Antiques & Art in NSW

antiques IN NEW SOUTH WALES

DECEMBER 2012 - MAY 2013

art and

QUEEN STREET

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

92 QUEEN STREET WOOLLAHRA SYDNEY 02 9363 5383

antiques &art IN NEW SOUTH WALES

ISSN 0813-9296

PUBLISHER

NOTICE TO DEALERS

ABN 39 945 398 132 JQ Pty Ltd, Suite 1b, 10 Spring Street, Bondi Junction NSW 2022 PO Box 324, Bondi Junction NSW 1355 www.worldaa.com

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Very rare and early Robert-Houdin mystery clock c.1845 with original glass dome

ADVERTISING RATES Colour gloss advertisers receive 1,000 run-ons of their advertisement with our compliments for use as flyers, posters, invitations etc Advertising rates include design & production (excludes photography)

1 unit 2 units (vertical) 2 units (horizontal) 1/4 page 1/2 page (vertical) 1/2 page (horizontal) Full page Double page

Size (hxw)

B&W

Colour News

Colour Gloss

67 x 65mm 134 x 65mm 67 x 130.5mm 168.5 x 130.5mm 337 x 130.5mm 168.5 x 261mm 337 x 261mm 380 x 552mm

$132 $264 $264 $544.50 $1045 $1045 $1980 POA

$187 $374 $374 $764.50 $1375 $1375 $2420 POA

N/A N/A N/A $990 $1925 $1925 $3289 $5920

108 Queen Street Woollahra NSW 2025 tel 02 9328 1712 www.michaelgreene.com.au info@michaelgreene.com.au

All rates are inclusive of GST

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The Toulouse table

The Picardi table

The Basque table

ANTIQUES OF THE FUTURE made at French Farmhouse by Sally Beresford SOURCING TIMBER n earlier times, in France when a family needed furniture, an appropriate tree – usually oak – in close proximity was selected, felled, debarked then cut and allowed to dry out naturally. Today at French Farmhouse, when sourcing timber in the form of whole trees, I inspect the tree in France in its cut form, but still complete. When they cut it into slabs, they do so in a way that retains the boule. This is a woodworking term relating to the grain where the slices of a sawn log are stacked in the order and orientation before being cut.

It is important to select trees as straight as possible with little or no splitting at the base.

A slow growing tree will have a more stable grain than that of a fast growing tree. For this reason, I often have to inspect 30 or more trees before finally deciding on only 10 or 15. Other factors to consider with French oak include the degree of medullary rays and any evidence of shake caused by careless felling. I inspect every plank of the boule to ensure I am happy with the grain and the colour of the wood.

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I also note the moisture content, have the bark removed by hand, the boule air dried, then kiln dried to even out the moisture content prior to shipping to our premises in the Southern Highlands.

When a client of French Farmhouse Tables has selected a style, I personally select the appropriate boards from the same tree for the top. For some of our tables, only two massive boards for the top are required, these range in size, depending on the client’s needs, from five metres in length to as small as one metre.

WHAT IS INVOLVED IN CREATING A FARMHOUSE TABLE Discussions with a client are extensive, covering the length, width, and even the height of the table, taking into consideration the space where the table will go. Other factors discussed include the colour and degree of distressing. The colour may be from a very pale to a rich dark chocolate. A recent alternative is a rustic grey, which sits extremely well with contemporary surroundings, and is a stunning and eye catching display.

Another very important factor relates to the atmospheric conditions. Where in the country is the table going? Are the atmospheric conditions predominately wet or dry? If it is going to central NSW, where it is hot and dry, the timber will need to be ‘cooked’ before construction to minimise the risk of shrinkage, although the design and construction of the table does allow for this. A table going to northern Queensland will have the moisture content increased to safeguard against expansion.

DESIGN AND CONSTRUCTION Only traditional methods of construction are employed by our artisans in the workshop.

Leg sizes or apron depth can be modified to suit either an exceptionally large or very small piece that is ordered. Mortise and tenon joints are used and joined by pegging to ensure the timber can move, and to avoid any risk of splitting or warping.

In the early 17th century, the first crude dovetail joints began to appear to secure the sides of drawers to the front and back. The same dovetailing joinery is used in our workshop when adding a drawer to a table to become a desk. We may also use a traditional cock-beading surround to protect the end grain on the edge of the drawer.

A FINISH YOU CAN RELAX WITH At French Farmhouse Tables we specialise in making dining tables for everyday use, and we make them tough and durable, unlike our parents’ generation who fussed over highly polished furniture which spent most of its life under a blanket. After construction, the tables are aged using traditional tools to create a

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table which looks like it has already had a life.

Finishing and colouring the table is a very important final step and in some instances can take longer than the actual construction.

After many coats of traditional shellac, which is allowed to harden between coats, a finishing coat of fine wax is applied to create the final patina.

Throughout the ages, furniture styles have changed and been modified. At French Farmhouse, our designs are based upon furniture styles drawn from the past. For example, the Basque table was conceived on a trip to Spain when I visited a workshop where a table was being finished outside in the sun and rain. It had a wonderful worn and used patina.

Another of our tables, the Toulouse, is based upon an English tavern table, set on a double pedestal base with oversized mitred corners.

Now that we are trading from our country location at Mount Ashby Estate, in the Southern Highlands of NSW, we have the room to properly display our tables, both in our Cellar Door restaurant and adjoining gallery, set amongst grazing dairy cattle and the vineyard. Please come to touch, feel, and enjoy at this memorable location at Moss Vale. We are open Thursday to Monday from 10 am to 4.30 pm or by appointment.

Sally Beresford FRENCH FARMHOUSE TABLES 02 4869 4144 info@sallyberesford.com.au www.sallyberesford.com.au

Editorial Content COVER Henri de Toulouse-Lautrec Tête-à-tête supper (In a private room – At the 'Rat Mort') (Portrait of Lucy Jourdan) c. 1899, oil on canvas, 55.1 x 46.0 cm The Samuel Courtauld Trust, The Courtauld Gallery, London See page 88 004

Antiques of the future made at French Farmhouse – Sally Beresford

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Out & About

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A novel investment realised in old fiction – Tim McCormick

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A Victorian Christmas – Susanne Gervay

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The innovative art of Navajo jewellery designer Cody Sanderson – Jeannette Arif

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Fine furniture, art works and more in the heart of Bondi Junction

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Pack & Send art and antique specialists

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From a special place: Burmese Buddhist arts

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Storing your carpet over summer – Ahmet Solak

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Art Gilding and the Midas touch promise

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Antiques in the 21st century

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Derek Greengrass Antiques & The Huntress open shop at the Sydney Antique Centre – Derek Greengrass & Jane Lennon

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Antique engagement rings: celebrate your love with genuine antique jewellery – Tammy Palmer

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Understanding the jeweller’s craft: techniques that date back to antiquity – Mathew Geale

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What is Doug Up On Bourke?

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Savi Maurizio Furniture for timeless Italian & French furniture

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Mitchell Road Antique & Design Centre for setting your own trends

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Designer superstars – Beverley Brown

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Green gold and art nouveau special jewellery at Kalmar Antiques

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Aaron Upholstery built on a legacy of quality – Graeme Scanlon

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Pack & Send at Botany

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Noble Numismatics $3.3 million sale – Jim Noble

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What value the family silver?

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The history of the teapot – Kim Hughes

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From the decorative arts to fine art – displaying illustrations of fine porcelain

VALUE ADDED @worldaa.com NOW ONLINE Australia’s foremost magazines on the decorative arts antiques, art & collecting vintage & retro Need to contact your local dealer but don’t have a copy of your state’s Antiques & Art? Problem solved – log on and read online.

Peruse World of Antiques & Art – the most authoritative magazine on the decorative (antiques) and fine arts in Australia. A portal to national and international collecting trends, subscribe to the online edition and SAVE! Check out Collectables Trader – subscribe to the online editions and save! Australia’s only bi-monthly magazine on vintage, retro and collectables.

– Kathryn & Derek Nicholls 041

Baker & Houghton Antiques celebrate their 1st birthday

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Collector proof coins 1955-1963 struck at the Melbourne and Perth mints

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The Rotary Club of Hurstville’s 18th Antique & Collectables Fair

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Glebe Antiques moves ... just up the road – Gary Auton

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The revival of art deco

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Isidore of Seville the first printed world map – Simon Dewez

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Vintage HMV family radio back on the air – David Foster

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‘Gone with the Wind’ lamps – Juergen Weissner

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Adieu to Annandale means bargains for astute collectors – Jane Rush

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

Free to read online Antiques & Art in New South Wales, Victoria and Queensland

www.worldaa.com

– John Fredriksson Even more to see in Balmain’s ‘windows to watch’

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Delivered by ‘divine dew’ the pearl

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Giltwood: history repeats – Mike Gleeson

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Antique General Store a northern beaches treasure

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The 26th Rotary Antiques & Collectables Fair incorporating the Gold Coast Book Fair

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Islington Antiques in Newcastle since 1990

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The Lithgow Pottery journey from unsaleable to treasure – Anne Livingston & Greg Johansson

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Rare model boats made in the hunter valley between 1890 and 1980 – Michael Lee

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Windsor and Hawkesbury antiques and collectables trail

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Especially for the guys at historic Windsor

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The scenic Hunter Valley – perfect for antique hunters

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Fashion revival a brief look at yesterdays woman – Tracie & Matilda Ternstra

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Come treasure hunting at Dirty Janes Emporium & Antique Market – Jane Crowley

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Visit Braidwood for Longbarn & ‘string’

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NGA Pacific Arts presents Maunwial & Waungial: Sepic spirit figures – Sylvia Cockburn

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Toulouse-Lautrec: Paris and the Moulin Rouge – Simeran Maxwell

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Welcome to Canberra’s Forrest Hotel and Apartments

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ACT’s Autumn Antiques and Collectables Fair – Les Selkirk

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Lucite purses – a 1950s fashion statement – Dianne Pickett

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The beginnings of time in horology 1500 – 1700 – Michael Colman

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The Emily Museum, the first dedicated to an Aboriginal artist – Hank Ebes

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The Toowoomba Grammar School’s autumn weekend art show

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The Australian Antique and Art Dealers Association

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Orient House Australia’s source for antique Chinese furniture and accessories

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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ABN 39 945 398 132

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OUT

&about

Jolyon introducing a talk

Listening, looking and…napping (?)

THE ANNUAL ‘KIRKOSWOLD’ SILVER STUDY DAY A small informal gathering of 12 to 14 silver-focussed enthusiasts meet around each spring in a large (Sydney) North Shore private mansion for a silver study day. Run by Jolyon Warwick James, its six sessions comprise four talks on various aspects of silver, a discussion forum of items brought along and a visit to Abbott’s Antiques nearby.

This year, the first session was on ‘hidden treasures’. Curator at the Bathurst District Historical Museum, Samantha Friend, brought along a selection of the items from the collection for a very special handling session. The second talk by the event host, Anne Harbers focussed on British and Irish women silversmiths of the 18th century. Participant Ben Staunton added a coda with some interesting examples he had brought along.

This was followed by a talk on London hallmarking by Jolyon outlining the history and significance as well as a practical deciphering session.

By day’s end each participant went away clutching a folder of notes from the talks, information and hallmarking sheets, brochures, flyers, and other silver material relating to the day’s events (especially the Bathurst Museum), and further possible points of silver interest .

Cody Sanderson, Ashleigh Cullen & Jennifer Cullen

Jolyon Warwick James and Samantha Bathgate (Curator of Bathurst District Historical Society Museum) inspect a cup

Cody Sanderson, Helen & Mark Clifton

Ben Staunton waxing lyrical about a woman (silversmith)

Jennifer Cullen, Ruth Ritchie & Jane Teasedale

CHRISTMAS WITH CODY AT FOUR WINDS GALLERY Four Winds Gallery celebrates its 31st Christmas with an exhibition of contemporary and innovative wearable sculpture by Cody Sanderson. Owner and collector Jennifer Cullen has been following and representing Cody’s work and progress for 10 years.

Cody is now one of the most collected artists in the gallery. A Navajo silversmith, his work is highly sought-after worldwide, collectors in Sydney and Japan being high on the list of clients seeking to acquire his evolving pieces.

Embracing the traditional strong silversmithing techniques of his ancestry, Cody merges these with state-of-the-art, high-tech design concepts. A collection of over 60 pieces was brought to Australia from his studio in Santa Fe. This was Four Winds’ third exhibition of Cody’s work. His continuing popularity, with both men and women, was evident at the busy opening night.

Jennifer Cullen, Thos Hodgson & Di Hudson

Ashleigh Cullen, Cody Sanderson & Jeannette Arif

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Drina & Elizabeth Thurston

Carol Odgers & Abigail McPherson

Robyn Guy & Colleen Keys

Lydie Bacot & Edwina Anderson

SYDNEY LOVE VINTAGE SUMMER SHOW The Sydney Love Vintage Summer Show brought an array of sun-sational vintage fashion, accessories and homewares to the Canterbury Park Racecourse Function Centre for three fabulous days in September. With vintage Spring Racing Carnival frocks and hats featuring, and a ’70s parade showcasing ‘groovy’ gowns, the crowd enjoyed wonderful entertainment as well as great shopping, with more than 60 of the best vintage dealers all under one roof.

The experts from a Cavalcade of History & Fashion presented wedding outfits from the 1930s, and spoke about caring for and storing precious vintage garments and textiles.

Vintage makeovers are always popular and show visitors could watch glamorous transformations on stage and enjoy a makeover of their own – even the guys were catered for with a traditional barber. Saturday saw the very first Love Vintage Car Show, with magnificent vehicles delighting visitors and adding to the vintage and retro vibe.

The next Love Vintage Show will be held at the Hordern Pavilion in Sydney, March 2013.

Foxtrot India showcases a perfect Spring Racing Carnival outfit

The Sydney Swing Katz danced up a storm and got the show jumping!

Exhibitors dressed in vintage to welcome visitors

MC Bonnie Rose talks accessories with Jacinta Christian from Circa Vintage Hats

Tony the Barber works his ‘Quiffmaster’ magic!

A visitor receives vintage hair and makeup styling from Christine Keepence

A FORUM FOR ART Sydney Art Expo held at the Hordern Pavilion in the Entertainment Quarter, Moore Park in September drew all aspects of the visual arts community together, from artists and seasoned art buyers to fresh visitors keen to learn more about the art world.

The event showcased the best new independent and emerging artists alongside established galleries and artists, and organisers ran a range of activities such as hands-on art classes, photography seminars and clay sculpture studios.

Building on the success of the show, more events are planned for 2013.

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Left to right: Aldous Huxley, Brave New World Ian Fleming, Casino Royale William Golding, Lord of the Flies Dashiell Hammett, The Maltese Falcon JRR Tolkien, Lord of the Rings

A novel investment

REALISED IN OLD FICTION efore taking the boxes of old novels, cleaned out of your parents’ or grandparents’ house to Vinnies or the Salvos, spend a few moments checking for examples of 20th century literature classics.

A dusty old book could be worth thousands of dollars.

In the days before the $9 download, people actually visited bookshops, acquiring an object gleaming in its decorative dust jacket and bursting with exciting content. Once devoured, it was usually consigned to the attic or storeroom with promises to be reread in the future. Should these relics of a bygone age be first editions – especially first editions by famous authors – then pay day has arrived.

Before discussing current values, it is worthwhile to firstly consider the features that make an old novel collectable.

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CONDITION The presence of a dust jacket is most important, as is the completeness of the book.

The most valuable are books that appear as new. Sometimes the first few copies of a first edition print run will show a variation which is later corrected. These examples are known as the first issues of the first edition and are usually the most valuable.

Value increases dramatically if the book is signed or inscribed by the author. For example, the very rare first novel of Australian Nobel Laureate Patrick White titled Happy Valley was published in England in 1939. A good copy is valued at $1,000; a good copy in a dust jacket is worth $2,000 plus, while a copy in a dust jacket signed by White, $3,000 plus.

There would be a premium of 50% if a dust jacket is present and at least 100% if any other of White’s first editions are signed by the author.

The importance of the dust jacket, in good condition, cannot be over-emphasised. A sizeable premium is included in the value. An example is Tolkien’s The Hobbit, a book for children published in 1937. The first edition is not that rare, however a copy in its original dust jacket (designed by Tolkien) is very hard to find and is worth at least 25 times more ($30,000 to $40,000) than one without.

The most financially successful first edition of recent times is the first book in The Harry Potter series. Harry Potter and the Philosopher’s Stone, published in 1997, in an edition of only 500 copies. A large number of this edition was shipped to Australia, entering school and public libraries. The success of this series is well known. The value of a first edition ranges between $6,000 to $10,000.

There should be many copies, as yet undiscovered, on shelves around Australia.

The later Harry Potter titles were published in vastly larger editions and do not command high values.

Left: Arthur Conan Doyle, Sherlock Holmes Below from left: Patrick White, Happy Valley JR Rowling, Harry Potter JRR Tolkien, The Hobbit F Scott Fitzgerald, The Great Gatsby

A SELECTION OF 20TH CENTURY LITERARY TREASURES AND THEIR VALUES Richard Adams, Watership Down published in 1972, in original dust jacket. A classic children's tale about a community of rabbits, valued at $1,000.

Ray Bradbury’s classic sci-fi novel about the future, published in 1953, Fahrenheit 451 (the temperature at which paper spontaneously combusts), valued at $1,500.

A Clockwork Orange by Anthony Burgess published in 1962. An experimental novel predicting an anarchic society made into a terrifying film in 1971, now valued at $2,000.

Truman Capote’s Breakfast at Tiffany’s published in 1958. A story of New York and American society made into a film classic starring Audrey Hepburn. Valued at $1,000.

Raymond Chandler’s The Big Sleep published in 1939 and the start of the Philip Marlowe detective series. Made into a film classic starring Humphrey Bogart and Lauren Bacall. Valued at $8,000.

Agatha Christie’s Death on the Nile published in 1937, regarded as one of her best books.

Valued at $4,000.

Arthur Conan Doyle’s classics, The Adventures of Sherlock Holmes and The Memoirs of Sherlock Holmes published in 1892 and 1894, respectively. Now valued at $10,000 for the two volumes.

F Scott Fitzgerald’s The Great Gatsby published in 1925. The novel chronicles the hollow world of parties and money during the American jazz age. In its very rare dust jacket, valued now at $70,000.

Ian Fleming’s Casino Royale, published in 1953. The first James Bond book which was followed by 14 more titles in the series. This first is far more valuable than the rest at $15,000.

William Golding’s Lord of the Flies published in 1954. The author’s first novel in which he explores themes of human depravity and free will demonstrating his bleak view of the world. Now valued at $6,000.

Graham Greene’s Brighton Rock published in 1938, investigates the conflict between good and evil.

A classic rarity especially in its dust jacket and now valued at $35,000.

Dashiell Hammett’s The Maltese Falcon published in 1930 and made famous by Bogart in the film.

Perhaps the best-known work of detective fiction and detective Sam Spade. Valued at $30,000.

Ernest Hemingway’s A Farewell to Arms published in 1929. One of the ‘lost generation’ of American authors living in Paris in the 1920s. Hemingway’s work sums up the struggles of life between the wars. Valued at $3,000.

Aldous Huxley’s Brave New World published in 1932. A futuristic and disturbing novel about new sociological, scientific and religious beliefs to be confronted by a modern world. Now valued at $6,000.

Jack Kerouac’s On The Road published in 1957. The classic beat generation novel by the author who coined the term ‘beat’. Kerouac’s road trip defined the thoughts and attitudes of a generation of Americans. Valued at $3,000.

Arthur Miller’s Death of a Salesman published in 1949. The author’s masterpiece explored the life and struggles of middle America during the post war years. Now valued at $800.

John Steinbeck’s The Grapes of Wrath published in 1939. One of the most influential novels of the 20th century, evoking images of America during the Great Depression. Valued at $4,500.

JRR Tolkien’s The Lord of the Rings trilogy. Three volumes published in 1954-55. The author’s epic fantasy masterpiece is now valued at $15,000.

The above values represent an estimate of market price based on the book being in excellent condition, a first edition and with the original dust jacket.

For more advice contact TIM MCCORMICK 02 9363 5383 www.mccormickbooks.com.au

Further reading Catherine Porter, Miller’s Collecting Modern Books, Miller’s Publications, London, 2003

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WOOLLAHRA

Susanne Gervay and Anna Pignataro

A VICTORIAN CHRISTMAS efore Victoria’s reign started in 1837, there was no Santa Claus, no Christmas cards or holidays from work.

However the wealth and technologies generated by the industrial revolution of the Victorian era would change this. The face of Christmas would start to reflect middle class ideals and values, which would spread to all classes of society.

Middle class families in England and Wales could now take time off work and celebrate over two days, Christmas Day and Boxing Day. December 26th – ‘Boxing Day’ – earned its name as the day servants and working people opened the boxes in which they had collected gifts of money from the ‘rich’. The railways allowed country people who had moved into the towns and cities in search of work to return home for a family Christmas.

So everyone could participate in the festivities.

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CLAUS & CARDS Father Christmas was originally part of an old English midwinter festival, usually dressed in green, a sign of the returning spring. The stories of St Nicholas (Sinter Klaas in Holland) came via Dutch settlers to America in the 17th century. From the 1870s Sinter Klass became known in Britain as Santa Claus, and with him came his unique gifts and toys, reindeers and sleigh.

With the introduction of the penny post in 1840, it became cheaper to send mail, and as a result of colour printing and the invention of printing machines, cards could be printed faster and cheaper. The custom of sending printed cards was started in England in 1843

by Henry Cole who did not have time to write letters to each of his relatives. He asked artist John Calcott Horsley to design a card for him.

About 1,000 of these cards were printed, and those not used by Sir Henry were sold by the printer for one shilling. The first company to print and sell Christmas cards on a large scale was Charles Goodall & Sons of London in 1862. The first charity card was produced in 1949 by UNICEF.

THE TREE: AN OLD GERMAN CUSTOM The tradition of a Christmas tree in the parlour came to England by way of Queen Victoria’s great-great-grandfather King George I. Victoria had a Christmas tree at Windsor Castle and in 1848, an etching of Victoria, Albert, and their children gathered around their decorated tree was published in The Illustrated London News.

Christmas trees became the central feature of the Victorian family Christmas. German

settlers brought the custom to Australia and America.

ELABORATE DECORATIONS What made the Victorian Christmas tree so special was its elaborate decoration.

Decorations included gingerbread men, marzipan candies, hard candies, cookies, fruit, cotton-batting Santas, paper fans, tin soldiers, whistles, wind-up toys, and trinkets of all kinds. Paper cornucopias filled with nuts, candies, and other treats were the Victorian favourite.

Later in the century imported ornaments from Germany began to replace the homemade ones. First came glass icicles and hand-blown glass globes called kugels.

Dresdens, which were embossed silver and gold cardboard ornaments, took exotic shapes – moons, butterflies, fish, birds, ships and even automobiles.

A Victorian family’s most prized ornament was the Nuremberg angel atop the tree. It had wings of spun glass, a crinkled gold skirt and a wax or bisque face. Angles or cherubs represented the Victorian ideal of childlike or womanly innocence.

book as well as autographed copies are available for purchase from The Hughenden; either would make a special gift.

Susanne Gervay www.sgervay.com THE HUGHENDEN Free Call: 1800 642 432 reservations@thehughenden.com.au www.thehughenden.com.au Further reading www.historic-uk.com; www.tumblr.com; www.biblicalquality.com

GIFT GIVING At the start of Victoria’s reign, children’s toys tended to be handmade and expensive. With factories came mass production, which brought with it affordable games, dolls, books and clockwork toys, though these were still limited to the affluent middle class. In a ‘poor’ child’s Christmas stocking, which first became popular from around 1870, there would be perhaps an apple, orange and a few nuts.

The classic tale of the importance of the gift of giving was Charles Dickens’ A Christmas Carol. A children’s book, it was first published by Chapman & Hall on 19 December 1843.

SYDNEY’S VICTORIAN HOTEL FOR LITERATURE A rare statue of Charles Dickens resides in Sydney’s Centennial Parklands across the road from Victorian hotel The Hughenden, which stands amongst the largest expanse of Victorian architecture in the Southern Hemisphere.

The Hughenden is also home to the Society of Children’s Book Writers and Illustrators Australia and New Zealand (SCBWI) and children’s literature. Charles Dickens’ A Christmas Carol sits alongside collections of Australian children’s books and illustrations, including the recently launched Ships in the Field. Limited art quality editions of Anna Pignataro’s illustrations from the

FROM

• LITERARY EVENTS • ART EXHIBITIONS • RESTAURANT, PRIVATE DINING, CONFERENCE & FUNCTION ROOMS

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$

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.

HUGHENDEN BOUTIQUE HOTEL 14 Queen Street, Woollahra, Sydney

www.thehughenden.com.au 02 9363 4863

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Silver clutch purse with detachable silver bracelet/ handle

Solid silver working Rubik’s Cube

THE INNOVATIVE ART OF Navajo jewellery designer Cody Sanderson really enjoy waking up knowing I’m going to create something – a new day is a new piece!’ This ebullient outlook is a perfect introduction to Cody Sanderson, a renowned multi award-winning Navajo jewellery designer, acknowledged for his innovative ‘rock & roll’ style.

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An artist who is always on the move, finding new inspiration from natural and built environments, Sanderson enjoys engineering beautiful, mechanical, interactive, sculptural jewellery and objects. His works continue to impress critics worldwide.

Sanderson grew up in Window Rock, Arizona, capital of the Navajo Nation. He is a descendant of the Diné matrilineal clan, a Navajo descent categorisation system comprising some 60 clans.

Starting his career in 1999, while working as a travelling sales representative for a jewellery company, he became inspired and decided to learn the art through researching as well as discussing designs and techniques with other jewellery artists. This interest soon became a passion and he threw himself into education by taking classes on technique.

Some of his mentors were Sabra Sowell, his first teacher in metal fabrication, and David Gaussoin, for tufa-casting. Another inspiration is the celebrated contemporary jewellery designer, McKee Platero, whom Cody refers to as ‘one of the greatest silversmiths ever’.

AN INTERNATIONALLY ACCLAIMED ARTIST

Cody Sanderson with proprietor Jennifer Cullen and her daughter Ashleigh

Silver spike bracelet

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Silver repoussé star bracelet

As a young emerging artist, Sanderson won much recognition in the art world at his very first show at Santa Fe Indian Market 2002, which caused ripples to radiate through the art

Silver lava lamp

world. In 2005 he was awarded the fellowship recipient for the Southwestern Association for Indian Arts (SWAIA). Then 2008 saw the 43year-old Sanderson in top form with a big year of awards and honours: attaining first place at the Santa Fe Indian Market Open Vessels category; winning best show at the Heard Museum of Native Cultures and Art, Arizona for his own interpretation of Rubik’s Cube, titled Out of the Cube (pictured); as well as being awarded the Native American Visiting Student Fellowship at the prestigious Smithsonian Institute.

This has all lead to his international acclaim, particularly in Japan, where he is represented by two galleries. Sanderson is featured in many jewellery books, art magazines and fashion magazines, where his jewellery is modelled in concert with highstreet fashion labels. In March 2010, Oprah Winfrey was seen wearing his Portabello bracelet on the cover of her magazine, The Oprah Magazine.

Silver ‘Portabella’ bracelet

DOUBLE BAY

Four Winds Gallery celebrates Christmas with an exhibition by renowned Navajo silversmith Cody Sanderson Cody continues to impress with his cutting edge contemporary designs. The combination of sterling silver, gold and gem grade stones attracts the attention of the discerning collector. Now exhibiting internationally, Cody has become one of the most sought after Native American artists of the 21st century.

Please visit the gallery or view our website for a selection of Cody’s work and also in store • New Christmas ornaments have arrived • Original paintings by John and Eli Milan depicting horses and buffaloes • Selection of antique silver and turquoise cross pendants • Lovely array of turn of the century Navajo textiles and vintage serapes • Extensive collection of hand-carved fetishes (small carvings of animals in stone or shell) from Zuni Pueblo – ideal for Christmas gifts.

11/28 Cross St, Double Bay 2028

02 9328 7951 www.fourwindsgallery.com.au TECHNIQUES THAT BRIDGE THE TRADITIONAL & CONTEMPORARY Although considered a contemporary artist, Sanderson’s inspiration comes from a crossover of the traditional world of his Native American Indian people and his contemporary world. He usually starts a thematic concept with sketches on paper. Themes he has used in the past are bugs, dragonflies and stars. Once the concept has been developed, the technical process begins.

The mechanical side to his metal smithing uses ball bearings, multiple hinges, internal springs, fusing, forging and tufa-casting (a shape carved into tufa stone which creates a negative mould to be filled by a molten metal) to achieve the movement within the jewellery, which often has multiple actions.

The design features of his silver smithing are: repoussé (high domes – a traditional technique used widely by the Native American

‘Bow guard‘ bracelet, early Kingman turquoise set in heavy silver

Indian people); geometric and biomorphic shapes, stamping together with smooth and textured surfaces – all of which give the piece its unique visual beauty.

The materials Sanderson loves working with are sterling silver, 14 and 18-carat gold, aluminium, copper and stainless steel along with high quality turquoises and other semiprecious gemstones.

These techniques and ideas combine to create Sanderson’s unique and energetic sculptural jewellery and objects. As he is invited to exhibit his jewellery in galleries and shows worldwide, he travels extensively. When at home, Sanderson continues his search for innovative ideas and works from his studio in Santa Fe.

Silver spider cuff links

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

Silver star shaped pendant

Pilot Mountain turquoise pendant

Silver grenade pendant Antiques and

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BONDI JUNCTION

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

FURNISH IN STYLE

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.

Bellagio International BU Y ~ SE L L ~ H I RE RELOCATION SALE Selected items up to

30% off We repair and service all clocks and watches with 30 years’ experience.

French, German, American clocks, Swiss watches, all mechanical movements

1A Hollywood Ave Bondi Junction 50 metres from Westfield

Ph: 02 9369 4934 Mob: 0416 131 015 ask for Ray Open: Mon-Sat 11 am - 6 pm 12

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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

Excess baggage?

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

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

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

In relieving them of what can often be a time-consuming and onerous task, curators and collectors are free to concentrate on their core business. Pack & Send will personally manage the entire job and even 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.

far,’ he says with a smile. That’s good news for people such as the Miami, Florida, customer who purchased some framed sailing prints, including an 1830s copy of a French sailing ship heading out for a perilous expedition to the Arctic and a sailing scene on Sydney Harbour in the 1880s.

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

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

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 Renwick Street, Redfern 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

“

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

“

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 Antiques and

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PADDINGTON

From a special place

BURMESE BUDDHIST ARTS Lacquer ware proceeds go directly to Burmese families elebrating 21 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.

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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

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 14

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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 three-legged 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 multilayered 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 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

PYRMONT

STORING YOUR CARPET over summer

ummer is here, the weather is heating up and it’s that time of the year when some carpet owners decide to store their carpets for the colder months.

Storing carpets is a delicate process. If stored correctly, you can safely protect the value and lifespan of your carpet. If stored incorrectly, you could damage your carpet resulting in a condition far worse than if it had not been stored. If you are storing them seasonally in your own home then the selected location becomes more flexible as you are able to monitor the environment. However, if you are going to be away from the storage location for an extended period it is very important that you select a room that is cool, dry and out of direct sunlight.

