are uncomfortable. Our designs, many not seen in the country before, are soft and luxurious, designed to suit a customer’s preference. For something different, there is the Art Deco range of plain unbuttoned chesterfields with mixed contrasting leather fabric combinations.

BELOW the surface The bespoke service is designed to addressa customer’s special requirement. This is a personal made to measure tailored manufacturing facility. The foams are standard fire resistant, are of the highest quality resilience, and carry a 10-year warranty.

WHERE & when the chesterfield was first introduced In England a chesterfield evokes an image of elegance and sophistication. This deep-buttoned sofa is synonymous with traditional English furniture design, its origin dating back to mid 18th century. In circa 1773 the fourth Earl of Chesterfield commissioned noted furniture

designer Robert Adam to design a piece of furniture that would permit a gentleman to sit with the back straight and avoid what the Earl referred to as ‘odd motions, strange postures and ungenteel carriage.’ In our opinion, we assume this to be the forerunner of the now famous chesterfield sofa. The deep-buttoned leather chesterfield is one of the most distinguished luxury products of the British Isles, renowned worldwide for the craftsmanship used in its construction and for its beauty.

A MODERN chesterfield sofa Due to modern health and safety legislation, the old methods of producing a chesterfield sofa have changed. Our chesterfield sofas feature full flame retardant leather and foam fillings amongst many other modern refinements ensuring the safety of you and your loved ones while retaining the original character of chesterfield furniture. CHURCHILL CHESTERFIELDS 07 5530 2648 info@churchillchesterfields.com.au www.churchillchesterfields.com.au

Churchill Chesterfields Manufacturers of high quality Bespoke English Reproduction Chesterfield leather furniture

Visit our web site www.churchillchesterfields.com.au

8 Moondance Court Opening hours 8am to 5pm Bonogin, Gold Coast Monday to Friday Queensland 4213 By Appointment Mobile: 0424 882 144 Saturday & Sunday only Telephone: 07 5530 2648 Email: info@churchillchesterfields.com.au

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ANTIQUES & ART IN NEW SOUTH WALES

Australian Antique & Art Dealers Association A

ntique and art dealers are a heterogeneous mix of individuals, with significantly different backgrounds, tastes and modus operandi. Career paths and motivations for becoming a dealer vary, but we are united by a passion for art and antiques. We make a living by coordinating supply and demand in a chosen field. Many antique dealers feel antique dealing is a set of skills that can’t be formally taught, believing it is an acquired knowledge. However, we now know that a high level of scholarship and academia has become more important and is highly regarded. The Australian Antique and Art Dealers Association is the leading industry body representing antique and fine art dealers in Australia. Our members operate well established businesses, are respected for their knowledge and expertise in their chosen fields, and continually seek to expand that knowledge.

AAADA AIMS To promote the appreciation and preservation of antiques and fine arts • Ensure a professional standard that protects the value of items purchased • Fully describe our products and stand behind our sales descriptions • Adhere to the AAADA Code of Practice which clearly outlines our responsibilities to customers • Maintain high ethical standards and comply with all Government and statutory requirements

2011 AAADA SYDNEY SHOW Those who attended the AAADA Sydney Show enjoyed the ambience of Royal Randwick, one of the most prestigious racecourses in Australia, and appreciated the combinations of fine antiques, works of art and fabulous decorative objects that were displayed. Everyone really imbibed the atmosphere of this wonderful setting and hopefully those who purchased went home with a wonderful treasure that might inspire for a bit of home decorating.

2012 AAADA MELBOURNE SHOW 3–6 May 2012 Royal Exhibition Buildings Building on our success in 2011, many more members want to take part so you can be assured there will be a wonderful display and a selection of fine quality items for sale. For updates on exhibitors, special displays and features visit http://www.aaada.org.au/melbourneshow.

