Antiques & Art in New South Wales by World of Antiques & Art

QUEEN STREET ANTIQUES & ART IN NEW SOUTH WALES

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ANTIQUES & ART IN NEW SOUTH WALES

FRENCH FARMHOUSE TABLES BY SALLY BERESFORD Specially trained artisans pair comfort and lifestyle with enduring appeal radition with a twist reigns supreme in Sally Beresford’s new collection of hand-made French Farmhouse tables. The timeless pieces complement the already sought-after collection, which aims to inspire people to update their homes. Caretakers and producers of antiques of the future, the French Farmhouse team ensures all tables are sustainable and durable, and sure to remain classic treasures in the home. The new tables are designed for a comfortable lifestyle and for relaxed entertaining. Their construction using natural products and soft organic lines gives each table an enduring appeal. Lighter tones bring a sense of conviviality to a space creating a humble environment. In every design, Beresford keeps entertaining for large numbers in the forefront in the design process, making each table a both stunning and functional household item. The range includes the Bordeaux, Provence, Toulouse and introduces Nice for outdoor entertaining. The Bordeaux range marries contemporary clean lines with 400-year-old French oak timber. A lime washed burnt oak finish creates a tactile surface with heavily figured grain and knots. Available as a table, side table and in simple elegant stools, Bordeaux is a perfect example of Beresford’s unique ability to bring together unexpected design elements to create a timeless piece. The lighter toned Provence table is made of ancient French oak; however, its pared-back design and light coloured limed finish create a relaxed atmosphere. The table has been designed for casual occasions and is ideal for a large family dinner party. The Provence comes with optional extensions, which is an unusual addition for a more casual table. Inspired by the 17th century tavern tables of England and France, the Toulouse uses traditional construction techniques teamed with a more refined finish. The Toulouse has a quirky modern take to ensure its place in a 21st century abode. The moulded pedestal with raised stretcher base is teamed with

traditional pegs and interestingly angled mitred corners giving the table a unique contemporary twist. Due to huge demand, Beresford and her team have designed and constructed French Farmhouse’s first outdoor table, Nice. The table is made of teak sourced from sustainable forests in New Guinea, with strong elegant lines and a central cross-based stretcher, finished with a driftwood-like warm tone. Timber for the new collection was selected on a recent buying trip to France, where Beresford found an extraordinary French oak tree measuring over 1.2 metres in diameter. The walnut, sycamore, cherry, elm, chestnut and French oak used for the French Farmhouse collection are sourced from forests managed by the French Ministry of Agriculture and Forests. They are transported direct and whole from the mills to Australia (minus branches, bark and roots). Sustainability is at the forefront of the French Farmhouse philosophy. Oak trees are grown from naturally regenerated acorns from French oak trees, up to 600 years in age. Sustainable timbers combined with the loving construction of tables by specially trained artisans using time-honoured practices ensure French Farmhouse tables will endure for future generations. Sally Beresford Antiques is on Queen Street Woollahra and is filled with finds sourced from regular buying trips to France. However, with French antique tables increasingly difficult to find, the French Farmhouse by Sally Beresford brand was born. The range can be seen at Sally’s Waterloo showroom where Beresford and her team have made a name for themselves as the authority in French antique furniture and the importation of French timber ● FRENCH FARMHOUSE BY SALLY BERESFORD 02 9319 0194 www.sallyberesford.com.au

ANTIQUES & ART IN NEW SOUTH WALES

Editorial Content COVER Frederick Ronald (Fred) Williams OBE (1927-1982) Tree loppers, 1955 oil on composition board Private collection © Estate of Fred Williams See National Gallery of Australia presents Fred Williams: infinite horizons 12 August – 6 November, page 98. French Farmhouse tables by Sally Beresford Out & about Picturing Sydney: The first Australian printmakers and printers – Tim McCormick The Riviere College at the Hughenden a Queen Street college for girls, with a focus on the arts Adornments: Native American earring designs Meaningful valuation of jewellery = CSi + forensic analysis Caring for and maintaining rugs and carpets – Ahmet Solak The A-Z of oriental rugs – Ross Langlands Fine furniture, art works and more in the heart of Bondi Junction Pack & Send art and antique specialists Master gilding techniques at The Art Gilding Academy – Brigitte Eggert Collecting industrial antiques: something as beautiful as a bobbin New York style – Beverley Brown A collector’s heaven at Mitchell Road Antique and Design Gallery Pack & Send now open at Botany The Hagley proof 1930 penny Noble Numismatics sale 96 realises $4.5 million – Jim Noble Stamp collecting – where do I begin? – Gary Watson Beatrice Kerr Australia’s regal water nymph – Daina Fletcher At the Australian National Maritime Museum – Scott’s last expedition View the Australian coastline in French atlases at the National Maritime Museum How long have you been here? WJ Sanders and sporting history: the restiitution of an abandoned trophy – Bianca Fazzalaro Collecting cockerels, cats and cottages in Torquay pottery Investing in rare currency Resurrection – Sydney’s newest antique store Dealing with water damaged precious family heirlooms – David Foster The Sydney Vintage Clothing, Jewellery and Textiles Show – Janel Morrissey Sideboards – Credenzas – Chiffoniers – Gary Auton From Europe to Australia, exceptional pieces at Eliza Jane Antiques – Jane Rush The annual AAADA Sydney Antiques & Fine Art Show returns to Randwick Madeleine Castaing (1894-1992) the first significant decorator of the 20th century – Denis Geoffray Reinvention of traditional craftmanship in 19th century England Works opf art you can walk on: French provincial and handcrafted floors – John Fredriksson Balmain Road Antique Centre is the newest antique centre in Sydney Balmain’s ‘Windows to watch’ Arts and Crafts – alive and well in the contemporary world Congratulations Abbott’s Antiques – 80 years and going strong! Profits to charity at the inaugural Northern Sydney Antiques and Collectables Fair Vampires, steampunk, Goth and the antiques renaissance – Roy Williams The relentless pursuit of quality: the story of Noritake – Narelle Ward Islington Antiques in Newcastle since 1990 A nostalgic reflection of the way it was – Marilyn Collins Provenance – things that turn up in the Hunter Valley – M Lee Newcastle’s Antiques & Collectables on Darby offers a wealth of experience The good life: Heartland - for sale with freehold Repairing antique jewellery a task more difficult than customers realise – Ken Penfold The scenic Hunter Valley perfect for antique hunters A working jeweller: In the workshop of Troy O’Brien Windsor and Hawkesbury antiques and collectables trail The world’s largest private teapot collection Bygone Beautys cottages Kerosene lamps For the Diary: Annual Dubbo Antique & Collectables Fair – Carla Pittman Come and join in the good time at the Doll Collectors’ 30th Annual Doll Fair Camden Quota Antique Fair bringing collectors and antiques together Mixing it up – Decorating à la you! – Jane Crowley National Gallery of Australia, Art of Western Australia from the National Collection – Anne Gray National Gallery of Australia presents Fred Williams: infinite horizons – Deborah Hart A spring fair in Canberra The Miller lamp – Juergen Weissner The beginnings of time in horology – Michael Colman Gazette Du Bon Ton – art modes and frivolites – Kathryn & Derek Nicholls 2011 AAADA Melbourne Antique and Art Show breaks records! Cadrys is bringing a special collection to Australia

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ANTIQUES & ART IN NEW SOUTH WALES

OUT & About

HERITAGE at Mosman

ookends another chapter, an exhibition held at Mosman Library in April, was curated by Donna Braye, Local Studies Librarian. The show was part of the annual National Trust Heritage Festival and followed

this yearâ&#x20AC;&#x2122;s theme of amazing stories. The exhibition was opened by Anne Connon, Mayor of Mosman, with introductory remarks from Manager of Library Services, Linda Hoswell. Mayor of Mosman, Anne Connon opening the show

Bandann Huq & Donna Braye Local Studies Librarian, Mosman Library

Jennifer Lawson & Greg Currie

Sue Ryerson, Chris Giles, Belinda Finocchiaro

Donna Braye & Jennifer Lawrence

Brian Wilder & Helen Wilder (President of Arts & Crafts Society NSW)

Val & Michael Gregg

Marlene Reid & Rob Sturrock

Linda Hoswell, Manager of Library Services

Ally & Kylie Usher

Casey Simms

Christine Skilton

Tanya Igra

Michelle Ryan & Sheridan Altorjay

Phillipa Ryan

Janel Morrisey, organiser of the Way We Wear Fairs

Candice De Ville & Jacinta Christian

Erica Fletcher

Jean & Josef Lebovic

Samantha Burton

Erin & Melanie Lockhart

VINTAGE FAIR

The recent vintage fashion expo that is the Sydney Vintage Clothing Jewellery and Textile Show held at Canterbury Racecourse gave dealers and visitors the opportunity to dress in themed retro fashions. Organised by Janel Morrisey these now regular fashion events are a must-visit for collectors of textiles, early couture and associated accessories. Over the weekend, fairgoers were treated to charm school demonstrations of beauty tips from the past and fashion parades.

Demonstrating beauty tips from the 1940s

Monika, Carrie, Morgan, Julie & Angela

ANTIQUES & ART IN NEW SOUTH WALES

A MILESTONE for Four Winds

our Winds Gallery in Double Bay, Sydney, celebrated 30 years of trading with an exhibition of jewellery by internationally acclaimed Aleut artist Denise Wallace and her daughter Dawn. This was Denise’s third exhibition in Australia which also included a book signing of Arctic Transformations by renowned New York author and ecologist Lois Sherr Dubin. The book is dedicated to the wearable sculpture created by Denise and her family over the last 25years.

Right: Denise Wallace, Jennifer Cullen & Sylvia Rhodes Far right: Lesley Wilson, Jeannette Arif, Denise Wallace, Jennifer Cullen & Ashleigh Cullen

GLAMOUR OPENING for Melbourne’s AAADA show

elbourne’s antique and art lovers put on their party frocks and packed the Royal Exhibition Building for the opening celebration of the Australian Antique and Art Dealers Show held in early May. Guests admired the collections of antiques and art for sale and chatted with dealers who were eager to share their expertise.

Victorian exhibitors Jamie Allpress (Allpress Antiques) & Mark Koronowicz (Mark Koronowicz Antiques)

Ross Langlands (Nomadic Rug Traders, NSW) Dawn Davis (Eaglemont Antiques, Vic) Tarin D’Este Holmes (Appleby’s Fine Art & Antiques, Qld)

At the Silver Society Stand Tony Lewis, Patrick Street and friend

NSW exhibitors Sarah Mellish (Patina Antiques & Interiors) & Nicola Isherwood (Isherwood Antiques & Interiors)

AAADA Service provider, John Cherry & AAADA NSW Chapter President, Jolyon Warwick James

Front of House: Alethea Rose, Adrienne Wilson, Keren Lewis

NOMADIC RUGS diversifies

Gil Green, Pam Gutman, Lindsay & Robyn Sharp

Robyn Sharp, Alexandra Green, Ross Langlands, Margaret Mackay

Leigh Mackay, Gail Broadbent, Michael Johnson, Shelley Rose, Margo Johnson, Josefa Green

Yukie Sato & Richard Nesbit

Gail Broadbent & Buddhas

aving shown Indonesian textiles for nigh on 20 years, the Vietnamese – Laos exhibition titled Tai to Katu was Nomadic Rug Traders’ first fully fledged venture into the little-known animist cultures of the central Vietnamese highlands and southeastern Laos. Textiles and sculpture from the Tai and Kinh in the north were also exhibited. About 80 people attended the April opening by Dr Alexandra Green, curator of south and southeast Asian Art at AGNSW. Having finished the successful May AAADA Melbourne Fair, Nomadic Rug Traders then opened their 21st Annual Special Sale in late May.

David Kelly & Michael Diamond

ANTIQUES & ART IN NEW SOUTH WALES

PICTURING SYDNEY: The first Australian printmakers and printers

arly views of Sydney form a unique body of work. Known as topographic images, they are an invaluable record of the beginnings of British settlement in Australia. Likened to a map, topographic image focuses on the middle of the view, has an insignificant foreground and usually the horizon for background. The navigational and intelligence requirements for accurate visual records contributed to topographic drawing, also including natural history and ethnographic subjects, with many drawings engraved, printed and distributed widely. By the end of the 18th century, topographic art was an established genre as picturesque images, giving way to romantic sublime landscapes in the early 19th century, only replaced after 1850 with the development of photography.

PRINTmaking process By the close of the 18th century engravers were using copperplates for printmaking as opposed to engraving on wood. The engraving process involved lines being incised into the copper which would then hold ink. The ink would transfer to paper when the copperplate was pressed onto it. The resulting printed

image was then in some cases finished by hand with applied watercolour. Another process, lithography, was developed in the 19th century, the principle being the same with the transfer of a line either drawn or incised on the plate to paper.

MILITARY application The navy and the military’s need for accurate visual records contributed greatly to the development of topographic drawing. These drawings used for navigational and intelligence purposes expanded to include images of natural history and ethnographic subjects. Many of the pictures were later engraved and printed to distribute the images to a wider public.

DEMAND for images Until the arrival of the First Fleet in 1788 the east coast of Australia and the environs of Sydney were unknown and unrecorded. There was a demand in England for images of this new land, its natural history and its inhabitants. Governors’ dispatches usually included views to illustrate the colony and its progress. Works by convicts supplemented those by the officers and sailors. Drawings were also sent as gifts to patrons; Sir Joseph

Banks, for example, received landscape and natural history subjects. In addition to the resident artists passing ships brought amateur and professional artists. Their topographic drawings, in many cases, were then engraved for publication in books on the history of the voyage. The popularity of topographic views coincided with Australia’s settlement. Some publications informed potential immigrants and others to meet a growing demand across Europe for books on travel and natural history, which were translated into other languages.

COLONIAL printmaking The history of topographic printmaking in the colony has to be considered in relation to a general history of colonial printing. The first press, sent out in the First Fleet in 1788, was attached to Government House. The Governor was careful to control printing to avoid any anti government seditious pamphlets circulating in a colony of convicts and misfits. The government printer, George Howe, in 1805 facilitated the printing of the first locally produced engravings. John William Lewin (1770-1819) was the first professional artist in the colony from 1800, a specialist in natural history. In 1803 he made the first engravings in Australia of moths, published as Prodromus Entymology, Natural History of Lepidopterous Insects of New South Wales in 1805 in London. It was the first book to contain Australian engraved plates. Lewin next engraved plates for his Birds of New Holland with Their Natural History, which was printed by J White and S Bagster in London in 1808. Only six sets of the prints are known to exist today, each worth approximately $500,000.

VIEWS of New South Wales Absalom West sentenced to 14 years transportation arrived in Sydney in 1798. After a conditional pardon in 1811 or 1812 he began to publish engraved views of the colony, provided by artists John Lewin and John Eyre, a convict. Views of New South Wales, 1813, was issued as a set of 12 or singly and very rare, especially due to the poor quality of colonial paper. West published a second set of 12 prints of Australian engraved plates. John Eyre (b. 1771), a freeman and student of drawing who nonetheless arrived in the colony in 1801 as a convict for housebreaking, providing West with ten of the first 12 landscapes for publication. Philip Slaeger /Sligo (1755-1815) was a sketcher and engraver convicted for an unspecified crime who arrived at Sydney in 1807. His sentence expired in March 1812 – the same month his first two prints engraved and printed in New South Wales were issued. Walter Preston (Presston) (b. 1777), an engraver, was transported for robbery and arrived in 1812 in time to assist West’s publishing. Preston eventually earned an absolute pardon after engraving views of NSW published in Major James Wallis’ Historical Account of the Colony of New South Wales (London 1821), also engraved by Philip Slaeger.

NATURE Irish born Richard Browne (1777-1824) arrived in Sydney in 1811. Shortly after his arrival Browne was sent to the Newcastle penal colony. Its commandant from 18111814, Lieutenant Thomas Skottowe commissioned Browne to create drawings of Continued page 12

WOOLLAHRA ANTIQUES & ART IN NEW SOUTH WALES

THE RIVIERE COLLEGE AT THE HUGHENDEN A Queen Street college for girls, with a focus on the arts

iviere College was ahead of its time with a syllabus focusing on music, literature, painting, and offering young women important educational opportunities. Subjects studied included geography, history, English general knowledge, composition, arithmetic, German and music. The school was established by Professor and Mrs Georgs, circa 1877, and initially housed in an imposing two-storey, turn of the century building with lawned surroundings in Wallis Street, Woollahra. Professor Georgs, a professor of music, adapted the German motto for his college: Des Fleisses Lohn (Rewards of Work and Diligence). Some of Australia’s leading women were educated at Riviere College including Lillian De Lissa, a pioneer in early childhood education who later founded and was principal of the Adelaide Kindergarten Training College (1907); Dr Dame Constance D’Arcy nee Stone who the first woman to be registered as a doctor in Australia and pioneered antenatal care; and Dr Margaret Estelle Barnes one of Australia’s first two female dentists (1906). In 1888, the college moved to the gracious ‘Esher’ on the corner of Nelson and Queen Street where the Misses Hall ran it until 1895. The next headmistress appointed in 1890 was Edith Emily Dornwell, Adelaide University’s first woman graduate who received first class honours in physics and physiology. The following headmistress was Matilda Meares in 1896, a woman pioneer graduate of

Sydney University, awarded honours in geology and French and later earned a Master of Arts in classical philosophy and history. In 1912, Riviere College found its final home at The Hughenden where it operated until 1920 by the now married Mrs Mitchell-Meares. The logo of Riviere College can be viewed in the Riviere wing of The Hughenden, etched in the glass plate along with a cabinet containing student memorabilia.

TRADITIONS continue In the tradition of education, literature and the arts, many of Australia’s renowned writers and illustrators frequent The Hughenden. It is home to the Society of Children’s Book Writers & Illustrators Australia & New Zealand (SCBWI). The Reading Room exhibits the works of some of the illustrators who stay at or visit The Hughenden. Special works include illustrations by multi award-winning artists such as Nina Rycroft, Sarah Davis, Pixie O’Hara, Donna Rawlings and Shan Tan. Discover in corridors and rooms their autographed prints by much-loved Diary of a Wombat duo – Jackie French and Bruce Whately – and those of I Am Jack duo – Susanne Gervay and Cathy Wilcox ●

More information on Susanne Gervay’s latest children’s book, Always Jack (Sydney: HarperCollins, 2010) is found at: www.sgervay.com.

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In the tradition of education, literature and arts, many of Australia’s renowned writers and illustrators frequent The Hughenden

” THE HUGHENDEN Free call 1800 642 432 02 9363 4863 reservations@thehughenden.com.au www.thehughenden.com

ANTIQUES & ART IN NEW SOUTH WALES

Turquoise mosaic earrings, c. 1860-90, most often associated with Hopi

Jacklas (loops of turquoise beads), 20th century

Silver hoops, c. 1880

Silver hoop and ball earrings, c. 1900

Turquoise drop earrings, c. 1900-1930

Flat silver loops set with turquoise discs, c. 1910-1930

ADORNMENTS: Native American earring designs

rom the beginning of cultural development, mankind has had a desire for adornment. This has manifested itself in the wearing of pieces with subjective aesthetic and/or intrinsic value, such as jewellery, and has taken on many forms. Wearing different styles of jewellery can denote rank, affiliation to different groups or demonstrate status and wealth. Today, enjoyment is the reason for wearing jewellery. In the southwest USA turquoise, which is universally associated with the area, has both sacred and economic value to the Zuni, Navajo and Pueblo Indians. The Pueblo calculate its value not only by the stone’s quality but also by the amount of time it takes to produce an artefact from it. Jewellery has taken on many forms and has been worn on every conceivable part of the body. Sometimes an area of the body needs to be altered to attach an object; one common method of adaptation is to pierce the ear lobes, so the wearer’s face can be flanked by adornments – earrings. Native Americans of the Southwest were no exception to these practices, with their earring styles evolving from a simple pendant, using irregularly shaped stone or shell and bone, to complex examples of art using metal and other raw materials. Both men and women wore earrings of similar style, with a single piercing being

common practice both today and historically. However, the evidence shows one gender favoured a specific form. For example, Pueblo women exclusively wore a turquoise mosaic pendant earring made simply by bonding roughly squared turquoise pieces onto rectangular wooden or shell backing, often with a square piece of shell in the centre, to

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symbolise ‘blue corn stacked up.’ Late 1800s photographs show Hopi women commonly wearing the distinct mosaic ear pendants, a style that dates back to prehistoric times in the Southwest. These earrings have significant ceremonial meanings to the Hopi.

Silver drop earrings with silver wire and set with turquoise, c, 1910-1930

METAL jewellery

Jewellery has taken on many forms and has been worn on every conceivable part of the body

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Jackla, meaning ear rope or cord, is another form of ear pendant, a tapering loop of turquoise discoid beads associated with women. Navajo maidens upon marriage would remove the jacklas from the ears and tie them to bead necklaces as pendants. This may explain why several early sources noted that women have pierced ears but do not wear earrings.