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ADDRESS DIRT & DAMAGE If planning to store a carpet for the summer it’s very important to ensure that it is not dirty or damaged. Storing a dirty or damaged carpet allows the substances to settle in which could leave the carpet permanently damaged as a carpet stored for an extended period of time without having it cleaned could mean storing your carpet with dirt, harmful chemicals and other contaminants. These contaminants can damage the carpet during the storage preparation and throughout the storage period.

Storing an unclean carpet will also attract nasties such as mould and silverfish.

Once you have prepared your carpet it will need to be rolled before being stored. You can do this yourself, however if this is an expensive carpet and you wish to retain its value, I highly recommend that you have it professionally cleaned, rolled and stored.

WATER DAMAGE AND MOULD AFFECTED CARPETS If a carpet has been affected by a flood then you must get it cleaned, if possible while it is still damp. Once the carpet dries it needs to be

assessed for damage and if this has occurred, it will then need to be repaired as well as cleaned in order to retain its value.

If a carpet is rotting around the edges then there is something in the room near the carpet that is causing this. At first many people believe a pet is the cause however, if the markings are around the edge, the first thing that comes to my mind is pot plants. Pot plants, if heavily watered, can have small spurts of overflow onto the floor. Water alone can damage a carpet but the water from a pot plant can be even more damaging. After processing through the soil the water becomes contaminated with chemicals that are hazardous to a carpet. Check around your carpet for other household items that could be passing contaminants.

If the carpet is mouldy then it must be cleaned first. Also check the environment for what could have caused the mould to avoid this happening the next time you display it.

chemical composition of the dyes once it has set in. If this has happened you should try to remove as much of the urine as possible with a damp towel. You can add water as you soak it up to dilute the acid but do not use cleaning chemicals. Regular household cleaning chemicals are not designed for the textiles found in antique rugs or carpets and could create additional damage. Unfortunately soaking up the urine is not enough to ensure your carpet is not damaged from the incident, if you value your rug you will need to have it cleaned by a professional that can work with antique rugs.

I’ve spent the past 30 years repairing, restoring and cleaning Persian and oriental carpets, kilims and rugs. If you would like to know more about how to care for your carpets, kilims, rugs and textiles visit our website.

Ahmet Solak PERSIAN CARPET REPAIR AND RESTORATION CO 0414 598 692 persiancarpetrestoration@gmail.com http://persiancarpetrestoration.com.au/

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

ANIMAL STAINS & HOUSEHOLD CLEANERS WARNING! NEVER USE HOUSEHOLD CLEANERS Lastly, you should never store a carpet that has been affected by animal urine. Animal urine is very acidic and a major cause of changing the

Ahmet Solak 123 HARRIS ST (REAR ENTRANCE) PYRMONT SYDNEY NSW 2009 Alternate drop off/pick up from Marriott Street, Redfern (available on request)

Tel: 02 9571 4411 Mob: 0414 598 692 www.persiancarpetrestoration.com.au

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SURRY HILLS

ART GILDING and the Midas touch promise ‘It is our passion to pass on our considerable skills to anyone who wishes to learn this age old craft of gilding.’ ave you ever wished to have the skills to apply gold and silver leaf to your furniture, frames, and artwork? Or embellish your cornices, columns, walls and ceilings with metal leaf? Work for yourself from home at your own pace? Master gilder Karl Eggert can make your dream come true – and you need no prior knowledge of gilding.

In the past, this ancient craft with all its secrets was 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 the art of framing and church

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restoration in Germany from master gilders, Karl has a broad knowledge and more than 45 years’ experience in gilding. 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.

MASTER GILDING CLASS BUILD YOUR OWN BUSINESS AND WORK FROM HOME The Professional Master Gilding class is fully hands on and runs over a nine day period, starting Saturday and finishing on the following Sunday, from 10 am to 4 pm daily.

During these nine days, students learn more

Master Gilding class 2012

than they could in a three-year apprenticeship.

We provide a relaxed and fun atmosphere and attendees are always like-minded people.

HANDS-ON EXPERIENCE In September we had a commission for the Aquitaine Brasserie in Southbank, Brisbane.

We invited Master Class student Prashanth, from Brisbane, to assist us with copper leafing a five-metre high fireplace as well as the front of the 8.5 metre bar and another four panels in the wine bar.

‘It was a wonderful opportunity to get some hands-on experience and a lot of fun working with Karl and Brigitte. It was truly a win-win situation,’ enthused Prashanth.

GOLDFINGER CLUB We cannot teach you ‘experience’, but being a member in our Goldfinger Club will give you the support to tackle every project with confidence. We have a policy of full commitment to assist members of the club to build their ‘very own golden dream.’

For those who’ve completed one of our gilding courses, this free ongoing advice for any project is supported through phone and email. In addition generous discounts of 10-20% are available on all materials and supplies.

Gilded French clock

Thai restaurant foyer

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

SUPPORTING OUR STUDENTS Brigitte and Karl are committed to giving every student support, helping them to maximise their potential and to reach their goals. Hence contact with students does not end with the completion of the course and over the years many of their students have become good friends. Brigitte recalls how the Art Gilding Academy began in a garage, without support.

It was also at that time, in 1976, that she started to learn the trade, and was expecting her first child. Her reminiscences have in turn inspired Prashanth’s young wife, who is also now pregnant, to pursue the skill.

This also demonstrates how Brigitte and Karl believe in supporting the next generation and inspiring the carrying on of the gilding tradition. ‘We’ve found that good support is the key to success for many of our students so we’re passionate about making sure they get the most out of our courses,’ says Brigitte.

Hobby Workshops Weekend Classes Master Classes (fully certified) FREE INFORMATION EVENINGS

Brigitte with the weekend class project

For the benefit of students classes are restricted to a maximum of six students, guaranteeing personal attention. Completing the Master Gilding training course allows students to add skills to their chosen profession and offers the freedom to build up a business and work from home.

On completion of the professional Master Gilding Class, students receive a certificate.

WEEKEND CLASSES Sydney: Sat/Sun 10 am – 4 pm GENERATING MORE PROFITS FOR YOUR BUSINESS This class has been especially designed for people unable to attend week-day classes and is held once a month.

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

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

The weekend class is very reasonably priced at $795. This includes the project – an Egyptian plaque – and 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.

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.

FREE INFORMATION EVENING ON GILDING These popular evenings are strictly by invitation only, so please call Brigitte on 9310 3007 for dates and bookings.

Academy courses start in February 2013 For more information contact Brigitte at ART GILDING ACADEMY 02 9310 3007 artgilding@artgilding.com.au www.artgilding.com.au

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

Golden Bedroom

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Experience gold leafed treats

SURRY HILLS

Antiques IN THE 21ST CENTURY ften the way you live will determine what kind of environment you wish to create when renovating, building or simply just redecorating. When you’re starting to think about acquiring pieces for your next project make sure you visit both of the beautiful spaces we have created. The warehouse – Architectural & Antique Elements and the sister store – Elements i love…

At the warehouse, behind a large set of French entry doors, you will discover an enormous selection of vintage, recycled and restored antiques as well as grand-scale architectural pieces from around the globe. Think gates, entrance and salon doors, lighting, garden, provincial furniture and more.

At Elements i love… we have created a chic boutique space with a carefully curated collection of (smaller) pieces we just had to have on our buying trips as well as a select choice of European home wares and whimsical finds like the French bird lights – in store now. Decorative and eclectic abound.

Today many of us choose to live in homes that are increasingly informal it is not surprising that antique pieces are incorporated to spaces as they can easily set the tone of the room and add instant character. When renovating the kitchen for instance, the desire to have a beautiful yet functional family dining table is high on most people’s wish list. The appeal of buying an antique table with a hundred years of patination, is that one more dent, scratch or spilt wine will

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only add to its charm not detract from it. At Elements we always have some wonderful character filled pieces in store.

All homes are shaped by architectural details and elements. With a little forethought, antique doors and windows can create interest, define spaces and add intimacy. In a new house the addition of one or two original features, whether it be a wall mounted Moroccan grille or a pretty pair of French gilt sconces in the entry, can produce a dramatic effect.

The chances of finding that unique door, window or fireplace to suit your space is greatly increased when you still have some flexibility in regards to wall space and ceiling height and before the plans are signed off on. The warehouse at Leichhardt has some wonderful and unique pieces that will truly inspire you, bring your plans or your architect.

At Elements, everything we have in our showroom is there because of its strength as an individual piece, nothing appears by chance. We look for originality in colour, texture, proportions, and lustre, pieces that wear their age (marks and blemishes) well.

The bonus is that if another one appears you are simply adding to the story.

For more information contact ELEMENTS i LOVE...

02 9698 8884 ARCHITECTURAL & ANTIQUE ELEMENTS 02 9560 3067 www.elements.net.au

Always build around a key piece – don’t create a space and then look for something to fill it!

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SURRY HILLS display currently include a segmented one made of whale’s teeth, and there are usually one or more stick stands for sale to collectors.

Other examples of stock in hand include:

MARITIME A large model of MV Stanburn built by the Scottish Marine Model Company in Glasgow for the Stanhope Steamship Company, London; a rare Georgian rope-work ‘bosun’s starter’(used to encourage reluctant sailors to climb the rigging during storms at sea); an early Inuit walrus ivory and woven baleen box; and a range of 19th century scrimshaw.

AUSTRALIANA & PACIFICANA

English 19th century ivory dog’s head walking stick, the shaft made of Malacca wood

Top: ‘Clench fist’ walking stick, the shaft made of rare snake wood and figured ebony Below: The top of carved ivory depicting the figure of a Bedouin

DEREK GREENGRASS ANTIQUES & THE HUNTRESS open shop at the sydney antique centre L ongstanding dealers Derek Greengrass and Jane Lennon, trading respectively as Derek Greengrass Antiques and The Huntress, have recently moved into Sydney Antique Centre in South Dowling Street. Both are members of the Australian Antique & Art Dealers Association (AAADA).

ABOUT DEREK GREENGRASS

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Derek Greengrass’s Australian career dates back to the early 1990s when he was a partner in Kerry Trollope Antiques at Five Dock.

Derek has been dealing in England since 1970 and from 1980 exported containers of antiques to W.S. Ellenden’s auctions in Sydney. For many years he has been a popular trader at Portobello Road and he is a wellknown exhibitor at the annual Olympia International Art and Antiques Fair in London and at antique fairs at Le Bourget in Paris and in the south of France. He also works with Hartley Cook who runs the Grafton Galleries at Rushcutters Bay. Derek deals in a wide variety of rare and unusual objects and his many specialisations

HUNTRESS (ANCANTHE)

& DEREK GREENGRASS ANTIQUES

include walking canes, nautical antiques, snuff boxes, carved meerschaum pipes and animalier bronzes.

INTRODUCING JANE LENNON

Jane Lennon was one of the original dealers at the Sydney Antique Centre when it opened in 1974. The last few years have seen her in Hobart, Tasmania where she traded as Ancanthe (a name taken from the classical revival museum built by the governor’s wife, Lady Jane Franklin in 1842).

Lennon has a PhD in Australian art history and undertakes select consultancy work in that area.

For many years she worked as a researcher at the Power Institute of Fine Arts at the University of Sydney and she has undertaken curatorial work for various museums. Jane is a former co-editor with Eva Jaku of this magazine and of the sister publication, World of Antiques and Art. Ancanthe will henceforth be trading as The Huntress, a name derived from the twin pursuits of tracking down antiques and undertaking research. Jane deals in a broad range of antiques and her professional background means that the stand is always well represented by Australiana.

From postcards and photographs to paintings and pottery, and Royal Worcester ceramics decorated with Australian flora and fauna.

There are two photographs taken in the 1930s showing the Australian Prime Ministers James Scullin and Billy Hughes with the Australian trick-shot golfing star Joe Kirkwood and his partner the famous American golfer Walter Hagan. We have several boomerangs as well as tribal and cultural pieces from the Pacific area.

NATURAL HISTORY CURIOSITIES An Edwardian collection of birds’ eggs in an original collector’s chest assembled by the Australian ornithologist N.A.R. Arnold; a large 19th century cased display of English birds by Tom Allder of Newbury; a mounted Victorian tiger’s head; and a Victorian coral display in its original Australian cedar case.

This is just a small sampling of what we have to offer. Regular shipments will be arriving from England in addition to the stock sourced locally. If we are not in attendance then the helpful staff at the central desk can assist you. Alternatively, please call us to discuss any item or to make an appointment to view. If there is anything in particular that you would like us to track down or if you would like to be included on our mailing list please talk to us in person or by telephone.

Derek Greengrass & Jane Lennon DEREK GREENGRASS ANTIQUES & THE HUNTRESS 0400 103 316 At SYDNEY ANTIQUE CENTRE 02 9361 3244 www.sydantcent.com.au

A COMBINATION OF TALENT The combined talents of Greengrass and Lennon have resulted in an eclectic display ranging from fine Georgian glass and Grand Tour pieces to medical models and early advertising mirrors. The selection of boxes ranges from painted snuffboxes to a Victorian bird’s eye maple table letter box and an Anglo-Indian, Regency porcupine, tortoiseshell and ivory sewing box.

Oriental antiques include ivory netsukes, a large Meiji period lacquer decorated writing box and a pair of Japanese painted Noh masks. The large range of walking canes which are always on

Above: Pair of early 19th century glass vases decorated with enamel and gilt highlights Below: Early 19th century ivory Palais Royal dressing table box set

Sydney Antique Centre 531 South Dowling Street Surry Hills Open 7 days 10am - 6pm Ph: 0400 103 316

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SURRY HILLS

ANTIQUE ENGAGEMENT RINGS Celebrate your love with genuine antique jewellery n antique engagement ring represents longevity and implies the continuity of love to the new beginning an engagement represents.

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

Similarly, an antique ring comes as you see it – you cannot customise the design of a genuine antique diamond ring or purchase it in a different colour. The ring may need to be re-sized or adjusted, as often an antique ring is thin from devoted wear. For more guidance and a more certain and credible choice, try one of the many jewellers who specialise in antique jewellery.

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HISTORY OF ENGAGEMENT RINGS With many versions of its origins, one of the most ancient that I’ve heard and seems credible is that Pope Innocent III declared that a waiting period before marriage should be observed in 1215. Engagement rings were introduced to society as an indication that their change in marital status was about to occur. Over time, this became the acceptable norm.

Today, most couples place their wedding rings on their second smallest finger, called the ring finger and believed to be the one that contained the vein of love. So the practice of placing rings on a ring finger, on either left or right hand, is both logical and romantic.

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

VICTORIAN ENGAGEMENT RINGS (1837-1901) Queen Victoria reigned for 64 years, so engagement rings from her long era have a range of designs, always very elegant and deceptively simple, generally in rose or yellow gold. They often feature diamonds and pearls, but coloured gemstones also appear and are a very popular stone choice today. I suppose if it’s good enough for Princess Di and Duchess Kate...

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

Rose-cut diamonds and brilliant sapphires were especially popular in Edwardians’ intricate and delicate rings.

ART DECO ENGAGEMENT RINGS (1918-1939) This spectacular design movement generated geometric lines, coloured gemstones and filigree details including Egyptian, Asian, Native American and French motifs. Art Deco engagement rings are often colourful, using sapphires, emeralds and rubies in combination with beautiful old European-cut diamonds.

These, as well as many other cultural influences, resulted in a colourful, clean design era that has been revived and reflected in other distinctive style eras. The mad ’60s era is most certainly influenced by deco designs.

Art Deco rings are the most popular antique engagement ring in our shop although we still carry a strong representation of Victorian and Art Nouveau as well as mid 20th century rings. On your ring finger, an antique engagement ring featuring hand finished delicate details is simply beautiful.

At Vintage Times we understand that the absolute most important thing is that you find and love the perfect engagement ring for you personally, and for generations to come.

So stop at our website www.vintagetimes.com.au or our shop, Vintage Times located at the Sydney Antique Centre in Surry Hills. We have an extensive jewellery, cufflinks and watch collection with 100 years of proven designs from which to choose.

Tammy Palmer VINTAGE TIMES 02 9361 3244 info@vintagetimes.com.au www.vintagetimes.com.au

ANTIQUE BEFORE NEW Here are a few reasons to consider antique rings before you head to the mall to purchase a ring off the sushi train of mass produced jewellery.

Stylish, elegant, intrinsically extraordinary and with timeless appeal, antique rings are wearable hand crafted works of art created as opposed to the poured and mass assembled clones offered in new jewellery.

Recycled, antique engagement rings are a perfect option for environmentally-friendly individuals. Unlike modern rings, they have already been around for a number of years and their eco footprint is miniscule.

Historically romantic, antique engagement rings represent the old and the new, a birth of a new romance layered over prior historical romances.

Every single detail of an antique or vintage ring represents a period in history and a romance recycled.

The 4 C’s (Cut, Clarity, Colour, Carat weight) are important, so study before buying.

Remember that today’s standards of good cut, clarity and colour don’t necessarily apply to older diamonds. Methods of cutting were different, and the scientific ability to see internal flaws was not as advanced, therefore a flaw not seen without magnification was not a flaw at all.

These changes do not mean these stones are less valuable, only that the technology, fashion and styles of previous eras netted a more organic end product.

Budget is important too, so decide what you are willing to spend on a ring and then shop for the perfect antique ring within that budget as they are less than the brand new rings, plus give more individuality and quality.

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SURRY HILLS

UNDERSTANDING THE JEWELLER’S CRAFT

techniques that date back to antiquity epoussé and chasing is a metalworking technique that has been used by craftsmen for many thousands of years. I view it as a two-stage process of creating a three-dimensional form from a flat piece of malleable metal using a hammer and a series of different punches.

Few processes have survived from ancient times through to the modern era as unchanged as that of repoussé. It was used and perfected by craftsmen as far back as the 14th century BCE in ancient Egypt to create the famous mask of Tutankhamun, and has been practised by artists everywhere that metal has been worked, from India to the pre-Columbian Americas.

Very few methods of making jewellery reveal the hand of the artist in quite the same way as repoussé and chasing, with the nature of the process ensuring that each and every piece will be unique. Its peak of popularity in recent times was during the Art Nouveau

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period of the late 19th and early 20th centuries, being particularly suited to the graceful, flowing curves preferred by the craftsmen of that period. At this time it was a popular hobby for many of the well-to-do, including royalty, being the type of pastime that offered a rewarding challenge to all, regardless of experience or level of skill.

Today repoussé is still taught in technical colleges (especially in the United States) and practised by many artists who appreciate the distinct character of work done in this manner.

It is a very time consuming method and does not lend itself to mass production which is why contemporary pieces are more likely to be seen in galleries than in shops.

REPOUSSÉ DEMONSTRATED Here we will show a step-by-step demonstration of the production of a brooch, the design of which is based on the ‘Dragonesque’ model, popular in northern Britain during Roman times. These brooches were typically made using repoussé and then chased; this process giving a much lighter and stronger finished product than if it was cast from a mould.

STEPS The first step is to mark out the design in reverse onto a piece of fairly heavy gauge silver, at least 1.2 millimetres in thickness.

This is the back so the markings need to be a mirror image of the intended design. The silver needs to be in its softest state, that is, annealed; this is achieved by heating the metal until it starts to glow a dull red, held at that temperature for several seconds and then allowed to cool down slowly. Annealing relaxes the structure of the metal and enables it to be worked more easily.

The next step is to embed the piece – with the back facing up – in a supporting substance to hold it firmly in place while it is worked. In this case, pitch is used; a form of bitumen which is mixed with plaster and oil. The pitch will hold the silver firmly enough to not deform when it is hit but will give way enough so that an impression is left in the metal. The pitch is heated to soften the surface and then the metal is embedded into it.

Now punches and a hammer are used to create the form. It is important not to stretch the metal too far, as it may tear. The thicker the metal is, the deeper the design that can be hammered. Care must be taken to stay within the lines and noting that altering the depth in different areas enhances the three-dimensional effect of the technique.

The metal will start to curve upwards as it is hammered and, if allowed to bend too far, could start to pull free from the pitch. For this reason it is best to start from the edges and work towards the middle.

Once the desired form and depth are achieved, the piece is inspected for neatness.

The main concern is that all the marks from the punches are uniform in their pattern. It is now time to stamp the piece with a 925 stamp and

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maker’s mark then remove it from the pitch.

The silver is annealed again and replaced back into the pitch, front side up this time.

CHASING Now the piece can be worked over with a series of much finer punches of varying shapes. This process is known as chasing.

First the outline is punched down to give it more depth and refine the curves.

The whole surface is then worked over, all high points from the previous punches being flattened out and giving the form its final sculpted shape. This is the most important stage, and it takes the most time, as the finish needs to be even and smooth so that light reflects evenly when the piece is polished.

There is a lot of creative freedom at this point, both in the final shape of the piece and the patterns that can then be chased onto it.

The silver is removed from the pitch for the last time. The brooch is carefully cut out with a jeweller’s saw. The edges are filed, sanded and polished.

SETTINGS The settings for two stones (in this case garnets – a stone popular in ancient times) are soldered onto the eyes. Modern brooch fittings are soldered onto the back, as they are kinder on clothes than the pins used by ancient jewellers.

The brooch is given an acid treatment to remove any fire stain and give it a uniform silver colour.

Finally the stones are set, the pin fitted, and the brooch is oxidised in the low areas to give it contrast.

With a final light polish, it is finished and ready to wear. The brooch has come a long way from its origin as a flat sheet of silver.

Repoussé is a highly expressive technique that is painstaking but deeply rewarding. It allows the craftsman to practice technical and fine skills whilst producing extremely creative and lyrical objects. It is easy to see why it has endured though the ages.

Mathew Geale MR GEALE’S GLORIOUS REVIVALS 0431 878 012 mat@mrgeale.com www.mrgeale.com

WATERLOO

What is DOUG UP ON BOURKE? ore than a warehouse in Waterloo, Doug up on Bourke is one of the largest sources of industrial, commercial, rustic antiques and hard core collectables in Sydney today. Here renovators, collectors or anyone looking to create a decorative statement will find that special piece.

All stock is sourced in Australia and it specialises in mid 1800s to late 1950s. Come and view the mind-blowing collection of pigeonhole units, timber plan drawers, filing cabinets, rustic kitchen tables and trestle tables, advertising signs and old road signs.

There are industrial work benches, old machinery tables, chairs, vintage original Bakelite phones, lovely old suitcases and shipping trunks, rustic sawhorses, children’s toys and chairs, enamel and gal buckets.

Nickel framed showcases, early tram and bus rolls and not forgetting the extensive selection of more than 200 old watering cans, offer interesting decorating ideas.

Make sure you have plenty of time as Doug Up On Bourke is a place to browse. Both the store and its online gallery are designed to mooch around slowly, here surprises lurk and memories of the past come flooding back.

Pay a visit to Doug Up On Bourke – your

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first visit will not be your last. If unable to call into the warehouse then drop in online, you will not be disappointed as each visit will reveal yet another surprise!

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

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SAVI MAURIZIO FURNITURE for timeless Italian & French pieces A t Savi Maurizio Furniture we are passionate about quality and service.

Not only will you find high quality furniture with attention to detail at an affordable price, but also furniture made with full respect to the environment.

vegetable tanning process. This gives the leathers a unique light perfume as well as softness that allows ageing without spoiling.

Thus our products offer exclusivity as well as being environmentally friendly.

RESPECT FOR THE ENVIRONMENT & YOUR HEALTH

The cushions are filled with duck feathers which have been hygienically sterilised, conforming to UNI9212/16 and carrying the Assopiuma guarantee – a national and international mark of quality. Only the highest standard of materials is used for the coverings and vigorous quality control is employed through the entire production process.

All natural timbers produced from regenerated forests are used to ensure conservation for future generations.

Only non toxic glues, water-based varnishes and natural bees wax are used for finishing.

Considering that we spend at least a third of our time at home, you can feel comfortable knowing that your furniture is not emitting any invisible toxic fumes.

Leathers used in our sofas and chairs are Italian, sourced in northern Italy. The leathers are manually aged and enriched using a

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HIGH STANDARDS

QUALITY COLLECTIONS DEVELOPED FROM A TRADITION OF QUALITY Savi Maurizio Furniture has a range of collections from which to choose great quality items for your home; a unique mix of Italian

and French styles including the company’s signature ‘Real Antiques’ collection, offering pieces reproduced to such fine detail that they indeed earn this label.

The design of this collection is inspired by historic Italian furniture produced between the 15th and 18th centuries. Some of the woods used are actually aged timbers sourced from ancient villas, historic palaces and old farmhouses. The timbers are expertly treated and restored before being used to produce quality furniture.

The furniture is constructed of only solid wood using the finest timbers such as walnut, cherrywood and oak which are then skilfully carved. Heir to a century-long tradition of skilled craftsmanship in the Bassano Del Grappa region of Italy, the collection’s drawings of rosettes and panels are also inspired by early floor decorations.

The polishing process is an ancient secret tradition handed down from master to apprentice. The finish consists of 15 coatings all applied by hand and necessary to achieve the brilliance that enhances the wood grain.

‘Real Antiques’ is a truly magnificent collection of items that will add warmth and soul to any home.

CUSTOM DESIGN SERVICE A custom design service is also available to suit your personal requirements with the benefit of our liaising directly with craftsmen in Italy, some of whom have worked with the company for over 30 years. Avoiding the middleman means effective communication, a guarantee of quality and the additional advantage of keeping prices down.

Savi Maurizio Furniture is synonymous with classic designs; keeping it stylish, simple and, importantly, environmentally responsible. Visit us at our new Waterloo showroom. Our trading hours are Monday to Saturday 9.30 am – 5 pm.

SAVI MAURIZIO FURNITURE 02 9698 1112 info@savifurniture.com.au www.savifurniture.com.au

WATERLOO

146 – 152 Botany Road Waterloo NSW

02 9698 1112 email: info@savifurniture.com.au open Monday – Saturday 9.30am – 5pm

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ALEXANDRIA

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

Mitchell Road Antique & Design Centre

FOR SETTING YOUR OWN TRENDS arking seven years of success, Mitchell Road Antique & Design Centre is renowned as a popular and important centre for those in search of the beautiful and the unusual.

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well as bus routes that drop you right at our door, this centre houses over 60 dealers displaying their wares. The scope of pre-loved and recycled items is breathtaking and all this under one roof is an exciting convenience.

the course of watching Australian-made films and televisions shows or reading a magazine published here. Customers take delight in setting their own trends with the treasures they discover at our centre.

EASY TO FIND

A DESIGNER’S DREAM

YOUR WISH LIST

Located on the upper level of a large, yellow, industrial brick warehouse building with distinctive and iconic graffiti signage guiding you to the entrance at 76 Mitchell Road, Alexandria, (corner of Fountain Street) makes us easy to find. Within a short walking distance from Erskineville and Redfern train stations as

We have long been a favourite hunting ground for stylists, set producers, TV, film and magazine shoots far and wide, looking for that unique inspiration to create their signature mood and look. Without realising it, almost everyone would have seen items from Mitchell Road Antique & Design Centre in

At Mitchell Road Antique & Design Centre we endeavour to help you locate that perfect piece which you’ve been searching for. Add your wish to our ‘wish list’ and each week the list is sent to our dedicated dealers who go in search of these items. With many great results and happy customers, we believe it’s the customer service from our devoted staff that sets us apart from the rest.

KEEPING UP TO DATE To keep you up-to-date with all the latest trends and exciting new additions, ‘like us’ on Facebook and follow us on Twitter, Instagram and Pinterest.

Daily activity provides an array of stunning new items for sale, invaluable information on particular items and also our monthly business card draw for one of our lucky customers.

An online store will soon be opened on our website so you can shop ’til you drop – watch this space! Mitchell Road Antique & Design Centre is open 10 am to 5 pm, 7 days a week.

For more information contact MITCHELL ROAD ANTIQUE & DESIGN CENTRE 02 9698 0907 www.mitchellroad.wordpress.com

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ALEXANDRIA

MITCHELL ROAD ANTIQUE & DESIGN CENTRE

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

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ALEXANDRIA

DESIGNER e are living in the age of the designer superstar. From fashion, furniture and even humble kitchen appliances (think Philippe Starck) to golf courses, top designers have turned the mundane into something elegant, exotic or exciting. They have proved that we don’t have to live with poor design when fabulous designer product is so accessible.

It’s easy to scoff at the proliferation of designer labels especially when some designers’ names seem to crop up on everything from toothbrushes to houses (again, think Philippe Starck) but you have to admire the creativity and talent of these individuals. They make our surroundings so much more stylish and lead us into the future rather than have us slavishly reproduce the past.

The legacy of really good furniture design is evident in the enduring nature of the greats like Thomas Chippendale and, more recently, the Bauhaus designers of the mid 20th century.

At Laura Kincade you will find lighting and furniture from some of the most influential, modern-day interior and home furnishing designers, and their influences and motivation can be found in their profiles. Following is information on a selection of some of the world’s and America's finest.

superstars

the Architectural Digest’s list of World’s 100 Best Designers and House Beautiful’s Giants of Design, and Designer of the Year by Elle Décor International Design, ASID Designer of Distinction, Designer of the Year by Traditional Home and Best in Residential Design by Interiors Magazine.

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THOMAS O’BRIEN Celebrated for his ability to translate modernism into a warmly liveable style, the designs of Thomas O’Brien are based in comfort and tradition as much as spare streamlining. Across a range of design ventures, his work is known for its unique blend of refined yet easy domesticity and vintage elegance. His traditional-to-modern approach defines his eponymous brand of new-classic home furnishings, with furniture, lighting, tableware, textiles, carpets and bedding and bath collections for both fine and daily living.

O’Brien is a collector who gathers from around the world beautiful things that add meaning to life as well as style. These eclectic finds often inspire his original designs.

His work has been published in a variety of leading publications including Elle Décor, Time, The New York Times, Architectural Digest, House Beautiful and Town and Country, among others.

BARBARA BARRY Among the world’s most prominent and talented designers, Barbara Barry’s name stands for a unique blend of sophistication and liveability; her designs are classic, timeless and fluid.

They range from elegant interiors to an extensive portfolio of home furnishings, all of which follow her demand for grace of form and simplicity of line.

Her honours include appointment to Interior Design’s Hall of Fame, inclusion in

SUZANNE KASLER Often asserting that ‘a room should be collected, not decorated’, Suzanne Kasler incorporates the personal collections of her clients with fine art and antiques, contemporary pieces and custom-designed furniture. Kasler’s meaningful interiors straddle that rare middle ground between sophisticate and ingénue. She brings a comprehensive knowledge of interior architecture and decorative arts to her design work.

Her classic interiors have been featured in Architectural Digest, Elle Décor, House Beautiful, House & Garden, Southern Accents, Traditional Home and Veranda. In June 2010, she was included in Elle Décor’s ‘A-List’ of 25 designers.

Kasler’s widely published work has won numerous awards, placing her among the elite of America’s top designers.

In 2008, Kasler launched a line of furniture for Hickory Chair, along with a collection of lighting for Visual Comfort. Her signature style of casual elegance has since been interpreted into rugs for Safavieh, fine art for Soicher-Marin, accessories for Ballard Designs and a fabric line for Lee Jofa.

RALPH LAUREN As the first American fashion designer to create an all-encompassing collection for the home, Ralph Lauren presents home furnishings and accessories that reflect the enduring style and exquisite craftsmanship synonymous with the name Ralph Lauren. Whether inspired by timehonoured tradition, the utmost in modern sophistication or the beauty of rare objects collected around the world, Ralph Lauren Home is dedicated to only the finest materials and the greatest attention to detail for the ultimate in artisanal luxury.