THE BENEFITS OF USING AN AAADA SERVICE PROVIDER AAADA service providers have chosen fields of expertise that represent the highest Australian and often international standards. These skills complement the objects held by the AAADA, and as such we encourage you to seek their services when the need to restore, repair or evaluate an antique item becomes necessary. A list of service providers is available on the website www.aaada.org.au

or for a copy of the nationwide list of members and services and detailed information about the Australian Antique and Art Dealers Association, contact The Executive Secretary, details below. Visit the Association on www.aaada.org.au to peruse our site and search for charming items.

COLLECTING AND CARING FOR IVORY A Louis XVI silver mounted ivory carnet-debal with a hand painted miniature was made in Paris in 1790 with the maker’s mark but the maker’s name unknown. Louis XVI silver This slightly tapering rectangular ivory étui-à- mounted ivory carnetde-bal with a hand tablettes with an arched painted miniature, top, has the obverse and made in Paris, 1790, reverse of the cover maker unknown applied with a pierced gold inscription, Souvenir D’amitie, chased with pattern. The obverse of the base is centred by a monochromatic oval portrait miniature of a lady, powdered hair en queue, one ivory leaf and pencil fitted inside. This example combines two collecting elements and could possibly have been given as a mark of friendship to a dear friend or person. As the miniature is in monochromatic tones possibly it is in memory of the lady portrayed in the portrait.

Caring for your ivory is quite particular, as the material consists of two basic properties, dentin and pulp. The dentin is the outer section that is actually carved or worked, as generally the pulp is too soft or porous for working. Usually there are several layers of enamel; the only exception to the rule is elephant ivory which is complete dentin and generally no enamel due to it being worn away. Keep ivory away from direct sunlight and in a stable environment with minimal changes in humidity and temperature, as these factors shorten its life span greatly and eventually cause it to dry out, split and crack. If stored in a cabinet, by putting a small container filled with water in the bottom the air inside remains moist and therefore the ivory is less likely to crack. Remember to handle your ivory regularly as the oil in your skin can help protect the material. Although you can clean ivory, an aged look is part of the character; however, you can use warm soapy water and a cloth or brush to safely clean your item. AUSTRALIAN ANTIQUES AND ART DEALERS ASSOCIATION 03 9576 2275 secaada@ozemail.com.au www.aaada.org.au

ANOTHER SUCCESSFUL SEMINAR SERIES for the NSW’s chapter of the AAADA The series started with Martyn Cook who rewarded participants with a special viewing of treasures drawn from private collections. Martyn’s shop at Redfern is full of surprises and one can always find something exceptional. This year Martyn offered some lucky race horse owner or horse lover (with deep pockets), the chance to own a genuine George Stubbs painting. Nicola Isherwood who deals in quality French furniture and objets d’art gave her first seminar this year in her new shop in Queen Street. Nicola’s theme was ‘Cabinets of Curiosity’ and she gave a fascinating slide presentation of early cabinets and their contents. In keeping with the theme, the shop was set out to demonstrate how collectors can best

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display and present collections and favourite pieces in an eyecatching way. We hope Nicola will be part of the series in 2012, as this seminar was very well attended and the response by participants was fixed. Another highlight of the series was Anne Schofield’s private viewing of her personal jewellery collection. There have been very few exhibitions of museum quality early Australian jewellery so this was a chance to admire and handle some very special pieces. It was an opportunity to learn from an expert in the field why Anne holds these to be prime examples. Her shop was full to overbrimming and so the evening was divided into two viewings. Anne has been appointed an honorary consultant to an

exhibition at the Powerhouse Museum titled The Art of Jewellery Design - from antiquity to the present day planned for August 2013. On show will be significant items from Anne’s private collection and pieces previously sold by her. These are just some of the very popular Spring Seminar programs that ran from October through November and finished on 1 December with Ian Perryman taking collectors on a journey to western Persia. If you would like to be part of the group of collectors and other people interested in beautiful workmanship and desirable objects, please contact Adrienne Wilson, Executive Secretary, AAADA NSW Chapter at adriennewilson@iinet.net.au to join the list for 2012.