Early European explorers expanded the possibilities of decorative auricular ornamentation by introducing ear hoops of metal and new raw materials to the native craftsmen. The introduction of refined metals became the catalyst for extensive changes in their material culture. At the time of Spanish contact in the Southwest, rudimentary metallurgy using small amounts of native copper was practised and metal oxides were used in pottery glazing. In pre-contact time, metal was too scarce to use in jewellery making. Although various amounts of ferrous and non-ferrous metals were present in the historic Southwest and most have been used in jewellery production at some stage, the focus has been on silver. Silver arrived in the Southwest via several means and coincided with a crucial period of cultural change. Despite not being an indigenous art form, silversmithing was soon

Commercial silver drop earrings set with domed turquoises, c. 1930

Hopi woman wearing turquoise mosaic earrings and glass bead necklace, c. 1900

an important part of Navajo life beginning as early as 1853 when Atsidi Sani was credited as the first to learn silversmithing. In 1872 a Navajo passed on silver-working skills to a Zuni, who, in turn passed knowledge of the craft to a Hopi artisan. During the Navajo internment at Bosque Redondo between 1863 and 1868, some learned metallurgy and after re-location to the reservation the Navajo craftspeople became renowned silversmiths. Earlier Navajo earrings were cut from flat pieces of iron. Copper and brass kettles were broken up and used for jewellery at Zuni Pueblo in the 1830s and 1840s. Through trade, copper and brass wire was available which was easily shaped and used extensively to fabricate the simple and popular ear hoop. Silver, unless procured as jewellery, required reshaping with tools and knowledge. The earliest silver earring was clearly made with limited resources; it is, nonetheless, of a style that continued into the early 20th century. In the 1870s traders supplied native smiths with silver coins to use for jewellery and brought in Mexican instructors, with the result that the non-indigenous population found this work much more appealing than that of a couple of decades earlier. Silver became the preferred metal but the annular form of the old copper and brass earring remained. It was documented that ‘each of a Navajo great circular loop contained at least one trade dollar.’

DOUBLE BAY ANTIQUES & ART IN NEW SOUTH WALES

Added to these popular hoops of plain or file-marked round silver wire was often one or more hollow silver beads or sometimes a silver squash-blossom pendant. Earrings came next to the bracelet in importance, and were worn by both sexes. Mexican pesos were also used to make hoop and ball earrings and another style shaped like flat, crescent moons. These were originally decorated with file or punch work and later with stamping. When stone setting became part of the craftsman’s repertoire, turquoise was often added; sometimes it was found that stones had been set over the existing stamp work of an earlier style. The third type of hoop earring documented was made of long strips of silver that are flattened, or with a single curvature, and then formed into circular hoops giving the appearance of short sections of large diameter tubing. In a complete shift from the annular concept, piriform drops of silver appeared. These were long tapering cones of silver closed at the wide end with a separate free-moving squash blossom or pomegranate dangle which was attached by interlocking metal loops or by thong which passed up and out at the upper end so it could be attached to the ear. Another southwestern metal working tradition influenced the artisans and should be noted. It is the art of silver and gold filigree as executed by Hispanic plateros. Platero is the Spanish term for silversmith, which in provincial Mexico and New Mexico came to designate anyone who worked with silver or gold, either as flat-ware, hollow-ware or as jewellery. Filigree jewellery has a long history in Europe. Early references to it in this region are about buttons worn on clothing. The travelling plateros found gold and silver was not readily available which necessitated melting down and reworking older jewellery, making examples of early work very scarce today. The importance of

plateros is reflected in the late 19th century tradition that a young male suitor would present his betrothed with a gargantilla that included a necklace with pendant, bracelets, brooch, rings, earrings and rosary, all of filigree. Many forms of filigree were produced, each denoted by a Spanish word. The chupones may have been the models for silver beads surrounded by rope-like twists of wire that were later produced by native smiths attempting to replicate this decorative unit. There are earrings of all kinds, again each with its descriptive name. In the late 1870s filigree jewellery gained much popularity and did not escape the notice of the native population in New Mexico. Many examples of this influence are available in work from Acoma, Laguna and Isleta Pueblos, where the bent wire work is a version of the type used on filigree earrings.

SETTING stones in silver The Navajo began to set stones in silverwork in 1878, with Zuni craftsmen following a decade later. Turquoise was the stone of choice, however when it was not readily available in the 1880s and 1890s other semi-precious stones, jet and abalone shell were substituted. Locally found garnets and even bits of coloured glass, easily ground to shape, were used. Turquoise, rivalling the blue of New Mexico skies, held deep religious significance to native peoples thus maintaining its preference and prominence. As new turquoise mines were opened in the Southwest and local supplies increased, a curious change in earring fashion took place. The early 1900s saw the reemergence of the turquoise eardrop from a previous age and the noticeable decline in the wearing of silver hoops. Changing styles were also evident at Zuni Pueblo. Earrings that had become an indispensable part of women’s apparel – the

Navajo silver earring, c. 1869

Silver and turquoise hoop earrings, c. 1880-1900

only article of silver worn all the time – were now commonly set with stone. By 1926, with the increased use of turquoise, earring styles became flat hoops set with turquoise discs that showed from both sides or long dangle earrings. The traders expanded commercialism at this time and employed more native smiths to produce for new markets beyond the reservations. The craftsmen were supplied with necessary raw materials and a variety of new jewellery tools resulting in a more delicate style that would appeal to the Anglo market. Now able to express their ageold affinity for turquoise, the Zunis abandoned the heavy Navajo style of jewellery making in favour of a lighter, stone-studded style, a style that Navajos

would eventually emulate in their own way. Women’s earrings reflected the changes that took place in Zuni when the Zunis began to follow their own tastes. The old flat hoops were replaced by a more elongated drop with multiple stone sets and often constructed in tiers with free moving dangles from the bottom. The Navajo quickly adopted this style that, in innumerable varieties, has continued with little change to present day ● FOUR WINDS GALLERY 02 9328 7951 www.fourwindsgallery.com.au

ANTIQUES & ART IN NEW SOUTH WALES

Continued from page 8 his collections for Select Specimens From Nature of the Birds Animals &c &c of New South Wales, Collected and Arranged by Thomas Skottowe Esqr. The Drawings By T.R. Browne... New South Wales 1813. Freed in 1817, Browne returned to Sydney where his illustrations concentrated on the Indigenous peoples with several appearing posthumously in A collection of portraits, predominantly of Aborigines of New South Wales and Tasmania, ca. 1817-1849.

George William Evans and James Taylor were colonial officers and amateur artists who accompanied Macquarie on tours including Van Diemen’s Land in 1821. Lycett was possibly indebted to their drawings.

By the mid 1820s the convict colony was a commercial outpost of Britain. The European demand for exotic images of an unknown place was subsiding. Professional artists’ views were more accurate than earlier fanciful images but lacked the allure of the amateur and convict artists’ topographical drawings ●

HISTORICAL accounts Major James Wallis (c. 1785-1858) was an amateur artist and commanded the Newcastle colony. Wallis’ An historical account of the Colony of New South Wales contains many of Browne’s watercolours and Lycett’s works, engraved by Slaeger and Preston, printed in Sydney in 1819 and now very rare. Wallis reprinted the engravings in London in 1820. Joseph Lycett (c. 1775-1828), a landscape and miniature painter, transported as a forger, arrived in the colony in 1814 and from 1815 he was an artist for Wallis in Newcastle. In 1819 Governor Macquarie gave Lycett permission to travel in NSW and possibly Van Diemen’s Land, with some of his images forwarded by Macquarie who pardoned Lycett in 1821. His pictures were published in London, firstly in monthly issues of four drawings in 1824 and later collated in Joseph Lycett, Views in Australia or New South Wales, & Van Diemen's Land delineated, in fifty views... (John Souter, London, 1824).

TIM McCORMICK 02 9363 5383 www.mccormickbooks.com.au Further reading Jan Fullerton, The World Upside Down, Australia 1788-1830 (Canberra: National Library of Australia 2000) Tim McCormick, First Views of Australia 1788-1825 (Sydney: David Ell Publishing 1987)

6 1

2 3 4

5 4

Joseph Lycett (c. 1775-1828), North View of Sydney, 1824, coloured lithograph, 17.5 x 28 cm, inscribed ‘I Lycett, Delt. et Execute’ (drew the scene & carried out the engraving), printed by J. Souter, London, 1825 James Wallis (c. 1785-1858), A view of Dawe’s Battery at the Entrance of Sydney Cove New South Wales, inscribed, ‘engraved by W Preston from an original drawing by Capt Wallis 46th Regt’ 1819 John Eyre (b. 1771), Sydney from the East Side of the Cove, 1810 (possibly 1808) Absalom West, publisher (Australia 1798-1814, England after 1814), View of part of Sydney, the Capital of New South Wales Taken from Bene Long’s Point, drawn by J. Eyres [sic], engraved by W. Presston [sic], 1825 John Lewin (1770-1819), Climbing Trees, Plate 4, Field Sports &c. &c. of the Native Inhabitants of New South Wales (London, 1813 or 1814) John Lewin (1770-1819), Bombyx Banksiae, Plate 5, Prodromus Entymology, Natural History of Lepidopterous Insects of New South Wales (London, 1805)

MOSMAN ANTIQUES & ART IN NEW SOUTH WALES

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ANTIQUES & ART IN NEW SOUTH WALES

MEANINGFUL VALUATION of jewellery = CSi + forensic analysis

n expert valuer requires many basic qualifications, commencing with knowledge in all of gemmology, diamond grading, jewellery manufacturing techniques, antique and period jewellery, wristwatches and pocket watches, hallmarking of jewellery and precious metal testing. In addition to all of the above, many years of experience are required. The most essential skill is the ability to translate all the technical, design, historical and provenance data into what is relevant in the current marketplace. Only then can one arrive at a ‘value’ that is meaningful for the end users of a written valuation, whether owners, insurers or probate.

VALUATIONS have many interesting challenges One of the problems facing a practising jewellery valuer is that any imaginable (and never imagined) item can appear before you for valuation: you are required to use a broad range of skills. For example, when identifying a gemstone, a loose gem is much easier to identify than a gem that is set, as testing procedures are limited once set. Frequently valuers need to decide if an item of jewellery is a genuine antique or a modern reproduction. A valuer often does not know the history of the jewellery and so has no information to start with. It can be likened to CSI and forensic analysis, so assumptions and identifications are determined by examination and testing. In order to identify the origin of the gemstone and metal mount a logical sequence of examination and testing needs to occur to arrive at the correct answers. 1. The gemstone must be identified, whether natural or synthesised in a laboratory. 2. The precious metal needs to be tested and identified, such as the grade of silver, whether sterling (.925 pure) or other grades (Scandinavian silver is frequently .800). 3. What about the method of manufacture – is it handmade or cast or a combination of both?

Imagine the challenge from a large pearl necklace – are they from the South Seas or are they freshwater pearls? They look very similar to one another, but have totally different values. There are now rubies on the market that are of really very low quality. They have been treated by heating and the addition of molten glass to fill the cracks in the stones which increases the eye visible clarity. The value of this type of ruby is extremely low and can be very misleading for the purchaser. There are other treatments of rubies, so depending on the treatment, a wide range of values can be attributed to each gemstone sold as a ‘ruby.’ This has the potential to defraud prospective buyers. An interesting valuation was that of a lovely sapphire and diamond ring with a series of English hallmarks on the band. A closer examination revealed that the stamps were fake. The marks were actually cast into the ring and therefore clearly a modern reproduction, and of course fraudulent. The other sign that the ring was not antique was that modern cut diamonds that were set in the ring did not occur until at least the 1950s. Another valuer was presented with a blue stone and diamond ring. The blue stone looked exactly like a blue Ceylonese sapphire – testing proved that it was an unusual blue stone called kyanite. This is a fragile stone and so the wearer has to be very careful not to crack it. New deposits of the mineral have recently been discovered, so it will be seen more frequently on the market, yet few will know its true (low) value. The above examples show just the tip of the iceberg of this vast subject. When seeking advice or valuations, a qualified and experienced person is obviously required to unravel the science and complexities of jewellery, watches and other items of personal adornment. The best thing about using a professional valuer is that you will get a precise description of the article along with an accurate current replacement price. A valuation is a legal document: it validates the existence of the items should either damage or loss occur ●

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

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

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

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

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

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

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

02 9221 6262 07 3229 6119 07 5538 7832 02 6772 7375 02 9894 0204 0415 169 741 02 9419 2296 02 6733 2062 02 9905 4344 0411 369 946 02 6962 2884 02 4861 2159 02 9609 1070 02 9233 6999 02 9922 5812 02 9267 1304 02 9264 3951 02 9232 4882 02 9899 5848 02 6651 9100 02 9328 1712 02 8850 7080 02 9868 3444 0438 630 183 02 6021 4282 0410 485 880 02 9597 4877 0411 725 740 02 9420 8261 08 8981 4448 02 6962 7477 02 9267 4391 02 9969 7766 02 9290 1505 02 9986 1877 02 4227 6224 02 6352 1203 02 9832 9222 02 9267 1084 02 9264 3663 0411 511 222 02 98071020 02 9413 9100 0439 994 732 0414 283 627 0430 318 003 02 9639 6468 02 9231 1088 02 9232 1611 02 9233 1355 0416 379 782 02 9231 2388 02 9264 3162 0434 728 863 02 6556 0241 02 9476 4721 02 9419 7908 02 9269 0804 0425 306 725 02 9412 2780 02 9233 1355 02 9267 7974 02 4930 1047 02 6021 3744 02 6921 2345 02 9223 8744 02 4990 3810 02 9558 5532 02 9238 0577 0414 208 785 02 9412 4816 03 9662 1755 02 4983 1188 02 4987 2290 02 6295 0064 02 6881 8318 02 9262 5142 0412 363 431 02 9266 5379 0411 467 416 02 9567 6650 02 9974 5466 02 9899 5848 02 9233 1355 02 9371 8735 02 9940 3361 02 9233 5119 02 9344 9577 02 9484 0944 02 6829 0210 02 9221 5916 02 9264 8788 02 9231 3299 02 6722 2114 02 4972 2111 0438 889 714 02 9545 5955 02 9221 6140 02 6295 7955 02 9524 0360 0404 875 468 02 9281 8357 02 6295 9493 02 9966 9925 02 9264 4933 02 9689 1022 0418 961 266 0427 499 150 02 9233 2932 02 9222 9797 02 9645 2465 02 9979 3871 02 9233 5558 02 9953 8624 02 9261 1212

PYRMONT ANTIQUES & ART IN NEW SOUTH WALES

Caring for and maintaining RUGS AND CARPETS

hether you buy a rug, kilim or carpet for decorative, practical or investment purposes, care needs to be taken in order to ensure its longevity, to protect its value and to ensure the aesthetic qualities last. As most of these textiles are used for decorative floor covers, they are especially vulnerable to damage from dust, spillage, debris carried on foot and especially petsâ&#x20AC;&#x2122; accidents.

Cleaning and washing Regular vacuuming is essential in the care of rugs. Floor textiles should be thoroughly vacuumed at least once a week, or more if located in a high traffic area. Always vacuum in the direction of the pile, in order to ensure a smooth appearance. For a deeper clean, it is important to move the carpet from its regular position and clean the surface underneath, as well as shaking the carpet to remove deeply held dust. If parts of a rug are placed under furniture or in dark areas or stored, they should frequently be cleaned and checked, as they are vulnerable to moth damage, which in its early stages can go easily unnoticed. If you find signs of moths or their damage, quickly seek advice from a rug professional to protect and repair. Washing rugs is essential for their maintenance, however only entrust your rug to a recognised professional, every time. Most rugs need to be washed every two to five years, however in the case of stains or repeated spillage, more frequent and at times immediate washing is necessary. In particular, cat and dog waste (especially urine) needs to be dealt with immediately due to its acidity which leeches the dye from the rug, and if left can damage the carpet

permanently. In this case, it is necessary to have the carpet professionally washed and deodorised immediately. A carpet cleaning professional will be able to take into consideration the material, dyes and integrity of your rug, as well as use an appropriate technique and products to wash and care for your rug.

Repair and restoration Depending on their use and condition, most rugs will endure damage from everyday use but most damage can be repaired. All rugs will show signs of wearing over time. Immediately seek assistance with any damage to rugs such as the ends fraying, tears, moth damage, damage caused by pets and accidents, and rot. It is important to detect early signs of damage and to intervene, as delay could make repairs costly or may render your rug irreparable. In most cases an experienced professional can repair the area in need in such a way that the rug should resemble its pre-damaged appearance

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

The correct way to store rugs Take special attention when storing rugs. Due to the potential damage from humidity, it is important to store a rug in a dry area. Rugs should not be folded as this may damage their structural integrity, or break them. Only store a rug by rolling and wrapping it in a cotton or linen cover; never use plastic based covers â&#x2014;?

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

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

ANTIQUES & ART IN NEW SOUTH WALES

THE A-Z OF ORIENTAL ANTIQUES

Kuba prayer rug, northern Caucasus, c. 1850

DYES

olouring materials originally obtained from natural sources such as plants and are now made synthetically. Some dyes such as indigo (known as vat dyes) are applied directly to the fabric. Others require a mordant (such as chromium salts) to fix them to the material (mordant dyes). The best dyes are fast to light and washing; otherwise they are ‘fugitive’, which means they will either fade or run into adjacent areas of colour.

ERSARI A Turkoman tribe who, as nomads in the 19th century, inhabited areas of northern Afghanistan and southern Turkestan. They made tent carpets and trappings using the ‘gul’ motif.

FARS A south Persian province the capital of which is Shiraz, the traditional market for many of the south Persian tribal weavings from the Qashqa’i, Lori, Khamseh and Afshar.

FERAGHAN A plain outside the township of Arak (formerly Sultanabad) in western Persia, significant for its production of village rugs since at least the early 19th century. Characteristic in many rugs is the use of the Herati pattern and a rather corrosive green dye.

FELT Felt is one of the oldest forms of non-woven fabric which is built up of interlocking fibres. The fibres become intermeshed by a combination of mechanical work, heat and moisture. In most parts of Asia, sheep's wool is used for felting.

FIELD The central area of a rug enclosed by the borders. Field patterns may have a repetitive or overall design or contain central medallions based on floral or geometric motifs.

GUL (GOL)

KELLEGHI

An octagonal motif appearing as an infinitely repeating design across the field of rugs particularly of Turkoman origin. A variety of stylisations were used by the Turkoman tribes for whom the ‘gul’ had special heraldic significance. Particular tribes were associated with certain ‘guls’ just as Scottish clans were associated with specific tartans.

A long carpet of which the length is proportionally twice the width. In the traditional arrangement of Persian carpets within a palace room, it was the 'head' rug upon which the Shah or other leaders sat to hold audience. In front of this lay the ‘qali’ or main carpet flanked by two ‘kenareh’ or runners.

HAMADAN

A motif found predominantly in the trappings and bags of the Turkoman (Turkmen) tribes and representing a stylised flowering plant or tree and also referred to as the animal tree motif.

A township in western Persia and an important market centre during the latter half of the19th and early 20th centuries. Many rugs made in and around the township by predominantly Kurdish populations are known as Hamadans.

HEGIRA The name to Mohammed's flight from Mecca to Medina in the year 622 AD. For the reading of dates sometimes woven into the rugs the Islamic lunar year applies which is shorter than our solar year and the reckoning begins with Mohammed's flight. The formula for converting the dates on old rugs is: where X = Islamic date: X divided by 33.7 = y then x + 622 - y = date CE.

HERATI Design found in a variety of 19th and early 20th century Persian rugs of village origin. Comprises a central rosette within a diamond flanked on each side by four curved sickle leaves and showing pendant palmettes or rosettes at each point of the diamond.

HERIZ A township in northern Persia and an important centre for village production of the region to the northeast of Tabriz.

ISFAHAN Shah Abbas's capital of Persia noted for its magnificent Safavid architecture and extravagant tile work. In carpet production it is most famous for the court workshops of this period where in all probability an important group of silk and metal thread carpets known as the ‘Polonaise’ carpets were made. Nowadays the workshops of Isfahan produce the most finely knotted of all modern Persian carpets with designs inspired not so much by the magnificent Safavid knotted masterpieces, but by the tile work of the Safavid mosques.

KASHAN

A group of historically important carpets from the 17th and 18th centuries whose schematic composition was based on the layout of the classical Persian garden with water courses dividing rectangular beds of flower, shrubs and trees.

A township in central Persia and a focus of much court workshop production in 16th and 17th century Safavid Persia. One of the world's most celebrated carpets, the Ardebil carpet in London’s Victoria and Albert Museum, is signed and dated in a cartouche at the top of the field, ‘Maqsud of Kashan... in the year 946 (1539). It is not however certain whether the carpet was actually made in a Kashani workshop or another of the major centres of Safavid court production. Kashan is also an important centre associated with the revival of Persian workshops from the middle of the 19th century. The most famous rugs during this period of production are attributed to the workshop of Motasham.

GROUND Weave

KAZAK

Right angled interlacing of warp (lengthways) threads and weft (widthways) threads, forming the basic structure of a fabric or rug. Also called the foundation.