ALEXA HAMPTON

AMERICAN DESIGNER LIGHTING at

LAURA KINCADE 80 O’RIORDAN STREET, ALEXANDRIA (next door to Domayne) Open Monday to Saturday 10 am to 5 pm & Sunday 10.30 am to 4 pm

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Alexa Hampton’s work is classic, traditional and eclectic. Her iconic neoclassical lighting and furniture designs are often boldly decorative and architectural in style, translating history with a fresh sense of fashion and presented in luxurious materials.

She was chosen by Architectural Digest in January 2002, 2003 and 2004 to be one of the ‘AD 100’. House Beautiful has included her in its annual America’s Best 100 Designers list every year since 1999, New York Magazine named her one of New York’s 100 best architects and decorators in 2002 and in its Fall 2000 issue of the Home Design section, The New York Times hailed her, along with five others in various design-related professions, as one of the members of a ‘New Guard’, and one of the ‘bright lights’ of her generation. In 1999, Hampton was named one of the eight ‘Female Leads’ in the design industry by Interiors Magazine.

MICHAEL SMITH Over the course of his career, Michael Smith has consistently developed a style that has been characterised as a delicate blend of ‘European tradition and American modernism’. He is considered one of the design industry’s most respected talents with an international profile of residential and commercial clients.

Smith is the recipient of many prestigious awards, including multiple times on

Architectural Digest’s ‘AD 100’ list. He has also been named Designer of the Year by Elle Décor.

His interiors have been featured in numerous noted publications.

In 2010, he was appointed by President Obama to the Committee for the Preservation of the White House.

DAVID EASTON David Easton is one of the world’s most sought-after interior designers. While he has made his name as a neo-classicist, his erudition of architecture and decoration is wide-ranging and continuing. In recent years, he has moved towards a more streamlined, contemporary aesthetic as a response to his own shifting taste.

‘I see a desire to simplify life, and for less complicated interiors. I think the future will be about a more intelligent use of resources and a more intelligent support of lifestyles.’

Easton was inducted into the Interior Design Hall of Fame in 1992 and has twice been presented with Classica America’s Arthur Ross Award and, most recently, his peers honoured him with the Lifetime Achievement award at London’s Design & Decoration Awards.

ERIC COHLER Eric Cohler is highly acclaimed for his distinguishing ability to fuse classical and contemporary elements.

Dubbed ‘The Mixmaster’ by industry editors, Cohler’s interior spaces display layers of unusual texture, colour and verve. His lighting designs offer classic profiles mixed with contemporary elements for a jolt of the unusual and a refreshing twist on formality.

Cohler is proud to be included in the recent Elle Décor’s ‘A-List’ issue of the top US 25 interior designers. He is also included in House Beautiful’s issue on America’s top 100 interior designers and was designated as one of the country’s 14 ‘best of the best’. The IFDA awarded Cohler its Circle of Excellence Award and both Traditional Home and the D&D in New York have named him ‘Designer of the Year’.

In recent years, Cohler has expanded to include product design, such as furniture, rugs, lighting and fabric – his Lee Jofa Tyler Crewel fabric was selected by the President and Mrs Obama for the White House family dining room.

See examples of items from such honoured designers in the Laura Kincade showroom in Alexandria, open seven days.

Beverley Brown LAURA KINCADE 02 9667 4415 sales@laurakincade.com www.laurakincade.com

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

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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

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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 Antiques and

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GREEN GOLD AND ART NOUVEAU special jewellery at Kalmar Antiques M ost of us would be aware of yellow gold, white gold and rose/pink gold but how many know of green gold?

Firstly, one should be aware that the colour of such gold is a very soft green. Don’t expect the green of the gold to be as rich as an emerald green colour, rather a more delicate soft hue.

Gold in its purest form is a very bright yellow that is quite malleable and easy to work with. Indeed pure gold can be hammered so thin that 200,000 sheets would only be one inch in thickness, and one single ounce of gold can be drawn into a wire an astonishing one mile long.

Because of its rich golden colour and softness, gold is alloyed with other metals to increase its hardness and alter its colour.

CREATING COLOUR Rose or pink gold, as it is also known, is produced by adding copper as its main alloy to produce a lovely warm rose colour that achieves a wonderful patina over time. The alloys used in white gold have changed over the years mostly due to the cost. Palladium was the alloy of choice in the early 1900s and although still used, other alloying metals – manganese, silver, nickel or a combination of metals – are employed to create coloured gold.

“

Gold in its purest form is a very bright yellow that is quite malleable and easy towork with

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Green gold was produced sporadically in during the 1800s, and mostly in the late 1800s, by adding silver as well as cadmium.

The major drawback with cadmium is that it releases toxic fumes when being melted, a problem that was not really known to the jewellers of this period. However its danger only lies in the alloying/melting process as once it is alloyed, green gold is completely safe to handle.

LINKED WITH ART NOUVEAU Because of the danger associated with producing green gold, it made only a very brief appearance in the history of jewellery. This coincided with a wonderful style at the time which suited its use so well – the Art Nouveau period of the late 1800s to early 1900s.

As noted earlier, the green is quite a soft colour and not suited for a whole piece such as an entire ring. Rather designers employ it to accentuate features. This was most often seen in jewellery from the Art Nouveau period, easily characterised by the free flowing natural lines taking inspiration from nature. Green gold was often used to highlight areas of a piece of jewellery such as leaves in a brooch.

The jewellery from this era that incorporated green gold were mostly brooches, pendants and rings and were designed by such luminaries as René Lalique, Georges Fouquet and Henri Vever. The spectacular pieces included a variety of precious and semi-precious stones and many of the brooches will be in sterling silver which allows the green to contrast nicely against the silver background. As can be seen in many of

the images, the green – although soft in colour – really looks quite stunning against rose gold and silver and does have a distinct colour, making the pieces even more special.

There were also quite a few pocket watch dials – often made for women – that will have green gold around the edges that also makes them very attractive.

Very little jewellery is around with green gold, however it is a fascinating area to explore and wearing jewellery featuring green gold always makes a wonderful talking point.

KALMAR ANTIQUES 02 9264 3663 kalmar@ozemail.com.au www.kalmarantiques.com.au

EARLWOOD

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

This exclusive hand-made Turkish patchwork rug is made with 100% wool and natural dyes and measures 2 x 2.8 m

We sell exotic rugs and kilims from around the world. Our well stocked showroom has a large range of traditional and modern rugs and kilims, patchwork rugs and patchwork kilims to cater for all our clients’ desires.

All clean, wash, repair and restoration jobs are guaranteed with free pickup and delivery to all suburbs

1300 166 266

02 9558 2288

info@therugexperts.com.au

www.therugexperts.com.au

21-23 Homer Street, Earlwood NSW 2206 Antiques and

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BOTANY

AARON UPHOLSTERY built on a legacy of quality T hirty something years ago I worked in a shop with a residence on Carrington Road, Coogee. One day a young guy walked in. He introduced himself and said his name was Steve and that he had opened an upholstery shop on Maroubra Road, Maroubra. He then proceeded to ask a whole range of questions about business, the industry and tricks of the trade.

After a few visits – much to the annoyance of my wife who thought he was only picking

my brain – I found out that he put himself through technical college, had worked in Canada and did a lot of work with Down Syndrome children while living there. As I got to know Steve a lot better I came to appreciate that he was very business minded and above all – quality driven. His desire was to provide a quality in furniture that was confined to the luxury end of the market and not made for the average home. He wanted to create quality affordable pieces, not just re-cover lounges.

Aaron Upholstery Australia Pty Ltd CHOOSE YOUR COMFORT SPECIALISING IN CUSTOM MADE & RE-UPHOLSTERY

• • • • •

SOFAS & CHAIRS MODULARS BEDHEADS OTTOMANS DINING CHAIRS

• • • • •

STORAGE BOXES WINDOW SEATS OCCASIONAL CHAIRS MODERN & TRADITIONAL TECHNIQUES UPHOLSTERED WALL PANELLING

Please feel free to call us in regards to upholstery enquiries – FREE QUOTES – Our friendly and helpful staff will be more than happy to assist.

1611-1613 BOTANY ROAD BOTANY 2019 NSW PHONE: 02 9666 5696 WEBSITE: aaronupholstery.com.au (Under Construction) Email: evelyn@aaronuph.com.au SHOWROOM: BY APPOINTMENT ONLY CUSTOM WORK: TRADE ONLY — SEE YOUR DESIGNER RECOVER-REUPHOLSTERY WORK OPEN TO THE PUBLIC IN ASSOCIATION WITH GRAEME SCANLON UPHOLSTERY OFFICE HOURS: 8.30 AM – 5.00 PM (MON-THURS), 8.30 AM – 3.00 PM (FRI)

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I didn’t see him for a while and in 1980 I heard through the grapevine (ours is a tiny industry) that he had a factory in Bay Street, Botany where he had installed more upholsterers, and even had office staff. He had hired Evelyn Aynie who is still with the company today.

At that time it was an indication of success and just how busy he was. To my surprise I found out that he had expanded from reupholstery work to making new lounges for decorators and high end clients, which was considered at the time to be a very brave move. All the frames he had made were in hard wood, glued and screwed. He had steel bound coil spring seats stitched with coconut fibre flock filled with lintus and feather filled seats and back cushions – the sky was the limit. This was how fine antique furniture was originally made.

Steve didn’t stop growing and in the 1990s he moved to a larger factory on Botany Road, Botany. As he grew, there were some problems with the frames so Steve went back to school to learn about frame building. With this knowledge he was able to rectify the situation and have frames made to his exacting standards of quality. With this in mind, Steve then went on to rent the two factories next to his to expand his business and have a frame shop within his factory to oversee the frame making.

Still remaining true to the trade he loved, he kept the re-covering work going although he was now equipped to make his furniture from start to finish. Steve also built a showroom within one of the factories. Another business skill was that he also developed a computer program for jobs, fabrics, work hours, etc.

As things turned out I ended up working for Steve in 1998, helping out with the recovering work, and I have been there ever since. I was very fortunate to work with a few older upholsterers in my career and to learn how to upholster antiques the way they were originally done. These skills have been passed on to Steve’s younger upholsterers.

The tables kind of turned, and I ended up picking his brain and we ended up becoming close friends. This friendship also extended to

my wife. Working closer with Steve meant that I learnt that if he could make things easier for his staff he would do it, or buy it.

He never forgot his love for music – one of his hobbies was playing the guitar – and with the encouragement of his wife Petrena, he set up a music room out the back of the factory which everyone was welcome to use.

Sadly, in October 2011 we lost Steve to cancer and in honour of his memory the business continues to follow the high standards he set with Steve’s wife Petrena Shaw at the helm. A gifted sculptor, Petrena combines her art practices with running the business side of things. Evelyn is still in the office, and we have Scott (Steve’s son) in the frame shop.

Like his father who trained him, Scott ensures the frames made in the workshop are of the highest standard and quality. Kevin Bednarz (Mr Perfection) is the cutter and we have a team of upholsterers just waiting to be of service to you.

With that being said, I guess one of the best tradesmen I ever knew is up making furniture in heaven; they must be comfortable.

Graeme Scanlon AARON UPHOLSTERY 02 9666 5696 evelyn@aaronuph.com.au

BOTANY

PACK & SEND at Botany 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.

A

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

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

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

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

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

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

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

NO JOB TOO BIG OR TOO SMALL When you call Pack & Send, regardless of whether the job is large or small, we can professionally pack it and co-ordinate its delivery to anywhere in the world. Anything

from an envelope, archaeological artefacts, to large oversize paintings and 100-year-old antique chandeliers, Pack & Send have the expertise to transport it safely.

Pack & Send 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

“

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

”

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 Antiques and

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ROCKDALE

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ROCKDALE

ph 02 9567 1322 fax 02 9597 1782

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CITY BANKNOTES

1855 half sovereign

1953 proof penny

Alexander the Great distater

China, Kiangnan Province 50 cent coin

NOBLE NUMSIMATICS’

$3.3 million sale B uyers from the UK, Singapore, Russia and New Zealand attended the recent 101st Noble Numismatics sale which attracted over 850 bidders, the majority via the Internet.

SALE HIGHLIGHTS The pattern 1855 half sovereign was a highlight, realising $133,975 to a private collector which was almost $14,000 above the estimate. In the mis-strikes, a 20 cent on a 10 cent blank which had been estimated at $1,000, brought a strong result, selling for $1,748.

An early shooting medal set off, appropriately, a bidding duel, seeing it go to a south coast buyer against a shooting medal collector for $2,796 – far exceeding the $750

estimate. The highest price paid in this section was for a gold cup won by Master Koran at Broken Hill in 1911 for $25,630 which was over $5,600 above the estimate.

A museum was the successful bidder for the Vince Kelly Sydney Harbour Bridge worker’s award, paying $12,815. Twelve enamelled badges, also from the Carl Veen collection were bought for $3,728 by a Sydney collector and a choice Love and Roberts Wagga Wagga penny token achieved $2,330. The highest priced token went to the W.J. Taylor United States mule halfpenny at $4,660. Also achieving a strong result was a set of plastic Keeling Cocos tokens dated 1968 that went under the hammer for $2,563.

Edward III gold noble

Guernsey silver five shillings

AUSTRALIAN COINS Strong prices continued for Australian coins.

A NSW dump sold for $16,310 to a collector who also bought the third Adelaide pound for $19,805, well up on the estimate of $12,500.

Bringing in double the estimate was an 1886 Melbourne half sovereign with original mint bloom which sold for $6,757. Reflecting the strength in the market for Australian coins, the pattern Sydney Mint two pounds fetched $81,550 and an early Perth Mint proof bronze of George VI went to the same buyer for $61,745 after strong bidding from a low start.

Several choice Australian florins sold to one keen collector, the 1911 at $8,155, the 1912 at $7,456, the 1915 at $5,592 and the 1932 at $19,223. The Fred Dobbin 1921 specimen was bought by another bidder at $14,563 for almost double the estimate as was the Fred Dobbin’s 1924 shilling which went to another buyer for $8,388. The outstanding 1915 threepence sold for $10,019. The best 1930 penny went to another buyer, outbidding our keen collector on the phone, at $24,465. The best 1923 halfpenny went to the same keen collector on the phone at $6,990.

BRITISH GOLD An English gold noble of Edward III went to a collector at $6,291, while a pattern broad of Charles II sold to another collector in the room at $6,058. A choice 1773 guinea went for $5,825 to a Sydney collector.

The Fred Dobbin collection of British shillings saw good results. The Henry VIII testoon achieved $2,769, the Charles I York Mint issue more than doubled the estimate, realising $1,748 and the Pontefract siege issue achieved the highest price of $4,544. The highest price of all British coins went to the Guernsey crown at $34,950.

Sydney Harbour Bridge worker’s award

In New Zealand banknotes a fresh example of a Bank of Australasia five pounds drew a strong result of $7,573 against its estimate of $4,000. A Bank of NSW ten pounds realised $13,980 while the highest price went to the National Bank one pound Dunedin 1874 at $15,728 to a room buyer.

The Lefeaux one pound serial number one sold to a collector for $6,990 and a room bidder bought a specimen set of nine Indonesian notes for $8,388.

In Australian decimal notes, a full sheet of 1997 paper $100 achieved a strong $9,320 against an estimate of $4000.

In private issues, a specimen ten pounds of the CBA with Chinese print sold for $21,844.

National Australia Bank Sydney colour trials (2) ex B.W. Mills collection was popular, bringing $6,757, far higher than the $2,500 estimate while a Melbourne specimen one pound achieved $12,815. A consecutive pair of Riddle/Heathershaw one pound notes was bought for $6,524 by a room bidder. Three consecutive Coombs/Randall one dollar star notes, all fresh to the market, were sold for top price of $16,776 again to a collector in the room.

ANCIENT GOLD A strong result was achieved in ancient gold when a collector won the Alexander distater at $20,970. A Diocletian aureus went to a collector in the room for $12,815 while a Cleopatra and Mark Antony denarius was fought over by two or three collectors and finally sold to a collector in the room at $6,175.

In world silver, a sensation was created when there was a bidding war on a Chinese silver 50 cent coin. With a modest estimate of $300, many bids had been received by the auction house by email but it was finally knocked down for an impressive $17,475 against a bidder on the phone.

A George V South Africa silver stunned onlookers when many lots went for multiples of estimate, the best being the 1930 shilling at $5,243 – way above the $200 estimate, and the 1936 half crown for $3,146 to an email bidder against a room bidder.

ORDERS, DECORATIONS & MEDALS Most lots continued selling over their estimates. The Order of the Companions of Honour realised $4,951; an NGS bar Trafalgar was sold for $8,738; an Army of India bar Maheidpoor brought $4,194, as did a Waterloo Medal, both around double their estimates as did a Waterloo New Zealand family group which was sold for $9,553 while an Arctic pair achieved a remarkable $5,825, against an estimate of $700.

The ‘Jimmy Governor’ ISM was sold for $3,495 to a Sydney collector. Finally the USA Medal of Honor – the only example we have handled – went under the hammer for $11,650, above an estimate of $10,000.

CONSIGNMENTS FOR SALE 102 CLOSING SOON Noble’s next sale takes place in Sydney in April and lots should be consigned by the end of February. We look forward to seeing you then.

Jim Noble NOBLE NUMISMATICS 02 9223 4578 www.noble.com.au

Commercial Bank of Australia specimen ten pound note

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CITY

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

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

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)

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

Shop Online Now We Buy & Sell Antiques & Collectables, Arts & Crafts, Art Nouveau, Art Deco, fossicking? .... absolutely!

Ph: 02 9252 0833

Open 7 days

Email: dd@buttonsbuttons.net

Shop 30A Ground Floor The Strand Arcade, 412 George St, Sydney Ph: 02 9222 1848

OPEN 7 DAYS 10am - 5.30pm

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WHAT VALUE the family silver?

A t W J Sanders we are often asked by a client who has brought in an item for restoration: ‘What is the value of this item?’ As a manufacturing silversmith we can offer a valuation on many articles based on the price of 're-making' it today. However such a valuation may differ greatly from what the item would actually bring at auction and also may not reflect the historical or heritage value of the item.

Many pieces that W J Sanders restores are family treasures with a high degree of sentimental value. These are often viewed by the owners as ‘priceless’. However if our clients require a documented valuation we recommend they contact a professional valuation expert such as silver consultant historian and valuer Jolyon Warwick James.

To further enlighten us all on the intricacies of the valuation processes we invited Jolyon to put his thoughts in writing, and he responded with the following.

A VALUER’S OPINION Oscar Wilde once famously said: ‘A cynic is a man who knows the price of everything and the value of nothing.’ Whilst we can appreciate the purpose of his words, there are, sadly, times when it is very necessary to be cynical and assign dollar values to items – especially in the art and antiques scene.

Whilst we are principally concerned here with silver, most of what is said is very relevant to other media.

So what is value? Simply put, it is what someone will pay for the item – but it’s not quite that simple. Let’s look at three possibilities.

Firstly, we may need to know how much we might get for something if we sold it. Even here there are two possibilities: the fire sale – i.e. a quick emergency disposal often at auction, against the more usual (with no undue haste) sale, often through an agent or gallery.

The urgent fire sale – with less extensive marketing and exposure, risks missing a target buyer and raising a lower sum.

Our second value is another figure, being how much you might need to pay for something if purchased from a good (retail) shop.

Our third value is somewhere in the middle of all this. It is the amount where a fortunate vendor identifies a private buyer. The vendor expects to get more in his pocket than if he sold it to a dealer or at auction and similarly the buyer expects to have to pay less than if he walked into a ‘high street shop’. In effect they split the differential. It requires there to be both a willing but not anxious seller and a willing but not anxious buyer – terms often heard in the valuing world. Some will describe this figure as fair market value.

However it is wise to be sure that this is what the speaker actually means if the term is used.

What is clear is that there is no single value for an item. The value of an item as determined by the dollars attributed to it depends on the terms of the valuation – and these need to be clearly understood. As we shall see, the unqualified word ‘value’ has little or no meaning on its own.

For all the above values there is one common determinant. That is, the state of the market for the item at that point in time.

Times change, and so do values – and not always upwards – at least in the short term.

The valuer’s job is to know the market and attribute the appropriate value to the item in question – relevant of course to the purpose of

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the valuation. But herein lies a second challenge. The valuer also has to know exactly what the item is and to evaluate it accordingly.

Not just the name, function or purpose of the object (e.g. trophy cup, tea service etc), but the ingredients that go to making it more or less desirable to the market.

It takes an experienced and knowledgeable person to know if an item is in good condition. How many times has one heard an over-polished and shiny piece of silver described as being in ‘unused, mint condition’ by an inexperienced eye? What is inaccurately touted as the item’s greatest asset is in fact of significant detriment. Another and very different question is that of quality. Where does the item fit into that spectrum? The two issues can be easily illustrated by appreciating that a Rolls Royce can be rusty, and a Trabant can be in genuinely pristine condition.

Other questions are those of artistic and historical significance. These can add significantly to an item by their presence and strength. They are sometimes not obvious but need to be detected. We may need to see an original design (or verifiable copy) to be sure of an artistic connection. In the case of historical significance we also need provenance – the history of the item – who owned it, where it’s been, etc. Such evidence needs to be factual and not speculative. It makes a very positive difference if a candlestick was owned by Captain Cook – but we do need proof. The impact of the makers also needs to be considered.

THE VALUATION PROCESS Let us take a piece and go through the valuation process.

Image 1 shows an 18 cm high chalice hallmarked for John Hardman, Birmingham 1850. Plus points are the excellent condition (determined by careful inspection). There is no damage or alteration from the original condition – deemed good by the market.

Recognising this requires knowledge of what the original state should be and the most likely damage-prone areas. A keen eye is needed to spot repairs, which can significantly reduce value.

Is it good quality? Design-wise it is very desirable, being Gothic revival with design overtones of famous 19th century British designer and architect Augustus Pugin (1812-1852) – a valuer needs to spot that. Whilst the original design is not to hand, the market would accept it as from the Pugin stable.

Supporting this, John Hardman Jr (1811-1867) was a maker of much Pugin output.

What about the provenance? It’s not known but originally it was probably placed in a church and unlikely to have belonged to any iconic figure (which would have dramatically increased its value) – no proof exists anyway. It is of average size-to-weight ratio, so no plusses or minuses there. Would you know what is normal here?

What is the value? For what purpose, it’s important to know. Let’s say retail purchase in a good antiques shop. Probably between $2500 and $3500, so the mid-point taken would be $3000; that’s an insurance valuation figure. So what would you get if you sold it to a knowledgeable and fair minded dealer? He should certainly offer you around $1500 to $2000. So, that’s a ‘realisation’ value of say $1750. If a vendor fortuitously identified a

Image 1: Sterling silver chalice hallmarked John Hardman (Birmingham) 1850, h: 18 cm

Image 2: Silver gilt candelabrum hallmarked for Mackay, Cunningham & Co (Edinburgh) 1877, h: 60 cm, weight: 9.6 kg

buyer, the mid-point agreed upon (fair market value) might be around $2400. A mid 19th century chalice, vaguely similar but in worn condition and not exhibiting the attraction of a desirable designer, could easily be valued at $1200 for insurance purposes and well under a $1000 realisation value. Would you know the difference?

How would you value the massive candelabrum pictured for, say, insurance purposes? It depicts Ariel and Caliban from Shakespeare’s Tempest. It is silver gilt, hallmarked for Mackay, Cunningham & Co, Edinburgh 1877, stands 60 cm tall and weighs 9.6 kg. Should the value be $15,000, $20,000, $50,000 or $75,000?

Also pictured is a normal fiddle pattern tablespoon. If it is stamped with the marks pictured in image (A), you could buy it from a reputable shop for around $100. However, if it is stamped with the marks in image (B), you’d need to be prepared to pay possibly as much as $2000. Do you know why?

W J SANDERS & CO 02 9557 0134 www.wjsanders.com.au

Fiddle pattern tablespoon

Image (A) Hallmarks attributing value to approximately $100

Image (B) Hallmarks attributing value to approximately $2000

MARRICKVILLE

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The history of

THE TEAPOT ave you ever wondered as you drink your cup of tea (and I hope it is from a bone china teacup and poured from a teapot) where it all originated from? Well I am going to explain it to you in an easy-to-read article.

The earliest example of a teapot as we know it was developed in China during the Ming dynasty (1368–1644). A utensil was made to preserve the aroma and flavour of the tea. In the beginning the teapot’s shape was simple and quite small, just enough to serve one or two cups. It had a short spout and a loop handle, and was made from red clay initially obtained from Yi-Hsing-hsien, near Shanghai, in the province of Kiangnan.

The pottery is known as stoneware, but the Portuguese called it Boccaro ware or ‘red porcelain’ though it was regarded as superior to porcelain. In time Chinese potters started to produce more imaginatively shaped teapots some of which bore designs that incorporated animals, fruit and foliage.

H

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In 1610, tea was imported from China to Holland by Dutch trading companies along with stoneware teapots. Tea was first considered a medicinal drink and it took some time for its social aspect to be appreciated.

Later in the 17th century Dutch potters started making similar teapots to those produced by the Chinese. From about 1720 white hardpaste porcelain teapots were being produced in Europe, by the Meissen porcelain factory in Germany, the Vizzi factory in Italy and the factory established by Claudius du Paquier in Vienna. Tea remained very expensive – there is some reference that the monetary cost, if made equivalent to pounds sterling, would have been around £10 for one pound of a cheaper variety and £30 for the most expensive. So teapots and teacups remained small for only the very rich could afford to drink it and usually did so in coffee houses or at court.

“I’m a little teapot, short and stout.

Here is my handle, here is my spout When I get all steamed up, hear me shout, Tip me over and pour me out!”

Teapots were also made in silver during the 1700s and the Queen Anne and Georgian styles in England replaced earlier, more gothic and triangular ewer shapes. Silver teapots were also popular in Scandinavia. You find that because of the durability of metal, more examples of early metal teapots than those of early stoneware and porcelain exist.

POPULAR GLOBULAR BODY Why have so many globular pots been made?

The globular or rounded body shape has the ability to channel liquid in a smooth stream towards the spout. Also, most potters find it the most satisfying shape to look at as well as being easier than oval or square pots to make and fire. In summary, a teapot does not have to be of any particular shape as long as it is practical, but it is obviously a bonus if it is pleasing to the eye.

Long before tea reached the West it had spread from China to Japan and south through

Asia. The hill tribes of Burma and Siam (Thailand) had begun pickling tea by bruising and steaming the leaves before stuffing them into bamboo stalks or pits. Later they would drink the extract and chew the leaves.

Early on, the East India Company had the sole monopoly of trading in tea with China.

However, this ended in 1833 and tea growing started in northern India, and then later in Ceylon, Java, Sumatra and Africa.

By the late 18th century, tea had replaced ale at the wealthy English breakfast table.

Etiquette was forming around the drink that would become a cultural constant in most British and Dutch homes.

Coffee in the mid 18th century became the preferred beverage on the rest of the continent. Britain exulted in being a tea-crazy kingdom that innovated tea rituals and teapot designs. Today, around 50 billion cups of tea are served each year.

KOGARAH

Southern Antique Centre 30 SHOPS UNDER ONE ROOF

ANTIQUES • COLLECTABLES • BRIC-À-BRAC

ECLECTIC MIX OF INTERESTING ITEMS

ARRIVING DAILY

COME VISIT US! • OPEN 7 DAYS from 10 am • CAFÉ • We Buy - Sell & Hire TEA RITUALS IN ENGLAND Now some details about one of the British tea rituals – High Tea. By definition it is a late afternoon or early evening meal consisting of a cooked dish (usually hot), with bread and butter, cakes, and of course a beverage – tea.

Have you ever had the pleasure of indulging in a High Tea? The setting is likely to be impressive.

The table is covered with a fine tablecloth.

Real linen napkins are used and a posy of flowers in a crystal vase adds decorative charm to the table. Completing the setting is a very pretty English bone china cup, saucer and plate, together with your own sugar bowl and cream jug. Your choice of tea is brought to you in a fine porcelain teapot and you are then offered on a three-tier stand bearing some of the following delights: Afternoon tea sandwiches – petite style, no crusts – favoured fillings are chicken and wild herb, cucumber, crème fraiche and dill, smoked salmon with fresh rocket. There are

245 Princes Hwy, Kogarah (near St George Leagues)

20 minutes south of the City

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

Phone: 02 9553 7843 Mobile: 0410 436 933

scones and conserves; assorted sweeties; and teas from a selection that include English Breakfast Supreme, Scottish Breakfast, Earl Grey Premium, Queen Mary, Prince of Wales, Russian Caravan, Assam, Darjeeling, and China Sencha as well as a fine selection of herbal/fruit infusions.

You can treat yourself to a High Tea experience at one of the many hotels that offer the service and indulge in a ritual that has taken the humble cup of tea and transformed it into an artform.

Kim Hughes SOUTHERN ANTIQUE CENTRE 02 9553 7843 southernantiques@bigpond.com www.southernantiques.com.au www.facebook.com/SouthernAntiquesCentre

“

A teapot does not have to be of any particular shape as long as it is practical but it is obviously a bonus if it is pleasing to the eye.

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FROM THE DECORATIVE ARTS TO FINE ART:

displaying illustrations of fine porcelain A n exquisite piece of Sèvres porcelain fetched almost US$1 million when it was bought by the Metropolitan Museum of Art, New York at the end of 2011.

It is such a huge amount of money for one item that the majority of people would not consider the prospect of such a purchase.

On the other hand, beautiful original antique lithographs of the finest pieces of Sèvres porcelain can be framed nicely, hung on the wall, and are not nearly as fragile when dusting. In a lounge or dining room, a group of framed porcelain lithographs definitely adds style – whether hung as a formal matching set, or an informal group showing different styles of porcelain.

EARLIEST EUROPEAN PORCELAIN Fine porcelain was made in China in the 7th century, and was so revered around the world that it became known as china. This kaolin or hard-paste porcelain was brought to Europe by Portuguese and Dutch travellers in the 13th century. The earliest European imitations of Chinese porcelain were made between 1575 and 1587 at an experimental factory in Florence under the auspices of the Grand Duke of Tuscany, Francesco I de Medici.

In France it was not until 1647 that Edmé Poterat created soft-paste porcelain at Rouen in Normandy. In 1673 his son Louis Poterat was granted a patent for the process, but when renewed in 1694 the application stated that the process was little used. Early Rouen faience is mainly earthenware with a distinctive creamy blue-white base. With the establishment of many faience factories in Rouen, and with

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minimal, uneconomical output from each, it remained the major porcelain production centre in France for only 20 years.

Histoire des Faiences de Rouen (The History of the Faience Porcelain of Rouen) by Eugene Delaroque was published in Paris in 1870 to showcase the finest designs of the milky white translucent faience porcelain. The colour-printed lithographs produced in Amiens

by Ris-Paquot skilfully portray the soft tones of blue and white, red, and polychrome (multicolour) faience. Ornamentation styles, though predominantly rocaille (a combination of earlier Baroque with natural elements), rayonnant (with radiating tracery of foliated patterns) and in imitation of old Chinese and Japanese porcelain patterns, also represented deities, personages and commerce.

CONVERSION TO ‘GOLD’ In Europe the production of true hard-paste porcelain had controversial origins. When it was rumoured that alchemist Johann Friedrich Böttger was experimenting with converting base metals to gold, King Augustus II detained him in Dresden, the capital of Saxony.