VICTORIA ANTIQUES & ART IN NEW SOUTH WALES

The e Second Australian A Aus t li tralian A Antique ti & Art A t Dealers Dea alers Asso Association ociation

Melbourne M elbourne Show S how w 3–6 Mayy 2012 Royal Ro oyal E Exhibition xhibition Building Carlton Car lton n Gardens Gardens Melbourne, Melbou urne, Victoria Victoria

Melbourne’s Melbou rne’ ne s only only international internatio onal quality, qualitty ty, fully ful ly vvetted eettted ant antiques iques & ﬁne arts a ts show. ar show.

All ite items ems for sale www.aaada.org.au/melbourneshow www w.a .aaada.org.au/ /melbournesh how

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ANTIQUES & ART IN NEW SOUTH WALES

An exhibition fit for a Queen Queen Elizabeth II by Cecil Beaton: A Diamond Jubilee celebration 25 February – 15 April

Cecil Beaton, Princess Elizabeth, 1945. Courtesy Victoria & Albert Museum

ueen Elizabeth II has captivated millions of people during her 60 years on the British throne since 1952. Fans of this longstanding British monarch are invited to continue the celebrations with a trip to the Art Gallery of Ballarat for an exclusive photography exhibition featuring portraits of HM Queen Elizabeth II by Cecil Beaton, to celebrate her Diamond Jubilee. Open from Saturday 25 February until Sunday 15 April 2012, the exhibition comprises a series of portraits taken by Sir Cecil Beaton (1904-1980), the famous royal and fashion photographer. The only Australian viewing is at the Art Gallery of Ballarat, as part of this touring Victoria & Albert Museum exhibition direct from London. Gallery Director Gordon Morrison said that the portraits revealed the changing way the monarchy was seen by the world over time. ‘These portraits are high end glamour, meticulously crafted by Britain’s leading portrait photographer… They are interesting, not just as portraits of Elizabeth, but because each in its own way reveals the ways the monarchy was constructed and presented to the world. It’s a fascinating journey to see the evolution from the fairytale princess, through the crowned head of the empire to the informal mother of a young family. These stunning portraits provide an opportunity for people to reflect on both the personality of the monarch, but also the way Australians, along with the rest of the world, have viewed her role over time.’

“

Fans of this longstanding British monarch are invited to continue the celebrations with a trip to the Art Gallery of Ballarat for an exclusive photography exhibition Cecil Beaton, Queen Elizabeth, Prince Andrew, 1960. Courtesy Victoria & Albert Museum

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”

ART GALLERY OF BALLARAT Founded in 1884, the Art Gallery of Ballarat is the oldest regional art gallery in Australia and the first to be built outside an overseas capital city in the 19th century former empire. It has a connection to another royal jubilee, as the foundation stone of the building was laid in 1887, celebrating the Golden Jubilee of Queen Victoria (r. 1837-1901) who would be the great-great-grandmother of the present Queen. The heritage-listed building is one of the oldest purpose-built galleries in Australia. It houses the finest and largest regional collection of Australian art, spanning early colonial through to contemporary art. Visit the permanent collection to see works by Australian Impressionists Roberts, Streeton and McCubbin as well as Dobell, Nolan, Drysdale, Boyd and Whiteley.

V&A London’s Victoria and Albert Museum is the world’s leading museum of art and design. Its collections are unrivalled in their scope and diversity. It was established to make works of art available to all and to inspire British designers and manufacturers. V&A’s collections span over 2000 years of human creativity in virtually every medium and from many parts of the world. These continue to intrigue, inspire and inform. The V&A has the oldest museum photography collection in the world and holds the UK’s national collection of photography. The Cecil Beaton collection of royal portraits was bequeathed to the V&A in 1987. It includes 18,000 original prints, transparencies and negatives and 45 volumes of press cuttings. For more information call ART GALLERY OF BALLARAT 03 5320 5858 www.artgalleryofballarat.com.au

VICTORIA ANTIQUES & ART IN NEW SOUTH WALES

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