A rug from the southern Caucasus of village origin and characterised by bold design, vibrant contrasting colour, relatively coarse weaving and a longish pile.

FLAT WEAVE A general term for a rug without pile, for example a kilim or a sumak.

FUCHSHINE One of the early aniline dyes, first made in 1859. It produces a brilliant magenta but fades badly in light.

GARDEN Carpets

Gul motif as found in Turkoman carpets

KHELLILI Gul

KHAMSEH (Khamsa) A south Persian group of tribes formed as a political confederation in the 1860s purportedly to combat the might of the neighbouring Qashqu’i tribes. A conglomeration of Turkic, Arab and Persian peoples, the Khamseh produced rugs similar in character to those of the Qashqa’i. One particular design type associated with the Khamseh is the ‘murgi’ or ‘chicken’ rug displaying numerous long necked birds pecking away at random across the field of the rugs.

Herati motif as found in Bidjar carpets

Symmetrical

KILIM Most specifically, a tapestry woven rug (as distinct from pile) produced in Turkey, Persia and the Caucasus. The term is often used in a generic sense for all flat woven rugs whether they are a tapestry woven rug or woven in some other weft or warp faced technique.

Asymmetrical

KIRMAN A township in southeast Persia with a long tradition of workshop carpet weaving both in the 16th and 17th, centuries under Safavid rule and during the 19th century with the renaissance of workshop production to cater for demand in the western world

Open to the left

KNOTS Strands of wool wrapped around the warps and cut so that the ends project upwards to form a pile. Two basic types of knots are used in oriental rugs.

Open to the right

KONYA The early Seljuk capital of Turkey (from 11th-13th centuries) and in the 19th century. Nowadays it is an important market centre in central Turkey for the village production of the region. Famous for its Seljuk architecture.

KUBA A township in the northern Caucasus. Many cottage industry rugs associated with particular designs such as Perepedil, Chi-chi, and Afshan, are attributed to the Kuba region but the distinction between old Kuba rugs and their counterparts from the Shirvan area to the south often remains unclear.

KURDS The Kurds, among the most ancient inhabitants of western Persia, are found also in great numbers in eastern Turkey and Iraq. Throughout the centuries, many Kurdish groups have dispersed sometimes at the behest of rulers to other parts of Iran (Persia). Kurdish tribes inhabit the area around Kuchan (Quchan). Kurdish weavings are as similarly diverse and difficult to attribute precisely but are produced by both nomadic tribespeople and settled villagers ● Ross Langlands NOMADIC RUG TRADERS 02 9660 3753 www.nomadicrugtraders.com

Anatolian kilim showing a detail of the slit tapestry technique common to most flatwoven rugs

PYRMONT ANTIQUES & ART IN NEW SOUTH WALES

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

SALE!

UP & WAKE IN GET EARLY

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

21ST ANNUAL SALE UNTIL JUNE 30

NOMADIC RUG TRADERS

website: www.nomadicrugtraders.com 17

BONDI JUNCTION ANTIQUES & ART IN NEW SOUTH WALES

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

ellagio International has been operating at 1A Hollywood Avenue, Bondi Junction for more than a decade. It has become the favourite place for interior designers, commercial producers and those who like fine and unique items. They sell and purchase their stock from around the world. Each piece of furniture and art is unique. Bellagio International carries a wide range of crystal chandeliers, beautiful oil paintings, gilded mirrors, fine porcelain, bronze statues, console tables, dining suites and bedroom suites. They also offer a vast selection of clocks, period and modern furniture and much, much more. Items from their catalogue can be viewed on their website and ordered through their store â&#x2014;?

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

1A Hollywood Ave, Bondi Junction 50 metres from Westfield NEW SHOP LOCATED AT 243 Oxford Street, Bondi Junction

Ph: 02 9369 4934 â&#x20AC;˘ Mob: 0416 131 015 ask for Ray Open: Mon-Sat 11 am - 6 pm 18

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

BONDI JUNCTION ANTIQUES & ART IN NEW SOUTH WALES

PACK & SEND art and antique specialists

pecialising in transporting art and antiques means that Pack & Send superstores stock an extensive range of packing supplies – including bubble wrap, air bags, tailor-made boxes and crates – for both shops and individuals who choose to do their own wrapping. Museums, art galleries and antique dealers Australia-wide are finding Pack & Send’s service truly valuable when they ask them to take care of the entire logistical process: from pick-up to packaging to insurance, paperwork, freighting and safe door-to-door delivery. No other company in Australia does this. In relieving them of what can often be a time-consuming and onerous task, curators and collectors are free to concentrate on their core business. Pack & Send will personally manage the entire job and even computer-track the item en route until it arrives safely and in pristine condition at its destination.

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

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

“

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

”

glassware, paintings and various antiques to be sent through the freight system without compromising the safety of the item. Not only that, but Foam-in-Place is highly cost efficient and readily disposed of without harming the environment. Pack & Send is the only freight company that will send as well as pack antiques and art for you. When you consider the price of packing the item yourself on top of another company’s freight charges, Pack & Send’s price – as well as its hassle-free, one-stop shopping convenience – makes it a very attractive option.

SAVES Time and Money Art and antique dealers, galleries and museums are now realising that using Pack & Send for their logistics is a means of providing a superior level of service to their customers and actually saves them time and money. Martyn Cook of Martyn Cook Antiques in Queen Street, Woollahra NSW is a fan. He uses Pack & Send to send artworks worth many thousand dollars. ‘From long experience I know I can rely and depend on Pack & Send. They collect fine art, pack and deliver for us nationwide and around the globe. We’ve had no breakages so far,’ he says with a smile. That’s good news to people such as the Miami, Florida, customer who purchased some framed sailing prints, including an 1830s copy of a French sailing ship heading out for a perilous expedition to the Arctic and a sailing scene on Sydney Harbour in the 1880s. Pack & Send Bondi Junction is open six days a week, from 8.30 am to 5.30 pm, Monday to Friday, and from 9 am to 12 noon on Saturday. The team at Pack & Send look forward to the opportunity to offer their services in solving any packaging or freight problem you might have ●

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

Superstores... We Send Anything, Anywhere!

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

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

SURRY HILLS ANTIQUES & ART IN NEW SOUTH WALES

MASTER GILDING TECHNIQUES AT The Art Gilding Academy

ave you ever wished to have the skills to apply gold and silver leaf to your furniture, frames, and artwork? Or embellish your cornices, columns, walls and ceilings with metal leaf? Work for yourself from home at your own pace? Master gilder Karl Eggert can make your dream come true – and you need no prior knowledge of gilding. In the past, this ancient craft with all its secrets has been passed from father to son. But in 1999, Karl Eggert, together with his wife

Brigitte, founded a unique teaching establishment to make the wonderful craft of gilding available to anybody who wants to learn in Australia. Learning in Germany from master gilders in framing, as well as in church restoration, Karl has a broad knowledge and more than 45 years experience in gilding. And this knowledge and experience is reflected in his teaching program at the Art Gilding Academy. Class sizes are kept to a maximum of six students to ensure the best learning experience.

Hobby workshop

Gilded French clock

A DISCOVER GILDING WORKSHOP ($200), held on a Saturday, is the perfect answer for anybody who wants to learn gilding as a hobby. In just four hours you can learn, step-by-step, how to apply gold size, Dutch metal leaf (faux gold), seal your project with several coats of shellac to make it durable, and then age the plaque to your taste. You will be very proud of your masterpiece and you can be assured that your family and friends will be impressed! On completion of the gilding workshop, most students cannot wait to start gilding objects around their home.

New homes needed for well-loved pieces

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

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

Master Class

• French 18th century tapestry cartoon of figures in a landscape, 213 x 244 cm, $12000 • Set of 3 matching French basket gilded chandeliers, $900 each or $2500 for the set • Ornate French wrought iron day bed, restored, gilded and reupholstered, $1500

Free delivery in the Sydney metropolitan area. Photos on www.artgilding.com.au or call Brigitte on 02 9310 3007 for more information. Gilded chair backs

You can learn every aspect of gilding in a twoweek, fully certified Master Gilding class. In this professional course, Karl teaches skills similar to those taught in three-year apprenticeships. Gilding on plaster, timber, glass, metal and paper form part of the program. For framers and painters, the course can bring immediate benefits to your business, while many students come from the fields of art, craft and interior design. Students travel from all over the world to attend the Art Gilding Academy, making it a truly international academy. On completion of the Master Class, the Academy offers a Lifetime Membership in the Goldfinger Club, with 20% discount on all gilding tools and materials as well as unlimited advice and support. We are there for you until you do not need us anymore. You will find this truly priceless. Imagine how peaceful it feels to learn this exquisite craft, in this beautiful classroom with a small group of like-minded people. This two-week full time professional gilding course has been designed to save you time and create an income as well.

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

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

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

By invitation only Free information evening on gilding Once a month, Art Gilding holds a special information night (from 6 pm to 9 pm) on the art of gilding. Karl conducts a gilding demonstration, an informative video is shown and all questions on gilding are answered. Food with gold leaf is served and even the wine contains floating 24 carat gold. Gold and silver have been used for centuries to embellish food and we assure you it is absolutely safe to eat and drink. Best of all, the evening is absolutely free. These very popular evenings are strictly invitation only, so please call Brigitte on 02 9310 3007 for dates and bookings.

Brigitte with gilding workshop project

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

Would you like to add skills and more profits to your business? This class has been especially designed for people unable to attend week-day classes and is held once a month. We know how difficult it is for small business owners to find time during the week, so our intensive weekend class may suit you perfectly. The classes run from 10 am – 4 pm Saturday and Sunday and participants are taught, step-by-step, gilding techniques that are applied to furniture, picture frames and mirrors, cornices and even walls. Many students have found that gilding adds another dimension to their business, which they have been able to capitalise on by adding a new profit centre and, moreover, it’s fun! The weekend class is very reasonably priced at $795. This includes the project – an Egyptian plaque – all tuition and materials. In certain circumstances this fee could be claimed as a tax deduction. Those able to benefit by acquiring this skill include artists, painters, framers, restorers and French polishers; in fact, anyone who wants to add new skills and a new source of profit to their business ●

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

WATERLOO ANTIQUES & ART IN NEW SOUTH WALES

Collecting industrial antiques: SOMETHING AS BEAUTIFUL AS A BOBBIN

he technical and mechanical innovations in the cotton and woollen industries associated with the Industrial Revolution, which began in the last quarter of the 18th century, resulted in many changes for workers. Beginning in Britain, the mechanisation of industry spread to Europe and to the United States. This economic growth saw the emergence of mass markets for manufactured goods and the rapid urbanisation of towns where factories were built. In America, on average, women textile workers toiled for 12 to14 hours a day and half a day on Saturdays with few breaks. The mill was a dangerous place to work with shuttles flying off looms, and a constant humid 100-degree temperature. In response to the poor working conditions, America’s first working women’s association was organised in 1844, the Lowell Female Labor Reform Association (LFLRA) with Sarah Bagley the first president.

THE FIRST step to industrialisation In 1733, John Kay invented the flying shuttle, which contained a bobbin on to which the weft yarn was wound. The bobbin, or cylindrical reel, revolutionised textile manufacturing. Made of wood, many textile mills had their own machine shops and their favourite bobbin shape, which accounts for their varied designs.

REPLACED by plastics The mid 1900s, with its relentless technical advances, was a sad time for wooden bobbins. With the introduction of open ended spinning and plastic bobbins, traditional spinning and wooden bobbins quickly became a thing of the past. Unfortunately, wooden bobbins had become far too commonplace to be valued, and whole mill stocks were destroyed. Bobbins were not even valued as firewood as their high oil content created hazardous fires that burned out of control. So, millions of wooden

bobbins were thrown away or burned in landfills. While no one can be entirely sure, it has been estimated that three quarters of the wooden bobbins made, many of which were still in use in the 1950s, have been destroyed.

BOBBINS: objects of craftsmanship Fortunately, collectors have begun to appreciate bobbins as objects of character and interest from a time of true craftsmanship. They are busy harvesting these relics from the few remaining mills as they either modernise or close down. Wooden bobbins and shuttles

are becoming increasingly valuable as they become increasingly rare. Now is a good time to start collecting. Wooden bobbins are still affordable and obtainable; they offer a fascinating hobby and are great design pieces. We have a large range of bobbins and all kinds of industrial antiques. You name it and we may have it! When it comes to industrial antiques, Doug Up On Bourke is the place to visit, look and shop ● DOUG UP ON BOURKE 02 9690 0962 www.douguponbourke.com.au

“ ”

Wooden bobbins are still affordable and obtainable; they offer a fascinating hobby and are great design pieces

901 Bourke Street Waterloo NSW 2017

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

ALEXANDRIA ANTIQUES & ART IN NEW SOUTH WALES

NEW YORK STYLE

hether it’s an aspiration to live in a Hamptons-style home in Sydney’s Castle Cove, a Soho loft in Darlinghurst, or a Manhattan pied-à-terre overlooking the harbour, the popularity of the New York style is undeniable. The ‘look’ is found in everything from glossy magazines to television sitcoms and movies. The house featured in Something’s Gotta Give received almost better reviews than the movie itself, or its famous stars. In the

NEW YORK, NEW YORK See exceptional quality handcrafted European and American furniture, accessories and lighting, including New York designer collections in our Sydney showroom featuring the Hamptons and Manhattan style room settings. NEW SHOWROOM Open Monday to Saturday 10am to 5pm & Sunday 10.30am to 4.30pm 80 O’Riordan Street, Alexandria (next door to Domayne) T: 02 9667 4415 • E: sales@laurakincade.com • W: www.laurakincade.com

Washington Post, staff writer Terri Sapienza observed that ‘The 2003 comedy Something’s Gotta Give starred Oscar-winning legends Diane Keaton and Jack Nicholson. But for lots of moviegoers, the most memorable role was played by the house, especially its big, lightfilled kitchen. The airy, shingled Hamptons beach house is walled with windows and built-in bookcases. The rooms are open, the furniture slipcovered, and the walls and fabrics awash in creamy blues, whites and tans. The kitchen gleams with white glass-front cabinets, vintage hardware, a commercialstyle range and dark soapstone counters. With a backdrop such as that, who cares whether Keaton and Nicholson find mid-life love? Even when a movie’s stars seem dim and the plot is plodding, those of us who can’t get enough of interiors can wallow in the set designs… But this house sparked interest of an entirely new intensity. Designers started getting requests to recreate the house’s interior or to plan an entire remodel around it. Clients carried in the video to show designers and contractors what they wanted. The president of Williams-Sonoma Home created a custom-upholstered headboard collection after seeing the bedrooms. A New England decorator blogged about how to achieve the look and got more hits on that entry than she’d ever had. A rug manufacturer in the Midwest produced a version of the living room’s carpet and has sold 65 in the past two years. One overzealous fan rented a helicopter and flew over Long Island until he located the actual house – then offered to buy it. The house was not for sale. Linda Merrill, a Massachusetts designer said, “It’s got to be the most popular interior ever.” An entry she posted on her blog about the movie’s interior garners as many as 30 hits a day. People from Australia, Canada and Africa check her blog in search of rugs, artwork, lamps, furniture and fabric from the movie. It might surprise (and disappoint) fans to learn that the exterior of the Southampton home was the only part of the set that was real. The interior and backyard were built on a Hollywood soundstage, and set designers created much of the furniture. And when the filming wrapped, the entire set was dismantled. Props were auctioned on eBay for charity.’1

The popularity of this style is understandable. Today we are looking for a comfortable, welcoming home; individual, not too over-thetop, but with a richness of ideas culled from the wide range of product available to us from around the world. Whether we want a calm retreat or an exciting, colourful home that makes a very personal statement, inspiration can be found in New York interiors ● Beverley Brown LAURA KINCADE INTERIORS 02 9667 4415 www.laurakincade.com Note 1 Terri Sapienza, ‘They’ve Gotta Have It’, Washington Post, 22 February 2007. www.washingtonpost.com

ALEXANDRIA ANTIQUES & ART IN NEW SOUTH WALES

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

A new industrial space in the inner west for lovers of design and curiosities. Above Mitchell Road Auction Centre, 76 Mitchell Road, Alexandria NSW 2015 I Open 7 days 10 am - 5 pm I P: 02 9698 0907 I E: mitchellrdgallery@yahoo.com.au I www.mitchellroadauctions.com

A COLLECTOR’S HEAVEN AT Mitchell Road Antique and Design Gallery

s our fifth birthday approaches we remember the heady days when Mitchell Road Antique and Design Gallery first opened, and the adventures we shared as new dealers joined us to become the thriving community we are today. It is gratifying to note that in step with the gallery’s growth is the continued excitement we see daily, from established customers making regular return visits to unearth ever more treasures, to fresh visitors who have just discovered us.

FINDING us The gallery is in the old yellow and black warehouse on the corner of Mitchell Road and Fountain Street in Alexandria, above the auction house. Here is a large floor space filled to the brim with furniture and

collectables from all eras. The diversity and range is extensive.

DIVERSITY plus The gallery is home to nearly 70 dedicated and enthusiastic dealers. They scour the country, finding and rescuing treasures from the past. These pieces are given a new lease of life – cleaned, or where needed, restored so that they are ready for a new generation of appreciative collectors. Collectors can find treasures from preVictorian through to Art Deco, retro and 20th century design, including special industrial pieces. Early Oriental and Pacific artefacts jostle with those from Europe, America and Africa as well as art ware, ephemera and collectables from Australia.

A DECORATOR’S resource We are a recycling powerhouse and a favourite haunt for collectors, stylists, designers and those seeking something different to add to a personal space. Next time you watch an Australian film, miniseries, advertisement or browse through your favourite lifestyle magazine and wonder where those amazing pieces of furniture, artworks or beautiful home wares have come from, they were probably sourced from Mitchell Road Antique and Design Gallery. Come in and meet Lyn and her helpful staff, and perhaps chat with the dealers manning their stands. Many of the stallholders hail from other countries and enjoy sharing stories about their original home countries and discussing their stock with other likeminded enthusiasts. We guarantee you hours of happy browsing ●

For more information contact MITCHELL ROAD ANTIQUE AND DESIGN GALLERY 02 9698 0907 mitchellrdgallery@yahoo.com.au www.mitchellroadauctions.com

ALEXANDRIA ANTIQUES & ART IN NEW SOUTH WALES

FARMHOUSE ANTIQUES

R E S T O R AT I O N S

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

358 Botany Road Alexandria NSW 2015

02 9698 2785 www.farmhouseantiquepine.com.au 24

ANTIQUES & ART IN NEW SOUTH WALES

5 June • 3 July • 7 August • 4 September 2 October • 6 November • 4 December 2011

Antiques & Art online Want to find out what is happening in the other states? Access the other free Antiques & Art publications at

www.foxantiques.com.au

www.worldaa.com

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

02 9516 2851

antique consultant Auction Broker, Probate / Deceased Estates Would you like to know how and where to sell or buy? Who gets the best prices? Over 20 years’ experience

Please call Diane Mendelsohn 0433 419 903

THE LEATHER TOP DESK COMPANY est. 1993

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

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

ntiques & Collectables Fair

Presented by the

Rotary Club of Springwood, Inc with the support of the AMP Foundation

Springwood High School Grose Road, Faulconbridge Saturday 4 June 9 am - 4 pm and Sunday 5 June 10 am - 3 pm Admission $7 Daily / $13 Weekend Pensioner Concession available

ALL ITEMS FOR SALE Wide range of fine estate, period and costume jewellery, English and Australian furniture, sterling silver, precious gold, fine porcelain, glass and crystal, linen, clocks, prints and many other onteresting collectables.

INQUIRIES Valda: 02 4751 8277 or Ross: 0414 279 805

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 25

ST PETERS ANTIQUES & ART IN NEW SOUTH WALES

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

■ ■ ■ ■ ■

Cleaning Hand Washing Stain Removal Repairing Antiques

All Jobs are Guaranteed

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

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

The healthiest way to rejuvenate your rugs and kilims!

The Rug Experts 1300 166 266 or 02 9557 8677

www.rugexpert.com.au 409 Princes Hwy St Peters 26

BOTANY ANTIQUES & ART IN NEW SOUTH WALES

PACK & SEND now open at Botany

“

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

”

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.

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

PROFESSIONAL packing service Pack & Send is the only packaging and freight company that has access to Instapak Foam-inPlace technology, a system using soft foam that expands when two chemicals are combined in contact with air. Foam-in-Place moulds itself to fit the precise shape of the item being packed and this product possesses a density that aids in the prevention of damage from impact, vibration or from being dropped. Instapak Foam-in-Place enables glassware, paintings and various antiques to be sent through the freight system without compromising the safety of the item. Not only that, Foam-in-Place is highly costefficient and readily disposed of without harming the environment. We are the only freight company that will send as well as pack antiques and art for you. When you consider the price of packing the item yourself on top of another company’s freight charges, Pack & Send’s price – as well as its hassle-free, one-stop shopping convenience and total service solutions – makes it a very attractive option.