In 1704, scientist and mathematician Ehrenfried Walther von Tschirnhaus was appointed Böttger’s controller at Dresden. Von Tschirnhaus experimented in the production of glass and porcelain and worked with Böttger who established a faience factory in 1708. A year later Böttger discovered not gold, but hard porcelain – one week after Tschirnhaus died. The king protectively established his factory inside the walls of Albrechtsburg castle in nearby Meissen. In 1710 Böttger was

appointed its first director.

The French have always been recognised for stylish objets d’art, but the popularity of Dresden porcelain from Saxony inspired the French to greater efforts in making finer porcelain. Soft-paste factories sprang up around France: at Lille in 1711, Chantilly in 1725, and Mennecy around 1735. The porcelain developed at Chantilly, with its finer enamel glaze, soon gained greatest recognition; but soft porcelain was not produced in France on any grand scale until Sèvres adopted the process in 1768. Sèvres ceased production of soft porcelain in 1804.

Gilles and Robert Dubois, duplicitous employees from Chantilly, persuaded the brother of the Comptroller General of Finance in France, Jean-Henri-Louis Orry de Fulvy, to establish a factory in 1738 at the old Château of Vincennes.

Ignominious departure followed their unsuccessful endeavours, and fellow-worker Louis-Francois Gravant was left to develop the experiments of the brothers. In 1748, a new Comptroller General of Finance, Count d’Arnouville, with intellectual benefactor Madame de Pompadour, recommended Louis XV extend his patronage of the factory at Vincennes.

ROYAL PORCELAIN OF FRANCE In 1753 the concern was decreed Manufacture Royale de la Porcelaine de France, thus becoming known as the Royal Porcelain of France. In 1756 the factory was moved to Sèvres, between Paris and Versailles – closer to the royal residence, and in 1759 the factory was taken over by the King who became its chief client and salesman.

The director of the Academy of Sciences in Paris, Monsieur Jean Hellot, was appointed to manage closely all aspects of porcelain manufacture. Jean-Claude Duplessis, (d.

1774) Italian goldsmith and designer, was commissioned to design the forms and supervise their creation. Painting and gilding was supervised by enamel painter, Mathieu, and later by Jean-Jacques Bachelier (17241806). The result was exquisite porcelain simply referred to as Sèvres.

During the 20-year exclusive royal contract and monopoly in the production of fine porcelain in France, the deep colours and fine glazes from the Sèvres factory established a reputation across Europe for the most superior of all porcelain.

LITHOGRAPHS OF SÈVRES PORCELAIN The luminosity of the rich colours and gilding of Sèvres porcelain is beautifully represented in the colour-printed lithographs by French artist Claude Gillot (1673-1722) who was the master of the great painter Antoine Watteau (1684-1721).

To illustrate the finest Sèvres porcelain manufactured during the glory years of production in the 18th and 19th centuries, La Porcelaine Tendre de Sèvres (The Soft Porcelain of Sèvres) by Edouard Garnier was published, circa 1890 in Paris, London and New York. These are still the most magnificent antique prints of porcelain ever made. With elegant framing they can provide even greater impact than individual pieces of fragile porcelain – and are far more affordable.

Kathryn & Derek Nicholls ANTIQUE PRINT CLUB 07 5525 1363 sales@antiqueprintclub.com www.antiqueprintclub.com

CARLTON

Baker & Houghton 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

Baker and Houghton Antiques

CELEBRATE 1ST BIRTHDAY aker and Houghton Antiques is turning one. For experienced long-term antiques dealers, with a collective experience base of over 35 years, a new venture was both exciting and a little daunting, particularly at a time when retail businesses of all types were – and are – experiencing downturns in both customer base and profitability. The looming issue of online shopping and marketing to a younger generation who think very differently to the way we do, was a challenging prospect. The wonderful world of antiques could and will only survive long term if we are able to reach a new customer base and generate enthusiasm and appreciation for the history and beauty of items from bygone eras.

So with some trepidation, Baker and Houghton Antiques set out to create a traditional, genuine antique shop for our much-valued customers, whilst at the same time forging new directions to reach a broader market. A multi-faceted approach to our business has seen some real changes in direction, and some interesting observations and outcomes.

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A TRADITIONAL ANTIQUE SHOP So many of our customers comment on how nice it is to come into a traditional antique shop, where the focus is on high quality customer service and the sourcing and display of genuine antiques for the lover of fine furniture, ceramics, glass and objets d’art, or for the collectables enthusiast. Like us, our

traditional customer base prefers to hold and examine their item of interest prior to purchase. They want to be enthused by a large range and tempted by quality items at excellent prices. They want to know they can find genuine pieces, many of which are simply no longer available through contemporary retail outlets.

One example, is good quality, signed cut crystal, where people find that even the best names in crystal these days are presenting customers with pressed crystal, rather than cut.

Quality English ceramics is another example.

So many factories have either ceased production or commenced offshore production, with quite a different product standard.

As antique dealers, we all have items which appeal to our traditional customer base, and which should also appeal to a younger generation of collectors and home-makers if they are aware of the value of collecting such items. This is where our traditional focus has had to diversify to meet the challenging needs of a new generation of consumers.

ONLINE REAPS REWARDS Baker and Houghton Antiques has moved into online retail with some surprising and wonderful results. I think we came to the world of the Internet, online shopping and social media almost kicking and screaming like so many of our generation, but now can begin to sing the virtues of this aspect of our business.

We still prefer to operate differently, in a more traditional way, but have had to adjust to

the changing expectations of a younger generation who are time poor, internet savvy, and expect to be able to source their required items in the comfort of their own home, at all hours of the day. For this generation, offering a traditional retail experience, particularly in antiques, is not only outside their experience base but also outside their interest. How many times do we purchase loved collections or vintage and antique items only to be told ‘we had to sell because none of the kids want it!’

A reflection of the diminishing market for all things vintage and antique.

So with some trepidation we ventured into online shopping. You can shop with us through our website at www.bakerhoughtonantiques.com.au, find and shop with us on eBay or follow us on Facebook. One of the really surprising aspects of online shopping has been the growing young customer base that is being established – customers who come in to our shop to pick up items bought online and find a new and wonderful world of antiques waiting for them at our 400 square metre warehouse. I doubt that they would ever have initiated a visit to an antiques shop without the introduction made through the internet!

local service clubs including Lions and the SES, with stallholders' items ranging from cakes, jams and pickles to militaria or book specialists. The service club provides a barbeque and all proceeds from that, and from the stallholder fees, goes to the service club for their community projects.

Perhaps one of the most important aspects of our business is our wholesaling arm. In the first year of our business we have directly imported seven containers of quality antique and vintage French furniture, which is also available to other antiques dealers and retailers at wholesale prices. Our dealer friends and colleagues can select their items and load their trucks without undue delay. We value their custom immensely and welcome other retailers to contact us. In the new year we will be looking to source and import containers from England and the USA as well – after all, variety IS the spice of life!

JOIN IN THE CELEBRATIONS

INITIATIVES REACH NEW CLIENTS

So we’re celebrating our first birthday – and we’re doing it in style! If you haven't already visited us at 66 Planthurst Rd, Carlton, please do. We'd love to see you!

Aware of the changing marketplace, Baker and Houghton Antiques has also introduced a number of initiatives to reach different potential customers. We hold market days, trash and treasure events, in conjunction with

BAKER & HOUGHTON ANTIQUES 02 9547 3698 baker.houghton@bigpond.com www.bakerhoughtonantiques.com.au Antiques and

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COLLECTOR PROOF COINS 1955 – 1963 struck at the Melbourne and Perth mints are Australia’s most affordable rare coin investment series Right: 1956 Perth proof penny.

Valued at $7,500 in 2006; current 2012 value, $16,000

t is a fact that the mints in Canberra and in Perth are today prolific producers of proof coins specifically designed and marketed to collectors on a commercial basis to generate profits.

Consider that in the year 2010, the Royal Australian Mint in Canberra produced more than 17,000 proof sets. And that’s just one product out of hundreds. It is a natural assumption that Australia’s pre-decimal proofs were struck on a similar basis. The reality is that this is far from the truth.

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Below: 1955 Perth proof penny & half penny. Valued at $14,500 in 2006; current 2012 value, $30,000

DEBUNKING A MISCONCEPTION In 1955 Treasury bowed to collector and dealer pressure and sanctioned the striking of proof coins as part of an on-going commercial venture. The ‘collector’ proof coin series, launched in 1955 to the delight of the collecting public, came to a conclusion in 1963, just prior to the decimal currency changeover. Government intervened in just one aspect of the program – only those coins being struck for circulation were to be issued as proofs.

STRUCK PROOF COINS The Melbourne Mint was striking both silver and copper coins for Treasury which meant that it could strike both silver and copper proof coins: florin, shilling, sixpence, three pence, penny and half penny.

For the Perth Mint, operating as a copper producing mint, this meant the striking of penny and half penny proofs only.

The coins were released annually with an

1956 Melbourne five coin proof set. Valued at $1,900 in 2006; current 2012 value, $3,700

official issue price of face value plus a premium of one shilling per coin – mintages averaged around the 1,500 mark.

Each piece was minted to exacting standards – from the selection and polishing of blanks, the preparation of dies and ultimately the actual striking. The result is a coin that is pleasing to the eye, well struck with strong designs and superb smooth background fields.

It is an important series in our currency heritage for it represents Australia’s very first annual proof coining program: the pre-cursor to the series introduced by the Royal Australian Mint in 1966.

1959 Melbourne six coin proof set. Valued at $3,000 in 2006; current 2012 value, $6,000

TRACING THE GROWTH IN VALUE The demand for premium quality examples in this series has far outstripped supplies, underpinning considerable growth.

The complete set (of 54 coins) in perfect quality was selling for $50,000 in 2006. Today it is worth $100,000.

One of the greatest advantages of this series is that the coins can be acquired progressively one year at a time.

1955 1956 1957 1958 1959 1960 1961 1962 1963 1955 1956 1957 1958 1959 1960 1961 1962 1963

Perth Mint Proof Coin Sets 1d & 1/2d 1d 1d 1d 1d 1d & 1/2d 1d & 1/2d 1d & 1/2d 1d & 1/2d Melbourne Mint Proof Coin Sets 1d & 3d, 6d & 1/1d & 3d, 6d, 1/- & 2/3d, 6d, 1/- & 2/1d & 3d, 6d, 1/- & 2/1d, 1/2d & 3d, 6d, 1/- & 2/3d, 6d, 1/- & 2/3d, 6d, 1/- & 2/3d, 6d, 1/- & 2/3d, 6d, 1/- & 2/-

Mintage 301 417 1112 1028 1030 1030 1040 1064 1100 Mintage 1200 1500 1256 1506 1506 1509 1506 2106 5042

WHAT IS A PROOF COIN? To anyone with some industry savvy, the word ‘proof’ grabs attention. It equates to rarity and exclusivity – qualities that are attractive to both collectors and investors.

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A proof coin is special and the following text will help to explain why.

As a general statement, coins are minted in two distinctly different styles and for two distinctly different purposes.

1. Coins are struck for circulation so that you and I can use them in everyday commerce – buying a loaf of bread, the newspaper or a bottle of wine. They are struck in a factory environment in their millions.

2. Coins are also struck to proof quality. A proof coin is a display piece (showpiece) of its circulating counterpart and was never intended to be used as currency. It is considered a ‘piece of art’. That is, coinage in its most elegant and artistic form and because of the lengthy time involved in its production, proofs are struck in restricted numbers –usually less than 20.

PREPARING THE PROOF DIES A lot of preparation goes into the striking of a proof coin. The dies are hardened and brushed to ensure that the design will be sharp and almost three-dimensional in its appearance.

The blanks are hand-picked and highly polished to produce a coin with a mirror shine and smooth fields.

The dies are struck twice to create a sharp, well-defined design. The rims encircling the coins are high, creating a picture frame effect encasing the design. The pristine nature of the striking is particularly evident in the denticles.

They are crisp and uniformly spaced around the circumference of the coin.

COINWORKS AUSTRALIAN RARE COINS AND NOTES 03 9642 3133 info@coinworks.com.au www.coinworks.com.au

HURSTVILLE

THE ROTARY CLUB OF HURSTVILLE’S 18TH ANTIQUE AND COLLECTABLES FAIR incorporating the 14th Royal Doulton Collectors Fair 8-10 February urstville Rotary extends a warm welcome to all to attend the much anticipated 2013 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 Auditorium, part of the Hurstville City Entertainment Centre. Our goal is to raise funds to support Cystic Fibrosis NSW for its important research and ongoing vital work. As a volunteer-run fair, you are assured that profits do reach the charity of our choice.

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QUEENSLAND SES BUNNYKINS No. 1 OF 1,000 The Queensland SES Bunnykins has been created together with the Queensland State Emergency Service to help highlight the exceptional work and support offered by the Queensland SES during the devestating floods of 2010-2011. The figure has been designed

by Australian born Wendy Boyce-Davies who has designed more than 20 figures for Royal Doulton. Trained as a graphic designer, Wendy has also worked for Disneytoon Studios (Walt Disney Animation) completing six film productions. Among her noted Bunnykins figures are Outdoor Dunny Bunny and Victa Bunny.

The Queensland SES Bunnykins, numbered 1 of a worldwide production run of 1000 will be auctioned on Friday evening, 8 February with all proceeds going to Cystic Fibrosis (NSW).

ROYAL DOULTON FIGURINES

Another major donation by Royal Doulton th Australia is a set of three Australian flower lady figurines.

They are Lady Gossypium, floral emblem of the Northern Territory, the Sturt’s Desert Rose; Lady Eucalyptus, state emblem of Tasmania, the Tasmanian blue gum; and Lady Anigozanthos, official floral emblem of Western Australia, the common red and green kangaroo paw.

Valued at $800, this set of three figurines is

in a worldwide limited edition of 300, and is the first raffle prize. Second prize, which has been kindly donated, is a quilt by Carole Wright, valued at $700. Third prize is a highly collectable Royal Doulton character jug, donated by East West Collectables.

VALUATIONS Phillip Thomas of Raffan Kelaher & Thomas, and Jane Reed, a jewellery appraiser, 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, th all made by the volunteers at our Rose Coffee Shoppe.

1 Annu al OPENING TIMES ANTIQUES Opening gala night is Friday 8 February at Lady Gossypium, floral emblem of the Northern Territory, the Sturt’s Desert Rose; Lady Eucalyptus, 7 pm sharp, until 9 pm. The entry& fee is $15 state emblem of Tasmania, the Tasmanian blue gum; and Lady Anigozanthos, official floral emblem which includes champagne, wine and of Western Australia, the common red and green kangaroo paw.

COLLECTABLES FAIR refreshments.

Importantly, 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 9 February are from 9 am to 5 pm, and on Sunday 10 February from 10 am to 4 pm.

ROTARY CLUB OF HURSTVILLE Inc. Invites you to the 18th Annual Antiques & Collectables Fair Incorporating the 14th Annual Royal Doulton Collectors Fair

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.

A quick drop-off of passengers at the Marana Hall entrance is permissible.

Gala preview

1 Annu al ANTIQUES & For further information contact COLLECTABLES FAIR

Dorothy Dixon ROTARY CLUB OF HURSTVILLE 02 9153 6922 dmd2006@bigpond.net.au

Friday 8 February 2013 - 7 pm to 9 pm Admission – $15 per person Includes entertainment and refreshments Saturday 9 February – 9 am to 5 pm Sunday 10 February – 10 am to 4 pm Entry $8 Concessions $5 Children under 15 free must be accompanied by an adult

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

Saturday – 10 am to 4 pm Sunday – 10 am to 3 pm $3 per item (limit 3 items per person)

Royal Doulton, ‘Queensland’s SES’ Bunnykins 2012

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

Sponsors

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GLEBE ANTIQUES MOVES ... just up the road

egretfully, after 21 years, the antique centre at 62 Parramatta Road, Glebe, opposite Sydney University, is closing its doors. But it’s not all bad news because, like the rising Phoenix, we will be starting again some 250 metres up the road in Camperdown. The new building is bigger and better. It has been a huge undertaking to bring our new location up to task and we expect a major effort in the move after Christmas. Very generally speaking, we are hoping for a seamless move of trade by February.

In the meantime we do not wish to take everything with us – so come and grab a bargain!

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A NOSTALGIC REVIEW OF THE SYDNEY ANTIQUES TRADE: THE PAST 50 YEARS With this in mind I thought I might include some history of the centre. Some 15 years ago I came here under Liddy Baldwin’s watch, so there is a sense of sadness in going. But then, why not include the general antique trade in Sydney over the past 50 years or so?

Melbourne has long laid claim to being the antiques capital of Australia – with all their beautiful shops in the High Street, Armadale although, like Queen Street in Woollahra, many of the shops have recently changed occupants.

I remember two dealers in particular from the early 1950s – both unfortunately gone now. I came across Stanley Lipscombe, who had a shop in Castlereagh Street in the 1960s-70s. In his later years, he was invited to conduct a course in the arts and crafts at the University of NSW in about 1975. He was a wonderful old character and his lectures were

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so popular that his classes had to be moved to a bigger theatre. Lipscombe would bring in an old piece of sterling plate, or a cup and saucer from some 18th century Burslem potter and then the stories would flood forth, reminding me very much of Bill Collins with his anecdotes and abundance of knowledge. We were held in rapture as his lectures often went overtime by an hour and I must say Stanley certainly had a profound influence on me coming into this industry.

At about the same time, I remember speaking to George Auchinachie who said that when he came out here after the war in the late ’40s, he had no other desire than to deal in antiques and it was pure determination that kept him in the business because the market wasn’t strong. A combination of passion, hard work and expansive knowledge allowed the development of a successful business on the North Shore.

Liddy Baldwin took over. Being French, Liddy changed the emphasis toward bringing containers of beautiful furniture and smalls from her homeland on a regular basis, which she still does at her wonderful setting in the Southern Highlands. It was when Liddy decided to move up Mittagong way in 2002 that Peter Loughran and Garry Auton became joint tenants in the building, changing the name to the Antique Department Store.

After six years, with the centre bursting at the seams, Ron and Julie Mardell of Austiques moved their sizeable operation two doors towards the city. At the same time Peter Loughran moved two doors down the other way, to open Antiques and More. We became the Glebe Antique Centre, resulting in a strip of antique shops in a row which worked well for all three of us as well as our customers.

A NEW ERA

Glebe Antique Centre has been operating since 2008 and, despite the relocation, we intend to keep the name. As the centre has expanded very quickly with new and exciting items of furniture appearing almost daily, we were soon bursting at the seams so a move to new premises with considerably more floor space will offer the opportunity to expand our range of stock even further as well as enhance the displays.

As the face of shopping in general is changing rapidly with the advent of internet marketing, we are happy to say many of our customers still love to come and browse and physically see and inspect the furniture, or lighting, or piece of art work, glassware etc.

On the other hand, with our website we are striving to make it as easy as possible for furniture to be purchased online and forwarded all around the country as well as to New Zealand, even sending a shipment of furniture to China.

The new era began with Charlie Hirsch when he opened the Sydney Antique Centre in 1974, which enabled a lot of younger people to cut their teeth in the industry. From this point the market in antique furniture, in particular, was quite buoyant for the next 10 years.

From the centre in South Dowling Street there was a split-off group headed by Ross Pissaro to form the Wentworth Antique Centre in Wentworth Street, Haymarket in the late 1970s. Ross went on to start the Ark in City Road and then the Birkenhead Antique Centre and, from there, to finally establish the Great Antique Centre at 62 Parramatta Road, Glebe in 1991. Ross moved on in the late ’90s and

VALUABLE NAME KEPT

Our next goal is to master the mysteries of social media in the form of Facebook, LinkedIn, and so on and to be able to use these as marketing tools.

The next issue of Antiques and Arts will contain details of our new location and we look forward to welcoming our regular customers and meeting lots of new faces.

On behalf of the owners and staff at the Glebe Antique Centre we would like to wish you all a Happy Christmas and New Year and to thank you all for supporting us in the past, and into the future.

Garry Auton GLEBE ANTIQUE CENTRE 9692 9577 / 0412 081 049 http://glebeantiques.com.au

GLEBE

GLEBE ANTIQUE CENTRE

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

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The revival of ART DECO he 1920s were all about fun, adventure and decadence after the austere times of World War I. The ’20s were about letting loose and exploring newfound freedoms. This was the age of jazz, Charleston dancing, flapper dresses, and in New York the famous Chrysler building was soaring into the skyline. Technology and design came together, industrial production and art melded to form strong designs and bold colour palates. This era in design – known at Art Deco – emerged out of the Art Nouveau period in the late teens and started to come to an end in the ’30s with World War II.

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ORIGINS OF THE TERM Although we use the term Art Deco freely today to describe this movement, it is really only a fairly recent label. Famous architect Le Corbusier used the term ‘1925 Expo: Arts Déco’ as a headline for a series of articles published post the 1925 international fair held in Paris – referred to as Exposition Internationale des Arts Décoratifs et Industriels Modernes, and thus the term was

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derived from the exposition name. However his use of the diminutive for ‘decorative arts’ was intended to mock their practice rather than identify a style.

The first use of the term Art Deco was in 1966, in an exhibition held in France titled Les années '25: Art Déco /Bauhaus/Stijl/Esprit Nouveau. But it was two years later, in 1968, that the term Art Deco was explicitly used to identify a style when historian Bevis Hillier published a book on this design movement, calling it Art Deco of the 20s and 30s.

A few years later, in 1971, the Minneapolis Institute of Arts, with the support of Hillier, held an enormous exhibition – featuring over 4,000 objects – and published an accompanying book called The World of Art Deco. This signalled a revival of art deco style in the ’70s, and the term became planted in our vocabulary.

ART DECO: A STYLE SET TO DOMINATE AGAIN It is likely we will see another revival of this period in 2013 with the release of Baz Luhrmann’s remake of The Great Gatsby. If it

is anything like the phenomena that Moulin Rouge provoked, then decadent Deco is going to dominate the world again, shortly! And the Sydney Antique Centre is here to fulfil your purchasing desires – from furniture to fashion, clocks, jewellery and china – we have it all!

INTERIOR DESIGN Furniture from the ’20s and ’30s fits in well with modern minimalist schemes with their strong simple design lines and shapes. Deco lights are always popular, from the classic ‘Diana’ figure light (brass lady holding a glass shade above her head) to the pendant lights in moulded angular shapes in soft pastels.

DELIGHTFUL TABLE WARES Throughout the centre we have a range of cups and saucer sets with bold deco motifs or floral features. Decanter sets and cocktail glasses from this period are also popular.

TEXTILES Fashion is a little harder to find, as many flapper dresses from this time were constructed of heavy beads on fine silk and so, over time, many have disintegrated under their own weight. However you’ll be pleased to know that there are a few dealers in the centre who have some of these wonderful dresses in their collections. Accessories are much easier to find and use, such as beaded handbags, shawls, shoes and hats.

The Sydney Antique Centre offers a variety of art deco items for the collector or those looking for that special item – get in quick before the revival takes off!

SPECIAL JEWELLERY

For more information SYDNEY ANTIQUE CENTRE 02 9361 3244 info@sydantcent.com.au www.sydantcent.com.au

Art deco engagement rings have been in demand for a while and make a nice alternative to a simple solitaire.

Further reading C Benton, T Benton & G Wood (eds), Art Deco 1910 - 1939, V&A Publications, London, 2003

WOOLLAHRA / QUEENSLAND

FELLIA MELAS

GALLERY BRETT WHITELEY “SILVER EYE”

1988 colour screenprint Edition 75

FELLIA MELAS GALLERY Woollahra Times Art Gallery

2 Moncur St WOOLLAHRA

02 9363 5616 OPEN 7 DAYS

www.fmelasgallery.com.au

Antique Print Club Now at 95 Mt Nimmel Road Neranwood Qld 4213 (Above Springbrook Road in the hills behind the Gold Coast - 1 hour south of Brisbane)

Antique Print Club-house antique maps & prints from 16th century Light Refreshments available. Open Sundays 10 am – 4 pm – or by arrangement sales@antiqueprintclub.com 07 5525 1363 0412 442 283

www.antiqueprintclub.com

Faience of Rouen lithographs circa 1870

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PADDINGTON

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

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CITY

Kalmar Antiques where you can hold a piece of history in your hand

Specialising in antiques, fine jewellery, watches and objets de vertu

Shop 45, Level 1 Queen Victoria Building, Sydney 2000

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

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ALEXANDRIA

LIGHTING BY RENOWNED AMERICAN DESIGNERS Barbara Barry, Thomas O’Brien, Ralph Lauren, Suzanne Kasler, Alexa Hampton, Michael Smith and David Easton AT

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 pm Tel: 02 9667 4415 · Website: laurakincade.com

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G N I S O L C N W DO E!!

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Stunning selection of Lighting & Chandeliers, Porcelain, Glass, Metalworks, Furniture including pre Victorian & French,

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LET’S TALK A DEAL!

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NO REASONABLE OFFER REFUSED

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1. French walnut dining table c. 1880, set on carved scrolling legs and shaped stretchers, 130 x 118 cm $4,750 2. Oversized Italian decorative charges signed ‘Pasquali Cappelli Napoli’, h: 500 cm $8,000 pair 3. Pair of American hand crafted armchairs, satin upholstery $1,195 4. Faux bamboo shaving stand $1,995 5. French Henry II style desk c. 1880, fitted with 9 drawers and pull-out writing surface $6,900 6. Victorian credenza, fretwork detail and internal blue velvet lining $3,300 7. Restored upholstered lounge suite with sprung seats and feather cushions Consisting of a three seater lounge, two bergère style chairs, a pair of small chairs and cushions P.O.A. 8. Italian walnut coffer c. 1880s $4,900 9. Pair of large ivory tusks c. 1900, set on stepped bases , h: 159 cm P.O.A. 10. English Tudor style oak drinks trolley c.1930s, with removable tray $1,150 11. Three piece lounge suite, immaculate original upholstery, gold gilded timber framework consisting of 3 seater settee and 2 armchairs

Prints, Ephemera, Watches, Statuary, Silver, Ceramics, Clocks, Perfume Bottles, Oriental, Jewellery, Cruet Sets

212–220 Parramatta Rd, Camperdown NSW 2050 Phone 61 2 9550 5554 Fax 61 2 9550 4990 www.camperdownmewsantiques.com Open 7 days 10 am–6 pm Off-street parking

WE BUY, SELL, HIRE AND TRADE

CITY / CAMPERDOWN / WENTWORTH FALLS

ROTATE INTERIORS

Victoria & Albert Antiques Shop 17, The Strand Arcade, 412 - 414 George St, Sydney NSW 2000 Ph: 02 9221 7198 Fax: 02 9221 7214 www.antiquesinsydney.com.au

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Greg Davies Manager

SELECTED

ITEMS

BY

CHOICE

1-3 STATION ST WENTWORTH FALLS 2782 PH: 02 4757 4775

GLEBE

Pair of banquet lamps featuring stylised shades over glass fonts set on Corinthian columns $495 each

Large selection of 20th century art glass in stock

Belle Époque Louis XV style bonheur du jour c. 1900 with ormolu mounts $1950

Pair of brass with copper rivets peat buckets $280 each

Set of twelve late Victorian mahogany dining chairs c. 1890, showing Arts and Crafts influence $7800 set

Set of eight spindle back leather upholstered Arts and Crafts chairs $3600 set

Turned timber standard lamp with shelf $495

Good Victorian mahogany extension dining table to seat eighteen, with five leaves and set on fine carved legs $1580 French late 19th century Henri II style walnut pillow mirror $2500

Glebe Antique Centre Phone: +61 2 9692 9577 Fax: +61 2 9692 8611

Restored Arts and Crafts oak hallstand with seat $1850

62 Parramatta Road, Glebe NSW 2037

Arts and Crafts quarter sawn oak desk chair fitted leather upholstered seat $850

(Opposite Sydney University Veterinary Hospital)

Two levels of quality furniture, lighting, jewellery, glass, porcelain and general collectables

Open 7 days 10am to 6pm Email: sales@glebeantiques.com.au Check out our up-to-date websites Victorian ash and brass mounted desk compendium $2650

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

The largest collection of genuine antique furniture in Sydney

French plum-pudding mahogany double bed c. 1910, gilded bronze ormolu mounts $3950

European oak bookcase with glass doors and linen fold panels to base $2950 Willmotte Williams (1916-1992), The Tall House, Paddington, oil on canvas $385

Queensland walnut double pedestal tooled leather top desk featuring six drawers, fitted to cupboards $2250

George IV chest of drawers designed with quarter column corners, original handles, mother-of-pearl escutcheons $4850

Australian Art Nouveau carved walnut sideboard with slump glass doors $2750

Edwardian walnut revolving bookcase of good proportions $2450

Magnificent Louis Philippe oak cylinder top desk, c. 1860.

Provenance: ex Bill Bradshaw collection $7650

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VICTORIA

Valentine’s Antique Gallery IMPORTERS OF FINE QUALITY ANTIQUES ESTABLISHED 1947

Superb Royal Worcester porcelain Warwick vase, cobalt blue enamel and gilt decoration

Victorian Parian figure group made by Robinson & Leadbeater (Stoke-on-Trent, England)

Victorian double burner banquet lamp with original etched shade

Australian carved emu egg on silver-plated stand, c. 1890

NEW CONTAINER ARRIVING EARLY DECEMBER

Rare pair early Victorian walnut presentation goblets, c. 1850

Victorian rosewood fitted travelling box, c. 1870

Small selection of over 50 rare & unusual boxes in stock

Victorian Tunbridge Ware glove box, c. 1870

Rare Victorian mahogany inlaid apprentice chest, c. 1870

Rare inlaid enamel box made by E. Philippe (Paris). c. 1867

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

Valentine’s Antique Gallery 369 Hargreaves Street, Bendigo, Victoria 3550 Phone: 03 5443 7279 Mobile: 0418 511 626 Fax: 03 5442 9718 Email: peter@valentinesantiques.com.au www.valentinesantiques.com.au 56

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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

VICTORIA

IN HOUSE ABORIGINAL GALLERY OF DREAMINGS STOCK

AUCTIONS • NO BUYERS PREMIUM • HAMMER PRICE IS GST INCLUSIVE • UNIQUE POST AUCTION EXCHANGE POLICY • ALL MAJOR ARTISTS REPRESENTED • MUSEUM STRETCHERS • GALLERY PROVENANCE • RANGING FROM $250 TO $250,000

F

our times a year over two decades Aboriginal Gallery of Dreamings, Melbourne featured Aboriginal masterpieces in their full-page advertisements, followed by a related article for clarification and education.

Some of the masterpieces reproduced in the posters forming the border are now in local and international museum collections.

Most notable is Clifford Possum’s Warlugulong, which continues to hold the record price at auction when it was sold to the National Gallery of Australia, Canberra for $2.4 million in 2007.

Not all our paintings were sold however when we closed the city gallery in Bourke Street in 2008 and moved to Cheltenham.

With more than 3500 handpicked and commissioned paintings in storage at our factory/warehouse/museum complex in Cheltenham, retirement was not an option. All Aboriginal Gallery of Dreamings stock is listed at www.aboriginalgalleryofdreamings.com.

Our major project, the Emily Museum, is unique. This is the first museum ever, dedicated to a single Aboriginal artist.

Although still in the final throes of construction, we opened the doors to the public for a preview. The official opening of the museum, dedicated to the brightest star in the art cosmos, Emily Kame Kngwarreye, is planned for early to mid 2013. Details are at www.emilymuseum.com.au. To be kept up to date, email us for inclusion in the guest book at museum@emilymuseum.com.au.