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

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

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

PACK & SEND Botany offer: • Dependable and versatile transport across town, interstate and internationally • ‘No compromise’ packaging and loss/damage cover • Total convenience including pick-up and on-site quotes! • No obligation professional advice from our experienced team • Tailor-made crates, cases and cartons at our site

456 BUNNERONG RD, MATRAVILLE NSW 2063 PH: 02 9661 1144 FAX: 02 9661 1133 Email: botany@packsend.com.au www.packsend.com.au/botany 27

ANTIQUES & ART IN NEW SOUTH WALES

THE HAGLEY PROOF 1930 PENNY Australia’s most famous coin sold by Coinworks

are coin investors will be excited to hear that the Hagley proof 1930 penny has established a new record price for an Australian coin. They will not be surprised for the coin is truly spectacular, more than worthy of its legendary status. The details are confidential, but with its current market valuation of $1.65 million, Coinworks confirms that the sale price is definitely a new record for an Australian coin.

THE KING of rarities Named after Sydney Hagley, a former owner and a pioneer of the Australian rare coin industry, the Hagley proof 1930 penny has often been called the king of rarities because of its special place in Australian coin history. As a proof coin, it was never intended for circulation. It was created as a museum piece, a work of art to be held as a perfect example of the circulated coin. The quality is simply beyond comparison – it is absolutely stunning, as befits an object of art. The striking is razor sharp and the colours are magnificent. Under lights, you can see the brilliance of the original copper from which the coin was struck. It is also incredibly rare. Just six proof examples were ever struck, and of those only three are in private hands.

The Hagley proof 1930 penny, one of only three in private hands

VALUE that keeps growing and growing The ongoing and almost meteoric increase in value of the Hagley proof 1930 penny has ensured that it is regularly in the headlines. In a recent interview, a colleague of Sydney Hagley recalled being offered the coin for just £300 in 1964. He declined the offer simply because he could not afford it at the time. His misfortune became clear in 1974 when the coin sold at auction in Los Angeles for $16,000. That under bidder in 1974, now retired rare coin dealer Laurie Nugent, still recalls his bitter disappointment at missing out on the famous penny, but he eventually acquired it in 1981. In 1982, the proof 1930 penny’s star status was confirmed when Australian nursing home magnate Doug Moran bought it for a reported $100,000. For Moran, it was a matter of national pride – he declared that the coin was so important it should never leave Australian shores. The new owner is a collector from Melbourne, so Moran’s wish continues to be granted. Until 2011, the previous recorded private sale of a proof 1930 penny was of a specimen held by the British Museum. Coinworks sold that example in 2005 to a Sydney family for $620,000.

THE COIN that captivated a nation The three privately owned proof 1930 pennies are clearly the top of their class. Even non-proof examples of the 1930 penny – those that went into circulation – have always held a special place in the imagination of the Australian public. Only a small number went into circulation, and those were by accident, so the 1930 penny became a popular talking point as well as a valuable collector‘s item. Right up until the arrival of decimal currency in 1966, Australians would check the dates on their pennies in the hope of finding that one in a million coin that could be worth – even then – a small fortune. It still does not quite explain the mystique of the 1930 penny. In many ways, Australians always loved their copper coins, perhaps because – unlike the early gold sovereigns – they were accessible to the average person. So the thought that a common penny might be highly valuable was sure to spark the imagination.

TOP END rare coins creating new records The record sale of the Hagley proof 1930 penny is yet another example of how classic coin rarities at the top end of the market have risen above the economic turmoil of the last few years. Coinworks has already set new price records in 2011 with these other recent record breakers: • 1920 Type 1 square penny, for $725,000 • 1852 cracked die Adelaide pound (Australia’s first gold coin), a premium example, for $550,000 • 1899 Perth Mint proof half sovereign, for $450,000. The sale of these magnificent coins demonstrates the ongoing strength of the Australian rare coin industry. Coinworks is proud to be leading the way ● COINWORKS 03 9642 3133 info@coinworks.com.au www.coinworks.com.au

Type 1 1920 square half penny. Value $725,000

The cracked die 1852 Adelaide pound, Australia‘s first gold coin. Value $550,000

ROCKDALE ANTIQUES & ART IN NEW SOUTH WALES

ph 02 9567 1322 fax 02 9597 1782

CITY ANTIQUES & ART IN NEW SOUTH WALES

George V, 1921 Melbourne Mint pattern square kookaburra penny, in cupro-nickel VC for Bullecourt and MM for Demicourt to Cpl G.J. Howell

NOBLE NUMISMATICS SALE 96 realises $4.5 million

he auction year had an auspicious beginning with our large general sale of 5775 lots attracting a record number of internet bidders. The result was a 75 per cent clearance at 105 percent of the estimate by over 500 bidders competing for the lots consigned by over 320 vendors.

SALE highlight: WWI Victoria Cross, Military Medal group The highlight came in the final session with the WWI Victoria Cross, Military Medal group to G.J. (Snowy) Howell of the 1st Bn, AIF realising $699,000 (including 16.5 per cent buyerâ&#x20AC;&#x2122;s premium plus GST). It was a dramatic and emotional time for the descendants of Howell who attended the session. They were relieved and proud to

know it will be displayed in the War Memorial in Canberra for all to see and read the story behind it. It was the highest price achieved for a Victoria Cross group in one of our auctions.

EARLY sales The sale commenced with miscellaneous Australian coins. A documented 1910 set, sold for well over the $900 estimate bringing $1,748. The mis-strikes section saw strong bidding with several selling well over estimate, the full obverse George V penny brockage (est. $500) realised $1,981 and a double struck 1943 penny (est. $350) achieved $932. Highest price went to the double reverse two cents, circa 1977 (est. $1,500) at $2,563. A double obverse five cents, 2007, recovered from change recently, sold for $1,515 (est. $1,500).

Adelaide pound, 1852, first type, with beaded inner circle on the reverse with ever present die break, fine milling or edge graining of the first collar used

AUSTRALIAN and New Zealand tokens The comprehensive collection of Australian and New Zealand tokens formed by Ranald Hill of Toowoomba was offered in 464 lots in session three and half of session four that afternoon. The opportunity presented by such an offering was not lost on the advanced collector who secured many important lots for his collection bidding through me at the sale. One of two rarest New Zealand varieties (A.8) (est. $2,000) achieved $2,796. The rarest Brookes, Brisbane penny went to a Brisbane collector (est. $500) at $1,095 outbidding my advanced collector. A new price was achieved for a Gilmour, New Plymouth penny variety (est. $1,000) when an Auckland collector prevailed in a bidding war to $1,515. A collector took home the prize lot, a Mason and Culley penny, (est. $20,000) at $25,630. The rarest variety of Tea Stores penny, 1852 (est. $17,500) was bought by the same collector for $24,465. He also took out the Petty mule penny (est. $10,000) at $16,310, as well as securing the top priced token, Taylorsâ&#x20AC;&#x2122; Wellington Australian pattern penny (A.674) (est. $30,000) at $37,280. The Macintosh and Degraves silver shilling, 1823 (est. $30,000) was well bought at $27,960. In the other properties section of tokens a specimen-like Annand Smith & Co, penny realised a record $3,379 (est. $1,500).

AUSTRALIAN currency The cracked die Adelaide Pound, 1852 (est. $90,000) sold for $104,850 and a good very fine dump was well bought at $40,775 (est. $45,000). The best Sydney Mint sovereign, 1860 (est. $12,000) went for $17,475. An 1886 Melbourne shield sovereign bettered the estimate of $15,000 by selling for $21,553. A rare variety of the 1887 Sydney Jubilee sovereign also exceeded the $3,000 estimate, purchased for $8,854. The top priced sovereign was the 1922 Sydney (est. $17,500) which realised $29,125 after a bidding duel in the room. The square penny (est. $50,000) was well bought at $54,755 and a 1938 crown was obviously highly regarded because it easily beat its $300 estimate selling for $1,223. A VIP 1910 shilling with Commonwealth Treasury letter (est. $4,500) achieved a strong $5,825; so what is the letter worth! A nearly gem 1923 threepence (est. $6,000) did well at $8,155. An Australian decimal note, a polymer 50 dollars of 2009 (est. $2,000) did best against

the estimate realising $4,660 while a Police Fund pair printed in 1813 (est. $30,000) achieved $37,280. A five pounds of Kell/Heathershaw (est. $22,000) sold for $29,125, and the unpublished ten pounds (1924) (R.52d) (est. $35,000) went for $34,950. Another strong result was for the Hay Internment Camp two shillings (est. $15,000) at $22,135.

AUSTRALIAN Presbyterian communion tokens Australian Presbyterian communion tokens generally doubled or trebled their estimates, a reflection of their true rarity. One collector was particularly successful, but not always, as in the case of the Scots Church (est. $200) which realised $722. Highest price went to a New Zealand issue, Otahuhu, 1854 (est. $500) at $1,049. The Resolution and Adventure gilt medal (est. $4,000) realised $8,155 and the Daniel Solander silver medal, 1778 (est. $3,000) went for $4,427 after a long bidding duel in the room.

AUSTRALIAN bronze pennies and halfpennies The offering of first class Australian bronze pennies and halfpennies had good results. A red 1912H penny (est. $800) beat the estimate at $1,165, and a choice 1917 (est. $500) raced away to $3,029. The best 1930 penny (est. $22,000) achieved $25,048. The 1938-1964 set of pennies easily beat the estimate of $1,500, realising $4,194. In the halfpennies a surprise came later when two 1945 halfpennies (est. $300) attracted $2,447.

INTERNATIONAL coinage Most world gold lots sold for around estimate, the exceptions were the two Russian platinum coins for which a dealer flew in from Moscow. He was unable to get from the airport in time so bid on the phone while in the taxi. Needless to say he was successful in getting the twelve roubles, 1830 (est. $7,000) for $19,223 and the six roubles, 1833 (est. $3,500) for $6,641. The Year of the Child set of 12 (est. $6,800) sold for $9,903 after many bids were received. The Canadian specimen set of 1921 (est. $200,000) went for $174,750, the second highest price in the auction. Chinese coins were again very popular. A Kwangtung prooflike five cents (est. $100) from a deceased estate finally sold to a floor bidder for $1,748. A lot of eight Republic and Taiwan issues (est. $120) surprised with a top bid of $1,981 and a copper accumulation of 160 pieces (est. $50)

CITY ANTIQUES & ART IN NEW SOUTH WALES

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Attica, Athens (460-455 BCE), silver tetradrachm

was even more surprising when it achieved $1,631 after a bidding war. A Hong Kong silver half dollar, 1867 (est. $1,000) sold for $3,495. Also sold above estimates were a Rhodesian, Bank of Africa, ten shillings 1901 (est. $3,000) for $3,495 and a Sudan General Gordon one piastre (est. $2,000) at $3,612. A collection of British India 1835-1945 coins (est. $600) went for $4,194, while the majority of the Ceylon and Indian issues sold around their estimates. In the New Zealand notes top price went for the Lefeaux 50 pounds (est. $18,000) realising $16,893. A strong result was achieved for a Hanna ten pounds (est. $300) that went for $1,864.

ANCIENT coins A Syracuse gold 100 litrai (est. $18,000) did well at $25,630 while the Roman aureus of Carinus (est. $10,500) raced away to realise $19,805. A Sydney collector successfully outbid strong bidding from overseas to win a Syracuse tetradrachm (est. $6,000) at $12,815. Another collector secured the Siculo-Punic issue (est. $3,000) at $6,641. An overseas bidder won the day on a keenly contested

Athenian owl tetradrachm of 460 BCE (est. $1,600) by paying $9,320. A choice Cassius denarius (est. $1,000) realised $2,447.

MILITARY medals These also achieved good prices, such as the Waterloo Medal (est. $3,000) realising $4,893. The two bar Naval General Service Medal, 1847 (est. $4,000) sold for $5,243; the DFC group of six for a Path Finder Master Bomber (est. $4,000) went for $6,408. A China War Medal trio for the Victoria Naval Contingent (est. $3,500) did well at $8,155. Selling above estimate was a Spitfire Pilot and POW escaper DFC (est. $5,000) bringing $7,573. In foreign medals a USSR Order of the Red Banner (est. $2,000) realised $4,660. Our next sale takes place in Melbourne 26-28 July. To be offered is a choice series of florins from our earlier Sales 11 to 23, highlighted by a proof 1915H ●

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

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)

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CITY ANTIQUES & ART IN NEW SOUTH WALES

STAMP COLLECTING – WHERE DO I BEGIN? Collecting is an individualistic pursuit. What you collect should reflect your personal interests and temperament.

Postage due stamps with attractive and legible postmarks are highly sought after Between 1911 and 1924, Australian letter cards had a photo on the reverse. These often have thematic interest; in this case, railways and waterfalls

hile the philatelic (stamp) market tends to be less driven by the herd mentality than, say, art or fashion, most people concentrate on stamps of their own country. However, there is no reason why you should not collect anything that appeals. Perhaps you have affection for Asia or are fluent in a foreign language. This could provide an ideal starting point for a philatelic collection. An entomologist might collect stamps featuring insects, while a professional soldier could pursue wartime mail.

SEEK knowledge Philately is a knowledge-based discipline. A good way to get a ‘feel’ for the market is to

attend stamp shows in the major centres. Ask questions of appropriately qualified people and there are a number of general reference works that can be accessed through public libraries. For Australian stamps there are a couple of useful general catalogues, and a fantastic multi-volume specialised work. The best guide to prices is results from public auctions, especially for non-traditional areas such as postal history and postal stationery. In these areas there are often no up-to-date reference works and auction catalogues may be the best, perhaps the only useful guides to these subjects. Most auction firms will send you catalogues free of charge for a year or so.

A beautiful example of a printed illustrated envelope, flown on the 1926 Pacific Survey flight

BE QUALITY conscious In all fields you will start to recognise the good from the bad, and the expensive from the run-of-the-mill. Care taken in this area from the outset will be handsomely rewarded as you develop your collection. Pay particular attention to issues of quality, such as perforations, centring and cancelling. With envelopes, look for repairs, enhanced postmarks and stamps that don’t belong. Regardless of the field you decide to pursue, you will need some basic tools. Most of the better retail dealers can provide you with accessories such as albums, tweezers, perforation gauges, mounts, magnifiers, etc. You can buy a quality stock book, a reference catalogue and the basic gadgets for less than the cost of a good tennis racquet or your golf club membership. Ask the dealer for his advice, but be mindful that it is false economy to skimp in this area. To contact leading dealers and auctioneers consult the industry website www.apta.com.au.

COLLECTING suggestions New clients often ask what they might consider collecting. The number of possibilities is limited only by your imagination, so here are a few ideas that may appeal. Australia 1901-1912. Even after federation, the six states issued their own stamps until 1913. These are properly Commonwealth issues but most collectors have treated them as the tail-end of the colonial period. Very few have made a serious assault on this area and it remains significantly undervalued. Destination mail. It is easy to obtain covers from Australia to Great Britain, New Zealand and Germany. Try finding covers from Australia to Colombia, Tunisia or Mongolia. A collection of such material would provide a significant challenge without putting a great strain on the budget. Postage dues. This is one stamp area where anyone has the chance to own items nobody else has ever seen. One routinely hears of the discovery of previously unrecorded watermark and perforation varieties. Many of these have literally been found in bundle ware or junky collections. Scenic letter cards. From 1911 until 1924, Australia issued postal stationery with views from around the nation on the reverse. A basic collection can be put together without much effort. Many of the views are rare, others are common but rarely seen on particular issues, and of some scenes, two or more versions exist. Blocks of 4. Most collectors want only single stamps, resulting in sheets and blocks having

State issues from 1901-12 are Australian stamps. This shows the South Australian EIGNT error

been destroyed to supply this demand. Multiples of many stamps are now very elusive. Despite this, many dealers sell such items without adding the significant premium that they deserve. Apart from being scarce, blocks are obviously more visual than single stamps. Illustrated envelopes. You may collect printed or hand-painted envelopes, humorous types, advertising or political subjects. This is an area where art and philately truly meet. Fine used stamps. Most used stamps are poorly cancelled or have faults, but fine used stamps are a different matter. Well-centred, neatly cancelled stamps are, to me, far more appealing than mint. Plus, they are usually available for a fraction of the prices of their unused counterparts. You will need to learn about non-contemporary cancels and other dodgy markings but that’s half the fun.

NO limits Finally, I recommend that new collectors avoid the limits imposed by catalogue listings, printed albums, and so on. Be bold in your collecting. Buy things because you like them, not because they may increase in value (though they very well may). Above all, enjoy the pursuit of new material and relish the challenges of developing something from scratch. Who knows? You may end up with a collection of great merit and value ● Gary Watson PRESTIGE PHILATELY 03 9762 6009 Sydney Office: 02 9004 7300 sydney@prestigephilately.com www.prestigephilately.com

CITY ANTIQUES & ART IN NEW SOUTH WALES

NAB N AB reports reports record record bank(note) bank(note) SURßWV S URßWV

W h i le N While NAB AB h has a s rreported epor ted record record annual a nnua l profits, prof its , this t h is lovely lovely banknote ba n k note ffrom rom iits ts ppredecessor, redecessor, the t he National Nationa l Bank Ba n k of of Australasia, Austra la sia , iiss also a lso a big big earner. e a r n e r. Worth W or t h $$8,500 8 ,50 0 in i n 2000, 2 0 0 0 , this t h i s One One Pound Pou nd Specimen Sp e ci men is i s now now valued va lue d at at $37,500, $37,50 0 , making ma k i ng a very ver y tidy t idy ccompound omp ou nd ccapital apit a l growth g row t h ooff 14.44% 14 . 4 4% per per annum, a n nu m , or or 340.92% 3 4 0 .9 2% over over 11 11 years. yea rs . (Past (Pa st performance per for ma nce is is no no guarantee g ua ra ntee ooff ffuture ut u re rreturns). et u r ns). IIff yyou’re ou’re sserious er iou s about about increasing i ncrea si ng your you r own ow n profits, prof it s , contact conta c t us u s and a nd we’ll we’ l l show show you you why why there’s t here’s nothing not h i ng like l i ke old old money mone y for f r fo making money. m a k i ng new ne w m one y.

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ANTIQUES & ART IN NEW SOUTH WALES

Portrait of Beatrice Kerr in silver fish scale suit. ANMM. Gift from Williams family

Studio portrait of Beatrice Kerr in Australia swimming costume. ANMM. Gift from Williams family

Beatrice Kerr diving at Blackpool. ANMM. Gift from Williams family

BEATRICE KERR ‘AUSTRALIA’S REGAL WATER NYMPH’ The Williams family, descendants of Beatrice Kerr donate a significant cache of personal papers to the Australian National Maritime Museum

t is September 1906. Standing in a clingy woollen costume on a wooden plank high above the North Pier at Blackpool, England, is 17-year-old Australian swimmer Beatrice Kerr. Spectators jostle to get a better look. The band plays and she dives gracefully into the cool waters below. The crowd applauds. She calmly climbs out of the water and continues her routine: somersaults, the stand-sit-stand dive, the running-buck dive, the back-front dive, the wooden soldier and the spinning top. Her bag of tricks also features the waterwheel, walking the plank and the back stand-sit somersault; and she demonstrates swimming and life-saving techniques. From 1906 to 1911 the young Victorian swimmer toured England performing in these vaudeville-style aquatic events, with either a kangaroo embroidered on her swimsuit, or a silver-spangled fish-scale suit.

ARCHIVE of a career Beatrice Kerr kept all her handbills, posters, advertisements and reviews. The magnificent archive includes these plus selected letters, journals, appointment books, contracts and accounting books. There are many family photographs and rare photographs of Kerr’s diving performances. These amazingly candid action shots show the young aquatic performer at work, along with the more routine posed studio portraits. All show a little of the world in which she made her mark as a professional performer when swimming, life-saving and learn-toswim campaigns were growing in popularity. It was a time when young swimmers could earn money demonstrating how it was done.

PERFORMING in London The collection reveals her hectic schedule

after she arrived in London in July 1906 when she immediately secured a contract at Blackpool performing with David Billington, the newly professional British-mile world record champion. The contract shows the conditions of employment – provision of a dressing room, permission to charge spectators a performance fee, monies earned. Accompanying press previews promote Kerr as the ‘Australian Lady champion of fast swimming and ornamental diving and swimming.’ Reviews praise her as ‘the plucky young lady whose graceful disportations in the briny never fail to attract attention.’

SCHOOL days There is material relating to Beatrice as a schoolgirl champion in Victoria, in the Williamstown and the Albert Park Lake Ladies Swimming Clubs. The archive also documents her crossing paths with older Sydney swimmer Annette Kellerman who, while performing in Melbourne, awarded Kerr the first prize in diving at the 1905 Australian championships. Kerr was to take Kellerman’s place performing at the Baths the following season after the older swimmer had left for England.

NATIONAL tour Included in the collection are documents from Beatrice’s tour to Adelaide, Wallaroo, Fremantle, Kalgoorlie and to Broken Hill where the local silver-mining community gifted her the spectacular silver fish-scale suit shown in her photographs. Saved press clippings provide the story of the Australian press anointing her worthy of Kellerman’s mantle, and that when in London Beatrice challenged Kellerman to a swimming race. Despite a number of challenges the canny Kellerman never accepted.