Auctions are planned to help fund the Emily Museum. Twice a year, over the next five years, works in the Nangara exhibition from the Ebes Collection will be offered for sale at auction. To view these paintings visit www.nangara.com.

In the past 12 months we have held three in-house auctions from the Cheltenham warehouse with great results; prices ranged from $100 to $1million. Details of the works and results of all three sales can be found at www.agodauctions.com.au.

If you missed the first three auctions, there is another sale planned for March 2013. We offer huge savings on stunning works of art as there are no additional fees: buyer’s premium of up to 25% is not charged and GST is included in the hammer price. Even our unique exchange policy applies to auction purchases (conditions apply). So don’t miss the next auction!

THE ABORIGINAL GALLERY OF DREAMINGS 11-15 Christensen Street Cheltenham Vic 3192 • P: 0457 005000 Open 5 days a week for sales or viewing or by appointment

www.agodauctions.com.au

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MATCHAM

GOWRIE GALLERIES AUSTRALIA’S FINEST COLLECTION OF RARE AND IMPORTANT ANTIQUE MAPS

The 1680 edition of Goos’ magnificent sea chart of the East Indies, c.1666

PRINTED WORLD V Beyond Settlement A catalogue of rare world, Australian, Southeast Asian and Pacific maps from 1493 to 1847 featuring a fine selection of 17th-century Dutch sea charts of Australia

For orders 02 4365 6399

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

Please note new contact details for Gowrie Galleries PO BOX 276 TERRIGAL NSW 2260 Matcham studio: Phone: 02 4365 6399 Mobile: 0417 040 902 Fax: 02 4365 6096 EMAIL: maps@sydney.net • WEBSITE: www.gowrie-galleries.com.au

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First world map printed in Ausburg 1472 based on Isidorus Hispalensis (c. 560-636), Episcopi Etymologiarum Sive Originum Libri XX, Libre XIV

First world map printed in Ausburg 1472 (detail)

Isidore of Seville The first printed world map he advent of the moveable type printing press in western Europe in the mid-1400s had a huge impact on the dissemination of the teachings of classical thinkers such as Aristotle, Plato and Eratosthanes, and thus created a new scientific community. However, not all printed texts were those of authors of the earlier classical period. Many were versions of manuscripts dating from the 4th century CE, that is, the end of antiquity and the beginning of the medieval period.

The first known printed book to contain a map of the world was published in Augsburg in 1472. It was based on the writings of Isidorus Hispalensis (Latin: Isidore of Spain) (c. 560-636), known as Isidore of Seville, who was Bishop of Seville in the first part of the 7th century, and was distinguished for his intellect and education. He wrote many texts during his life, but is best known for producing Etymologiae, an extraordinary work often referred to as the first encyclopaedia of the western world.

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Etymologiae, or simply Origins, was a veritable repository of accumulated knowledge from earlier classical times up to the 7th century. It was divided into 20 sections, which are referred to as ‘books’, and covered all disciplines of learning, including two books devoted to the geography of the world.

Isidore leaned heavily on classical knowledge for his source material, and he often drew on other compilations as sources for his own texts. The volumes were collectively named Etymologiae due to the author’s insistence on noting the etymology of every entry described in the book. Etymologiae was produced at the request of his friend Braulio, Bishop of Sargossa, shortly before Isidore’s death.

It was the most widely read textbook used in educational institutions throughout the Middle Ages and it maintained its popularity even during the Renaissance. At least 80 manuscript editions survive today and, in the 50 or so years following the first printed copy

in 1472, a further ten more printed editions were produced.

Each version of Etymologiae contained a simple tripartite world map, commonly referred to as a T-O map, so called because of the rather conspicuous T-O shape created by the depiction of the water masses on the map.

The ‘O’ is formed by the body of water (Oceanum Mare), which surrounds the world, while the intersection of the Mediterranean, the Tanais (Don) and the Nile waterways, form the ‘T’. This configuration effectively divided the world into three segments, Asia, Europe and Africa, and, according to Isidore, these segments also represented the lands apportioned to the three sons of Noah: Shem, Japhet and Ham. Essentially, two early forms of Isidore’s T-O map emerged. The first of these was published in Augsburg in 1472, which is the map under discussion, and a second form in Strasbourg in c. 1473. The latter was made slightly more complex by the addition of a ‘V’ shape, which

Later, more complex world map printed in Strasbourg, c. 1473, based on Isidorus Hispalensis (c. 560-636), Etymologiae, Libre XIV

was formed by the inclusion of the Sea of Azov (Meotides Palus).

Several authors such as Macrobius (5th century), Isidore, and others were writing during late antiquity and the medieval period, but basing their texts on earlier classical writers. During this period we find hundreds of depictions of the world, mostly disc-like, although Macrobius clearly believed in a globular earth.

From the period after Alexander the Great (336-323 BCE), classical writers generally thought that the world was round and this is why thinkers like Isidore were influenced in this way. In the book, Isidore argues for the round nature of the world and although the ambiguity of his text here leads some researchers to argue that he was referring to a disc-like earth, in other texts it is clear that Isidore is describing the globular nature of the world. Perhaps his suggestion of a disc-like earth was an attempt to conform ostensibly to the church’s position that the earth was flat.

The really interesting change happens in 1477, just five years after Isidore’s printed map appeared, when the views of the astronomer Ptolemy, who was active in the second century, become widely known and cause controversy in intellectual circles.

Furthermore, five years later, new geographical discoveries are made, the Portuguese round the Cape of Good Hope and Ptolemy’s views being challenged is no longer relevant.

Isidore’s map was thus very influential in this age of great expansion of curiosity and knowledge about the earth, and in turn the dissemination of this knowledge to a great number of people through the medium of printing.

Simon Dewez GOWRIE GALLERIES PTY LTD 02 4365 6399 maps@sydney.net www.gowrie-galleries.com.au Antiques and

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VINTAGE HMV FAMILY RADIO

back on the air I recently received an email from a collector detailing his restoration of the finish on an early radio using the Howard range of products, in particular Restor-A-Finish and Feed-N-Wax. It really was gratifying to read his comments. Here is a section from his very enthusiastic email.

‘Howard Products made possible the total restoration of the cabinet, and I was amazed at how simple it was to use. The Feed-N-Wax finish brought

back to almost new the beauty of the grain in the veneer.’

This HMV radio, model 661 made circa 1940, was purchased new in that year and has stood since then in the same house to which it was originally delivered until 2012, when it was purchased by Glen Amer, a wireless radio enthusiast, from the granddaughter of the original owner.

Although functioning, the radio did require some internal work. The

Just wipe it on and wipe it off ...

Great on varnished doors and floors too

1800 672 646 www.howardproducts.com.au Order online or locate a stockist 60

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capacitors were replaced as were faulty resistors and other worn parts.

The next task was to somehow restore the tired old cabinet. Glen saw an article on Restor-A-Finish in an issue of Collectables Trader and he bought a few Howard Products online. He then used Restor-A-Finish and Feed-N-Wax to bring the dull old nitrocellulose finish back to life.

In his message to me Glen wrote this.

‘I have wanted one of these radios since seeing one at a neighbour’s house when I was a child. But every example of this set that I had come across required complete cabinet refinishing, and I prefer to have original cabinets where possible.

The tuning dial was really bad so this was the first area I tested Restor-A-Finish on, and it came up looking like new.’

Glen went on to say, ‘I have now used Restor-A-Finish and Feed-N-Wax on every item of furniture in my house where required. I recently had to take the pump out of my player piano and scratched the case while doing so. I was really upset with myself, but I applied a bit of the Restor-A-Finish over the area, and now I can’t even see

where I scratched the case.’ It’s really good when I receive comments like this, especially when they come complete with photographs of the process.

David Foster Howard Products Australia 1800 672 646 advice@howardproducts.com.au www.howardproducts.com.au

CAMPERDOWN

- since 1962 -

! "

$% & '(( )'&' *

+ #, (#, -% .

# #

!!!#

# #

‘GONE WITH THE WIND’ Lamps

here were quite a few manufacturers of the famed ‘Gone With The Wind’ style lamp in America including the Fostoria Glass Company, Edward Miller, Bradley & Hubbard, Plume & Atwood, Rochester and the list goes on. The name ‘Gone With the Wind’ came about because the makers of the movie Gone With The Wind used these lamps in various scenes. If the filmmakers had done their research a little more thoroughly they would not have used these lamps at all. The movie was set in the American Civil War in the 1860s and these particular lamps were not manufactured until the 1890s and later. Not that this is obvious to anyone but a collector of lamps.

These lamps were called Banquet or Parlor lamps by their manufacturers. The lamps are characterised by the hand-painted floral designs both on the shade and font holder as used in the movie but there were many different designs that could be classed as ‘Gone With The Wind’ lamps. I have listed lamps from various makers, and you will note that they are all very similar. I am still unsure as to whether each manufacturer made their own glassware or if they had the glassware made by someone else.

The Fostoria Company was a famous glassware manufacturer and it is quite possible that it had an agreement with a lamp manufacturer such as Plume & Atwood to supply glassware to them and they in return would supply the brassware to Fostoria. While

T

Figure 2

Figure 1

this is only a summation on my part, it just seems too much of a coincidence that nearly all the insert oil fonts are the same size.

Figure 1 shows three similar lamps with hand-painted fonts and matching shades made

by Plume and Atwood. The lamp on the left uses a centre draft burner whereas the other two lamps use Duplex burners. The shades are 10� in diameter and the metalware has an antique brass finish.

Figure 2 shows three lamps made by the Rochester Lamp Co. The lamp in the middle has a heavily embossed brass base with an oxidised silver finish (probably nickel plate)

and a 10� diameter hand-painted shade. This lamp was also available without the shade. The other two lamps have hand-painted bases and shades and the metalware has an antique brass finish. All three fonts have centre draft burners.

Figure 3 is of two lamps made by Edward Miller & Co. Both could arguably be called ‘Gone With The Wind’ lamps and the illustration shows that not all lamps were sold with matching shades and fonts. The lamp on the right has a wheel cut and etched shade and a painting of hunting dogs on the font. The lamp on the left has a shade decorated with a butterfly and the font is decorated with a bird.

Figure 4 is of a lamp made by Edward Miller & Co. Both the base and shade are decorated with birds but the base has a swan and the shade has a crane. It appears there was a little bit of mix and match between lamps and shades. The metalware could have been finished in the following, French bronze, light verde, dark green, electroplate green/blue or plain.

Figure 5 is of two lamps made by Fostoria Glass Co and are probably the most sought after. They have embossed glass bases and Continued on page 71

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ANNANDALE

ADIEU TO ANNANDALE means bargains for astute collectors O riginally, Eliza Jane Antiques opened in Haberfield some 20 or so years ago, relocating to Annandale where the business has operated for seven and half years. Now the time has come to bid adieu to the wonderful and expansive premises here in Annandale. It will be difficult to leave the magnificent sandstone cliff face that provides the dramatic backdrop to the huge leafy and tranquil undercover courtyard that the whole interior opens onto.

Many a day it has provided a wonderful retreat. This will now come to an end as the building is currently on the market for sale.

KEEPING UP WITH TRENDS

There have been many changes within the industry and also a quiet evolution within Eliza Jane’s. Trends and fashions come and go, and one of the advantages of travelling through Europe, looking for stock, is that you have a wonderful preview of the latest in design and of the trends, as they emerge.

Eliza Jane Antiques

ON I T A C LO E R / NG I ON S W O L O C N SALE

Many find this surprising, little realising that this industry is very much affected by vogue and fashions.

To remain relevant, two principles are always adhered to: all pieces must be of a high standard in quality and also possess a uniqueness of design which reflects current interiors.

STOCK TO MOVE Moving premises is a decision not lightly made. The sheer volume of stock within nearly 300 square metres is extraordinary, with every surface fully utilised. The ceilings are a jewelled and sparkling canopy of hundreds of lights. Crystal and rich multi coloured glass, polished brass, gilt and chrome are just a few of the finishes. The selection is vast and varied. Ceiling pendants, table lamps, wall brackets and standard lamps – all spanning the decades, original to the various periods, and special.

ELIZA JANE’S – SYNONYMOUS WITH THE BEST IN ANTIQUE LIGHTING The lights crown a fabulous collection of furniture and objets d’art, most sourced in Europe and personally selected, always for their quality and often for their quirkiness. Many of the pieces are from France and many periods of design are covered.

SPECIAL FRENCH PIECES For example, we have a superb quality Art Deco rosewood four door display and bookcase. This fine piece features finely cast

* 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 62

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brass ‘Pan’ motif panels to the two glazed doors and brass serpentine inlay to the rosewood flanking doors.

Also in stock are many small, functional but exquisite side tables, cupboards and gaming tables as well as the always popular revolving and stacking bookcases.

ARTWORKS OF NOTE The walls are lined with both large and small artwork from around the world and by noted Australian artists in many styles and mediums.

A large collection of original Norman Lindsay pencil and ink drawings are available.

INTERIOR DESIGN ACCENTS Choose from unusual gilt and bevelled mirrors large enough to fill a wall or small enough to sit elegantly on a table top.

A brief mention of the many objets d’art is all that is possible; they are wonderful, highly decorative and interesting – something for all interiors.

JEWELLERY TO TEMPT Moving away from interiors to personal adornments, we have a marvellous range of jewellery. From precious to semi precious, antique to contemporary, the diverse range caters to all tastes and budgets.

In anticipation of the move, we are having a genuine SALE. Up to 50% on all items. NO EXCEPTIONS. To find out more contact Jane Rush ELIZA JANE ANTIQUES 02 9518 6168/ 0416 167 151 Jane.Rush@elizajaneantiques.com.au www.elizajaneantiques.com.au

ANNANDALE

The Magic Sale

Including a Major Collection of Harry Houdini Memorabilia

Important Imp portant a Ep Ephemera phemer ra

Fine Japanese Woodblock Prints

Natori SHUNSEN (1886-1960) “Nakamura Kichiemon as Mitsuhide” 1925

Auction Auc ction Cale Calendar endar DECEMBER D ECEMBER 21 Th Thee Ch Christmas ristmas Sa Sale le JJANUARY ANUARY 11 Th ew Y ear SSale a le | 18 G ene n ra l & E state SSale a le Thee N New Year General Estate 25 F ine & D ecorative Art, Art, Antiques Antiques & Jewellery Jeweller y Fine Decorative F EBRUARY 1 C 20 t h D esign & Industrial Industria l Antiques Antiques | 8 Th rint SSale a le iinc. nc.

FEBRUARY C20th Design Thee P Print F ine JJapanese apanese Woodblock Woodblock Prints Prints | 15 F ine W ine & SSpirits pirits Fine Fine Wine 22 F ine A rt, Antiques Antiques & JJewellery eweller y aand nd Th agic SSale a le Fine Art, Thee M Magic Houdini Letters iinc. nc. H oudini L etters & Effects Eff ffeects & Important Important Einstein Einstein Ephemera Ephemera M ARCH 1 C 20 t h D esign & Industrial Industria l Antiques Antiques | 8 Aboriginal Aborigina l Art Ar t MARCH C20th Design &T riba l A rtefacts | 15 Fine Fine Wine Wine & SSpirits pirits | 22 General Genera l & E state Tribal Artefacts Estate Fine Decorative 29 F ine & D ecorative Arts, Arts, Antiques Antiques & Jewellery Jeweller y APRIL 5 Fine Fine & D ecorative Art, Art, Antiques Antiques & Jewellery Jeweller y APRIL Decorative 12 Prints Prints & Graphics Graphics | 19 F ine W ine & SSpirits pirits | 26 2 F ine & D ecorative Art, A r t, Fine Wine Fine Decorative Antiques A ntiques & Jewellery Jeweller y M AY 3 C 20 t h D esign & Industrial Industria l Antiques Antiques | 10 Aboriginal Aborigina l Art Ar t MAY C20th Design

A series series of of bound bound let letters ters ffrom rom Albert Albert Ein Einstein stein tto o hi hiss w wife iffe Maleva M aleva outlining outlining his his ‘‘rules rules of of marriage’ marriage’ aand nd o other ther ttheories. heories.

&T riba l A rtefacts | 17 Fine Fine Wine Wine & SSpirits pirits | 24 General Genera l & E state Tribal Artefacts Estate 31 Fine Decorative Fine & D ecorative Art, Art, Antiques Antiques & Jewellery Jeweller y

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BALMAIN

OLD WAREHOUSE MAKES A BEAUTIFUL SHOWROOM for French provincial and handcrafted floors J 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.

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

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BALMAIN

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

Even more to see in

BALMAIN’S ‘WINDOWS TO WATCH’ e have had some wonderful furniture and decorative pieces adorn the shop in 2012, and you and your friends have been quick to snap them up. Many thanks for your constant interest.

Many of you know that Marion Malcolm Antiques in Balmain is a tiny shop: just two rooms. It can’t survive without the backup of a storage barn. Marion has been an antique dealer for more than 40 years, not only in the Balmain

W

area, but for decades around Windsor as well.

In the grounds of her historic home is what is fondly referred to as ‘The Barn’. It is a large, historic building, a storage and workshop area filled with furniture and decorative pieces sourced from country and city areas and even overseas. ‘I regularly drag something out that has been stored since the Windsor days to clean and refresh. I often get a surprise too, because I rediscover a treasure, long forgotten,’ says Marion.

FROM THE BARN TO BALMAIN Recently, Marion brought into her Balmain shop from The Barn an exciting selection of pieces, from lights to practical furniture: a classic 1940s light, a fabulous chandelier, a marble topped work bench, a Kauri pine chest of drawers, Baltic pine blanket boxes, a Baltic pine bookcase, a mahogany Georgian era chest on chest, two tables (pine and cedar), wardrobes, bookcases and inlaid slatted beds and chairs. ‘They seem to breed in my barn,’

Marion laughs.

Fashions in furniture and furnishings have changed dramatically and to cater for everyone’s fancy she gives herself a degree of leeway. Antique dealers have to be versatile and flexible. ‘Lots of antique dealers don’t live the antique and collectable life, they just work it. I live it, live with it, live the dream and work it. My home is a huge extension of my shop. If you ever see in a field a chandelier hanging from the bough of a Peppercorn tree, don’t panic, it’s just me washing it.’

You can’t visit The Barn, nor can you probe Marion about what’s actually in her treasure trove. It is her home after all. She will pull out pieces for her unique shop to suit the times and her customers. She will clean, polish, do some basic restoration if necessary and one day the prize pieces will be showcased in the Balmain windows.

Malcolm Antiques is exactly halfway between Balmain and Rozelle, at 450 Darling

Street opposite the famous Cat & Fiddle Hotel.

We wish everyone a joy filled Christmas season and great happiness in 2013. Malcolm Antiques will be closed for three weeks over the holidays and after that expect the curious, the quirky, the historic and the fabulous to once more delight you and your friends.

MALCOLM ANTIQUES 02 9810 9333

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TURRAMURRA

www.aada.org.au

Abbott’s Antiques

Member

The Established Name for Quality Antiques since 1931

Pair of Japanese landscape painted Imari chargers with pierced scalloped rims, c. 1890

Fine pair of George III diamond cut crystal square base covered jars, c. 1820

Parian figure of 'Clytie' dated 1855, probably Copeland

George III sterling silver three piece bright cut engraved tea service, London 1811

Bronze figure of 'Seated Mercury' with winged sandals on a verde marble base, c. 1890

Walnut 3 division music canterbury with turned supports and lower drawer, c. 1840

Gilt framed painted porcelain portrait plaque, c. 1860, probably KPM

Fine George III Sheffield plate crested and scroll embossed tea urn, c. 1820

Selection of William Moorcroft 'Pomegranate' pattern items, c. 1925

Fine set of eight Regency period brass inlaid mahogany dining chairs including two carvers, c. 1820

Max Dupain, Wine press at Maurice O'Shea’s Hunter Valley, 1951. Signed and dated lower right

George III mahogany side table with three drawers and shaped apron, c. 1770

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 66

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DURAL

Dural Antiques Well Worth the Drive…

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

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

DELIVERED BY DIVINE DEW the pearl n ancient times, it was believed that pearls provided a connection with the gods as well as capturing the essence of nature’s wonder. Requiring no human refinement to reveal its splendour, one of the world's most dazzling treasures was a pure and perfect product of nature alone – all the more precious for its simplicity and rarity.

In the Medieval period, it was believed that pearls would protect one from harm, resulting in knights often wearing them as a talisman onto battlefields. Regarded as a symbol of nobility in the Renaissance period, laws were passed to ensure only those of noble birth were allowed to wear the pearl.

For its part, the pearl has become synonymous with the pearl necklace, the quintessential gift from groom to bride, possibly originating from the ancient Greek belief that pearls promote marital harmony.

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NECKLACE LENGTHS Over the years, the pearl necklace has come in many styles and lengths. Following are some popular choices.

The bib: Features several strands of pearls of varying length The (dog) collar: Also featuring several strands, this style is designed to be worn high on the neck The choker: Similar to the collar, the choker is generally around 35 to 40 cm in length The matinee: Generally one strand of pearls that measures 50 to 60 cm in length. Worn on semi formal occasions The opera: Should fall below the bust line and is for very formal occasions The Princess: The most versatile necklace, this is the classic length, ranging from 42 to 47 cm.

Understanding the pearl can be daunting for the novice; once the pure creation of nature, now there is a range – cultured, dyed and simulated.

place. The difference is that in this case, the inducement is intentional. The cultured pearl is also created within a saltwater mollusc.

larger bead than other saltwater oysters such as the Akoya.

THE AKOYA PEARL

NATURAL PEARLS

Akoya pearls are bead-nucleated cultured pearls produced and farmed primarily in Japan and China.

The Akoya oyster is the smallest pearlproducing oyster used in pearl culture today, so Akoya pearls also tend to be small, ranging in size from about two to 11 millimetres. They also tend to be the most consistently round and near-round shaped pearl. Renowned for their lustre, Akoya are considered the classic pearl.

They are generally white or cream coloured, with overtone colours of rose, silver or cream.

As pearls are very soft in nature, they need a little more care than any other piece in your jewellery collection. Besides being soft, pearls can be damaged by chemicals such as perfume, heat and dry environments. It is best to always wipe your pearls after wear with a clean dry cloth to remove any oils or chemicals that may be sitting on the pearl surface.

Always keep your pearls in a pouch so they don’t rub against any other piece of jewellery as this could damage the pearl lustre and this type of damage is irreversible. They are a precious keepsake and investment, so keep them safe and they will give you years of pleasure.

Natural pearls form in wild oysters. The process begins when an irritant, such as a grain of sand or a piece of shell, gets inside an oyster’s shell. To protect its delicate body from the irritant, the oyster secretes a substance called nacre to surround the irritant. The oyster never stops secreting nacre, so over the years the nacre layers build up into a genuine pearl.

Natural pearls are extremely rare. In nature, only about one in 10,000 oysters will produce a pearl. Of those, only a small percentage will achieve the size, shape, and colour of a desirable gemstone. The odds of finding a perfect natural pearl are around one in a million and are found in saltwater molluscs.

CULTURED PEARLS The difference between a cultured pearl and a natural one is that the cultured pearl has been given a helping hand by man. Today, nearly all pearls are cultured. By inserting a foreign object into a mollusc, pearl farmers can induce the creation of a pearl. From there, the same process of natural pearl creation takes

THE SOUTH SEA PEARL South Sea pearls are among the largest commercially harvested cultured pearls in the world. The average size of a South Sea pearl is 13 mm, with most harvests producing a range of sizes from 9 mm to 20 mm.

The South Seas lie between the northern coast of Australia and the southern coast of China. These waters are the native habitat of a large oyster known as Pinctada maxima. This oyster grows up to 30.48 cm (12 inches) in diameter, and can be nucleated with a much

LOOKING AFTER PEARLS

DURAL ANTIQUES 02 9651 2113 / 0411 116 084 www.duralantiques.com.au

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Second shop c.1985

First shop 1978

GILTWOOD

History repeats

BUYING OUT AND BUYING IN This arrangement continued until the early '90s when I was in a position to buy out Gary’s share of this stock and continue to purchase container loads of stock in France in my own right.

I also had an opportunity to purchase the building just as the ‘recession we had to have’ started to take hold. Consequently sales plummeted – along with property values in a perfect storm – resulting in my losing the $175,000 deposit on the building. Luckily we still had a lease and plenty of stock, although we had to work even harder to survive in business.

MEMORABLE EXPERIENCES

Publicity c. 1983

t was 1978 and I was 24 when I opened The Gilt Edge Antique Gallery at 404 Burke Road, Camberwell. Although it meant a nervous time for me in taking on such overheads, I realised that having a street presence would allow me to attract more business and give me a little more credibility.

Within a couple of years I was in a position to purchase the building.

While contemplating this next step, I was approached by the owner of 394 Burke Road who asked if I would like to buy or lease his store which was at least twice the size. He then decided that he didn’t want to sell, so I took a lease – and ended up staying there for thirty-two years!

In the mid '80s, together with Gary Kay of Antique Décor, I started travelling to France to purchase antique items. After a few years we formed a working arrangement whereby we bought joint stock which I would restore and he and I would sell through our respective companies and split the profits.

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gone. For me it is full of so many memories: good and bad.

NOT GOING JUST CHANGING The great news is that we are now moving on to the next part of the story with a new store opening just six doors away.

Although the new store is a little smaller it has a really great feel about it. Additionally, the fantastic natural light adds another dimension to the stock, giving clients a better sense of how the pieces will fit in with contemporary living spaces.

I do hope that you will come and visit us at 410 Burke Rd, just a few doors away from where I started retailing in 1978.

Mike Gleeson GILTWOOD 03 9889 6543 giltwood@hotmail.com www.giltwood.com

NEXT GENERATIONS OF CLIENTS After so many years in business we are seeing the next generation coming through the doors. These younger, well-heeled clients who have grown up with the finer things in life, are seeking to emulate the good taste of their parents.

Interestingly, as we begin the next chapter in our business with the closing the store at 394 Burke Road, Camberwell, we have had many people express concern and I have even been told that this place is iconic. One young lady said that she had walked past my store for all of her life and could not imagine it

Publicity c. 1988

Publicity c. 1985

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Over the years we have met and dealt with some amazing people and been invited into some of the best and most important properties in the land.

What has been really wonderful has been the ability to purchase an item in the back streets of Paris or Lyon and import it, restore it, sell it and deliver it to its new home.

So many times I have been told that when my clients first bought an item from me, it was the most expensive thing they had ever purchased.

Now, when they return to see the values of these items and exclaim how their one is so much better, they realise what fantastic value that purchase really was at the time.

Second shop refurbishment 2012

Buying in France c. 1990

NARRABEEN

ANTIQUE GENERAL STORE a Northern Beaches treasure T he beaches on the north side of Sydney Harbour are some of Sydney’s most beautiful. A visit is a great day out. Whether enjoying a coffee overlooking the surf at Dee Why, fish and chips on the sand at Palm Beach or a glass of wine overlooking Pittwater at Newport – what more could you want?

DISCOVER A TREASURE

Well you might also like to shop, and if you are looking for a unique shopping experience, then head over to the Antique General Store at North Narrabeen. But be sure to allow yourself plenty of time. The Antique General Store is a lot bigger than it looks – 10 rooms packed with treasures from the past. More than 100 years ago the building actually was a general store and for the last 27 years has been an antique shop – now more of a Northern Beaches institution.

From the beginning, the Antique General Store has been run by a group of passionate dealers sharing their time and their enthusiasm to staff and stock the shop. Each time you visit (and you will return once you discover this Northern Beaches treasure) you are guaranteed to find something new.

Many of our loyal customers come to search for quirky or unique decorator items to complement their style. Others are collectors looking to find that silver vesta case, enamel pot, Lladro figurine, brass monkey or just about anything else to add to a collection or fill a display cabinet.

Our customers include interior stylists and film and TV production designers who hire and buy for still photography, TV commercials and feature films.

ONE-STOP GIFT SHOP Other customers come to us for their gift buying because they know that the range and

quality of our stock makes us a one-stop gift shop. And if there is one line we hear often from our customers it is: ‘Your prices are so reasonable.’

For a taste of what we have to offer, visit our website then come and discover us for yourself. We guarantee a warm welcome and are confident you won’t be disappointed.

Whether shopping for a gift or adding to the décor of your home, you will be sure to find something special.

The Antique General Store is open seven days a week, from 10 am to 5 pm on the beautiful northern beaches of Sydney.

ANTIQUE GENERAL STORE 02 9913 7636 www.antiquegeneralstore.com.au

INTERIOR DESIGN: FROM NAUTICAL TO INDUSTRIAL From rustic to retro, industrial to nautical, our dealers search Sydney and beyond for unique items that will look great in any home. If you’re giving your garden a summer make-over there’s usually a selection of vintage outdoor furniture, from cane to cast iron, and for indoors there are bedside cabinets, vintage kitchen chairs, rustic benches and tables of all kinds.

We buy and sell interesting items

10 rooms bursting with a quality mix of classic antiques, vintage, rustic, industrial, nautical and interesting decorator items.

Cnr Powderworks & Warraba Rds North Narrabeen

02 9913 7636 www.antiquegeneralstore.com.au Open 7 Days 10am-5pm

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THE 26TH ROTARY ANTIQUES & COLLECTABLES FAIR INCORPORATING THE GOLD COAST BOOK FAIR

3 - 6 January 2013 S et aside time in the first week of next year as the eagerly anticipated antiques, collectables and book fair will again be presented by the Rotary Club of Palm Beach from 3-6 January 2013 at the popular Jupiters Hotel & Casino at Broadbeach.

Having grown to become an institution for locals, holiday makers and serious collectors, the fair is being presented in a superb setting for the display of an array of fine quality pieces

while offering all visitors an opportunity to enjoy the spectacular entertainment and excellent dining available at Jupiters.

postcards. Antiquarian collectors can find historical documents, as well as books with an enticing selection of literary treats gathered from many parts of the world – including old and rare volumes, children’s classics, and a wide range of subjects and pastime pursuits.

WHAT’S ON OFFER

FUND RAISING FOR CHARITY

Over 70 dealers from interstate and locally will be exhibiting in the venue’s spacious airconditioned surroundings. They will be displaying and selling an eye-catching selection of porcelain, silver, furniture, linen, jewellery, clocks, coins, lithographs, prints, maps and

This annual fair is a major Rotary Club of Palm Beach fundraising project for charity.

The need to raise funds for projects both here in Australia and overseas is very much in our hearts, so please make a point of visiting.

Enjoy the buzz of browsing among an inspiring array of collectables and antiques presented by dealers from around Australia.

26th ROTARY ANTIQUES & COLLECTABLES FAIR jewellery, porcelain, china, silver, clocks, pottery, furniture, historic documents – and much more!

plus GOLD COAST BOOK FAIR 2013 rare books, prints, posters, maps and postcards BROUGHT TO YOU BY THE ROTARY CLUB OF PALM BEACH

Jupiters Hotel & Casino Convention Centre Broadbeach Queensland

Thursday 3 - Sunday 6 January 2013 January 2013 Fair Dates

Admission

Thursday 3 Jan 6 pm – 10 pm Adults $12 Friday 4 Jan 10 am – 6 pm Concessions $10 Saturday 5 Jan 10 am – 6 pm Under 17 Free Sunday 6 Jan 10 am – 3 pm For FREE Jupiters Parking – validate your parking ticket at the Antiques Fair

Don’t forget our Mid-Year Fair at Albert Waterways Centre Sunshine Boulevard, Broadbeach Queensland FRIDAY 19 JULY – SUNDAY 21 JULY 2013 Phone: 07 5577 2771 / 0411 649 242 Website: www.rotaryantiquesfair.com Email: AntiquesFairChairman@tpg.com.au 70

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We look forward to welcoming one and all at Jupiters in January 2013 and thank dealers, sponsors and the public for their continuing support.

For more information contact Peter Campbell ROTARY ANTIQUES & COLLECTABLES FAIR 07 5577 2771 / 0411 649 242 AntiquesFairChairman@tpg.com.au www.rotaryantiquesfair.com

CENTRAL COAST / CLYBUCCA

A guide to ANTIQUES & COLLECTABLES DEALERS ON THE CENTRAL COAST 1. 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. Open 7 days 173 Avoca Drive, Avoca Beach 02 4382 1149 or 02 4381 0288 avocabeach.antiques@bigpond.com Prostitute’s pistol with

Art Deco emerald, sapphire, ruby and diamond boat shape ring, filigree shoulders set in 18 ct yellow gold, c. 1920 $3,350

gold engraved handle $1,500

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2. ACCENT ANTIQUES Accent Antiques have been at the Crowne Plaza Terrigal for 23 years. We specialise in antique and estate jewellery and have a wonderful selection of oddities. Many of our stunning pieces are purchased in France. Within sight and sound of the beach, enjoy a stunning view while you search out a treasure.

We are open seven days a week, 10 – 5 pm Shop 16, Crowne Plaza, Terrigal 02 4385 1997 ldecarne@gmail.com adecarne@gmail.com

COLLECTORS’ COTTAGE ANTIQUES

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Retro green glass bubble jug c. 1970 h: 26.5 cm $280

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 Australian cedar chiffonier featuring shield shaped doors and barley twist supports, c. 1890, $1295 to see hundreds of items for sale.

Figure 3

Continued from page 61 matching shades with a frosted finish. These lamps were available in ruby, blue, yellow, pink, pale green, dark green or clear satin.

The metal ware was most likely available in a variety of finishes although most likely to be gilt or antique brass.

Figure 6 – these two lamps epitomise the ‘Gone With The Wind’ style. Both are heavily decorated with bold roses and came in pinks, reds, blues, greens and yellows. The painting was matched for both the base and shade with little variation. The shades were around 12” in diameter, and the lamps’ total height would have been around 32” making them very impressive. There were also different flowers

Figure 4

used such as peony rose, chrysanthemum, pansy and orchids. The metal ware was most likely gilded.

As with most antique oil lamps the easiest thing to break was the shade as it had to be removed for lighting in most cases, so it is hard to find a complete original lamp of this type. There are reproductions of this type of lamp available especially in ruby glass, so it is a case of buyer beware.

Juergen Weissner THE EVERBURNING LIGHT 02 6565 0104 oil-lamp@zip.com.au www.zipworld.com.au/~oil-lamp/

Figure 5

Figure 6

Antique, old and new Kerosene Lamps Spare parts including shades, shade holders, burners, mantles, lamp oil, specially treated wicks for better burning, custom made high quality chimneys. ● Aladdin Mantle Lamps that produce 60 watts of light with no smoke or smell, ideal for emergency lighting. ● Restoration and repairs, brass polishing, nickel plating, copper plating and antique copper finish for small items. ●

The Everburning Light 2265 Pacific Highway, Clybucca NSW 2440. Phone: 02 6565 0104 e-mail: oil-lamp@zip.com.au Website: www.zipworld.com.au/~oil-lamp/

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NEWCASTLE

OPEN 4 DAYS 10 am - 5 pm

Collecting Trends International Art Events International Exhibition Reviews Collectors & Collections Book Reviews

world of

Antiques 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

ISLINGTON ANTIQUES

in Newcastle since 1990 W elcome to over 2000 square feet of antiques and collectables and furniture from Victorian through to retro.

At Islington Antiques we have a special emphasis on quality Art Deco furniture at affordable prices, most lovingly restored by our skilled craftsman. If you want a special piece restored, we will do it in our own workshop.

Stripping, polishing, lock repairs and mirror resilvering are a few of the services we offer.

We restore old brass beds, including converting a double to a queen size bed.

Royal Doulton is one of our specialties, in a showroom housing an enormous range of quality china and porcelain. We have 1500 Royal Doulton pieces in stock including dinner service pieces, Series Ware, Bunnykins and Flambé. We also sell and stock a selected range of new Royal Doulton.

MIRRORS FOR EVERY ROOM In our mirror showroom is a selection of modern, traditional and Art Deco mirrors displayed in all their different shapes and sizes. If you are renovating, redecorating or building we have a mirror for every room in your home – from lounge and dining to bedrooms and bathrooms.

Decorator pieces are another enhancement to find in our store. Hand-selected from importers from all around Australia, you can decide on lamps, figurines, paintings, prints and new furniture, any and all of which will complement both traditional and modern decors.

Our second store – Our Style Furniture and Decor opened seven years ago and is

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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.

Newcastle, the gateway to the Hunter Valley, is a leisurely two-hour drive from Sydney. Please visit us on your next trip.

We can arrange freight Australia-wide.

ISLINGTON ANTIQUES 02 4961 0533

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now available as an online edition

www.worldaa.com

NEWCASTLE

Lithgow Rockingham pipkin and wheat sheaf pattern jelly mould

Lithgow majolica tulip and fern jugs

L to r: Lithgow majolica comport, majolica shaving pot and Gladstone flower pot

THE LITHGOW POTTERY JOURNEY from unsaleable to treasure OVERVIEW OF THE HISTORY oday ‘unsaleable’ seems a strange word to be used alongside Lithgow Pottery. But soon after the Lithgow Valley Colliery Company (LVC Co) founded its coal mine in Lithgow in the 1870s, it encountered ‘small’ coal which was not commercially saleable. At the same time they found good deposits of clay and were soon producing bricks for the company’s use.

Later in the 1890s, the ‘unsaleable’ tag came to haunt the LVC Co again. This time it was the recession of the 1890s and the removal of import tariffs that caused the company’s sales to finally falter and the pottery to close in 1896.

The pottery went through two periods of production: 1879 to 1896 when the pottery was operated by the LVC Co; the second period covered 18 months from 1905.

It is the first period of the pottery’s operation that is the focus of most current treasure hunter interest in the pottery’s wares. The pottery was popular then and recorded profits. The main reasons for this must be the production of what the colonists wanted and that the wares were attractive. However, with increasing unsold stocks and the recession of the 1890s, LVC Co closed its pottery department in 1896.

The pottery remained closed until Edward Arthur Brownfield of the Staffordshire Brownfield pottery family enquired and successfully negotiated a lease of the pottery works in 1905. He had some success with the pottery that he began producing and continued with some of the ‘older’ Lithgow shapes.

Brownfield’s diaries refer to constant experiments with pottery bodies and glazes and the introduction of new modern designs.

At the same time, he set about modernising and mechanising the works.

Brownfield’s modernisation efforts outstripped his resources and sales efforts, resulting in his factory being wound up by unpaid creditors only 18 months after it commenced. The unsaleable clouds had once again closed in.

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The pottery works now remained closed and the only ceramics LVC Co continued to produce were bricks and pipes. This continued until 1946 when the entire works and stocks of unfinished pottery were sold at auction.

MAJOLICA BEAUTY Lithgow’s majolica glaze was a combination of coloured lead glazes which were applied by glazers who dipped or splashed glazes onto pieces which had received their first firing.

Lithgow majolica is typically brown with splashes of blue and green and is quite thin.

Perhaps the most recognisable of the Lithgow wares is the bread tray or bread plate. There were two main styles of these plates and the one illustrated shows a particularly rare majolica colouration. This piece is marked with the round kangaroo trademark that Lithgow used. Its survival is credited to it being safely displayed high on a shelf.

POLITICAL COMMENT English potteries regularly made pieces which marked social commentary or some sort of political occasion. It is rare to find fledgling Australian potteries doing this. Lithgow did attempt it by altering its popular Premier pattern flowerpot to include images of William Gladstone who was four times prime minister of England. However, in 1886 his party was defeated. Though LVC Co records do not confirm it, it is likely that the Gladstone flowerpot was made in anticipation of Queen Victoria’s Golden Jubilee, celebrated in 1887.

As the prime minister was Robert Cecil, Marquess of Sainsbury, it is possible the pottery was forced to destroy the Gladstone pots. More clouds of unsaleability on the Lithgow horizon.

Less than five examples of the Gladstone Lithgow flower pot are known today.

Anne Livingston with Greg Johansson CENTENARY ANTIQUE CENTRE 02 4926 4547 www.centenarycentre.com.au Further reading Marjorie Graham, Australian Pottery of the 19th and early 20th Century. David Ell Press in association with National Trust of Australia (NSW), Women’s Committee, 1979 Ian Evans, The Lithgow Pottery, Flannel Flower Press, 1981 John Burden & John Hannan, ‘Pottery of Lithgow NSW’ in Australasian Antique Collector; No 12, 1972

MADE TO BE USED Utilitarian domestic Lithgow wares were glazed in Rockingham (dark brown) or Bristol (brown on top and cream based). Lithgow did a strong trade in what it called jelly shapes or jelly moulds.

There were eight jelly shapes produced by Lithgow and they are usually marked, as is the rare wheat sheaf pattern on the piece illustrated.

Another domestic tableware piece made by Lithgow was the pipkin – a vessel used to serve soup from the pot to the table. These hardly ever survived the stresses of the 19th century kitchen. The one pictured is in Rockingham and has the round kangaroo trademark.

ELEGANT AFTERNOON TEAS The 1895 Lithgow catalogue includes what the pottery called its ‘fruit service’ which was a series of comports and decorative small plates glazed in green majolica. From this service, the green begonia leaf comport illustrated would no doubt have seen a number of elegant afternoon teas with fruit cake replacing the cucumber sandwiches as appropriate in the colonies. This piece also is marked with the round kangaroo trademark.

Five new dealers – bigger and better than ever Open 7 Days - 10 am to 5 pm Visit our Old Grocery Store Museum

Lithgow large green splashed majolica bread plate

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

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HAMILTON

Cutty Sark diorama, c. 1890, in Australian cedar case

Aquarius, two-masted ketch, match sticks and cedar stand

Rare model boats MADE IN THE HUNTER VALLEY BETWEEN 1890 AND 1980 e highlight another lost art building on our expertise in colonial cedar furniture and knowledge of the skills of the early cabinet makers. We have put together a small collection of model boats which have in most cases been found and made in the Hunter Valley. The boats were made between 1890 up to approximately 1980. Most are made of Australian cedar and display amazing detail.

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TALL SHIPS Our Cutty Sark diorama was made circa 1890.

It is in an Australian cedar case and in lovely original condition. This famous tea clipper,

launched in 1869, is the only one to survive into the 21st century. The vessel visited Newcastle five times for wool between 1883 and 1892, and is commemorated by a plaque on the foreshore. This model was possibly made after one of these visits to celebrate the event. Since 1957, the restored Cutty Sark is in permanent dry-dock in Greenwich London to commemorate the clipper ship era.

An interesting model of a two-masted ketch sits on a cedar stand, discovered in Islington.

The ship is made entirely of matches. The Victorian pond yacht is beautifully made of Australian cedar and is in original condition, while some restoration would bring back its artisan qualities.

Rare Find Country Antiques A selection of our quality and rare Australian chests of drawers

The Hunter’s largest selection of genuine Australian antique cedar furniture, most of our stock is pictured on the website: www.rarefindantiques.com.au Opening hours: Saturdays 10 am - 4 pm or by appointment.

We are there most of the time as we live on-site.

A huge model of a J class yacht is a superb example of craftsmanship, made of Australian cedar. At over 1.5 metres in length and 1.83 metres in height (5 by 6 feet), with all of its original fittings, mast and sails, it is very impressive.

The first J class was built in 1929 by Sir Thomas Lipton when he issued his fifth challenge to the Americans for the America’s Cup. With a waterline length of between 75 to 87 feet, and the new ‘Bermuda’ mast allowing a huge sail, this was the largest yacht built in its time. This model was made in Belmont and is in fine condition.

Victorian pond yacht, Australian cedar, original condition and fittings

Metal model of merchant ship MV Tulagi restored by Bruce Millen

WWII LOSSES The metal model of the MV Tulagi, a merchant ship owned by the Burns Philp Company is one of the most interesting items in the collection.

The Tulagi was built in 1939 and was sunk during WWII when torpedoed in 1944.

This model was discovered at Belmont in a distressed state and was restored by Bruce Millen of Newcastle to an astonishing level of detail. The propellers, pulleys, portholes and rudder have been handmade from brass, and the thumbnail sized ship’s wheel turned with a cedar trim and brass hand grips. Now repainted in its original colours, it is a museum quality piece.

Another impressively detailed piece is the 2.6 metre long model of the infamous Graf Spee, a German WWII battleship launched in 1934 but which its captain scuttled after the Battle of River Plate in Montevideo Uruguay in December 1939. This model belongs in a museum for its detail and historic relevance for the Australian and New Zealand navies. It was discovered in Queensland and is made of a variety of timbers.

Stockton ferry model made by Robert Campbell of Australian cedar, 0.5 x 1.3 m (length)

Scratch model of a working tug boat

NEWCASTLE HEROES

It is unfortunate that like much of our colonial furniture, we do not know the detail of the makers nor the reasons for making these ship models. Each model is shown in detail on our website – more detailed photos will be sent on request to rarefind@bigpond.net.au.

We guarantee to show a minimum of 75 pieces of colonial cedar on our website, from desks to presses.

The model of the Stockton ferry is quite impressive and made of Australian cedar by local model maker, Robert Campbell. It is 1.3 metres long and 0.5 metres high. The scratch model of a working tug boat once in Newcastle Harbour is beautifully made and serves as a reminder of our proud mercantile history.

Michael Lee RARE FIND COUNTRY ANTIQUES 02 4969 3801 / 0418 684 724 rarefind@bigpond.net.au www.rarefindantiques.com.au

Chiffonier made by John Osborne of Singleton in 1863

38 Denison St, Hamilton Ph 02 4969 3801 Mobile 0418 684 724 Model of WWII German battleship Graf Spee, variety of timbers

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NEWCASTLE / HUNTER VALLEY

NEWCASTLE & HUNTER VALLEY ANTIQUES TRAIL

featuring bed & breakfast accommodation and art galleries 1

The Centenary Antique Centre

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UNIQUE ANTIQUE ECLECTIC 29 Centenary Road, Newcastle Ph: 02 4926 4547 OPEN 7 days, 10 am – 5 pm 28 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 2

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

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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.

Coliseum Antiques

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Ambleside Antiques Cottage

Rare Find Country Antiques

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38 Denison St Hamilton Ph: 02 4969 3801, Mobile: 0418 684 724 Open by appointment only Specialists in Australian antiques, specialising in cedar.

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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.

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.

108 Maitland Road, Islington Ph: 02 4962 1532 Enquiries: gayleandy@bigpond.com 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.

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Steptoes

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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.

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Heartland Antiques & Arts

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1/158 Darby Street, Newcastle Ph: 02 4926 3003 OPEN 7 days, 10 am – 5 pm 15 dealers: collectables, china, glass, jewellery, furniture and smalls.

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Memory Lane Antiques & Decor

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.

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 ***

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Windsor Restoration Supplies

Kurrajong Antique Centre

WINDSOR & THE HAWKESBURY

Antiques & Collectables Trail W indsor and the Hawkesbury is reestablishing 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 and 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.

If visiting on a Saturday you must fit in a visit between 10 am and 2 pm to Empire Beds. 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.

In the middle of town in the pedestrian mall at 149 George St, stands Guy Stuff Gifts and Collectables, a blokey paradise. Featuring over 5000 collectables for sale, almost all of which are male-oriented, this mega store of over 400 square metres offers a vast array from which to choose. This includes limited edition die cast model cars and aircraft, Royal Australian Mint coins, collector pins, aviation and Ned Kelly memorabilia, retro robots, NRL merchandise and more.

The Junkyard

Megan Wood, The Bank Bazaar

Peter and Phil Jurd, Empire Beds

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Walking down George Street to New Street you will see Maureen’s delightful dusky pink rendered store, Thompson’s Country Collectables. Maureen has an elegant range of antiques and collectables from 1750 to 1950, but specialises in Victorian furniture, silver, jewellery, china and glass.

Around the corner from Maureen’s is Windsor Restoration Supplies. Arguably the Hawkesbury’s most comprehensive supplier 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-àbrac 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 Street 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 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 the 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 is need of 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 Antique 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.

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John Koster, Kostercraft

Maureen Partridge, Thompson’s Country Collectables

Darren & Lucille, Guy Stuff Gifts and Collectables

WINDSOR & THE HAWKESBURY

WINDSOR & THE HAWKESBURY antiques & collectables trail 1

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To advertise on this page please phone

02 9389 2919 Email: info@worldaa.com

3. WINDSOR RESTORATION SUPPLIES, WINDSOR Proprietor: Dave Crawshaw Phone: 02 4577 4853 Opening Days & Times: Mon to Fri 9 am to 4.30 pm Sat 10 am to 2 pm Public Holidays: Closed Address: 268 George Street, Windsor

1. EMPIRE BEDS, WILBERFORCE Proprietors: Phil Jurd & Peter Jurd Phone: 02 4575 1223 Website: www.empirebeds.com.au Email: jurdp1@optusnet.com.au Opening Days & Times: Mon to Fri 9 am to 5 pm Sat 10 am to 2 pm Public Holidays: Closed Address: 2/11 Ti-Tree Place, Wilberforce

2. THOMPSON’S COUNTRY COLLECTABLES, WINDSOR

4. THE JUNKYARD, LONDONDERRY Proprietors: Gary & Sue Evans Phone: 02 4572 5211 Opening Days & Times: 7 days 10 am to 4 pm (weather permitting) Public Holidays: Closed Address: 11 Bennett Road, Londonderry (Just a 10 minute drive from the centre of Windsor)

5. KOSTERCRAFT, NORTH RICHMOND Proprietors: John and Anne Koster Phone: 02 4571 1320 Mobile: 0412 571132 Email: kostercraft@hotmail.com Website: www.kostercraft.com.au Opening Days & Times: Mon to Fri 9 am to 6 pm Sat, Sun: Available for enquiries and drop offs Public Holidays: Available for enquiries and drop offs Address: 27 Elizabeth Street, North Richmond

6. KURRAJONG ANTIQUE CENTRE, KURRAJONG Proprietor: Brian Briggs Phone: 02 4573 1683 Opening Days & Times: 7 days 10 am to 5 pm Public Holidays: 10 am to 5 pm Address: 101 Old Bells Line of Road, Kurrajong

7. THE BANK BAZAAR Proprietor: Megan Wood Phone: 02 4588 6951 Opening Days & Times: Weekdays 9 am to 5 pm, Saturday 9 am to 4 pm, Sunday closed Address: 290 Windsor Street Richmond NSW 2753 www.bankbazaar.com.au

8. GUY STUFF, WINDSOR Phone: 02 4577 2797 Email: Windsor@GuyStuff.com.au Website: www.GuyStuff.com.au Opening Days & Times: Open 7 days 9 am to 6 pm (9pm Thursday Nights) Address:149 George Street Windsor

Proprietor: Maureen Partridge Phone: 02 4577 2381 Opening Days & Times: 7 days 10 am to 5 pm Public Holidays: 10 am to 5 pm Address: 11 New Street, Windsor

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WINDSOR Baby proof Royal Australian Mint 2013 coin set

Proof Royal Australian Mint 2013 coin set

Uncirculated Royal Australian Mint 2011 50c coin marking 50th anniversary emergency call number triple zero

ESPECIALLY FOR THE GUYS AT HISTORIC WINDSOR VISITING WINDSOR he 200 year old Windsor township is set on the magnificent Hawkesbury River and steadfastly celebrates its history and country village atmosphere.

A complete escape for the Sydney-sider and only 40 minutes down the M2, you can enjoy the charms of shopping, browsing, historic buildings, entertainment, alfresco dining, people-watching and great coffee.

Shopping and browsing opportunities abound for all ages and stages. The Windsor Craft Markets are every Sunday and offer great locally grown food and handmade crafts.

An eclectic selection of discount stores and specialty shops means in Windsor you can buy a leather purse, English humbug

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confections, a ukulele, hand-beaten Peruvian silver jewellery, a poncho and scented candles.

There can also be found hand-beaded necklaces, handmade soaps, shoes, designer dresses, Bali or French-inspired home wares and footy team collectables.

GUY STUFF GIFTS AND COLLECTABLES In the middle of this historic township is a collector’s dream come true. Guy Stuff Gifts and Collectables, located in the middle of the pedestrian mall at 149 George Street, is a 400 square metre retail store with over 5,000 different collectables on sale. Ninety-nine per cent of the items in this mega store are male orientated.

Some of the vast array of collectables at Guy Stuff include thousands of collector pins, limited edition die cast model cars, die cast model aircraft, Royal Australian Mint coins, tin toys and signs, retro robots, NRL merchandise, Ned Kelly, Coca-Cola, Aviation, Ford and Holden memorabilia, movie collectables and more.

Uncirculated Royal Australian Mint 2010 50c coin marking 150th running of the Melbourne Cup

GUY STUFF PRODUCT FEATURE: ROYAL AUSTRALIAN MINT COINS Guy Stuff is an authorised dealer and stockist of coins from the Royal Australian Mint in Canberra. Coins make great gifts, are very addictive collectables and quite often are fantastic investments. Themes to search through include coins minted for royal events, militaria, anniversary milestones, such as the 150th anniversary of Melbourne Zoo, and coin sets minted this year.

For the convenience of visitors to Windsor, Guy Stuff is open every day from 9 am to 6 pm, staying open until 9 pm on Thursday.

Uncirculated Royal Australian Mint 2012 $2 Remembrance Day colour printed coin featuring Flanders poppy

For more details contact GUY STUFF WINDSOR 02 4577 2797 windsor@GuyStuff.com.au www.GuyStuff.com.au Proof Royal Australian Mint 2013 gold $10 coin lunar series ‘Year of the Snake’

Guy Stuff also has the following stores: Guy Stuff Baulkham Hills 02 9688 6388 and Guy Stuff Narellan 02 4648 1606

Uncirculated Royal Australian Mint 2013 50c Tetra-Decagon Lunar Snake coin, Australia’s 2nd 14-sided coin, the first minted in 2012

www.GuyStuff.com.au A unique retail concept offering a large range of gifts and collectables for men GUY STUFF BAULKHAM HILLS Shop 9, Stockland Mall Shopping Centre 375 Windsor Road Baulkham Hills NSW 2153 P: 02 9688 6388 E: BaulkhamHills@GuyStuff.com.au Open 7 Days 9am to 6pm (9pm Thursday Nights) GUY STUFF NARELLAN Shop 2, Narellan Town Centre 326 Camden Valley Way Narellan NSW 2567 P: 02 4648 1606 E: Narellan@GuyStuff.com.au Open 7 Days 9am to 6pm (9pm Thursday Nights)

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GUY STUFF WINDSOR 149 George Street Windsor NSW 2756 P: 02 4577 2797 E: Windsor@GuyStuff.com.au Open 7 Days 9am to 6pm (9pm Thursday Nights)

Uncirculated Royal Australian Mint 2011 50c coin marking 50th anniversary emergency call number triple zero

Authorised Dealer

Uncirculated Royal Australian Mint 2013 coin set

KURRAJONG

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 THE MAITLAND REGION

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.

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NEWCASTLE Founded in 1804 as a penal colony, Newcastle is a city rich in history. Discover Newcastle’s convict past and the birthplace of Australian industry; visit Victorian mansions and villas; marvel at the grand cathedral; or learn about the area’s colourful maritime history and how Fort Scratchley was built to protect the city from possible Russian invasion.

Newcastle Tourism’s visitor information centre on Hunter Street will supply you with details on heritage walks through the city, art

galleries and museums, just a few of the delights Newcastle has to offer.

Of course, another delight is hunting through Newcastle’s many antique shops and centres. A fabulous city to explore, stay awhile and enjoy the comfort and history that Newcastle’s bed and breakfast homes can offer you.

Australia’s sixth largest city and the capital of the Hunter region, Newcastle has much to offer the visitor here on a short break or an extended stay. Newcastle is a beachside city boasting a spectacular coastline with some of Australia’s best surfing beaches. Newcastle has a large working harbour, its entrance guarded by Nobby’s breakwater and lighthouse, probably the most famous Newcastle icon.

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

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BLUE MOUNTAINS petticoat that dominated the 1900s was discarded in favour of curves hidden behind boyish straight-cut dresses teamed with bobs covered by the close fitting cloche. The iconic Coco Chanel championed the look of the ’20s.

Two-piece suits were flaunted by flappers; for the first time a woman could wear pants!

As the talkies hit town, ladies and gents would dress up in their finery. Eveningwear was predominantly silk with intricate fine beaded patterns. Hems were straight or handkerchief, adorned in long fringes that would ‘flap’ as young ladies danced the night away.

1930s

FASHION REVIVAL A brief look at yesterday’s woman ‘F

ashion forward’ is the last expression you would expect to see in this magazine. But vintage clothing is more ‘now’ than ever before.

Designers are constantly being inspired by the golden age of Hollywood and today we’re buying more and more vintage. Fashion has caused as well as signalled conflict, change and social revolution, so reliving past fashion can mean more than wearing a vintage dress.

Now, more than ever, it’s easy to step back in time and relive the ambience of a bygone era.

So, what does each decade of vintage mean?

1940s

1920s Post World War I, this was a time of excitement and parties and one of the most influential decades in fashion. It signalled liberation for women. Ladies were cutting their hair and skirts were shorter. The restrictive corset and

The stock market crash of 1929 signalled the tough times of the ’30s. This decade became the era of homemade clothes and hand-me-downs.

Hems dropped and a defined waist began to reemerge and although hair was still short, it was curled into soft finger waves inspired by Jean Harlow and Mae West. The zipper created a quiet revolution in women’s fashion and sunglasses became popular. Casual wear was crafted in florals, and blouses and dresses featured puffed sleeves and dainty collars. Those lucky enough to still enjoy the high life injected their attire with bows, frills and cowl necks.

Although dresses may have been modest at the front, a risqué low back was sure to turn heads. Silks still featured, but velvet and organza became popular. An evening dress would have to be bias cut to cling in all the right places and was always topped with a fur.

Gone with the Wind was the movie of the moment, inspiring an ample amount of style.

Elsa Schiaparelli and Coco Chanel

In 1939, Britain declared war on Germany. With so many men shipped off to fight, women took on the work that was left behind with gusto.

Clothing had to be practical and innovative. With rationing in full swing, women made outfits from men’s suits and wedding dresses from parachute silk. Wool and silk became scarce, leading to the innovation of man-made fabrics.

Exquisite tailoring and attention to detail made up for a lack of embellishment in the everyday. Clean lines emerged to enhance shoulders and accentuate tiny waists, dress coats were draped over knee length dresses and hems lifted to save much needed fabric. The nightlife saw sultry sequins and beaded trims, as this side of glamour didn’t have the same restrictions as silk. In 1946 the bikini made its debut. The golden age of Hollywood began, whose stars in stunning attire, such as Ginger Rogers and Lana Turner, also inspired women.

1950s

BLACKHEATH, BLUE MOUNTAINS

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

Following years of rations, restrictions and rules, the 1950s made up for lost time. Before skirts were chopped, now they were made from metres of fabric in calf length full circles. Men were welcomed home and as women were no longer responsible for industry, fashion no longer had to be practical and work ready. The 1950s were based around the hourglass; wiggle skirts, corsets and bullet bras nipped in waists and accentuated curves.

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 The Christian Dior 1957 collection

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Marilyn Monroe’s seductive figure and style became the most desired of the decade.

Casual wear saw beaded cardigans or swing coats thrown over sweetheart necklines.

Sweaters topped off halter necks, cigarette pants and ballet flats, inspired by the graceful Audrey Hepburn. Gloves and hats were worn with everything and dresses were rich with taffeta, lace, tulle and layers of skirt.

1960s The 1960s threw convention away. Colours were bright and plentiful; statements were made with geometric and psychedelic prints of every shade. The young and daring showed off skin in midriffs, cut-outs and sheer panels – the most flesh yet. Dresses were maxi or mini, girls bared their legs, hidden only by the stylish long boot. Thick-rimmed oversized sunglasses, large statement jewellery and the iconic beehive topped off mini dresses or stretch pants and simple shirts. Synthetics, plastics and PVC were used to their full potential. Mary Quant and Laura Ashley lead a pop art floral revolution. The ’60s gave birth to the free love culture, think Woodstock: long hair and dresses in natural fabrics and all kinds of colours.

1970s Tans hit town, hair became longer, pant-legs grew wider and the jumpsuit was born. The 1970s was a fashion era more inspired by music and celebrity than ever before. Style grew from home-grown knits and corduroy of suburban backyards to anything and everything from punk, disco and flower power. The bohemian culture paraded tie-dye T-shirts and fringed skirts and vests. Browns, greens and oranges dominated kaftans and ethnic inspired apparel. Women wore platforms and boots and sported floppy broad-brimmed hats. Anything could be crocheted, from belts to bikinis.

Disco glamour included shiny, figurehugging dresses with high splits and mesh bags or tops which came into vogue after movies like Saturday Night Fever. As the decade moved to the ’80s the punk subculture began to emerge. Vivienne Westwood and Malcolm McLaren dressed the Sex Pistols bringing with them tartan, safety pins, rips, chains and leather, giving couture a new direction with shapes and strong colours.

HOW DO YOU KNOW WHEN YOU HAVE THE REAL THING? Just like anything with age, you have to pick it up, feel it, and smell it. Is it synthetic when it should be a natural fibre? Do the style, colour and fabric ring true to the era? Don’t forget to look at trims, over-locking and sewing techniques. Look for anachronisms – a tag, a size, a nylon zipper instead of a metal one, snaps instead of buttons. Does it look and feel the part?