MONTE Cristo Firebag trick Programs include that of Beatrice performance of the Monte Cristo Firebag trick in Adelaide. Sewn into a hessian sack, she was doused with petrol, set alight and dropped into the water, whereupon she freed herself to great applause. Although she performed this trick a number of times on her Australian tour, it doesn’t appear on her program lists in England – not surprisingly, I suppose. The collection of papers – letters, social cards, autographs, portraits, citations in books, scrapbooks and clippings – provide insights into the closeness and camaraderie of the swimming and sporting fraternities in Australia, the United Kingdom and north America.

TRACING trends: History of the sport Kerr’s interests mapped changes in swimming strokes, designs of the baths she swam in and the costumes she wore. The archive traces the rise of younger Australian swimmers like Frank and Lily Beaurepaire, Cecil Healy, Fanny Durack and Mina Wylie. Both Durack and Wylie won medals at the Stockholm Olympic Games in 1912, the first Games at which women were allowed to compete. Gifted to the Museum are her youthful diary entries, the dried flying-fish wings she pressed into her shipboard diary en route to England and her clipped notes on her performances. ‘Performed the Monte Cristo firebag trick tonight…’ she wrote in one brief entry. Beatrice did not campaign for the Olympic Games. In late 1911 she returned to Australia to marry and begin a family. Her rival Kellerman moved to America and became a silent movie star and women’s health advocate. Both swimmers promoted the sport. As T W Sheffield, Canadian swimming and life-saving

Above: [Liverpool] Olympia – Treasure ship advertisement for Beatrice Kerr and David Billington. ANMM. Gift from Williams family Above left: ‘Swimming gala’ colour bill poster. ANMM. Gift from Williams family

instructor wrote in Swimming in 1909: ‘Miss Beatrice Kerr is the best and most experienced lady diver in the world being closely followed by Miss Annette Kellerman, who is one of the neatest trick swimmers and divers … no doubt keen interest taken by the public … has led ladies to take up the art more vigorously.’

A GIFT to the country This significant cache of personal papers and photographs folded into a battered metal suitcase was donated to the Museum through the Australian Government Cultural Gifts Program by the Williams family, descendants of Beatrice Kerr. For the museum this is a fabulous collection that charts one woman’s spectacular achievements in an era long gone. After conservation treatment, the Beatrice Kerr Collection will provide a rich resource for research and exhibition ● Daina Fletcher Senior Curator AUSTRALIAN NATIONAL MARITIME MUSEUM 02 9298 3777 www.anmm.gov.au

DARLING HARBOUR ANTIQUES & ART IN NEW SOUTH WALES

From left: Scott and the Polar Party at the South Pole. Left to right: Captain Lawrence Oates, Lieutenant Henry Bowers (seated), Captain Robert Falcon Scott, Dr Edward Wilson (seated), Petty Officer Edgar Evans. Licensed with permission of the Scott Polar Research Institute, University of Cambridge Captain Robert Falcon Scott. Licensed with permission of the Scott Polar Research Institute, University of Cambridge

New exhibition at the Australian National Maritime Museum SCOTT’S LAST EXPEDITION

17 June – 16 October

ne hundred years after its tragic end, the definitive story of British explorer Captain Robert Falcon Scott’s Terra Nova expedition to Antarctica is being told in a major international exhibition coming to the Australian National Maritime Museum this June. Scott’s Last Expedition will reunite real artefacts used by Scott and his 65-man team together with rare scientific specimens collected during the 1910-1913 expedition for the first time since their use in Antarctica. When Scott set off on what was his second journey to explore the Antarctic on board the former whaling ship Terra Nova, he could not have predicted it would be his last. Tragically, he and four of his colleagues died on the return trek to the South Pole two years later, having lost the race to be first.

A FRESH perspective The exhibition however will go beyond the familiar tales of the journey to the Pole and the death of the Polar party to explore the Terra Nova expedition from every angle. Museum director Mary Louise Williams explains that ‘Over the years public perceptions of Scott have varied greatly, from hero to flawed leader, and discussions of what really happened still captivate people. This exhibition will give visitors a unique opportunity to immerse themselves in this epic journey and the remarkable landscape of Antarctica.’ Visitors will uncover Scott the man, learn more about the people who made up the expedition and explore every fascinating detail of this historic journey.

EXPERIENCE Scott’s Cape Evans’ base camp At the centre of the exhibition will be a representation of Scott’s Cape Evans’ base camp. Visitors can walk inside the life-size hut and get a sense of the everyday realities for the expedition’s members, from the cramped conditions and homeliness of the hut, to the wealth of specimens collected and experiments conducted. Original artefacts, equipment, clothes and personal effects will be displayed for the first time

in Australia and show the group’s attempts to make life in one of the most hostile environments on Earth as bearable as possible. Food tins including Fry’s Cocoa, Trufood Trumilk and Symington’s Pea Flour recovered from the hut will be on display together with instruments, a microscope and even Scott’s gramophone.

All inquiries to AUSTRALIAN NATIONAL MARITIME MUSEUM 02 9298 3777 www.anmm.gov.au

STRUGGLING to survive Photographs of the environment and life in camp taken by expedition photographer Herbert Ponting, the poignant letters and diaries by various expedition members create a vivid picture of what life was like working in hostile conditions. These exhibits give visitors a sense of the struggles for survival and the strength of human endurance and courage.

GROUNDbreaking scientific research For many the Cape Evans’ hut is seen as the birthplace of Antarctic science. The expedition included a full scientific program with a large team of scientists making new discoveries which directly led to a greater understanding of Antarctica. The scientists had to endure harsh Antarctic conditions to carry out their work. It was cold, windy and completely dark in winter. A person’s face could freeze if it touched a telescope. Despite the conditions, the expedition left a rich legacy that continues to inspire and inform today.

COLLABORATIONS The Natural History Museum, London, Canterbury Museum, Christchurch, New Zealand and the Antarctic Heritage Trust, New Zealand, have collaborated to create this exhibition to commemorate the centenary of the expedition and celebrate its achievements.

FREE exhibition Scott’s Last Expedition opens to the public, admission free, on 17 June and will remain on display until 16 October. The Australian National Maritime Museum is the first venue to host the exhibition, which will then tour to the Natural History Museum, London and Canterbury Museum, Christchurch ●

ANTIQUES & ART IN NEW SOUTH WALES

Quolls. Plate XXXIII Voyage de Découvertes aux Terres Australes (Atlas par MM. Lesueur et Petit), 1807

Platypuses. Plate XXXIV Voyage de Découvertes aux Terres Australes (Atlas par MM. Lesueur et Petit), 1807

View the Australian coastline in French atlases AT THE NATIONAL MARITIME MUSEUM

he Australian National Maritime Museum has acquired an outstanding collection of French 19th century large format (folio) atlases and texts which represent the first comprehensive surveys of

the Australian coastline. The five volumes – including an atlas of 32 charts of the Australian coast and a collection of beautifully detailed watercolours and sketches – are a complete account of the Nicolas

Left: Portrait of Indigenous man from New Holland. Plate XIX Voyage de Découvertes aux Terres Australes (Atlas par MM. Lesueur et Petit), 1807 Below: View of Sydney 1803. Plate XXXVIII Voyage de Découvertes aux Terres Australes (Atlas par MM. Lesueur et Petit), 1807

Baudin expedition sent to survey and chart the Australian coast in 1801-1803.

THE VOYAGE of Nicolas Baudin In October 1800 Nicolas Baudin (17541803) sailed from France in command of the expedition and its two ships – Le Geographe and La Naturaliste – with 23 scientists and artists on board. However, only seven scientists saw the whole trip out. Baudin surveyed much of Australia’s western coastline, King George’s sound, the south coast, Bass Strait and parts of the north coast. Notably, Baudin’s voyage coincided with that of the better-known British explorer Matthew Flinders on board the HMS Investigator. They met on 8 April 1802, Flinders boarding Le Geographie before both these captains continued their expeditions. Although Flinders’ charts have come to be accepted as the more detailed and accurate of the two, Baudin’s work was published three years before Flinders’ and so offered the first comprehensive surveys of the Australian coastline. Baudin’s expedition produced a wealth of new geographical and anthropological information. Over 100,000 specimens of local flora and fauna were collected, together with

significant observations of the indigenous Tasmanians and beautiful illustrations of the local population and wildlife. Baudin replaced the worn-out La Naturaliste with the locally-built Casuarina while in Port Jackson. Louis De Freycinet, the expedition’s hydro-cartographer, was appointed commander. Baudin died of malaria in August 1803 when the expedition returned to Mauritius, and so it was De Freycinet who stepped in to have the voyage accounts and charts published.

FRENCH interest in Australia Museum director, Mary-Louise Williams says, ‘This collection of texts highlights the intense French interest in Australia in the early 19th century. This voyage is particularly significant as it was this interest, and the resultant fear the French would establish a colony in Australia, that led to British settlements in Tasmania and Port Phillip. The strong Aussie dollar means our curators can now compete with other collectors in these offshore markets to ensure important historical objects – such as the Freycinet volumes – can be acquired for all Australians to see.’ The complete set of five Freycinet volumes was purchased from a rare book dealer in the UK for the competitive price of $43,000 and adds an important missing link in the museum’s collection relating to early European exploration of the Pacific and Australia.

IN THE collection: Maps and voyage accounts The museum holds a number of important folio atlases and voyage accounts including those of La Perouse, Flinders, D’Entrecasteaux, Cook and Vancouver. The addition of the Freycinet folios opens up significant opportunities for research, with plans to digitise the full collection in the future for greater community access ●

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

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

HOW LONG HAVE YOU BEEN HERE?

his is a question often asked by first time visitors. Those in the know will happily travel miles to Architectural & Antique Elements’ amply stocked two storey warehouse in Leichhardt, the lucky ones just stumble upon us. The well edited collection of 18th, 19th and 20th century finds gathered from around the world are a source of inspiration and a must visit if you are on the hunt for French decorative furniture, an assortment of one-off lamps and lighting and a vast selection of the best antique doors on offer. The items are sourced directly from the owners’ travels to France, Belgium, India and South America, to name some of the countries visited. All the finds are displayed in a rambling but artfully decorated showroom – there are plenty of reasons to visit us. Alongside the usual mix of antique dining tables, French buffets, industrial finds and beautiful French doors in all shapes and sizes are one-off pieces designed and created by the owners. Adaptive reuse of rich and historic pieces, like gothic iron work, ancient Indian panels, or collections of old timber drawers are the starting point to creating these pieces. They are reused and reinterpreted – transformed – as a coffee table, a console table for the hallway, or a fabulous and unique light fitting. The recent addition of an exterior walled garden has added another dimension to

Elements. Find French limestone fountains and water features as well as other elements for the garden. There is a great range of vintage pots to decorate your courtyard, terrace or garden. Architectural & Antique Elements is open 10 am-5 pm Tues –Sat, but if you live interstate, or are just too far away you can now get keep up to date via our blog at www.elementsilove.com. Subscribe for a weekly fix where we will showcase our newest finds, links to sites we love, beautiful images of interiors, our travels and more ● ARCHITECTURAL & ANTIQUE ELEMENTS 02 9560 3067 www.elements.net.au

ANTIQUES & ART IN NEW SOUTH WALES

WJ SANDERS AND SPORTING HISTORY: The restitution of an abandoned trophy

J Sanders was presented with a formidable task: the rebuilding of what was once a prized golfing trophy that had come to be dumped in a golf club’s basement. The Lakes Cup, once a prized and valued silver trophy, came to them as a large base complete with inscriptions was rescued, its large cup/bowl missing. Nothing else had survived so it is conjecture that the bowl would also originally have been made in sterling silver. HISTORY of the Lakes Cup In 1934, the Lakes International Cup was first played between a team of Australian professional golfers and a team of American professional golfers. Organisers of this prestigious event guaranteed the cost of bringing out a top American team and donated the Lakes Cup for this new golf competition. It would become a silverware symbol of Australia’s emergence as golfing nation. Thousands of spectators paid five shillings a day at the inaugural 1934 match to watch their Australian golfing heroes playing worldrenown American stars. It was same format of rounds of 36-hole foursomes followed by 36hole singles to decide the winning team as for the Ryder Cup, the first competition between a home PGA and American professional golfers, commencing in Britain in 1927. The Lakes Cup was next played in 1936 in America (America won both 1934 and 1936 tournaments), revived in 1952 when again the Americans won in Australia, and although Australia won the 1954 rematch, the competition lapsed. An old newspaper clipping of the last 1954 event was discovered. The accompanying photo showed the Australian and American teams surrounding the cup. Soon after this event, the cup mysteriously vanished. CONNECTIONS Research undertaken by golf historian and Lakes Golf Club member, Michael Sheret upon discovery of the cup’s silver base, revealed that the WJ Sanders founder – William Sanders – was club captain of the Lakes Golf Club from 1945 to 1947. RESTORING the Lakes Cup Only grainy archival photographs exist to imagine the original. From these the team at WJ Sanders began the process of rebuilding the bowl and recreating the wooden plinth that the trophy had stood on. This level of artisanship looks to techniques and materials developed over millennia – modern day technology has no place in artisanship at such a high level. Their plan required two parts: restoring the base and recreating the bowl.

THE base The base, made in sterling silver was in a sorry state. It was badly dented, the applied decoration damaged and in need of a good polish. The first step was to hammer out the dents, done using various dollys. The base was decorated with a golfing theme – tiny golf clubs. The original designer had created four clubs, possibly representing the winning team of four who would win the event. One was so badly damaged that a new club had to be made, so working from the surviving forms, the silversmith recreated in sterling silver a replica of the original fourth. After the repairs, the base was silver electroplated. This part of the exercise required two experienced silversmiths working over a total of 16 hours. THE bowl Recreating the bowl was far more challenging as the only photograph provided little detail. Before considering the design and the decorative features, the correct dimensions had to be established. This was achieved by working backwards. Step 1. Silversmiths measured the hexagonal base, then referred back to the photograph and calculated the dimensions to determine the proportions of the bowl. Candela Riveros, the designer and silversmith worked on this part of the project to design drawings replicating as close as possible the archival photograph. Step 2. Creating the bowl to be made of copper and later silver plated, WJ Sanders used a wooden chuck to spin the metal into the correct shape and size. Copper was chosen as it is a soft metal that allows hand chasing to be easily applied. Step 3. Before applying decorative features as seen on the original bowl, Candela needed to create a firm, stable surface on which to work. She achieved this by filling the bowl with a mixture of melted tar and wax. Step 4. The silversmith hand-chased the decorations using time honoured techniques and tools onto the bowl’s body. Step 5. The centre band that sits around the bowl was made using the technique of spinning followed by shaping the metal. Once made, it was spun onto the bowl using an early machine no longer used in manufacturing. Step 6. Creating the design to the rim was done by Steven Penfold using the technique of piercing to recreate the fluted shape. This process took a full week and involved the casting 24 pieces which were then soldered to the rim mirroring the original design. Step 7. As with the original, a border that mirrors the rim’s form needed to be recreated and then attached. A mould was created from

which the border was cast in copper. Step 8. The copper border was then soldered to the bowl’s rim. Step 9. Creating the foot of the bowl was achieved by matching the design to the details gleaned from the archive photograph. A mould was created from which the foot was cast in brass. This stronger metal ensures that bowl sits securely on the base. Step 10. The brass foot was soldered to the bowl and the whole bowl completed. Step 11. The next stage was to machine polish the bowl and the foot to a high mirror finish. To do so without compromising the decorative raised features required bypassing the standard three-phase polishing technique. As cutting compounds range from high abrasive to fine, for this cup only the fine blue compound, customarily reserved for a final polish, was used for the entire polishing process. The process took eight hours to complete, a long time for a piece small enough to hold easily between one’s hands. Step 12. Next, the interior and exterior were electro silver-plated. Step 13. The finishing touch was electroplating the interior of the bowl with a 22-carat gold wash. WOODEN plinth Fortunately, WJ Sanders has an in-house woodworker who was given the task of recreating the hexagonal wooden plinth. As often happens with hand-made pieces, the sterling silver base had not been made perfectly symmetrical. This complication required careful calculations to ensure that the plinth matched the base. Once completed, the wooden plinth was finished in the manner of the original 1930s fashion – the timber was painted a black gloss and then lacquered. The plinth alone took another 40 hours to create. Although the upper part of the trophy is a 21st century creation, it is an echo of the traditions and skills passed to successive generations of talented men and women who create and are able to restore precious pieces. The heritage value had been restored and the trophy once again takes pride of place, a celebration of international sporting competition between Australia and America, and a shining example of the collaborative skills of contemporary artisans ● Bianca Fazzalaro WJ SANDERS & CO 02 9557 0086 www.wjsanders.com.au

Completed cup with electro silver-plated bowl and interior electroplated with a 22-carat gold wash, on plinth matching the original base

The Lakes International Cup base.

Designs hand-chased to the bowl’s body

Candela Riveros working on the bowl

MARRICKVILLE ANTIQUES & ART IN NEW SOUTH WALES

AUSTRALIA’S PREMIER MANUFACTURING GOLD & SILVERSMITH

Sterling silver base for painted emu egg

Sterling silver chalice

Manufacturing Our craftsmen continue to use their traditional skills to hand craft beautiful pieces in gold, sterling silver, EPNS and brass. These include a wide range of trophies, table silverware and ecclesiastical metalware. The accompanying photographs show recent work commissioned and crafted by W J Sanders.

OUR SERVICES INCLUDE

W J Sanders & Co

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

36F Fitzroy Street Marrickville Phone: 02 9557 0134 Phone: Fax: 02 9557 0086 email: wjsanders@optusnet.com.au website: www.wjsanders.com.au

Sterling silver presentation tray

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

Antique Spelter (Dashing) Statue

Antique Marine Onion Lamp

Take apart Chemically clean Scratch brush Solder arm and epée File down edges Machine hand polish Patination of metal (bronze) Re-assemble Final clean and wax

Take apart Chemically clean Scratch brush Fix dents and straighten Make traditional brass skirt for top Make brass wire handle Make protective ring around glass Machine hand polish all parts Lacquer and bake enamel all brass Re-assemble

Antique Spelter Fishergirl

Antique Ericsson Telephone

Take apart Chemically clean and scratch brush Repair hand and base Machine hand polish Patination of metal (copper oxidize) Wax metal and assemble

Take completely apart Chemically clean all metal Scratch brush all metal Machine hand polish all metal Strip wood and re-varnish Re-plate all metal as original Re-assemble

Antique NSW Fire Helmet Take apart Chemically clean and scratch brush Fix dents Machine hand polish Lacquer and bake enamel brass Re-attach inside leather and hat strap

Damaged Sterling Silver Chalice Take apart Chemically clean and scratch brush Fix dents in bowl Straighten stem Fix dents in base Straighten base Silver solder cup and base Machine hand polish Silver plate 24 carat gold plate inside Final polish

ANTIQUES & ART IN NEW SOUTH WALES

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Shaving mug made by Longpark Pottery, c. 1930s Three piece tea set made by Watcombe Pottery, c. 1915 Moulded teapot made by Bovey Art Pottery, S. Devon, c. 1922-1930

COLLECTING COCKERELS, CATS AND COTTAGES IN TORQUAY POTTERY

he Torquay pottery industry had its beginnings with the discovery of fine terracotta clay in 1865. Found in the grounds of Watcombe House during building work, George Allen established the Watcombe Terracotta Clay Company Ltd in 1869. By 1883 there were four pottery works and up until the mid 20th century Tourquay had at least 22 potteries producing quality wares. In the mid 1800s the wares produced were for the newly prosperous middle class looking to display their wealth. Watcombe initially made terracotta busts, statues, urns and vases. By 1870 Watcombe was making wares that reflected the designs of Christopher Dresser. The company expanded their output to include domestic wares including tea sets of angular and square shapes. Their vases were inspired by Japanese motifs and featured dragon handles or were decorated with applied animal masks for example. Other potteries followed. In 1875 Torquay Terracotta Company was established at Hele Cross making similar wares. Aller Vale Art Pottery, which was originally established in 1865 as J Phillips and Co, was rebuilt in 1881 by John Phillips after a fire. Originally making terracotta domestic utilitarian wares such as pots and pans as well as roofing tiles, pipes and garden edges, the pottery at Kingskerswell, using local clay, made pieces in the Arts and Crafts manner. The fashion for terracotta dwindled and was replaced by a different style of pottery catering for the tourists who flocked to Devon for their holidays and who wanted something bright and cheap to take home as a souvenir. The potteries adapted their products to meet the new demand. The usual type of decoration employed at Aller Vale was glazed designs often featuring a rhyme or proverb. This ware (motto ware) became what most people now think of as Torquay pottery.

WHERE to begin: choose a theme Should you decide to start a collection of Torquay pottery it is always a good idea to adopt a theme, rather than buying odd bits and pieces. This will give you the opportunity to decide what designs and shapes appeal to you the most. Cockerel decoration seems to be the favourite amongst Torquay pottery collectors, and these can be found painted on teapots, cheese dishes, cups and saucers, eggcups, hat-pin holders and candlesticks to name a few. The painting of cockerels dates to the 1900s and was usually executed in black or multi-coloured slips. They were a favourite form of decoration and continued through to the 1960s. Cats were very popular during the Victorian and Edwardian era when the fashion was for the strange and bizarre. Some of these grotesques, which are now rare, were also probably stimulated by the grotesque Gothic revival stoneware of Martinware Pottery based in London. The fashion for cat caricatures seems to have been quite widespread, probably stimulated by the work of artist and illustrator Louis Wain famous for his humorous renditions of cats. Grotesque forms inspired by medieval gargoyles were designed by Blanche Vulliamy at Aller Vale Art Pottery during the late 1890s.

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L to R: Faience ware cottage hat pin holder made by Watcombe Pottery, c. 1900; Hat pin holder decorated with a cockerel made by Watcombe Pottery, c. 1900 Large mottoware cottage ware biscuit barrel made by Watcombe Pottery, c. 1930s l L to R: Three-handled vase made by Royal Torquay Pottery; moulded yellow cat with glass eyes made by Aller Vale Art Pottery, c. 1900

COTTAGE ware and faience decoration It would appear that Hart and Moist (Devon Art Pottery) were the first to introduce slip decorated cottage ware and the earliest rural scenes date from 1905. This was known as faience ware. There were many different rural scenes with some designers basing their designs on real life cottages. These were applied to a wide variety of items. Some were very large, such as a magnificent plant pot and pedestal that

KOGARAH ANTIQUES & ART IN NEW SOUTH WALES

Southern Antique Centre 30 SHOPS UNDER ONE ROOF

ANTIQUES • COLLECTABLES • BRIC-À-BRAC

CELEBRATING 15 YEARS OF SERVICE • OPEN 7 DAYS from 10 am • CAFÉ • We Buy - Sell & Hire stood 100 cm (39 inches). Many were made as gifts for employees of the potteries when they got married and were decorated according to the wishes of the bride and groom. Cottage ware had mass appeal but as great quantities of pots were made so the quality of decoration began to decline, particularly when many potters were called up for military service during World War I (1914-1918). It was about this time that the potteries began looking at a much cheaper version of cottage ware with a motto scratched on the reverse side.

245 Princes Hwy, Kogarah (near St George Leagues)

20 minutes south of the City

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

Phone: 02 9553 7843 Mobile: 0410 436 933

POST World War I decoration The cottages were usually done in a childlike manner – front door in the middle and two windows on either side. No attempt was made at realism (doors were always too small or large and windows disappeared into the roof). These cottage wares soon became their bread and butter lines and are sought after by collectors even though they are somewhat crude in appearance.

SOUVENIR wares With the opening of rail links between London and the Devon coast, the Torquay potteries started catering for the holiday makers producing relatively cheap and cheerful seaside souvenirs, incorporating the cottage with the name of the resort. Unfortunately, fashion played a big part in the closure of many potteries, a lack of clay in the area, and the post war depression. By the 1960s most potteries had closed ● 9

SOUTHERN ANTIQUE CENTRE 02 9553 7843 www.southernantiques.com.au Reference www.torquaypottery.com

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Vase made by Aller Vale Art Pottery, c. 1900 L to R: Mottoware plate made by Watcombe, c. 1910; Teapot decorated with a cockerel made by H. M. Exeter, c. 1900 9 Set of Cottage egg cups on a stand made by Watcombe, c. 1930s 10 Large grotesque moulded cat known as ‘Tiny Tim’ fitted with glass eyes made by Aller Vale Art Pottery, c. 1900

KOGARAH ANTIQUES & ART IN NEW SOUTH WALES

collectors in more recent times. Select Australian coin and banknote rarities boast an outstanding record of strong and dependable capital growth. They have ranked as one of the highest performing asset classes available to Australian investors over most periods. In many cases, during the past 40 years, their annual capital growth has exceeded 15 per cent compounded per annum. As an example, one selected portfolio featuring a combination of quality rare coins and banknotes has averaged 16.1 per cent per annum compounded, underpinning the strong and sustained market performance and demand for such rarities.

SUCCESSFUL COLLECTORS AND INVESTORS Robert Jackman, co-founder and Managing Director of the Rare Coin Company

When the late Dr Alan Nicholson sold his renowned collection of 436 Australian banknotes at auction in November 1995 for $2.2 million, the capital growth on just one

INVESTING IN RARE CURRENCY

he history of numismatics dates to around 650 BCE and the Greek civilisation of Lydia. Since then, people of wealth and power have collected coins, appreciating the rich history and beauty only this form of collectable holds. Coins and banknotes are an important historical reference and a reliable store of wealth. Historically, financial support for the numismatic market has come from collectors who have bought rare coins and banknotes for their beauty and heritage value. Yet it is the substantial profits realised by the owners of high profile collections which have attracted

note was a staggering 34.12 per cent compounded per annum. This superscribed Queensland Government Treasury one pound note purchased in 1970 for just $55, realised $84,700. Prominent Australian collectors hail from varied backgrounds. Mick Vort-Ronald, who once owned Australia’s most comprehensive banknote collection, was a South Australian police officer. Richard Williams financed his superb collection in the late 1970s through his Victorian cotton farm. He bought only the rarest numismatic material preserved in the

best possible condition. Following his death in 1990, the collection of 605 items was sold for $605,000 – 20 per cent above the auctioneer’s estimate. His 1930 penny, regarded as the second finest known, sold for a strong $26,000. A similar example sold in late 2000 at a Sydney auction for $85,000. This equates to an 18.44 per cent compounded per annum rate of growth. In 2009, the famed Quartermaster Collection of Australian gold coins sold at auction for a staggering $10.2 million dollars. Assembled in the late 1980s and 1990s, this collection, featuring the finest and rarest quality pieces, delivered the owner a significant return on his original investment. The goal of most investors is to employ their money to generate funds for use in retirement or for some other objective. Numismatics has a very low to negative correlation to stocks and bonds. Investors can reduce their total portfolio risk by holding a portion of wealth in such items as they are tangible assets. In the recession of the early ’90s, a successful business person who owned several medium sized hotels and motels discovered the benefits of diversifying his investment portfolio. An airline pilots’ strike and the economic downturn severely reduced his business cash flow. Fortunately, he had chosen to build a portfolio of high quality coins and banknotes several years earlier. As the numismatic market had continued to perform, by selling his collection he was able to work through a trying financial period.

THE BENEFITS An investment in rare coins and banknotes offers many advantages unavailable in other asset classes. They are one of the few remaining assets accumulated privately with

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

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

CARLTON ANTIQUES & ART IN NEW SOUTH WALES

RESURRECTION Sydney’s newest antique store Design your space with unique style and a focus on function

esurrection is an exciting new antique store nestled in the back streets of Carlton, Sydney. After five years of sourcing for clients Australia-wide, Resurrection is now open to the public. The focus is a new approach to antiques, emphasising on styling your home to reflect your personality and to maximise use. Resurrection aims to see antiques enjoyed in everyday life, valued equally for their beauty and their history. Decorating your home with individuality is an adventure. Antique and vintage pieces offer the perfect solution to injecting a unique sense of style and character into your environment. Older pieces are usually of superior quality and can be adapted to offer supreme functionality in the modern home. Resurrection has a wide collection of pre-1940s character pieces. Furniture includes large statement pieces to smaller decorator items. Many pieces are interactive and really come to life when put to work in your home, such as cabinets with secret cupboards, drop front desks, fitted chests, unique vintage filing systems and re-purposed music cabinets. Everything has a use and suggestions abound on where to place or how to use an item to maximise its capacity. Accent pieces include eclectic pottery, lighting, fine art, vases and tea ware. There are limitless ways to display these items to create a unique and workable environment. Consider these suggestions for those spaces in your home that are often overlooked when furnishing with antiques.

HOME office with charm Create an extremely practical yet authentic home office, even in the smallest of spaces. Employ a drop front desk or secretaire, two popular pieces that have stood the tests of time and remain attractive and relevant. A compact example will provide desk space, storage and foldaway convenience in any corner of your home. If you have high ceilings you can maximise your vertical space with a bureau or secretaire featuring a bookcase on top and storage below. If you have more room then acquire a beautiful old desk – whether elegant and commanding or rustic and worn, an old desk will instantly add presence to your space. Team with a sturdy eclectic chair and line your walls with bookcases. Varying the size and style creates interest and dimension. Vintage filing options range from traditional filing chests to pigeonhole cabinets, fitted cupboards, stackable rustic boxes and multi-drawer units.

Suggestions include a display of old suitcases beneath, a striking picture above, or a grouping of beautifully moulded and uniquely coloured vintage pottery. All these options will transform your entrance way into a welcoming place full of stories.

ROMANTIC touch to the bathroom The bathroom is often the most modern room of the house, and could benefit from a touch of old world charm. If it is a small space, then hang a beautiful picture or mirror, a vintage wall mounted cabinet or install an antique candelabra for a very special touch. If space allows, a vintage pot cupboard or washstand is the perfect piece for storing towels and toiletries. Top with an early washbowl and jug for an immediate sense of history and romance.

CREATE a reading nook Every room can feature a reading nook, but one is particularly appealing in a bedroom. An elegant chair placed in the corner of a room speaks volumes so consider acquiring a beautifully designed single armchair for your boudoir. If you have more space in your bedroom, a pair of chairs is ideal. Add a bookcase or two behind, a small table with character and a cosy reading lamp, and next, fill the shelves with your favourite books and add ornamental elements that reflect your personality and experiences. Voila! An empty corner has become the perfect retreat for study or relaxation. To gather more ideas and view the wide range of unique pieces available, visit Resurrection in Sydney at 55 Andover Street in Carlton. We are open Wednesday to Saturday, between 10 am and 5 pm and can facilitate delivery locally and interstate ● RESURRECTION 0404 327 909 aslan@unwired.com.au

Resurrection Antique

Rustic

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

55 Andover Street, Carlton NSW 2218 OPEN Wed – Sat 10 am – 5 pm

Dave & Fiona 0404 327 909 Email: aslan@unwired.com.au

Cabinets & Chairs Desks & Tables

Antique

MAKE an entrance Bring life to your entrance way with an antique hallstand or hat stand. Create a welcoming effect with a church pew or blanket box and a hanging rack mounted with coat and hat hooks. A simple console table is another option, whether alone or beside a shapely chair. Accessorise with pieces you love, as the smallest of touches can really make an impact.

Vintage

Fine Art Tea Ware

Vintage

Lamps & Vases Rustic Boxes

Rustic

Chests & Trunks & much more…

ANTIQUES & ART IN NEW SOUTH WALES

Water damaged dressing table

Water damaged china cabinet

China cabinet after treatment

DEALING WITH WATER DAMAGED precious family heirlooms

he flooding in regional Australia, in particular Queensland and its capital city Brisbane, has destroyed or badly damaged many homes and their contents. No photograph, item of memorabilia or piece

of furniture is as precious as human life and that is a given. However, those who have survived intact but who have had their homes and possessions badly damaged face a dreadful clean-up.

Water damage, rings, heat marks, scratches… not a good look! But these blemishes are easy to get rid of. Let me share my secret with you.

Restor-A-Finish, simply miraculous

For some people the loss of links to their lives, such as furniture that has been passed down through generations, is a real body blow. There is a way to restore badly water damaged furniture – as long as the wood and the basic construction of the piece are sound. Murky, polluted flood water will strip away furniture surfaces and leech out all the natural protective oils and resins that the wood may contain. This leaves good furniture looking worn and stippled with white, blotchy water marks. Howard Restor-A-Finish – a product well known to restorers and fine furniture enthusiasts around the world – has the ability to penetrate the surface, going into the wood itself and resurrecting old shellac and other materials from previous coats hidden below the actual surface. These elements, once released to the surface, are worked until they re-set as a light coating. Making it relatively easy to repair the worst problems in furniture by yourself for relatively little cost. Have a look at these photographs of seriously smoke and water damaged furniture in a house

Restoring-A-Finish on grandma’s bridge chair

Dressing table after treatment

which was saturated by high pressure fire hoses. The proof is in these genuine before and after shots. These repairs were carried out by one lady using Howard Restor-A-Finish, four zero grade steel wool, Feed-N-Wax, Howard Orange Oil and Restor-A-Shine. The work was done virtually unaided. If any reader of this article has been caught in this horrendous flood situation and needs advice, please email us at advice@howardproducts.com.au or ring 1800 672 646 and we will get you the information and products you need at the cheapest price we can. Alternately, I can be contacted direct on 0419 403 627 if you prefer ● David Foster HOWARD PRODUCTS www.howardproducts.com.au

CANTERBURY ANTIQUES & ART IN NEW SOUTH WALES

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

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

October 2011 Vintage Clothing, Jewellery & Textiles Show The autumn Vintage Clothing, Jewellery & Textiles Show will be held on 14, 15 and 16 October 2011 with lots of amazing things to buy and fabulous entertainment to enjoy, at the Canterbury Racecourse Function Centre in King Street Canterbury. Because the workmanship in vintage garments is universally recognised and the unique bygone creations are now very popular with women and men, the clothing, jewellery and accessories are much appreciated by all age groups and rapidly purchased by the many visitors. The Sydney Vintage Clothing, Jewellery & Textiles Show is the largest of its kind in Australia. It is a visual feast, featuring over 60 exhibitors selling vintage and antique clothing and accessories, antique and vintage jewellery, linen, lace, textiles and small collectables. Fashion collectables for sale are magazines, posters, fashion plates, sewing patterns, tools and parasols. First timers are amazed at the vast array of items for sale, ranging from tiny antique buttons and hat pins to large ornately embroidered tablecloths and heritage quilts. The quality and quantity of clothing and jewellery for sale are excellent. The convenience of all the exhibitors, fashion shows and entertainment being under one roof is a hit with fairgoers. Over the first night and the next two days, many of the shoppers are on a mission to find a knockout outfit to wear for their special occasions or a quality vintage accessory for the current season. Teenage girls, often accompanied by their mothers are interested in an unusual dress for their school formal or graduation. Discerning brides search for a period wedding dress or special piece of jewellery. Vintage car owners, who love travelling to their club outings in period clothing, are always looking for authentic garments produced in the year

corresponding to their much loved vintage car. Fortunately, many stall holders have clothing and accessories for both men and women. Count on two-and-a-half days of entertainment, there are fashion parades and exhibitions, prizes for best vintage clothing, dancing and the regular charm school demonstrating beauty tips from the past and how to achieve a look that works for today’s lifestyle. The cafeteria will be open all weekend and the racecourse has ample free parking. For the comfort of patrons the venue is airconditioned and wheelchair friendly. While

close to Canterbury train station, there is a free shuttle bus from both Canterbury and Strathfield train stations. The October show will again host extraordinary exhibitors, amazing selection of clothing and collectables to buy, and fabulous entertainment to enjoy ●

For more information contact Janel Morrissey VINTAGE CLOTHING, JEWELLERY & TEXTILES www.lovevintage.com.au

Vintage 11TH SYDNEY

CLOTHING,

Show

JEWELLERY & TEXTILES

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

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

Fri 14 October 2011 5.30 pm - 9.00 pm Sat 16 October 2011 9.30 am - 5.30 pm Sun 17 October 2011 10.00 am - 4.00 pm Canterbury Racecourse Function Centre King Street, Canterbury, Sydney for details see

www.lovevintage.com.au Tickets available at the door Inaugural Melbourne Fair: 27-29 May 2011

ANTIQUES & ART IN NEW SOUTH WALES

French Art Deco walnut sideboard, c. 1920s, featuring a bow fronted marble server, carved panels on drawer faces, mirror back glass display cabinets

Edwardian marble topped credenza, c. 1910

Art Deco French sideboard, c. 1920s, with marble top

SIDEBOARDS – CREDENZAS – CHIFFONIERS

ideboards, credenzas and chiffoniers all belong to the dining room, but what of the distinction and how have they evolved? Then there is the question of dumb-waiters. You might ask: Is the formal dining room an anachronism? In some cases the answer is yes, but regardless of lifestyle, the sideboard et al live on.

SIDEBOARDS Up until the last quarter of the 18th century sideboards, or side tables as they were known, were regarded as extra tables. They were placed near dining areas for preparing and serving food .They evolved separately from the buffet and the court cupboard, the two major living room pieces up until the 18th century when sideboards were taken seriously as decorative as well as functional items. When Thomas Chippendale (c. 1718-1779) produced the Gentleman and Cabinet Maker’s Director in 1754 he illustrates sideboard tables as rather simple tables sometimes with a drawer. By 1770, as seen in the dining room at Harewood House, sideboards were fashionable. This example, designed by Robert Adam, was made by Chippendale and features detached pedestals surmounted by vases of solid rosewood. Under the table sits a magnificent wine cooler. Robert Adam (1728-1792) created a new treatment for classic ornament and revolutionised the taste in architecture and in the decorative arts. As a result, the last four decades of the 18th century furniture and domestic decoration were in the neoclassic style. At this time the sideboard comes together as one piece. Some of the 18th and 19th century sideboards had brass galleries to hang material so that walls were not spattered with blood and grease, they also frequently held candelabras. It was the burgeoning middle classes that

drove the vogue for this item of furniture along with the formal dining room. Clients’ requirements affected design so that sideboards also became storage units and statements of style, reflecting the trend for the dining room as the expression of wealth, culture and sophistication. Hence they were used to display silver and other exhibits of wealth such as ceramics and glass. By the mid 19th century the sideboard was regarded as a chief piece of furniture, designs incorporated high backs for displaying plate, china or porcelain and cabinetmakers incorporated enamel plaques and relief panel decorations. It usually consists of a set of cabinets, frequently containing a lead lined cellaret or cupboards and one or more drawers for cutlery, napkins etc., all topped by a flat surface for holding food, serving dishes, and even lighting fixtures. Larger mirrors, now available, were a popular splash back replacing the brass gallery. They gave depth to the room and enhanced the light thrown out. They became the vehicle of the cabinetmaker’s skill and featured exotic veneers, carving, inlays and any other iconic fashion quirks of the time. Materials used in sideboard manufacture included mahogany, oak, pine and walnut. Today, sideboards are no longer confined to dining rooms. These highly functional and beautifully crafted pieces have been given fresh uses and so may be found in the home office, hallway, family room or living room.

CREDENZA Originating in Italy, the credenza or sideboard was in the 16th century a rough table draped with a linen cloth. These serving tables came to feature two to three doors separated by panels or columns decorated with carved friezes and have drawers above

the door areas. Today, they are regarded as one of those elaborate Victorian dining room pieces; having a marble top, mirror back and doors, frequently serpentine fronted. Victorian examples tend to be more for displaying than for serving food, and in contemporary apartments and town houses they are used to display collections or feature pieces. Recently, I have found that to some clients a credenza is an office cabinet. In an office setting, a credenza desk is usually used as a secondary workspace. No space needs to be left for someone to sit at the desk, so the area under the top can be filled with cabinets, drawers, and shelving for storage. The additional workspace is extremely convenient for people who like to spread out papers and other materials while they work, and the credenza also creates an accessible storage area which can help to keep the work area tidy.

CHIFFONIER In England, chiffoniers were very popular during the 19th century. Their form was probably influenced by the French chiffonnier, a small shallow cabinet topped with open shelves and on occasion a drawer. In France it was used to store ladies’ lightweight garments, in England the chiffonier was a more modest piece of furniture for a dining room that was too small or unpretentious for a full-scale sideboard. They were mainly made of rosewood, the most popular timber at the time. Knobs were commonly made from brass. The most popular design in the 1830s featured a wooden backboard from which projected a shelf. There were generally two cupboards to the front, fitted with wire grille doors backed with pleated silk. Later pieces had mirror backs and doors were of wood or glass. They became semi-circular in design with central

cupboards flanked by open semi-circular shelves. Today, these more compact pieces of furniture are used in apartments to balance out a small dining area or in the entrance area as a decorative and functional piece. An iconic piece of Australiana is the meat safe and I mention this because it is often very similar to a chiffonier. I have seen the cedar meat safe, in particular, deny its origins to some extent, and sit most happily in more formal settings.