Tracie and Matilda Teernstra VICTORY THEATRE 02 4787 6002 victorytheatre@bigpond.com www.victorytheatre.com.au

Vivienne Westwood’s 1976 Bondage collection

SOUTHERN HIGHLANDS / WINGEN

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/FRENCH FARMHOUSE 02 4869 3736 www.sallyberesford.com.au French farmhouse tables made to order, French provincial antiques, industrial, architectural and 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 Antiques and

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MITTAGONG

Pendragon Antiques Jasper ware Stilton bell and platter with matching pair of jugs c. 1880 19th century twin handled Farmer’s Harvest mug

A selection of Scottish agate jewellery is always in stock

Part of a large selection of 17th, 18th & 19th century pewter

Victorian Majolica footed plate, one of just a good selection of French & English Majolica

Pair of Staffordshire mantle dogs c. 1880 Others in stock

19th century Wedgwood Majolica plate Staffordshire figures, Victoria & Albert on horseback c. 1870

Victorian mahogany chest of drawers There are several in stock

English elm cottage chair c. 1870 A wide selection of chairs are always available

Welsh Georgian oak two part mule chest over 5 drawers, c. 1800

One of a pair of beech chairs, simulated rosewood finish with caned seat, c. 1829

NEWLY OPENED Introducing Hugh & Dianne Arthur

Pendragon Antiques 24 Bowral Road, Mittagong

Telephone: 4872 2397 • Mobile: 0402 274 608 Email: pendragonantique@internode.on.net 82

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19th century Scottish astrigal glazed corner cabinet with harebell & Scottish thistle inlays

MITTAGONG

H U N T E R S & C O L L E C TO R S ANTIQUES

Original c. 1930s plaster ‘Cap’n stan’ shop counter advertising display figure, h: 59cm

Rare cast iron Coalbrookdale umbrella stand of Chihuahua holding his master’s horse whip with original finish, c. 1870s, h: 60 cm

Rare, in original untouched condition Arnott’s biscuit display oak case, c. 1930s, h: 48 cm

Original c. 1930s plaster “Ballarat Bertie” shop counter display figure, h: 57 cm

Rare pair of left handed flint lock pistols, c. 1790

French New Map 1940s motorcycle in working order

French 1960s carousel boat, l: 190 cm with c. 1950s mannequin

Melrose bowl kangaroo decoration, c. 1930, width: 25 cm; Grace Seccombe kookaburra, c. 1930, h: 18 cm; Remued vase with deep blue glaze, c. 1930, h: 18 cm

Rare Luna Park “Crazy Crooner”, c. 1930s, h: 66 cm. Early laughing clown head on later stand, c. 1950s

Very large taxidermy bull moose, c. 1980s

GE Valve Radio advertising figure, h: 45 cm; RCA Radiotron advertising figure, both made

by Cameo Doll Co NYC, c. 1930s

1940s Valve Radio remote control boat, l: 95 cm

We buy, sell & hire 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.

All things interesting & unusual Open 7 days 10 am to 5 pm

Rod Cauchi & Kathy Kasz 8 Bowral Road Mittagong, NSW 2575 (80 minutes south of Sydney) 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

MEMBER

Tel: (02) 4872 1661 or 0414 449 366 www.huntersandcollectorsantiques.com

MEMBER

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BOWRAL

COME TREASURE HUNTING at Dirty Janes Emporium & Antique Market in the Southern Highlands D irty Janes Emporium and Antique market, located in the heart of Bowral, is the largest business of its kind in the Southern Highlands offering a constantly evolving range of vintage home wares, architectural elements, furniture and garden wares.

Fronting Bong Bong Street, the Emporium stocks imported European and American antique pieces which are replenished regularly with new shipments so it is a venue worth visiting over and over.

For lovers of fashion the Emporium also stocks a huge range of vintage clothing and accessories, perfect for those who like something a little bit different in their wardrobe.

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The Antique Market is an extension of the Emporium located in a huge warehouse behind the shop front. Here is housed over 60 individual dealers offering an eclectic and stylish range of vintage, retro, art deco and Australiana furniture, home wares, jewellery and clothing. Dirty Janes Emporium also hosts bi-monthly bush auctions outside in the Market carpark which draws huge crowds keen to find a treasure in a range that might include anything from a sulky, to a sofa and a statue.

A charming cafe will soon be opening on the premises ensuring that visitors can leave Dirty Janes fully refreshed. Coffee and treasure hunting. The perfect combination.

To find out more contact Jane Crowley

DIRTY JANES EMPORIUM AND ANTIQUE MARKET 02 4861 3231 janecrowley@crowleyandgrouch.com www.crowleyandgrouch.com

BRAIDWOOD

VISIT BRAIDWOOD for Longbarn & ‘string’ T he town of Braidwood in New South Wales sits comfortably on the Kings Highway between Canberra and the coast. Being a heritage-listed town with a wide, typically Australian main street and lots of lovely original architecture including historic Georgian buildings and beautiful old stone churches, it is a place one would expect and hope to find antique shops. It is for these reasons that we established the Longbarn, and more recently ‘string’.

FRENCH FINDS

The Longbarn is adjacent to our historic, heritage-listed home of Tidmarsh which is one block west from the main street. You can’t miss the flags flying from the fence and the lovely two-storey stone building on the corner.

Entering the gates you are surrounded by an interesting garden and architectural bits and pieces in the shade of large established trees.

Inside, the Longbarn is filled with furniture and objects that add heart and soul to any home,

replete with beautiful timber, leather, marble and stone featuring the lovely patina of age.

Many pieces arrived recently in our container sourced from southwest France.

Each brings with it a story and a piece of history; a comfy old leather club chair, for example, and a very unusual child’s pedal car.

Down the road, the main street of Braidwood is a buzzing place these days with our new shop ‘string’ being in the social centre surrounded by galleries and eateries.

STRING AT ‘STRING’ We continue our unique look in ‘string’ which has been very well received. Antique objects such as coloured enamel ware and other kitchenalia from France can be found here together with textiles, vintage hemp and linen sheets, hand-made lace and haberdashery.

Yes, we actually do sell string! We have a growing range, including all natural fibres from more rustic jute and sisal to fabric quality wet spun linen suitable for knitting

and crochet – and the word is spreading!

What does this have to do with antiques?

Well, the focus of ‘string’ is also on the hand made, preserving old methods and techniques as well as celebrating one-off and original artistic work. We are being discovered by the artists, craftspeople and lovers of all things old and antique, not to mention lovers of all things French.

Our celebration of the hand-made, one-off and up-cycled objects, sculptures and wearables places us comfortably amongst the new collection of interesting galleries and shops that Braidwood has to offer. Definitely worth a visit!

LONGBARN 02 4842 2784 ‘STRING’ 0414 820 250 info@longbarn.com.au www.longbarn.com.au

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NGA PACIFIC ARTS PRESENTS MAUNWIAL & WAUNGIAL: Sepik spirit figures he National Gallery’s Pacific Arts collection displays some of the finest Pacific artworks and dates from around 3500 years ago to the mid 20th century.

Melanesia is the most diverse area of the collection and includes works from the great landmass of Papua New Guinea.

Originating from PNG’s East Sepik Province, are the collection’s carved statues of Maunwial and Waungial which represent a pair of spirit figures from foothills of the Prince Alexander Mountain chain.

The Sepik River region is home to a wide range of remarkable art styles and forms, and the area contains some of the finest and most diverse art of the Pacific. Known for combining figurative representations and abstract forms, Sepik art is also closely linked to the ritual and religious practices of the area.

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CEREMONIAL SIGNIFICANCE Carvings such as Maunwial and Waungial were originally used in ceremonies where they were thought to house the presence of the spirit ancestors represented. The striking forms seen in these two works reveal a history that combines function with powerful spiritual presence. These figures were created in the 19th century using ancient stone carving techniques.

These Sepik works originate from the border region between the Boiken and Abelam cultural groups and the style of the pieces is indicative of the cultural transmission of artistic traditions in the area. Though collected in Yangoru Boiken territory, the works show a number of affinities with Abelam style.

Features such as the three-dimensional style of both works and the bulbous head of the Maunwial statue suggest either that the

carvings were created by Abelam artists, or that Boiken artists were borrowing heavily from Abelam techniques. The names of the spirits also suggest Abelam origin as the suffixes –ngial and –nwial can be linked to the ngwal deity of Abelam haus tamberan (ceremonial houses).

FATHER & SON STATUES The two figures are very different in appearance, with Maunwial displaying hook-like vestigial limbs, whereas Waungial’s form appears overall more human. Despite these differences between the carvings, Maunwial and Waungial represent father and son spirit figures, and the two are believed to have similar spiritual properties.

The statues were both used in ceremonies during which the spirits could be called on to grant assistance to the village.

When Maunwial was first sighted by collectors, the statue was located in the haus tamberan of the village where it was adorned with strips of meat and other foodstuffs that had been presented as offerings to the spirit residing within. The offerings were intended to pacify the spirit so that it would aid prosperity in the village by providing fertile crops and assisting village growth.

The works also bear a number of similarities with Abelam long yam cult figures, suggesting they might have been used in ceremonies associated with the growing of giant yams which were used in local ceremonial exchange.

FIGURES GO TO WAR As well as providing benevolent assistance to the village, the statues could also be used to invoke wrathful spirits that were called on in times of war to exact vengeance upon the village’s enemies. The warlike nature of the carvings is revealed by elements of their design.

For instance, the knobs and spikes on Maunwial’s shoulders are believed to be references to clubs and spears, while the hooks that replace the figure’s arms and legs may be a reference to headhunting, which would further indicate the statue’s warlike purpose.

COLOURFUL SPIRITS The fact that these works were involved in sustained ceremonial use prior to being collected by Europeans is attested by the traces of paint that remain on the works.

Painting and decoration is an important component of the spiritual presence of such works. Once decorated with bold, vibrant colours, much of the works’ colour has worn off, but traces of red and orange pigments still remain on Maunwial, and there are faint elements of red paint on Waungial.

The interaction that would have taken place between these bright pigments and the form of the sculptures was intended to produce a transcendental and affecting response in the viewer that would emphasis the spiritual power of the works. Both Maunwial and Waungial show evidence of having been painted and repainted several times throughout their history, indicating many years of ceremonial activity.

Though Maunwial and Waungial may not look pretty, their striking forms and traces of remaining colour reveal their past ceremonial function and spiritual presence. The figures were of great spiritual importance to the peoples who created them, and would only grant their assistance to the village if given proper respect through rituals. Today, Maunwial and Waungial are no longer used in rituals but have found a new audience, and can currently be seen on display in the National Gallery of Australia.

Sylvia Cockburn Pacific Arts Intern NATIONAL GALLERY OF AUSTRALIA 02 6240 6411 www.nga.gov.au Maunwial

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CANBERRA

Open daily, free entry nga.gov.au Entrance to the National Gallery of Australia featuring Eran (2010) by Thapich Gloria Fletcher AO in the foreground. Photograph: John Gollings Parkes Place, Canberra | Free entry | 10 am – 5 pm daily | Enquiries: (02) 6240 6502 | The National Gallery of Australia is an Australian Government Agency

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Henri de Toulouse-Lautrec, Emile Bernard, 1885-86, oil on canvas, 54 x 44.5 cm. Tate, London, bequeathed by Arthur Jeffress 1961 © Tate London 2011

Henri de Toulouse-Lautrec, Woman with a tub – the tub (Femme au tub – le tub), 1896, from Elles, colour lithograph, 40.4 x 52.8 cm. National Gallery of Australia, Canberra, purchased 1977

TOULOUSE-LAUTREC: PARIS AND THE MOULIN ROUGE only at the National Gallery of Australia, Canberra this summer enri de Toulouse-Lautrec was once described by a contemporary critic as ‘the quintessential chronicler of Paris, as it is understood by those who come here seeking bright lights and wild pleasures.’

During his short but brilliant career, he created vibrant and lively images of his adopted city and its inhabitants. Favourite themes included the dance halls, the theatres and the caféconcerts that crowded France’s capital during the latter half of the 19th century, and of the performers who made them famous.

The National Gallery of Australia’s major summer exhibition Toulouse-Lautrec: Paris & the Moulin Rouge will introduce Australian audiences to the artist whose work has come to define fin-de-siècle Paris.

Despite this amazing artist’s international popularity, the Australian public has not previously had an opportunity to see a full retrospective devoted to his art in all media.

The National Gallery’s exhibition promises a thorough and provocative examination of the artist’s work, including his forays into Impressionism, through more than 100 paintings, drawings, prints and an extensive collection of his famous posters, borrowed from 30 public and private collections worldwide. A particular focus is on his observations of Parisian life, with special emphasis on the cabaret culture around the Parisian arrondissement Montmartre – its dancers, singers and other performers, the drinkers at the bars, and other scenes of the fashionable world.

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A LIFE SHORTENED BY ILL HEALTH Born into a wealthy aristocratic family from southern France in 1864, Toulouse-Lautrec’s parents were first cousins which may have contributed to the series of congenital health conditions that plagued him throughout his short life. During his childhood he suffered severe breaks to both his legs that never fully healed. As a result his legs remained those of a child’s while his torso developed into that of an adult. He grew to be only 5 foot 1 inch (154 cm) tall and became extremely selfconscious about his appearance.

His poor health and physical impediments meant he was unable to participate in the typical hunting, shooting and fishing activities of male family members which caused an early estrangement from his father that continued until his own premature death in 1901.

Instead he turned to painting and drawing, working under local teachers. His work from this period captures family members and

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views of their various estates. His youthful love of horses is evident in The jockeys [Les jockeys], 1882, on loan from the collection of Carmen Thyssen-Bornemisza.

LOVE OF PORTRAITURE This exhibition also sheds new light on Toulouse-Lautrec’s often-neglected portraits, demonstrating his artistic development.

Following his move to Paris in the late 1880s, he was intrinsically drawn to the bohemian life of Montmartre where artists, writers and philosophers mingled in local bars exchanging ideas and seeking inspiration.

During his time as a student in Paris, first studying under Léon Bonnat and later Fernand Cormon, he met many important artists from what became known as the Post-Impressionist group. These included Vincent van Gogh and Emile Bernard, whose 1885-86 portrait borrowed from London’s Tate collection demonstrates Toulouse-Lautrec’s enduring love of portraiture.

Throughout his career he painted portraits of friends and family. During the late 1880s and early 1890s he created a series of full length portraits of his male friends and family members, shown as well-to-do men-abouttown or flâneurs. These men – in top hats, formal overcoats and often carrying canes – are shown lounging in the artist’s studio amongst canvases propped against the walls.

Portrait of Dr Henri Bourges, 1891, his housemate at the time, shows the subject pulling on his gloves as if impatiently waiting to head out on the town with the artist.

A SPECIAL KIND OF MODEL Toulouse-Lautrec frequently became obsessed with particular models, often redheads. The subject of the jewel-like painting Carmen Gaudin, 1884-85 from the National Gallery of Art, Washington is one such example. He painted her more than 14 times, sometimes as herself and on other occasions in the character of a laundress. This almost obsessive treatment was given to other models who took his – sometimes fleeting – fancy. While Carmen went on to model for other artists, when she later asked if he had more work for her, she was summarily dismissed – she had committed the grave sin of dyeing her hair black!

To say that he had a ‘type’ would be a gross understatement. Another redhead with whom the artist had an enduring relationship was the dancer Jane Avril. She appeared not only in paintings but also in many of his most famous posters. He designed those bold graphic works

Henri de Toulouse-Lautrec, Portrait of Dr Henri Bourges, 1891, oil on cardboard mounted on panel, 79 x 50 cm. Carnegie Museum of Art, Pittsburgh, acquired through the generosity of the Sarah Mellon Scaife Family. Photograph © 2012 Carnegie Museum of Art, Pittsburgh

to advertise her performances at various Paris nightspots. Unlike the many associates who increasingly kept their distance as alcohol and venereal disease began to take their toll on his art and mind, Jane remained loyal to the end.

This exhibition contains three posters featuring Jane Avril, including the artist’s final poster from 1899.

PARIS’ UNDERBELLY The exhibition juxtaposes the gay, heady world of Parisian nightlife with the city’s harsher underbelly. Toulouse-Lautrec devoted a considerable part of his oeuvre to works that explored the lives of the prostitutes who lived in the brothels catering both to the wealthy and to the poor areas of the capital. Known as closed houses (maisons closes) or houses of tolerance (maisons de tolérance) because of their legally ‘tolerated’ place within society, the artist turned to these establishments and their inhabitants for inspiration in his drive to depict Paris, warts and all.

To this subject, he dedicated both paintings and a suite of prints entitled Elles, 1896. Interestingly, only rarely did any of these works include men, the customers of such establishments. Instead he focused on the day-to-day lives and interactions of the women themselves – sleeping, sitting and waiting for clients as well as at their toilette.

Although not the first artist to use prostitutes as models, he succeeded in capturing a tenderness in his images of these women that had previously been lacking in such depictions, observing: ‘A professional model is like a stuffed owl. These girls are alive.’

This exhibition encompasses work from the formative years of Toulouse-Lautrec and his extraordinary diverse depictions of the Paris social scene, the café-concert, contemporary theatre, dance hall and the brothels. The artist’s subject matter became the epitome of modernity, and through his painting and graphic work he became an influential figure in the evolution of art throughout the 20th century.

Henri de Toulouse-Lautrec, Jane Avril, 1893, colour lithograph, 128.2 x 93.6 cm. National Gallery of Australia, Canberra, gift of Orde Poynton Esq. CMG 1996

Toulouse-Lautrec: Paris & the Moulin Rouge will be on display in Canberra only, from 14 December 2012 to 2 April 2013.

Tickets are available at ticketek.com.au

Simeran Maxwell Exhibition Assistant for Toulouse-Lautrec: Paris & the Moulin Rouge NATIONAL GALLERY OF AUSTRALIA 02 6240 6411 www.nga.gov.au

Henri de Toulouse-Lautrec, The jockeys (Les jockeys), 1882, oil on canvas, 64.5 x 45 cm. Carmen Thyssen-Bornemisza Collection on loan to the Museo ThyssenBornemisza, Madrid

CANBERRA

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CANBERRA

WELCOME TO CANBERRA’S Forrest Hotel and Apartments

he Forrest Hotel and Apartments is one of Canberra’s best value hotels with a choice of standard to executive nonsmoking rooms. The award-winning, three-anda-half star Canberra property also offers state-ofthe-art conference facilities, restaurant and function areas. Renowned for its hospitality, guests enjoy all the comforts of home complemented by outstanding service.

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CLOSEST HOTEL TO PARLIAMENT HOUSE Situated in the prestigious leafy suburb of Forrest, with views to parkland and beyond to Parliament House, Forrest Hotel and Apartments is renowned for its quiet and tranquil location which is also in the Parliamentary triangle so, leave the car and follow a picturesque route to many of Canberra’s major icons. From the hotel, Parliament House is a 10 minute walk.

Manuka shopping village and Manuka oval are also only 10 minute walks. If looking for more exercise, both Lake Burley Griffin shores and Old Parliament House is a 20 minute stroll and it takes approximately 30 minutes to walk to Questacon and the National Library.

Even closer by car is the Australian War Memorial which takes six minutes, and if looking to drive to the CBD for entertainment and shopping, this is no more than five minutes by car as is the National Convention Centre.

Or, if not wanting to go very far then the Italo Australian Club is next door to the hotel.

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It is also the ideal stopover for a skiing holiday in the Snowy Mountains ski fields of Thredbo and Perisher, which are only two hours from the Forrest Hotel and Apartments.

DINE IN THE FORREST Located on the ground floor, Sherwoods Restaurant is fully licensed offering a seasonal menu of wonderful dishes, excellent boutique wines plus al fresco dining. Ideal for business and private occasions, free Wi-Fi is available during breakfast and evening meals when the restaurant is open.

CONFERENCES IN CANBERRA Forrest Hotel and Apartments is ideal for day, half day or residential meetings. Conveniently located, the Forrest Hotel ensures your delegates enjoy a calm environment, not bound by four walls or the fuss of bigger establishments. For your conference or meetings venue, book today.

The Nottingham Room, overlooking the parkland, caters for up to 80 delegates and includes state-of-the-art presentation facilities.

To find out more contact FORREST HOTEL AND APARTMENTS 02 6203 4300 reservations@forresthotel.com www.forresthotel.com

JAMBEROO / CANBERRA

Nerilee

Antiques

ACT’S AUTUMN ANTIQUES AND COLLECTABLES FAIR A Rotary Event in Canberra’s Centenary Year 22 -24 March 2013 he year 2013 marks the centenary of Canberra – 100 years since Lady Denman, wife of the then GovernorGeneral, stood in a dusty paddock and declared: ‘I name the capital of Australia… Canberra.’

The capital has come a very long way since then but, for a quarter of its life, it has also hosted the ACT Seasonal Antiques and Collectables Fairs in what, for many years, was the city’s unofficial Town Hall – the historic Albert Hall in Yarralumla which was opened in 1928 by then Prime Minister, Stanley Bruce.

Les Selkirk, the fair organiser, and the Rotary Club of Canberra City, which has long been involved with the fairs’ logistics, are delighted that the 2013 Autumn Antique and Collectables Fair will form part of Canberra’s centenary celebrations.

The autumn fair will be held from Friday 22 March through to Sunday 24 March. The 23 antique dealers from around Australia will bring the best of their wares – including a selection of items typical of the early years of Canberra.

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AFFORDABLE ANTIQUES Locals and visitors alike look forward to this very popular event which brings the very best quality antiques competitively priced to the national capital.

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

Visitors also enjoy the home-made lunches and the cakes, slices and biscuits available with morning and afternoon tea in the Supper Room.

Whether it’s Georgian, Victorian or Edwardian furniture, be it English, French or Australian, you’ll find it at this fair, together with linen, lace, maps and prints, china and glassware, silver and jewellery.

Looking for collectables, old clocks or curios? You’ll find these here too.

QUALITY & AUTHENTICITY Prospective buyers are assured of the quality and authenticity of all items offered for sale at the fair. The organisers do not allow reproductions or new merchandise.

Everything offered for sale is accurately described and the purchaser will be told about any restoration that has been carried out.

Proceeds from the fairs always stay in Canberra – they’re given to organisations that help the less fortunate in the ACT community.

Entry is $7 adults; $5 concession; children under 14 years free. Wheelchair access is available.

For more information contact Les Selkirk ACT ANTIQUES AND COLLECTABLES FAIRS 02 6231 5244 / 0418 631 445

Selkirk

antique jewellery glass ◆ porcelain ◆ silver furniture & collectables Established in 1971 - Member of AAADA

Open 10 – 5 Thursday to Monday

26 Allowrie Street Jamberoo NSW 2533 9 km from Kiama Tel: 02 4236 0389

ACT SEASONAL ANTIQUE FAIRS present

2013 AUTUMN

ANTIQUES AND COLLECTABLES FAIR in the

ALBERT HALL COMMONWEALTH AVENUE CANBERRA on FRIDAY NIGHT 22 March 2013 SATURDAY 23 March 2013 SUNDAY 24 March 2013

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)

Offering personalised service and sales Specialising in Georgian, Victorian and Edwardian mahogany and walnut furniture

Established Genuine Antiques and Collectables Fair Enquiries: 02 6231 5244 or 0418 631 445

Small silver items, both sterling and plate

R E F R E S H M E N T S AVA I L A B L E

Selkirk Antiques have selected pieces of Doulton, (including Flambé), Shelley & Moorcroft Ceramics Furniture restoration service available

Proceeds to support local organisations that assist the less fortunate in the ACT

ANTIQUES & RESTORATIONS

29 Summerland Circuit, Kambah ACT 2902

02 6231 5244 Fax 02 6231 3656 Mobile 0418 631 445

Wheelchair access is available Sponsors of the Fair include WIN TV, Choice Liquor (Phillip) and CosmoreX Coffee Antiques and

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VICTORIA A collection of four purses has 'Oodles of Poodles', a black Lucite with gilt filigree clasp, the 'I Do' bag from Wilardy – made to carry at your wedding, and a clear crystal-cut Lucite purse

This beautiful purse produced by Majestic with woven metal and a Lucite handle is delightful

LUCITE PURSES

Another rare Wilardy hand-painted doubledecker purse with internal mirror can be used as a jewellery box. The flowers are all hand painted. At the time this would have been a high-end purse and a limited number would have been sold through large department stores in New York

– a 1950s fashion statement T he custom of women carrying purses or handbags dates back to the Middle Ages and purses were carried as a fashion statement from the middle of the 19th century. Each period has seen an evolution in the handbags and purses of the time, the Lucite handbag being one of those items that is symbolic of the era in which it was created.

This rare transparent amber purse which is heavily carved and features an unusual solid handle cannot be attributed to a specific maker but it is very well made and may have been a sample

A MATERIAL CREATED FOR THE WAR EFFORT

Lucite was invented by the Dupont factory in 1931 and was employed in industrial uses during World War II, mainly in aircraft.

Following the war, the 1950s being a new age and with post-war technology, Lucite was used to make the most fabulous purses. Today these purses are very desirable and range in

price from $100 to the most sought-after ones fetching up to $3000.

SOUGHT-AFTER DESIGNERS When they were first introduced in the USA they were all the rage. They were carried by the most sophisticated women and were expensive to purchase as they were still handmade, some costing up to $50, a significant amount of money in 1950.

The best designers then are still the ones most sought-after today, such as Wilardy of New York, Rialto, Llewellyn, Gilli Originals, Charles Kahn and Patricia of Miami.

Purses made by these manufacturers can mostly be identified today as their names were stamped into the hinge, however some had applied labels which have since vanished.

Other companies opened up in America to meet consumer demand and began to manufacture less expensive versions, many of these are still found today.

MYRIAD STYLES, SHAPES & COLOURS

Online Antiques will be exhibiting at the Ballarat Antique Fair 9-11 March (Labour Day Weekend) and the AAADA Show Royal Exhibition Building Carlton Gardens 24-28 April

There was a huge range of styles produced.

The most common was the rectangular or oval purse with coloured Lucite base and clear carved lid. Examples of this type were made by many different manufacturers. Sometimes the bases were coloured, sometimes clear and more rarely they contained items like gilt threads, shells and from one particular manufacturer, Majestic – embedded lace.

Then there were the shapes – triangular, double-decker, Kelly style, beehive, hatbox and more. So many different ones were produced that the variety is endless.

Many were made in either clear or transparent colours. To disguise what they were carrying, women would wrap the contents of their purse in a chiffon scarf to match their dress which made the purse very versatile. Today the most sought-after and expensive are the brilliant colours such as red, pink and blue.

HOW TO IDENTIFY GENUINE LUCITE BAGS If you decide to purchase beautiful Lucite purses, whether to collect or to use, there are several things to look out for. There are several manufacturers now producing reproduction purses. You can usually easily spot these as they are normally made in the most desirable colours such as red and hot pink. If they were not reproduction, these purses would cost upwards of $800 so a low

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An unusual purse by an unknown maker is of solid black Lucite with brilliant hand-painted flowers overlaid with clear Lucite

Unusual triangular shaped, marbleised white Wilardy purse which is surprisingly useable

price is a good indicator of a fake.

Wear to the feet is also a good indicator as to whether they are real. Finally, nothing can substitute for the experience of handling the purses; once you handle vintage purses it is easy to see the differences.

BEWARE THE PLASTIC VIRUS The main problem which exists with Lucite is a plastic degeneration disease. This disease initially shows as clouding and mainly occurs in the pearlised bags. It can then progress to a wet feeling inside the bag and a smell which is similar to vinegar that becomes stronger with deterioration. In the final stages the plastic can break down completely and the purse dissolves into a sticky mess. The disease can spread from plastic to plastic so it is important to remove any affected purse from your collection.

The other issue is to make sure that you check purses for cracks, particularly near the hinges where they have had wear. These issues affect only a very small amount of purses though and in general they are very durable to use.

DAY OR EVENING USE Now many women use their Lucite bags as elegant evening purses or may use them as day bags. There are collectors who see their bags as works of art and proudly display them. Regardless of intent, these are wonderful reminders of an era when fashion accessories and glamour went hand in hand.

Dianne Pickett ONLINE ANTIQUES dianne@onlineantiques.com.au www.onlineantiques.com.au

VICTORIA

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1. Rolex Sea-Dweller stainless steel wristwatch, c. 2003, automatic movement, ref no: 16600T, serial no: F862063, with fold over clasp. Sold $6490 2. Victorian enamel and 15 ct yellow and rose gold bangle set with four rose-cut diamonds, red paste and seed pearls. Sold $1770 3. ‘Cave de Liqueur’ in the Boulle manner, c. 1880s, ebonised, brass and tortoiseshell, lift-out tray fitted with four square decanters and eight wine glasses, all with conforming etched foliate decoration, 26 x 32.5 x 24 cm. Sold $2242 4. Mourning jewellery, rose gold panel pendant, 6.5 x 5.3 cm, inscribed ‘Will Smith, 4th Oct 1800, 52’ to reverse, under glass a small woven hair panel with deceased’s initials in seed pearls, fitted with bail. Sold $590 5. Baluster-shaped pair of Chinese Export polychrome-decorated porcelain vases, 19th century, h: 34.5 cm. Sold $1180 6. Art Nouveau silverplate table centrepiece made by Würtemburgische Machin Fabrik, Geislingen (WMF), c.1900, marked no 452 to underside, 72 x 61 cm. Sold $2124 7. Pair of emerald and diamond claw set cluster earrings set in 18 ct white gold, emerald 0.80 ct, ten brilliant-cut diamonds, total 1.20 ct, pierced posts and sprung clips. ATDW: 2.4 ct. Sold $5428

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8. Royal Worcester reticulated double-walled vase, 1902 gilt decoration on ivory ground, printed mark and painted gilder’s initials HH, h: 10.5 cm. Sold $1416 9. Radiant cut 1.23 ct claw set diamond ring set in platinum, flanked by four brilliant-cut claw set diamonds, total 0.60 ct. Sold $8732 10. Goldscheider figure of Pierrot, c. 1910, impressed 3133/202/11, no XII/D4, h: 28 cm.

Sold $1829 11. Mahogany library drum table, c. 1840s, gilt-tooled leather, four drawers divided by blank sections and acanthus-carved tablets, on a turned and lappet-carved pedestal set on concave-sided quadripartite platform base with paw feet, 75 x 106 cm (diam).

Sold $2950 12. Regency mahogany bow-front sideboard, c. 1810, with original fitted cellarette drawer, raised on turned supports, the front banded and string-inlaid throughout, 93 x 168 x 69 cm.

Sold $2360 13. Continental walnut secrétaire à abattant, c. 1880, enclosed writing surface with fitted and inlaid small drawers and pigeon holes, turned front feet, 175 x 99 x 49 cm. Sold $2242

AUCTION SCHEDULE 2013 Accepting items for consignment: 16 January – 31 January 2013

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

Fine and Decorative Arts – 20th Century Design Modern and Antique Jewellery Closing for Entries Viewing Fine and Decorative Arts Modern and Antique Jewellery Closing for Entries Viewing Fine and Decorative Arts Modern and Antique Jewellery Closing for Entries Viewing

Sunday 17 February Monday 18 February Thursday 31 January Wed 13 - Sat 17 February Sunday 24 March Monday 25 March Thursday 2 March Wed 20 - Sat 24 March Sunday 5 May Monday 6 May Thursday 12 April Wed 1 - Sat 5 May

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

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THE BEGINNINGS OF TIME in Horology (1500-1700) H orologically speaking, not much changed during the 16th century. The escapement stayed the same, with the verge balance. A mechanical improvement was the arrival of the ‘stackfreed’ as a power equalisation system.

During the 16th century, eventually smallersized timepieces were made, heralding the watch. Even though the clock mechanism was still not accurate, the smaller timepieces were mostly appreciated as novelties in the form of jewellery or as interesting decorative items.

In 1572, Queen Elizabeth I had a complete section of her inventory devoted to watches. The inventory still categorised her timepieces as jewels, showing the value placed on these clocks in the 16th century and how they were kept and used. These were ‘form watches’ in the form of a pendant set with jewels, crystal crosses, flowers, memento mori and pomanders.

usually required only a small gearing system using its offset cam with an extra power (spring lever) source coming in at the end of wind, to help deliver an equalisation power effect. The stackfreed was restricted in use to early German carried clocks or watches, particularly in southern Germany. It was a poor cousin to the fusée in every way and eventually it ceased being used.

During this renaissance, south German clockmakers managed to reduce the size of the chamber clock to a size that could be carried. Peter Henlein of Nuremberg (c. 14801542) is acknowledged as the first maker of the smaller portable timepiece, which is often referred to incorrectly as the ‘Nuremberg egg’, reflecting its size and shape. Its correct name is a pomander watch; it opens for viewing from a hinge and is hung from the neck or clothing.