DUMB-waiter The dumb-waiter traces to around 1740 and was described by Sheraton as a very useful piece of furniture. It was designed to serve a variety of purposes in the dining room, one of them being to hold dessert plates, cutlery and the dessert. An English innovation, its design is of two to three circular trays of graduating size revolving on a shaft resting on a tripod base. This piece of furniture was very popular at the turn of the 20th century and continues to be very a well received item in a contemporary setting ● Garry Auton GLEBE ANTIQUE CENTRE 02 9692 9577 www.glebeantiques.com.au

References Percy McQuoid, A History of English Furniture (London: W. & G. Foyle Ltd 1938) J. Munro Bell, Chippendale, Sheraton and Hepplewhite Furniture Designs (London: Gibbings 1900) Sir Francis Watson, The History of Furniture (New York: William Morrow and Company Inc 1976) Louise Ade Boger, The Complete Guide to Furniture Styles (New York: Charles Scribern’s Sons 1969)

Australian cedar chiffonier

William IV period chiffonier, c. 1840, rosewood, marble top

French Empire 19th century credenza, marble, pollard oak, cross-banded in Amboina, carved ormolu frieze to central drawer, bevelled glass centre door

GLEBE ANTIQUES & ART IN NEW SOUTH WALES

GLEBE ANTIQUE CENTRE Desks of Distinction

Rosewood chiffonier $2250

Classic Australian cedar chiffonier. $1250

French Arts and Crafts sideboard, c. 1890, solid oak, mirrored back, hand carved medieval inspired decoration. $4500

English Mid-Victorian mahogany mirror back sideboard, c. 1860. $4850

Victorian walnut credenza, with serpentine front and three mirrored doors, original Carrera marble top. $4650

English Late Victorian mahogany mirror back chiffonier, c. 1890. $2650

English mirror back late Victorian, pollard oak sideboard, c. 1890. $6500

English Early Victorian mahogany chiffonier with over shelves and mirrored doors, c. 1850. $1450

French Louis XV style breakfront sideboard in solid cherry wood, parquetry top, three-door, two-drawer. $4950

English Victorian mahogany two door chiffonier. $1650

Large fine French Henry II style walnut dresser, c. 1890. $4650

Australian Edwardian/Federation sideboard in walnut, mirror back slump glass doors, brushing slide, hand carved decoration. $2750

2 Levels at 62 Parramatta Road, Glebe (opposite Sydney University Vet Dept) www.glebeantiques.com.au • www.desksofdistinction.com.au • email: sales@glebeantiques.com.au • email: sales@desksofdistinction.com.au OPEN 7 DAYS 10 AM - 6 PM Parking and other entrance rear of building at 74 Arundel St, Glebe Ph 02 9692 9577 47

ANNANDALE ANTIQUES & ART IN NEW SOUTH WALES

FROM EUROPE TO AUSTRALIA exceptional pieces at Eliza Jane Antiques

he much anticipated arrival of our container from the UK and Europe has finally arrived and is now ready for viewing. We are very excited about this shipment as it contains one of our best selections to date. On show are items to suit apartment living, or pieces that sit comfortably in large homes, from diminutive functional marble top side tables and display vitrines to magnificent imposing full height stately mirrors and majestic consoles. The diverse range caters to many decorative styles, from elegant restraint to flamboyant opulence, polished steel industrial pieces to intricately carved gilt wood and finely inlaid marquetry surfaces. There is something to tempt the most discerning and critical customer.

FORMAL pieces From Europe is a magnificent 19th century French gilt wood console and mirror of grand proportions. Featuring a variegated black marble plateau that sits over a deeply carved foliate ribbon frieze applied to the base which is supported by four reeded tapered legs joined by a wish bone stretcher. The original bevelled mirror, of 1.8 metres above the console table is set in a triple panelled carved gilt wood frame, surmounted by a finely

executed hand-painted scene in the manner of Boucher, in a central apex cartouche. Originally this truly exceptional piece would have graced a grand reception room in a French chateau, but one advantage of contemporary interiors is that we no longer conform to the strict rules for the placement of furniture. Where once this piece would only have been placed only in a grand entrance or reception area, today, it can sit comfortably as a sideboard in a lounge or dining room. Imaginatively, I have even seen consoles and mirrors used to great effect as dressing tables in bedrooms.

FORM and function At the other end of the spectrum is a French art deco wrought iron console and matching mirror with scroll work decoration. Another wonderful piece is the vitrine. These were very popular in 19th century France. They were made not only to display treasured items but were examples of the craftsman’s expertise. My personal favourite is an early 19th century Italian hand-painted two piece vitrine set on its original open stand. The fine tiny proportions are enhanced by the wonderful untouched original patina, a visual delight, and also extremely functional. Form and

Eliza Jane Antiques

function – these two characteristics were the driving force behind much of the decision making, in the selection of the items for this container.

MIRRORS for every room Almost every size and style mirror is in stock. With careful placement, these marvellous decorator items can transform even the blandest of rooms. Reflecting light and colour, mirrors create an optical illusion, expanding the dimension of a room.

CREATE a library

T N E M P W SHI France

ed from d n a l w o rn Containe

Our new range of bookcases adds an interesting dimension to a room. A French Louis XVI style two-door bibliothèque made of walnut with brass accents is a statement piece or for a more subtle approach there are the popular free standing revolving bookcases in oak.

LIGHTS for accents Maintaining our reputation as a leading antique lighting destination, the new stock of lighting from Europe is comprehensive. Choose from French art deco wrought iron scrollwork pendants, large gilt bronze multiarm chandeliers to early heavy solid brass industrial lights. These are ideal for kitchens and warehouse conversions. At the other end of the scale are delicate Daum glass table lamps.

FUNCTIONAL and decorative furniture

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

Wed – Sat 10 am – 5 pm, Sun 11 am – 3 pm, closed Mon & Tues

Phone 02 9518 6168

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

www.elizajaneantiques.com.au 48

To add an accent to a room there are French commodes, pairs of marble top bedside cabinets, Empire bergères, Louis XIV fauteuils, Flemish and Italian cabinets and torchères – samples of the many and varied items now in stock. This is small window to our new arrivals. We invite you to explore this exciting range of traditional and unusual at our Annandale showroom where you can be assured of finding that unusual quality item to compliment today’s interior ● Jane Rush ELIZA JANE ANTIQUES 02 9518 6168 / 0416 167 151 www.elizajaneantiques.com.au

KENSINGTON ANTIQUES & ART IN NEW SOUTH WALES

COLLECT CREATE DECORATE

LAWSON~MENZIES FINE ART AUCTIONS 12 Todman Avenue Kensington NSW T 02 8344 5404 www.lawsonmenzies.com.au TIM STORRIER Starline and Blaze Sold February 2011: $69,000 (including Buyer’s Premium)

ANTIQUES & ART IN NEW SOUTH WALES

The annual AAADA SYDNEY ANTIQUES & FINE ART SHOW returns to Randwick 7 – 11 September

fter the success of the inaugural AAADA show in Melbourne, the Association and its members are preparing for the annual Sydney show, now in its 11th year. Organisers of this much heralded event will be returning to the Pavilion at the iconic AJC Royal Randwick Racecourse. Members from all over Australia will bring together, under one roof, the equivalent of more than 40 specialist shops where visitors can peruse the highest quality items sourced in Australia and abroad. For the convenience of collectors, view in one visit at the one venue in a matter of hours. Plan a return visit for that missed item and obtain a complimentary pass out. This world-class display is the only official annual AAADA show in Sydney and is not to be missed.

CODE of Practice Every exhibitor is a member of our association and bound by our Code of Practice. Every item is vetted for accuracy of description. The show has determined that 1950 is the latest date of permissible items. However, we do allow inclusion of appropriately described later items due to their artistry, rarity or because they are unique.

GALA preview The show opens with a gala preview on

Wednesday evening, 7 September and continues daily until Sunday 11 September closing at 5 pm.

SPECIAL Fair Events Besides the exquisite exhibits, decorative arts societies will be displaying and providing details of their activities and advising on how you can join their respective organisations. AON Risk Services will also be onsite to help you with insurance for antiques and art. We will have some very interesting guest exhibitors joining us so please check our website for up-to-date information at www.aaada.org.au/sydneyshow.

PARKING As in the past, free untimed parking will be offered as this venue features a parking area three times the size of that previously available. Entry is at the Alison Road gate.

DINING Visitors will be able to enjoy informal dining at the Show Café, whether looking for a light repast – including a variety of sandwiches, pastries and beverages – or a more substantial repast choosing from a selection of the finest hot and cold dishes. The café is open all day from 11 am to 7 pm Thursday to Saturday and 11 am to 5 pm Sunday.

Cloud Lucite purse, c. 1950, made in the USA and various Bakelite pieces dating to around 1930s

EXHIBITORS to date Abbott’s Antiques Alan Landis Antiques Allpress Antiques Anne Schofield Antiques Applebys Fine Art & Antiques Brans Antiques D.G. Barsby Antiques Eaglemont Antiques Elizabeth Kwan Grafton Galleries Greengrass Antiques Harrington Antiques Humble House Australia Isherwood Antiques & Interiors Janet Niven John D. Dunn Antiques John Pettit Rare Banknotes Judith Rutherford Antique Chinese Textiles Karen Deakin Antiques Kevin Murray Fine Silver L. J. Cook & Company Labyrinth

Alan Landis Antiques (NSW) is bringing this Doulton Lambeth jug dated 1884, measuring 20 cm high. A particularly appropriate piece as the Rugby World Cup takes place in September in New Zealand. The jug is quite rare, and Alan has only seen one other in 30 years

Leven Antiques Mark Koronowicz Antiques Martin Gallon International Art Michael A. Greene Antiques Moorabool Antique Galleries Mossgreen Collection Online Antiques Patina Antiques & Interiors Reflections Antiques Richmond Antiques Rutherfords Sebra Prints Simpson’s Antiques Studio Eclectica Tooronga Hall Antiques Valentine’s Antiques Gallery ● For more information AUSTRALIAN ANTIQUE DEALERS ASSOCIATION 03 9576 2275 www.aaada.org.au

WOOLLAHRA / PADDINGTON / NEUTRAL BAY / BLUE MOUNTAINS ANTIQUES & ART IN NEW SOUTH WALES

Chinese and Japanese Quality antique and reproduction furniture and artefacts

ESTABLISHED 1989

336 South Dowling Street, Paddington

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

FELLIA MELAS

ROTATE INTERIORS SELECTED

GALLERY

ITEMS

CHOICE

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

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

Greg Davies Manager

WOOLLAHRA TIMES ART GALLERY

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

RANDWICK ANTIQUES & ART IN NEW SOUTH WALES

7 Ä¦ 11 S EPTE EPTEMBER EMBER 2011 201 1

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7KH 3DYLOLRQ 7KH 3DYLOLRQ D AJC C Royal Royal R an ndwick Racecourse Racecourse Randwick Alison Alis son Road Road R an ndwick NSW W 2031 Randwick ) UUHHH SDUNLQJ RQ VLWH )UHH SDUNLQJ RQ VLWH OPENING OP ENING TIMES TIME S

Wednesday, W ed ednesdayy, 7 September Septembe 6p m Ä¦ SP *DOD 3UHYLHZ

SP *DOD 3UH 6pm Thu ursday to to Saturday Thursday 11am 11a m Ä¦ 7pm Sun ndayy, 1111 Sept ember Sunday, September 11a m Ä¦ 5pm 11am INFORMATION INF FORMATION

Telephone: T eeleephone: 0401 99 55 0 01 Ema ail: secaada@ozemai Email: secaada@ozemail.com.au

www.aaada.org.au/sydneyshow ww ww w.aaada.o .

CITY ANTIQUES & ART IN NEW SOUTH WALES

Kalmar Antiques not only deal in fine jewellery, but also have one of the largest selections of vintage and antique watches, pocket watches and clocks

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

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

ALEXANDRIA ANTIQUES & ART IN NEW SOUTH WALES

Fine furniture and lighting from our American designer collections available in Australia only at

80 Oâ&#x20AC;&#x2122;Riordan Street, Alexandria (next door to Domayne) Open Monday to Saturday 10 am to 5 pm and Sunday 10.30 am to 4.30 pm Telephone: 02 9667 4415 Website: www.laurakincade.com 55

setting a new

standard 2

3 5

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

9 8

1 2 3 4 5 6 7 8 9 10 11 12 13

14 15 16

French mid 19th century brass inkwell $1,595 Bronzed spelter inkstand $2,995 Solid oak lectern with kneeler $1,295 Perfume bottle, sterling silver crystal $195 Lladro Figurine $800 French Henri II style oak desk, c. 1880, with 9 drawers $6,800 Vintage marble topped gaming table in excellent condition $2,195 Sovereign case made by Dennison Watchcase Co (USA), c. 1895 $150 Victorian chatelaine magnifier $550 Hand-painted framed miniature, signed $495 Rosenthal lidded jar $750 Ferdinand Preiss (Germany 1882-1943), Figure on onyx base, c. 1930, signed Ferdinand Preiss (Germany 1882-1943), Pomona, gilt, bronze, ivory on marble base. Preiss & Kasler foundry mark D Winterhalter, Miniature portrait, $650 French music cabinet, c. 1880, marquetry inlay $4,950 Set of 18 carved dining chairs $15,000

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

212â&#x20AC;&#x201C;220 Parramatta Rd, Camperdown NSW 2050 Phone 61 2 9550 5554 Fax 61 2 9550 4990 Email: camperdownmews@bigpond.com Open 7 days 10 amâ&#x20AC;&#x201C;6 pm Off-street parking

WE BUY, SELL, HIRE AND TRADE

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

GLEBE ANTIQUE CENTRE 62 Parramatta Road, Glebe NSW, 2037 (Opposite Sydney University Veterinary Hospital) Two full levels of a wide variety of quality antique furniture, light fittings, jewellery, glass, porcelain and general collectables Open 7 days 10 am to 6 pm

Phone: 02 9692 9577 Fax: 02 9692 8611 Email: sales@glebeantiques.com.au Web: www.glebeantiques.com.au www.desksofdistinction.com.au The largest collection of genuine antique furniture in Sydney!

VICTORIA ANTIQUES & ART IN NEW SOUTH WALES

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

Early Victorian oval toleware tray – Greenwich Palace Georgian walnut 3 drawer lowboy

Georgian mahogany slope front fitted sewing cabinet Early Victorian 4 tier what-not Georgian mahogany tilt top breakfast table

French walnut cylinder top desk with ormolu mounts

Georgian mahogany 4 drawer drum table

William IV mahogany 2 drawer partners desk

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 60

Au s t ra l i an An t i q u e a n d Art Deal e rs A s s oc iat i on

QUEENSLAND ANTIQUES & ART IN NEW SOUTH WALES

www.antiqueprintclub.com

Antique maps & charts circa 1600-1900

ANTIQUE PRINT & MAP COMPANY Camford Square corner Douglas & Dorsey Streets MILTON Brisbane Wednesday – Friday 10-6 Saturday 10-4 Phone 07 3368 1167 Website: www.antiqueprintclub.com Email: sales@antiqueprintclub.com

www.antiqueprintclub.com

Antique Maps of all countries. Antique Prints of all subjects.

ANTIQUE PRINT & MAP COMPANY Camford Square corner Douglas & Dorsey Streets MILTON Brisbane Wednesday to Friday 10– 6 Saturday 10 – 4 Phone 07 3368 1167

Website www.antiqueprintclub.com Email sales@antiqueprintclub.com 61

MATCHAM ANTIQUES & ART IN NEW SOUTH WALES

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

The first printed map to show any of the Dutch discoveries in Australia, Jodocus HONDIUS c. 1624

OUR STOCK INCLUDES 15th – 18th century world maps Australian maps from the 17th century onwards Maps of Southeast Asia and the Pacific

❖ ❖ ❖

Expert advice on all aspects of map collecting Full research, evaluation, restoration and framing service Collections and individual items always considered for purchase Extensive range of decorative antique engravings Detail of Australian discoveries

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

ANTIQUES & ART IN NEW SOUTH WALES

MADELEINE CASTAING (1894-1992):

The first significant decorator of the 20th century

adame Madeleine Castaing remains one of the most popular decorators in France. The ‘Castaing style’ she created remains an endless source of inspiration and a reference in the world of décor. Unique France invites you to discover a fairytale that started in Chartres where Madeleine Castaing was born in 1894, and follows the success story of the first decorator of the 20th century. The daughter of an engineer who built the train station in Chartres, Madeleine Magistry married early to an heir from Toulouse, the art critic Marcellin Castaing. Her career started in a small shop on the left bank of Paris during the Nazi Occupation of France in 1941, thought to be ill timed by her father and husband for opening a gallery specialising in antiques, but she was a true free spirit and nothing changed her decision. Having been a collector of old furniture, fabrics and bibelots for years, she already had a reasonable inventory and soon supplemented with things that she purchased at the Paris flea markets. Up before sunrise, she would ride her bicycle to the Marché aux Puces de SaintOuen where she loved to hunt for treasures. From the beginning, Madeleine had an assortment of clients. Speaking of her clients Madeleine said, ‘I have to know the people, and I have to like them. If the people are

worth the trouble, inspiration invariably comes. I always tell clients that, above all, we should not try to recreate a room as it was during another epoch. I don’t like to work for people who want an interior to improve their standing in the eyes of others. But I do like to create a mirror in which certain kind of people can recognise themselves.‘ In 1943, after two years in the shop on the rue du Cherche-Midi, Madeleine moved to a building at the corner of rue Bonaparte and rue Jacob. Again, she painted the façade sparkling black and on the long side of the shop, facing rue Jacob there were four large display windows without any signage: one might be a library, the next a dining room and another a bedroom. The arrangements were regularly changed as she added to her collection. One of Castaings’ two sons, Bernard joined her decorating business. The other son Michel became a dealer in manuscripts. Castaing loved everything that she displayed and hated to part with any of her treasures; some of them she refused to sell at

Madeleine Castaing’s castle in Lèves, France. Photo by Francis Hammond. Courtesy The New York Times

Chaim Soutine (1893-1943), Portrait of Madeleine Castaing, 1929. Metropolitan Museum of Art New York

Salon at Lèves, wall-towall leopard print carpet, bleu Castaing accents. Pair of stools with her monogram. Photo by Francis Hammond. Courtesy The New York Times

any price. More than objects, the things in her shop were anecdotes, recollections and treasured memories. When considering the decorating genius of Madeleine Castaing, it is fundamental that she was an antiquaire. Jacques Grange, her protégé, best described her work as, ‘Madame’s achievement is in interpreting the past, rather than reconstituting it. The effect she achieved was modern and fresh, despite the fact that all the elements she used were old.’ Her Paris apartment was the interior set for the 1996 Ismail Merchant film, The Proprietor that starred Jeanne Moreau.

MAISON de Lèves She invented the colour ‘bleu Castaing,’ which was the major colour of her country mansion in Lèves near Chartres, a fivebedroom house with nearly 14 1/2 acres of land including box mazes and poplar alleys. The shutters were painted in a deep blue green and all the ironwork was shiny black. The writer Maurice Sachs described a visit to Maison de Lèves in the 1920s with Castaing presiding over ‘a dwelling full of whimsicality, invention, and audacity.’ Having also started my career near Chartres, I made a visit to her home and bid on some of her treasures during a 2004 auction. Once inside her house you realised that everything had lightness. The most dramatic room was the sitting room, a brilliant combination of a ballroom, a salon and a library. Every chair was placed for comfort and the floor was covered in wall-to-wall in leopard print carpet. This carpet style is for me the pure Madeleine Castaing touch. Everything in the house was old, from another era with its own story to tell. Many of the things were in less-than-perfect shape, but this did not bother Madeleine. It was what she wanted, and worked hard to create the look she achieved in Lèves. The life of Madeleine Castaing is a condensed history of the 20th century, mixed

with the flair of a great collector and influences from the works of the famous writers Gustave Flaubert and Marcel Proust whose descriptions of domestic life left an indelible imprint on her life and career. She was the first decorator of the 20th century; her inspiration was a mix of the 20th century and modernism with an important dose of aestheticism. She summarised her style and adulation in her later years, in response to sales staff snickering at her appearance, ‘The hat I am wearing is by Paulette. My dress was designed by Balenciaga. I have been painted by Soutine. Try and do the same’ ● Denis Geoffray UNIQUE FRANCE 07 3254 0404 info@uniquefrance.com.au www.uniquefrance.com.au Further reading Emily Evans Eerdmans, The World of Madeleine Castaing (London: Rizzoli, 2010) Mitchell Owens, ‘For Sale: A Diva’s Eccentric Legacy’, New York Times, 23 September 2004

Madeleine Castaing’s desk

Madeleine Castaing’s shop at the corner of rue Jacob and rue Bonaparte, Paris, opened 1943

ANTIQUES & ART IN NEW SOUTH WALES

REINVENTION OF TRADITIONAL CRAFTMANSHIP IN 19TH CENTURY ENGLAND: The Arts and Crafts Movement A brief look at furniture designers

merging in the 1860s, the Arts and Crafts Movement was a rejection of industrial mass produced, often poorly constructed pieces made in the Victorian era. This reform movement’s philosophy and goals were to enhance the quality of life through design, craftsmanship and its application, from the working environment to respect for the artisan. Strongly influenced by the writings of leading art and architecture critic, John Ruskin (1819-1900), William Morris (1834-1896) developed theories of handcraftsmanship in the decorative arts. Best known for his textile and fabric designs based on nature, Morris led a resurgence of traditional textile arts and production methods as part of the Arts and Crafts Movement. His 1861 partnership with the Pre-Raphaelite painter Edward Burne-Jones (1833-1898) and the poet and artist Dante Gabriel Rossetti (1828-1882) would profoundly influence the architectural design and decoration of churches and houses well into the early 20th century. Another significant influence came with the re-opening of Japan to the West in 1853. Shown at the 1862 London International Exhibition were ceramics, ivories, textiles and prints from Japan. The designs and forms were to have a significant influence on designers including Christopher Dresser (1834-1904) and E W Godwin (1833-1886). The movement was not contained within Great Britain, spreading to the United States and Europe, influencing all areas of the decorative arts including metalwork, graphics, jewellery, ceramics, glassware and furniture.