In Augsburg, as in most of Europe, early clock making was associated with lock making, but was considered inferior as locksmiths and gunsmiths were allowed to make clocks, but clockmakers were not allowed to make locks or guns!

A clockmaker’s guild formed in Nuremberg in 1565. The town council set a test to join that included making a clock within a year. It had to be 15 cm high and able to be worn about the neck. It had to have an alarm, strike the hours and the quarters, with a dial showing the 24 hours in sunshine or moonshine on one side and show the quarters.

The other side had to show a calendar and the planets with the length of day.

Remember that these clocks were completely handmade from hammering the steel, dividing the teeth, filing the gears, making the springs to engraving the dial.

Guild entry tests were made even more severe and probably were designed to eliminate locksmiths and gunsmiths from the guild. However, a locksmith could still make clocks under law as late as 1629 outside the guild membership.

Casper Werner watch, 1548

The Casper Werner watch shown is the earliest known dated watch and is displayed in the Wuppertal Clock Museum in Germany. It was signed and dated 1548 by the maker Casper Werner who was a contemporary of Peter Henlein. The movement with stackfreed power equalisation goes for 30 hours, but probably only kept time within 20 minutes’ accuracy per day. It is made entirely of iron, standard for German watches at this time, with a gilt brass case. The cover allowed reading the single hand in the day and touching it at night, to know the time.

The clock by Erhard Liechti dated 1572 is in another museum in Winterthur, Uhrensammlung Kellenberger. The clock is a fine iron weight-driven chamber clock with polychrome dial. The frame locates and interlocks with the minimum use of pins; the clock strikes the hours and the quarters with an alarm to wake the house, and a turning moon above the numeral 12. Erhard Liechti

GERMAN INFLUENCES

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FRENCH DEVELOPMENTS The main competitor to Nuremberg for watches was Blois in France, 185 km southwest of Paris. The earliest watchmaker listed was Julien Coudray (d. 1530), maker to King Louis XII for whom he made two orloges, one probably set in the hilt of a sword. In 100 years between 1515 and 1615, the number of workshops grew from five to 63.

An early French centre of horology was Paris, where a guild was first formed in 1544, 53 years before Blois and 21 years before Nuremberg, showing the stronger element of protectiveness offered and sought by the Parisian clockmakers.

A 16th century engraving of a clockmaker’s workshop in Flanders is attributed to Stradanus, a Flemish painter and printmaker (1523-1605), in whose engraving all the detailed steps of production are replicated. You will notice to the left bench dividers and files with vices to hold wheels, other completed wheels hanging on the wall, the forge in the background, verge and foliot propped against the bench with work taking place on small chamber clocks and a large standing (possibly turret) clock.

GROWING DEMAND FOR CLOCKS In the second half of the 16th century, both nobility and a new middle class of artisans, doctors, lawyers and merchants increasingly purchased clocks. To satisfy this burgeoning market, more clocks were produced and the numbers of clockmakers expanded, some specialising in making particular components such as external case embellishments.

Examples of brass work by the same makers have been found on clocks from Augsburg to Italy. The movement was still controlled by the balance wheel and verge, but the accuracy of these timepieces did not improve markedly.

In 1600, clocks were still inaccurate and, as such, were mostly ornamental, normally devised with small dials indicating the time.

At the dawn of the 17th century, clocks were regarded as curiosities. They were often embellished with multiple functions and sometimes they incorporated astronomical features. There was no indication of the great heights that would be achieved in the second half of the century, the beginning of the golden age of horology that, surprisingly, was centred on London.

SCIENTIFIC IMPROVEMENTS IN TIME KEEPING

Hans Holbein the Younger’s design for a clock

During the reign of Henry VIII, the great German painter Hans Holbein the Younger (1497-1543) came to London around 1526.

Holbein painted and designed jewellery and even clock cases. His highly decorative design, with the clock as only a small section on the top, was completed after his death in 1543 and presented to King Henry VIII. The stackfreed was the other known mainspring power equaliser, invented in southern Germany. The stackfreed was invented for the same reason as the fusée, to solve isochronism, to equalise the power delivered by the spring. Stop-work means that the top and bottom of the wind is not used, and together with stackfreed or fusée, it created an effective mechanism. It is assumed that stop-work was invented first, as it is the easiest to manufacture and was incorporated in designs with either the fusée or the stackfreed.

The stackfreed required less skill in the manufacturing process than the fusée. Perhaps it also allowed a thinner movement, as it

was a member of the well-known Swiss clockmaking dynasty of nearly three centuries from the Winterthur area in Germany. This type of clock was the forerunner of the lantern clock.

16th century engraving of a clockmaker’s workshop

Stackfreed to fusée diagram

Erhard Liechti chamber clock, 1572

Melchoir Zinng of Augsburg, 1580, personal portable watch in the form of a decorated cross

In the previous century, Leonardo da Vinci (1452-1519) was the first to study the pendulum, developing a gravity pendulum controlling a clockwork mechanism. He also designed a fusée cone for equalising the power of the mainspring, but he seems to have not extended his research.

Jacques de la Garde, ‘Pomander’ watch of 1551

VICTORIA Galileo Galilei (1564-1642) first investigated in detail all the properties of the pendulum, noting that the further a pendulum was set from a fixed point to the centre of the bob, the slower the rate of oscillation. He also observed that oscillation was equal, no matter the width of its swing. It is thought that he conceived the idea around 1641, but it appears that his investigations were principally theoretical. According to Vincenzo Viviani, Galileo’s son made a working model.

MOVING BY PENDULUM Christian Huygens (1629-1695) a Dutch scientist, astronomer and physicist is attributed with inventing the first practical pendulum clock, probably completing his design in 1656. He assigned production rights to Salomon Coster (1620-1659) in an historic contract that granted a 21-year patent for the design on 15 June 1657. Of course, it is not the pendulum but the escapement that delivers the power to the timepiece, while the pendulum acts as a controller.

The clock these collaborators invented and patented was driven by clockwork from a weight. Huygen’s invention improved timekeeping to an enormous extent, as now the escapement used was still crown wheel and verge with a crutch and the pendulum hung between. It was a short bob pendulum of about 25 centimetres hung by a double silk cord from the verge pallet cock.

Cycloidal cheeks – brass sheets used like stabilisers – were controllers of the pendulum swing and kept the pendulum moving in the same arc, while regulation was effected by adjusting the length of the pendulum. In the original diagrams, the escapement had an extra gearing at the top. We do not know why this feature was removed from the patent, other than because of the collaboration between Huygens and Coster.

Christian Huygens also envisioned the use of a spiral spring to help control the balance wheel. The illustration of the Huygens drawing was made by agreement with the

English lantern clocks, c. 1653

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By 1700, accurate, land-based time keeping was achieved.

”

Parisian portable clockmaker Isaac Thuret with a patent date of 22 January 1675. This invention improved the time keeping of the balance verge dramatically.

Joseph Knibb table clock, c. 1675

improvements without any legislated commands, thus requiring even better timekeepers!

In only 50 years, time keeping developed from the equivalent of steam power to a rocket ship. The population at large welcomed this scientific achievement, even if only its top two percent could afford to own such wonders of regulation. By 1700, accurate, land-based time keeping was achieved.

Michael Colman COLMAN’S ANTIQUE CLOCKS 03 9824 8244 www.colmanantiqueclocks.com References Eric Bruton, The History of Clocks & Watches, Little, Brown & Company Kristen Lippincott, The Story of Time, Merrell Holberton

Colman Antique Clocks WAT C H & C L O C K R E S T O R E R S

ENGLISH DEVELOPMENTS

Saloman Coster pendulum clock

Huygens’ 1658 illustration of his pendulum clock

Design adopted by Huygens for the Coster pendulum clock

Ahasuerus Fromanteel (c. 1607-1693), already a renowned London clockmaker, introduced the pendulum to London in 1658 from the Coster in the Netherlands. Pre-pendulum English clocks were mainly lantern clocks but English clocks from this time were better in time keeping, with their more prominent dials reflecting their improved accuracy and minute hands were added to demonstrate their improved time keeping.

Thomas Tompion (1639-1713) was one of the most marvellous clockmakers of all time.

Tompion’s significance lies not only in his application of earlier developments but also in his support of further inventions, notably those of Dr Robert Hooke (1635-1703), inventor, mathematician and philosopher and formulator of Hooke’s Law. Tompion supplied time measuring machines that were of international importance in the advancement of science and technology, for example making the regulators for the new Greenwich Royal Observatory in 1676.

Above all, Tompion was a superb craftsman. His influence led England into the golden century of horology. Following the adoption of the pendulum into timepieces, the most amazing clocks were designed and made with good shapes, designs and classical styles.

The last half of the 17th century saw a move away from temporal hours – a system based on 12 hours of variable length depending on the daylight hours between summer and winter – towards the use of clocks as dependable timekeepers, as accuracy of clocks started to improve. Both government and commerce adopted these new scientific

French Louis Philippe carriage style mantel clock, c. 1840 in tortoise shell veneer with fine ivory Inlay by Barbot, 9” handle up.

French mantel clock c. 1880 in fire gilded ormolu on bronze finish with 3 hand painted Sèvres panels possibly depicting 16th century Prague with cartouche style dial

French Empire figured mantel clock, c. 1810. Bronze ormolu finish with simple automaton, signed to dial Le Cointe - Renard à Laon. Secretly signed Pons to the pendule de Paris silk thread movement striking on silvered bell Pons, Honoré Pons DePaul awarded 2 silver & 3 gold medals in French Industrial awards as ébauche maker

George II double fusee verge bracket clock, c.1760, England, signature maker’s case, mahogany, ormolu mounts by Ellicott (England: London), profusely engraved back plate with pull cord repeat, in fine original condition

French 18th century waisted Boulle bracket clock c. 1760, on original wall bracket. Original finish and fittings, brass inlay, tortoise shell veneered case. The dial made of cast and chased surround with 25 fired enamel cartouche numerals, superb hand chased blued steel hands. Thirty day movement and large proportions, 5 turned shaped pillars, shaped plates engraved with maker’s name to rear plate and fitted with recoil escapement, Sun King pendulum

English mahogany cased bracket clock, 19th century on original wall bracket made

by Smith & Son’s, of Clerkenwell, London.

1421 Malvern Road Malvern, Victoria 3144 Australia Au s t ra l i an An t i q u e a n d Art Deal e rs A s s oc iat i on

Ph: 03 9824 8244 Fax: 03 9824 4230 Email: michaelcolman@optusnet.net.au Website: www.colmanantiqueclocks.com Member of the Watch and Clock Makers of Australia (formerly HGA) and the BHI

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THE EMILY THE FIRST DEDICATED TO AN ABORIGINAL ARTIST for more information visit www.emilymuseum.com.au Emily 1994

Exhibition poster Amsterdam 1999

magine Amsterdam without the Van Gogh Museum. Established in 1973, it is dedicated to arguably Holland’s most famous artist, and instantly recognised by his first name only. Imagine Paris without the Picasso Museum, which opened fairly recently in 1979. Imagine Nice without Matisse?

I

World famous museums dedicated to an individual artist, synonymous with the country of their birth, are major attractions to locals and tourists alike. The Van Gogh Museum alone attracts more than 1.5 million visitors annually.

Recessions come and go; however culture, art and music, literary masterpieces, architecture and history are what make us identify with the countries in which we were born or choose to live.

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Arken Denmark exhibition 2008

EMILY KAME KNGWARREYE (1910-1996) Aboriginal art is to Australia what Impressionism is to France, and the New York School of the 1950s is to the USA. From the formative days in the early 1970s when this oldest uninterrupted visual communication system was translated onto movable surfaces, it was recognised worldwide as a major art movement that put Australia firmly on the international art map.

Of the many highly acclaimed superstars of the Aboriginal art movement, now 40 years old, none shine as brightly as Emily Kame Kngwarreye. Volumes have been written by academics, art critics, curators and historians about her genius and uniqueness.

The first solo international exhibition of Emily’s works was in my birth city of Amsterdam. Held in the 13th century Oude Kerk (‘Old Church’), Amsterdam’s oldest church, the exhibition was hailed as a blockbuster and worthy of being exhibited in

the city’s world famous Stedelijk Museum of Modern Art. Similar sentiments were expressed by the international press after Emily represented Australia at the Venice Biennale in 1997.

Emily died in September 1996. Six years later in 2002 The Emily Museum was registered, the first museum to be dedicated to an individual Aboriginal artist and, another decade later, in 2012, we opened the doors to the public for a preview at our factory / warehouse in Cheltenham, Victoria, where the

MUSEUM EMILY KAME KNGWARREYE 1910 - 1996 SPECIAL PREVIEW ON SHOW NOW

Above: The Emily Museum mezzanine

Ebes and Nangara collections (comprising over 800 Aboriginal art works) are stored when they are not travelling or being exhibited.

INTERNATIONAL ACCLAIM Emily’s last major exhibitions were in 2009, instigated by the Japanese Museums of Osaka and Tokyo where 106,000 visitors in Tokyo saw the show in six weeks. Emily’s arguably most acclaimed work and one of the last she made in a series radically different from previous styles, known as the Last Series, featured on the front cover of the sold-out catalogue. After returning from Japan in 2010, the series was shown at the National Museum of Australia in Canberra.

I spent a couple of weeks travelling throughout Tasmania with the then Director of the Rijksmuseum and former Director of the Van Gogh Museum, Professor Ronald de

Leeuw and Dr Simon Levie, former Director of the Rijksmuseum. Both prominent figures of the international art world, they were in Australia as a result of their involvement with the legendary Rembrandt exhibition of 1997/98 and were guests of Art Exhibitions Australia.

Both had visited Australia several times, loved the country and especially Aboriginal art following an initial introduction to it at the National Gallery of Australia. Dr Levie has acquired around 24 outstanding Aboriginal works over the years that we worked together, starting in 1987 during the organising of a number of exhibitions planned around the bicentenary in 1988. Their fascination with Aboriginal art was an unexpected surprise and the catalyst for lengthy conversations about art in general and the place of museums in society. Levie’s memorable speech at the

Below: Emily 1994, painting The Wall

opening in Amsterdam in 1999 was a highlight in one of the first chapters of the Emily saga.

large works sold at public auction for a record $1,056,000 in 2006.

LARGE WORK FETCHED OVER $1M

INVITATION TO SPECIAL PREVIEW

The universal reaction was of awe and appreciation from every international museum curator, director and collector exposed to Aboriginal art. Most specifically the response was to Emily’s work featured in the many international travelling exhibitions we held of Nangara. The 5 x 15 metre Emily Wall (comprising 53 panels) and the Last Series convinced me to collect as many of her works as possible to form the basis of a dedicated museum in her name, before the cost of the works escalated and made the project prohibitive.

Emily is the only female artist who received the Keating award in 1992 and one of her

The official opening of the museum in Cheltenham will be in early to middle 2013 as we are refitting the exhibition space and producing a catalogue of the museum collection. While all this is happening we are open to the public for a special preview of approximately 200 of Emily’s wonderful paintings including her monumental Emily Wall. The museum has onsite parking and admission is complimentary.

THE EMILY MUSEUM

Australia without the art of Emily… hard to imagine!

Hank Ebes THE EMILY MUSEUM 0457 005 000 / 0419 329 886 museum@emilymuseum.com.au www.emilymuseum.com.au

FREE PREVIEW

COMPLIMENTARY ON-SITE PARKING

During installation until the official opening early 2013.

Details to be announced on the website Antiques and

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Paula Walden

Damien Kamholtz, The Spit That Joins the Magic Together VI, 2012, mixed media on board, 45 x 45 cm

Beth Mitchell, Mad Hatter, photograph, 100 x 50 cm

TOOWOOMBA GRAMMAR SCHOOL’S

autumn weekend art show 23 – 24 March T oowoomba’s tree-lined streets, historical buildings, and magnificent parks and gardens provide the perfect setting for one of Australia’s best art shows – the Toowoomba Grammar School Art Show. With 600 paintings from 200 selected artists from around Australia, the exhibition features novice and emerging talent to high-end investment art.

Over 40 new artists with an exciting range of genres will exhibit in 2013. Prices start as low as $40, up to six-figure masterpieces.

The Toowoomba Grammar School Art Show provides a great opportunity for both buyers and artists. Artists have their work

viewed by a large audience – over 2500 people attended the 2012 art show – and buyers always find a great range of quality art, all in the one location. The art show generates sales of over $120,000 each year.

Whilst a lot of art is bought on-line these days, it does not compare to seeing the actual art with all its detail and fine nuances. ‘The Toowoomba Grammar School Art Show provides an opportunity for everyone to have an enjoyable time,’ says Peter Hauser, Headmaster of Toowoomba Grammar School. ‘Both those who love art and students of art have the opportunity to see a wide range of original artworks.’

FEATURED ARTISTS Established artists for the 2013 art show include David Boyd, Pro Hart, Robert Dickerson, Hugh Sawrey, Ray Crooke, Norman Lindsay, Tim Storrier, Geoffrey Proud, d’Arcy Doyle, Denise Daffara, Antje Collis, Kate Smith, Christian Morrow, Judith Da Lozzo, Linda Keough, Luisa Rossitto, Lena Pwerle, Liddy Napanangka Walker, Di Elsden, John Gould (circa 1840s) Megan Payne, Ross Tamlin, John Cottrell, Emma Sheldrake, Starr, Vivienne Heckels, Mealie, Graham Borough, Jacqueline Hill, Brendon Mogg, Amanda Krantz, Harriet Posner and Damien Kamholtz.

The art show’s feature artist for 2013 is Damien Kamholtz. Born in Gove in the Northern Territory, Damien was inspired by his travels around our ancient land; his art is a subtle and suggestive combination of nature’s organised and abstract shapes entwined in universal and personal symbolism. As well as having won numerous awards, Damien has been a finalist in the Sulman Art Prize. His pieces range in price from $250 to $15,000.

EXHIBITORS – YOUNG FRESH TALENT It is pleasing to note the important contribution of young artists exhibiting in the 2013 Toowoomba Grammar School Show such as up-and-coming photographer, Beth Mitchell. Beth creates whimsical underwater masterpieces using professional models in designer dresses jumping into a pool containing a carefully designed set strung from floats. In her first gallery exhibition she sold over 35 pieces ranging from $300 to $1300 and she has recently been invited to exhibit in a New York gallery.

Opening Night Toowoomba Grammar School Art Show 2012

In addition to Beth, six other gifted teenagers will be exhibiting in 2013. Since the art show started specifically seeking ‘talented teenage artists’ two years ago, several of them have progressed well in the art world.

DIVERSE MEDIUMS However for many, the most inspirational exhibitor is 83-year-old Molly Taylor with her exquisite glass vases. Her complex style involves intricate hand-painting in reverse order on the inside of the vases. Molly has exhibited for the past two years, selling all of her 12 vases each year. Similarly, another highly-sought after artist, Kaye Marsh, with her iconic ‘clothes line’ series of paintings sold all of her exhibition items in the last two art shows.

Leading jewellery designer Paula Walden attended the 2012 art show and recommends it to anyone looking for a pleasurable weekend.

‘Both my partner and I have very hectic lives, and it was wonderful to have such a relaxing and indulgent weekend in Toowoomba,’ comments Ms Walden. ‘The food, the art, the coffee, the wine and the views were fantastic.’

TOOWOOMBA GRAMMAR SCHOOL 07 4687 2500 tgs@twgs.qld.edu.au http://artshow.twgs.qld.edu.au

Kaye Marsh, Washing Day Monday 15th May 1960, watercolour and collage, 100 x 50 cm

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Graham Lancaster Auctions

We are now accepting Quality Collections & Single Items for our Forthcoming Sales

3 Railway Street TOOWOOMBA QLD 4350

Ph: 0418 730 904 Colour Catalogues are Available @ $15.00 Each

Fax: 07 4613 1111 Email: info@gdlauctions.com View Catalogue & Photos One Month Prior to Each Sale:

Make Cheque/Money Order payable to G. Lancaster

www.gdlauctions.com.au

FORTHCOMING AUCTIONS “THE BLOKEY AUCTION” Sat 2nd & Sun 3rd Feb 2013 (Toowoomba Swap Weekend) • Garagenalia, Enamel Signs, Petrol Pumps, Oil Bottles & Racks, Tins, Pedal Cars, Quality Tin Toys and more

“ANTIQUE BOTTLE AUCTION” Sat 16th Feb, 2013 (Toowoomba Bottle Show Weekend) Quality Ginger Beers, Black Glass, Pot Lids, Codds, Cordials, Household, Convict Spruce Bottles and more

“AUSTRALIANA & POTTERY AUCTION” Sun 28th April 2013 Australian Colonial Pottery, Decorative Arts, Studio and Artware Pottery, Australian Glass and more

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THE AUSTRALIAN ANTIQUE AND ART DEALERS ASSOCIATION The premier organisation for antique dealers and commercial art galleries in Australia COLLECTORS LOOK TO 20TH CENTURY DESIGNS ecent harder times in the antiques market has resulted in traditional favourites often being shunned, while Art Deco and 20th century design are finding more converts. And it is not just younger buyers with little or no interest in period brown furniture who are buying.

Current darlings of the market include American, Japanese, French, Scandinavian and especially Italian design items, from large pieces of furniture to lighting and objets d’art.

At a recent antique fair held at the National Trust property Runnymede in Tasmania, wellknown AAADA Hobart dealer Warwick Oakman sold an original Eero Aarnio ball chair for a considerable sum.

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DEALERS RESPOND TO COLLECTING TREND This marked change in taste has been recognised by the AAADA and there has been a revision of datelines which means that 20th century design is now an integral area of dealing for many of its members.

With the growing trend of traditional quality for modern living, it must be emphasised that despite the burgeoning popularity of late 20th century design, it is not a case of anything goes, and connoisseurship is far from dead: quality and workmanship do count.

Dealing in 20th century design is just as demanding as in any earlier period, as it is the acquisition of stock along with an inherent eye for detail and style that enables dealers to spot the appeal of things considered to be ‘modern’.

Interior decorators and designers, along with

adventurous collectors and dealers, have all played a role in bringing attention to 20th century work. More than just a new look for sleek apartments, the turn of the 21st century has made a whole range of styles legitimately collectable, and remarkably quickly. Now the 1960s, 1970s and 1980s are often referred to as vintage, in much the same way we spoke of the Edwardian and Victorian eras in the last century.

It is not just a matter of fashion – the furnishings of the recent past have actually become the latest ‘big thing’ and are playing their part in an era of connoisseurship when antiques of all periods are appreciated on their merits and not their age.

The Australian Antique and Art Dealers Association is actively seeking to promote exceptional modern works and to develop a ‘modern arm’ to promote and cater for the needs of members and dealers who trade in such contemporary works.

AAADA NATIONAL EXECUTIVE The National Committee executive for 2013 has been announced. The office bearers are: J. Warwick James President C. Snook Vice President

P. Woof Vice President P. Quigley Treasurer

COMMITTEE The committee members for each state are: Andrew Simpson, David Barsby, NSW Jamie Allpress, Paul Sumner, Victoria John Brans, Western Australia Bill Hind, Queensland Peter Woof, Tasmania Peter Quigley, South Australia

AAADA MELBOURNE 2013 ANTIQUES SHOW ANNOUNCED 24 – 28 April The AAADA show in 2013 offers for sale the finest and most diverse range of fine art and antiques in one place, at one time, in Melbourne. The AAADA shows are Australia’s only international quality shows.

They are fully vetted for authenticity and backed by the reputation of Australia's finest antique and art dealers.

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A gala preview will be held on Wednesday 24 April, from 6 pm-9 pm; tickets are $30 per person and can be purchased from the AAADA office.

The show will be open from 11 am to 7 pm except Thursday, 25 April 2012 (ANZAC Day) for which times are yet to be advised.

Tickets will be available at the door. General admission: $20; concession: $15; children under 16 free.

NEW MEMBERS The AAADA welcomes the following new members: New South Wales Anne McCormick, Hordern House Rare Books, Manuscripts, Paintings & Prints, Potts Point NSW 02 9356 4411. By appointment.

Victoria Graeme Davidson, Woodshed Antiques, 903 Doveton St Ballarat VIC 3350, 0408 659 249. By appointment.

Lee Bradshaw, Etruria Antiques Gallery, Suite 1, First Floor, 170 Elgin Street, Carlton VIC 3053. By appointment.

You can find Joan working from 10 am to 5 pm with daughter Patricia Williams in the quaint fifth-floor gallery that has a balcony and view of the Old Treasury Building.

Joan was presented with her certificate at the Victorian chapter’s Christmas party.

Congratulations Joan!

FIND US ON THE WEB For a variety of charming items, peruse the AAADA website – www.aaada.org.au. This site also lists our expertly vetted members who uphold the principles of the Association and adhere to its Codes of Practice.

Join AAADA Facebook page today for a chance to win a free subscription to World of Antiques and Art magazine.

AUSTRALIAN ANTIQUES AND ART DEALERS ASSOCIATION 03 9576 2275 secaada@ozemail.com.au www.aaada.org.au

HONOURING JOAN MCCLELLAND At its last meeting in October 2012, the national committee of the AAADA unanimously voted to bestow emeritus status on Joan McClelland from Joshua McClelland Print Room in Melbourne. This honour is granted to a member or former member of the AAADA in recognition and appreciation for outstanding services rendered to the Association and the trade over many years.

Joan is a remarkable woman and her contribution to the antiques trade has been immeasurable. She works Monday to Friday, drives to work and rarely takes a day off. So, what’s unusual about this routine?

Joan is the spirited 99-year-old owner of the Joshua McClelland Print Room in Collins Street, the business started by her late husband Joshua in 1927.

It began as Joshua McClelland Antiques in Little Collins Street and, after his sudden death from a stroke in 1956, the business began to specialise in his passions for Chinese porcelain and Australian prints and paintings.

THE ESSENTIAL BUYERS GUIDE This booklet is the definitive guide to buying, collecting, selling, valuing and restoring antiques and art with confidence, from Australia’s leading antique and fine art dealers and their approved service providers. To obtain your copy, please write, email or telephone.

The Executive Secretary PO Box 24 Malvern VIC 3144 03 9576 2275 secaada@ozemail.com.au

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

Melbourne M elbourne Fair F a air r 24–28 A April p pril 2013 Royal Ro oyal E Exhibition xhibition Building Carlton Car lton n Gardens Gardens Melbou Melbourne, urne, Victoria Victoria

Melbourne’s Melbou rne’ ne s only only international internatio onal quality, qualitty ty, fully ful ly vvetted eettted antiques antiques and fine fin ne ar arts ts fair fair..

All ite items ems for sale www.aaada.org.au/melbournefair www w.a .aaada.org.au/ /melbournefa air

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Hebei Province console table

Hebei Province eight drawer walnut chest

Schanxi Province high back bamboo chairs

ORIENT HOUSE – AUSTRALIA’S SOURCE for antique Chinese furniture and accessories O ur quest to remain Australia’s leading dealer in antique Chinese provincial furniture and suppliers of unique tribal art from Africa, Thailand, Burma and Indonesia, has taken us on an incredible journey.

China over the past 12 years is the focus of this article. In China we used to speak to our dealers through a translator, but now dealers all speak very acceptable English. I am ashamed to say, neither our Mandarin nor Cantonese has progressed much further than greetings.

The cities that we visit have grown ten-fold, with a proliferation of Western brands appearing. New superhighways and bridges appear from nowhere and branch off in all directions. Bicycles have given way to cars, simple rice dishes have been replaced by fatty food and obesity, and the blue sky is now thick smog.

Originally, most items were from the more accessible southern provinces and made from elm wood. With time, ‘runners’ have to extend their search for antiques further afield. Their broadened search not only yields furniture in very different styles, but also made of the hardwoods native to the colder areas. Over the years we’ve become increasingly conscious of a change in the style of pieces we find.

Our now numerous trips have enabled us to

build up a good rapport with the same group of dealers and they, for the most part, understand our preferred style of furniture.

One of our biggest challenges remains being able to control the level of restoration that a piece requires. We strive to convey the understanding that beautiful, centuries-old patinas do not require ‘restoring’ to look as though the item was made just months ago.

Many of the old markets have now been demolished and replaced with new ‘DisneyQing’ replicas. A large part of our time is spent in ‘go-downs’ (warehouses), combing through piles of furniture. No longer do we have the joy of scratching through piles of furniture in a couple of warehouses, to unearth treasures from a couple of suppliers.

Now everything has a sameness about it.

Our trips take us further and further inland to new cities in different provinces. Sadly, pickings are becoming slimmer and slimmer and our three to six hours spent in a car these days sometimes proves hardly worthwhile.

The secret is still being able to find unique pieces. We expected that world economic pressures would have brought prices down, but the matter of supply and demand ensures that good pieces still attract high prices.

Wealthy people from country provinces are

visiting major cities like Beijing and Shanghai and buying back Ming and Qing furniture from the markets.

The majority of pieces in our store date to the Qing dynasty (early mid 18th to early 20th centuries). Older pieces are rare and most usually found in museums and private collections. With a realisation of lost treasures, the new Chinese elite are now consciously pursuing the purchase and return of Ming pieces to China.

CHINESE FURNITURE DESIGNS Most of our furniture is made from elm, the wood most commonly used in the Qing dynasty, either jumu (southern elm) or yumu (northern elm). Rarer woods, such as huanghuali and zitan, the preferred woods of the Ming dynasty, were cut to extinction and only re-forested in recent decades. Selection of woods is critical as not only are seasoned woods more durable, these mature woods acquire a desirable patina.

The hardwoods of the Ming dynasty dictated a certainly austerity of design while the softer woods of Qing allowed for easier and more complicated carving, with the wide-grained woods being receptive to paint and lacquer finishes. Consequently in this later period, colour began to take on a new significance.

The design of Chinese furniture evolved very slowly. One often sees a carryover from one dynasty to another. Whilst there were main centres of furniture manufacturing, regional differences are subtle and often difficult to recognise.

Antique Schanxi coffer

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Antiques and

art

Tibetan painted coffee table

Rural Chinese houses are marked by simplicity. Rooms tend to be sparsely furnished and most items strictly functional.

The Kang, a raised platform made of brick or stamped earth which housed a fire-pit or stove, was usually housed in a central room.

This formed the social centre of the home and Kang furniture, such as low tables and stools, was specifically designed for this area.

Tibetan and Mongolian furniture has more recently become desirable, although quality pieces are scarce. They have a highly decorative quality and vary from muted to brightly coloured palettes.

ACCESSORIES Perhaps more than anything else, accessories tells the story of daily life in the Qing dynasty and the unique sense of form that makes Chinese antiques so compelling and delightful.

From bins, pots, baskets, jewellery boxes, to food containers, birdcages and calligraphy brushes there is a rich variety of these smaller items and they speak volumes.

Red wedding baskets were taken to a bride on her wedding day and contained food or a small gift. Birdcages came in small delicate sizes so grandfathers could take their pet birds for a walk. Document boxes were designed to double as pillows, so that travellers could sleep on their valuables. Clever jewellery boxes reveal both a hidden mirror and hidden compartments. More than utility, these accessories display wonderful shapes. The wedding baskets had hourglass handles. Rice measures were shaped somewhat like a beehive. Necklace boxes were in the form of a doughnut.

What makes this Chinese furniture and accessories so desirable is the ease with which they can be adapted for living in the 21st century.

ORIENT HOUSE 02 9660 3895 orienthouse@orienthouse.net.au www.orienthouse.net.au