FURNITURE Architecture and interior fittings were regarded as integrated projects and so furniture was designed to enhance and create a decorative unity; architects included Baillie Scott, Mackintosh and Voysey. A feature of this furniture was that dark oak was used for masculine spaces such as billiard and smoking rooms. Bedrooms, drawing rooms, kitchens and bathrooms had white walls and furniture. Oak was the main wood used in Britain and the United States with exotic timbers such as mahogany and redwood used by arts and crafts designers working in California. Furniture designs were inspired by medieval and natural forms, executed using traditional handicraft techniques. Other sources of inspiration came from myths and legends. Philip Webb (1831-1915) designed robust and simple furniture, somewhat mediaeval in style that became a hallmark of this movement. Scottish prize-winning architect Bruce Talbert (1831-1881) moved to England in 1862. He was a prolific and influential

designer of furniture. He won a silver medal at the Paris Exhibition of 1867 and later that year he published Gothic Forms applied to Furniture, Metalwork and Decoration for Domestic Purposes. He designed for many furniture makers such as Gillows, Holland & Sons, James Lamb, as well in metals for the Coalbrookdale Iron Company and Cox & Sons, and exhibited interior designs at the Royal Academy. Talbert’s growing list of clients spread through London, Bristol, Sheffield, Dundee and Glasgow. He won the Grand Prix at the Paris Exhibition of 1878 with the Juno cabinet made by Jackson & Graham, but chronic overwork led to his early death. The firm of Shapland and Petter was established in Barnstaple England by Henry Shapland (1823-1909), a cabinetmaker and Henry Petter (d. 1907), an accountant. During his 1848 American travels, Shapland heard of a wave-moulding machine for timber. However, he was only allowed to see it if he left the USA immediately. He reproduced the machine in England and in 1854 began making furniture. After their factory burnt down in 1888, they replaced it with a bigger and modernised factory where this innovative pair utilised machine technology as well as employing many artisans for artistic embellishments. Pieces have frequently been misattributed to other makers, especially as their designs resemble those by Ashbee, Baillie Scott, Voysey and Talwin Morris. Although the Arts and Crafts Movement philosophy was in theory socialist, providing quality for the populous, the hand-made pieces were expensive and exclusive, limited to the wealthy. Commercial companies like Liberty & Co and Heal & Son produced less expensive pieces also in oak and versions made in mahogany and chestnut.

Oak sideboard, attributed to Bruce Talbert for Gillows

Display cabinet made by Shapland and Petter, mahogany and inlay

FIRST English industrial designer Christopher Dresser is perhaps the first English industrial designer, his modern style focussed on the quality of materials and simplicity of form. His influences were Japanese, Egyptian and Asian art and design, as well as botany. The wide spectrum of his work includes furniture, metalwork, ceramics and textiles, with his designs evolving from early decorative pieces to his later streamlined minimalist style. Lavin Antiques invites readers to see the selection of Arts and Crafts furniture in our showroom at 950 Stanley Street in East Brisbane – open seven days a week ● LAVIN ANTIQUES 07 3391 2300 info@lavinantiques.com.au www.lavinantiques.com.au

Christopher Dresser design, hallstand, cast iron and marble

FURTHER READING Daryl Bennett, Shapland and Petter of Barnstaple, Arts and Crafts Furniture (Barnstaple England: Museum of Barnstaple and North Devon, 2005) Dictionary of Scottish Architects (Fife Scotland: University of St Andrews, 2008) John Fleming & Hugh Honour (revised ed), The Penguin Dictionary of Decorative Arts (London: Viking Penguin, 1989) Michael Whiteway (ed), Christopher Dresser: A Design Revolution (London: V&A Publications, 2004)

BALMAIN ANTIQUES & ART IN NEW SOUTH WALES

WORKS OF ART YOU CAN WALK ON: French provincial and handcrafted floors

ade from reclaimed Australian hardwoods and imported French oak, our floors are designed to last several lifetimes, growing in beauty and appeal as they age. Antique Floors was founded in 1996 under the creative direction of John Fredriksson. His passion is taking salvage timber and giving it new life in a new home. Johnâ&#x20AC;&#x2122;s quest for fine wood stretches from century old French oak to Australian heritage buildings and old woolsheds. The reclaimed timber is cut to size, sanded by hand and restored with natural oils, ready to create traditional designs to fit any room and setting. The Balmain warehouse displays the finest quality handcrafted timber flooring. With these floors, you are walking on history while you are creating your own. Antique Floors invites you to drop by their large showroom specifically designed to show their floors in different settings. Here you see an extensive range of wood as well as the latest addition of new leather floors imported from Portugal. Also on offer is a bespoke range of

architectural elements including antiques, custom made tables, libraries and wine cellars. While at the Balmain warehouse, take time to visit the Red Door Gallery with its changing art exhibitions â&#x2014;?

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

BALMAIN ANTIQUES & ART IN NEW SOUTH WALES

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

lmost 50 shops bursting with fresh stock for collectors are trading at the Balmain Road Antique Centre, which opened in Lilyfield in September 2010. This slick, exciting and diverse antique centre has many rooms and varied shops. We are open for pursuing, browsing and purchasing every day of the week. Dealers source antiques and collectables from all over the world, filling this huge

warehouse space with unique and special treasures. This antique centre showcases a variety of styles and periods of furniture and objects, with plenty of English and Australian antiques. The current popular styles that new and established collectors seek are stocked in abundance: early industrial, art deco, retro, mid-20th century modern as well as rustic and all manner of exotica. As the antique centre’s stock is fresh and

New exciting antique centre

Balmain Road A N T I Q U E

C E N T R E

Open 7 days Trading hours 9 am – 6 pm

It’s here! Peruse to your heart’s content. Our fabulous stores – RETRO! GLAMOUR! EXOTICA! CURIOS! You’ll find it all here! 483A Balmain Road Lilyfield NSW 2040 Telephone 02 9818 4990 66

continually being updated, you are sure to find among the almost 50 dealers at least one item to surprise you or a friend. We especially encourage anyone seeking a special piece to set off a room or to complement an established collection to come to the centre first, as there are many items never previously on offer in Australia’s antique industry.

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

EASY to find and park Located 500 metres from Victoria Road Rozelle, turn onto Darling Street that is renamed Balmain Road after five cross streets. Local landmarks include the Callan Park health centre and the Sydney College of the Arts across the road. There is plenty of street parking and some customer parking from the Alberto Street entrance. In terms of public transport, Balmain Road Antique Centre is serviced by bus and light rail. Bus routes L37, 440 and 445 travel along Balmain Road directly to the antique centre. Victoria Road is a major bus corridor for buses travelling to and from the city. Lilyfield Light Rail Station is located approximately 600 metres south and smoothly conveys collectors and their treasures to Darling Harbour and Central Railway Station ● Take a stroll through our huge warehouse space and browse the ever-updated stock on our website. You will be surprised and delighted by what you discover at BALMAIN ROAD ANTIQUE CENTRE 02 9818 4990 info@balmain-road-antique centre.com.au www.balmain-road-antique-centre.com.au

BALMAIN / PARRAMATTA ANTIQUES & ART IN NEW SOUTH WALES

WE CAN SUPPLY THAT ELUSIVE ONE-OFF PIECE, OR A COMPLETE HOUSEFUL Please call in and peruse our diverse collection: • furniture 1800-1930 • porcelain & glassware • Australian pottery & bottles • architectural antiques • kitchenalia & advertising • paintings & prints • and a ‘never ending’ collage of collectables

open 7 days ~ 10 am to 5 pm 78 PITT STREET PARRAMATTA 2150 (next to freeway overpass) PHONE 02 9633 3426 or 02 9891 1727

An unusual collection of porcelain, furniture, glassware, paintings and collectables ~WE BUY & SELL~

450 Darling Street Balmain, NSW 2041 Ph: 02 9810 9333 AH: 02 9629 1302 Mob: 0409 037 651 Tues, Wed, Thur, Fri, Sat 12pm - 6.30pm, Sun 12pm - 5.30pm - Closed Monday

BALMAIN’S ‘WINDOWS TO WATCH’ Arts and Crafts – alive and well in the contemporary world

uring the late 19th century an exciting international design movement was generated by artists and craftsmen in Great Britain as their response to increased mass manufacturing and industrialised production – the Arts and Crafts Movement. Instigated by English artist and designer William Morris (1834-1896) and inspired by the writings of leading art and architecture critic John Ruskin (1819-1900), this was a reaction against ‘the impoverished state of the decorative arts and the conditions under which they are produced.’ The movement proposed economic and social reform. It was to last up to World War I. In its own re-formed way it has spurred interest in honest handmade crafts and decorative arts today.

The movement advocated truth in traditional craftsmanship using simple forms and often romantic or folk styles of decoration. Forms from nature and simplicity of materials were revered, in part a search for authentic design and ornamentation. William Morris championed ‘joy in labour and the moral and spiritual uplifting that came with the revival of making many special objects by hand.’ Arts and Crafts ideals were appropriated by young designers throughout Europe and the USA who adapted them to suit their own country’s individual identity in a rapidly industrialising world. The movement influenced architecture, painting, sculpture, graphics, illustration, book making, domestic design, furniture, woodwork, stained glass, leatherwork, jewellery, ceramics, glass and metalwork.

Keep your eyes out for small examples. Many experts predict that the Arts and Crafts era will be the next collectable surge. Malcolm Antiques at Balmain frequently has examples of furniture and decorative pieces influenced by the Arts and Crafts Movement, from small tables to wardrobes and mirrors beautifully adorned with enamelled, curved decorations. From time to time at our shop hints of the flair of Scottish designer Charles Rennie Mackintosh (1868-1928) appear in chairs dating from the early part of the 20th century. He is considered Britain’s first designer of Art Nouveau architecture, marked by lightness, elegance and originality. Since the late 20th century there is a revival of interest in Mackintosh’s work – so beware of reproductions elsewhere.

The Arts and Crafts Movement melded with the Art Nouveau and Aesthetic design movements. Those influences can be seen in the hammered copper, tin, coloured stones and beautifully enamelled and curved decorative additions to furniture. Examples at Malcolm Antiques are always simple and fresh in appearance and inexpensive – probably why they are becoming favourites for contemporary 21st century decorating. Malcolm Antiques is open from noon each Tuesday to Sunday (closed Mondays) and is exactly halfway between Balmain and Rozelle, at 450 Darling Street opposite the famous Cat & Fiddle Hotel● MALCOLM ANTIQUES 02 9810 9333 / 0409 037 651

ANTIQUES & ART IN NEW SOUTH WALES

CONGRATULATIONS ABBOTT’S ANTIQUES – 80 years and going strong!

riday 10 June is an important milestone for the much respected family antique business, Abbott’s Antiques. It will have been trading on Sydney’s north shore for 80 years.

FOUNDER Clarence Abbott The business was founded by Clarence Abbott in June 1931 after his retail business at 604 George Street was acquired by Hoyts Cinemas to build the Plaza Theatre. He had always been interested in collecting silver and porcelain, so he gathered up a few pieces from his home to make a bit of a display and opened a shop at Neutral Bay. He called the shop the Neutral Bay Gold Exchange but soon found he was buying more silver, china, glass, copper and furniture. Always quick to learn, Clarence acquired a thorough knowledge of the goods he was offering for sale and was very happy to pass this information on in his pleasant and jovial manner to those who were interested. The stock came from over the counter purchases, house calls and auction room sales with some wonderful pieces filtering through the shop. There were also many interesting house sales, mainly held by Lawson’s who also held their regular decorative art sales every two months at their Castlereagh Street premises. These auctions were quite an exciting experience and a highlight in the antiques calendar as well as being pleasant social occasions. The war years (1939-1945) affected everybody’s life. Every night large metal wire grills were erected over the shop windows to prevent glass shattering in case of a bomb attack. There was also a change in the type of stock offered. The shop stocked more silver plate when luxury goods stopped being imported due to the war.

STEVE and Joy Abbott Joy Abbott came into the business in 1943 following her marriage to Steve, Clarence Abbott’s son. She became absorbed in the fascinating world of antiques and used to say that Mr Abbott senior was a hard task master at times and his staff had to tow the line. He was fun to work with though and appreciative of one’s efforts – life was never dull. Clarence Abbott had a wealth of knowledge to impart and a sound, but simple approach to retailing – buy it fairly and turn it over at a modest profit. There were cabinets full of Georgian silver, beautiful hand-painted dessert sets, lovely early Worcester and all with unbelievable price tags compared to today’s prices. Joy left the business in 1946 when her first child was born and devoted the next several years to rearing her young family. After the war, Steve joined his father in the business and took a hands-on approach, even repairing silver, jewellery and furniture. Mr Abbott senior had his first stroke in 1954 but made a fairly good recovery, able to spend a few hours each day at the shop. This continued until 1956 when he suffered a fatal stroke. He was a jovial man, much liked and much respected for his fair dealings. He was a knowledgeable dealer and a gentleman. His

grandson, Brian, says it gives him enormous pleasure when people come into the shop and recount happily the things they bought from Clarence and speak so highly of him. In the early 1960s Steve decided to return to his original profession so Joy then took the business over and welcomed the opportunity to refurbish and modernise the old shop and start anew. After a coat of paint, upgraded lighting and a parquet jarrah floor, the new look Abbott’s was ready for business. There was now more room in the shop for small items of furniture such as work and Pembroke tables, desks and chiffoniers, which were all sold for moderate prices. Joy continued to sell sterling silver, porcelain, glass and interesting small pieces at a time when a lot more colourful, good porcelain seemed to be about, particularly Minton and Derby. Numerous dealers and keen collectors would look in regularly to see what was ‘new.’ The Antique Dealers Association of NSW was also in its infancy at this time and Joy was invited to join in the early months. She exhibited at their second fair held at the Menzies Hotel in October 1964. These early fairs were major events on the Sydney antique calendar and no doubt explains why the fairs ran for eight days and were open 11 hours each day! Security wasn’t a problem then as it is now and expensive silver and jewellery was displayed in the shop window and left there overnight. A smashed window in the early 1970s put paid to this and prompted the installation of a burglar alarm for the first time.

LOOKING to the future As to the current state of the market, Brian feels that good Georgian furniture is now particularly sought after due to its timeless appeal of quality construction and fine proportion. The traditional collecting fields of ceramics, glass and silver continue to be strong while quality Art Nouveau and Art Deco pieces are keenly sought. There is feverish demand for Asian ceramics, ivories and jades at present and Brian has also found a strong niche market handling Max Dupain photographs acquired from the Dupain estate. Does he see himself celebrating 100 years of Abbott’s Antiques trading? Obviously only time will tell, but for the moment Brian, like his grandfather Clarence before him, has that

BRIAN Abbott joins the family firm As it became necessary to look further afield for top quality stock, Joy began buying overseas and made her first trip to England in 1973. This continued into the 1980s and 90s after Joy’s son Brian entered the business on a full-time basis in 1982 after completing a Sotheby’s decorative arts course in London. They formed a very enthusiastic and knowledgeable team working together for over 15 years. During this time Joy and Brian usually exhibited at three antique fairs each year, including the NSW Antique Dealers Association fairs held in Sydney and Canberra.

FROM Neutral Bay to Turramurra The business relocated to Gordon in 1984 after 54 years trading at the original Neutral Bay premises and then opened at Eastern Road, Turramurra where they have been trading for 20 years. This proved a very satisfactory move. The premises consist of a large wide-fronted shop overlooking a scenic park in an appealing part of Sydney. With the passing of both his parents in the 1990s, Brian now trades very successfully with the help of Helen Horsburgh, a long standing employee of 16 years, and two other invaluable staff members – Sue Farr and Lawrence West. Brian’s wife, Nanette, also now lends a most appreciated hand both at the shop and at all their antique fairs.

The next generation?

passion to try and acquire interesting and good quality pieces for customers at affordable prices. Brian is a former vice president of the NSW State Chapter of the Australian Antique & Art Dealers Association and is still on the committee after 15 years of service. He has advised the Powerhouse Museum, Vaucluse House and Elizabeth Bay House on various purchases and is always happy to offer advice on conservation and appraise items on request ● Brian can be contacted at ABBOTT’S ANTIQUES 02 9449 8889 www.abbottsantiques.com.au

NORTH SHORE TO HORNSBY ANTIQUES & ART IN NEW SOUTH WALES

www.aada.org.au

Abbott’s Antiques

Member

Now celebrating 80 YEARS of quality antique dealing

19th century German painted porcelain plaque depicting a courting couple, dated 1876

George III sterling silver Argyle with shell mount, London 1788

19th century Meissen figurine of a street trader, c. 1850

Pair William IV mahogany carvers with scroll carved centre rails, c. 1830

German Art Deco bronze female nude with ball signed ‘Schwalenberg’, c. 1920

Lalique frosted and swirl ribbed Vagues bowl, c. 1950

George IV mahogany wine cellarette with lined interior, c. 1830

Pair George III style sterling silver thread edge candlesticks, London 1909

Royal Doulton specimen plate of Warwick Castle signed ‘C. Hart’, dated 1923

Max Dupain posthumously printed Sunbaker (1937) silver gelatin photograph by Jill White, #84/90

Victorian sterling silver mounted floral cut crystal claret jug, Sheffield 1895

Royal Worcester kookaburra painted cup and saucer signed ‘R. Austin’, dated 1912

George II mahogany tilt-top occasional tripod table c. 1750

Royal Worcester roses painted pot pourri vase signed ‘Sedgley’, dated 1923

George III mahogany D-end dropside table with satinwood cross-banded edge, c. 1790

19th century French finely carved figure of Joan of Arc, c. 1870

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 69

EPPING ANTIQUES & ART IN NEW SOUTH WALES

oopers

of Epping

ANTIQUES & JEWELLERS Antique Furniture, Jewellery & Timepieces from Late Georgian, Victorian, Australian Colonial to Art Deco Jewellery designed, handmade, restored and re-modelled Showroom open 5 days Tuesday to Friday 9:30 am - 5:30 pm Saturday 9:30 am - 4:00 pm 14 Bridge Street, Epping Ph 02 9876 2500 www.coopersofepping.com.au

NORTH SHORE TO HORNSBY ANTIQUES & ART IN NEW SOUTH WALES

PROFITS TO CHARITY AT THE INAUGURAL NORTHERN SYDNEY ANTIQUES AND COLLECTABLES FAIR 2 – 4 September 2011

he Lions Club of Berowra hosts the inaugural Northern Sydney Antiques and Collectables Fair on the weekend of Friday 2, Saturday 3 and Sunday 4 September 2011. To be held at the Berowra Community Centre, with over 20 stalls displaying and selling a large range of antiques and collectables from many dealers, both local and interstate. Be among the first to view the fine English and Australian furniture, most never offered for sale before this fair.

QUALITY and rarity Dealers from New South Wales, Victoria and South Australia are bringing English china and ceramics. They include Royal Doulton series wares, Beswick, Moorcroft and other quality English china makers. Don’t miss out on the highly collectable ceramics. Dealers have selected fine glassware and silver ware for the table. The jewellery, military medals and badges are worth the visit alone, with rare items for sale. To meet all budgets and interests, there will be a great variety of retro and vintage household items and books for all ages.

NOTE in your diary The gala opening on Friday 2 September, from 6 to 9:30 pm includes light refreshments and a glass of wine, for an admission fee of $15. Be among the lucky viewers with the first opportunity to buy choice items. The fair is open on Saturday 3 September from 10 am to 5.30 pm and on Sunday 4 September from 10 am to 5 pm. The fair charge is only $5 for adults and $1 for children aged 5 to 16 years. All profits go to charities supported by the Lions Club of Berowra.

GETTING there The Berowra Community Centre is easy to reach, two blocks from the Pacific Highway at the traffic lights into Berowra Waters Road.

Take the second exit at the roundabout and the Centre is down on the left in Berowra Heights. Berowra Railway Station is only a five minute walk from the Centre. There will be signage to guide fair visitors and parking is plentiful.

VALUATIONS This fair offers an expert valuation service on family or private treasures, including an estimate of value, all for a small fee that raises money for charity. Go straight to the valuation registration desk at the top of the stairs, as valuations will be in order of your arrival – first come, first served! Please bring only smaller items or else bring a photograph of a larger piece.

REFRESHMENTS and assistance There will be a café serving light teas, home-baked cakes, coffee and tea, soft drinks and water. Here you can relax and discuss items you have purchased or indeed, items you are still thinking of buying. There are pleasant grounds around the Centre should you wish to bring a picnic and enjoy the Berowra bush. Members of Berowra Lions will be on hand to assist you – easily identified by Lions T shirts and name badges. Accept our invitation to browse the Northern Sydney Antiques & Collectables Fair and buy unique items, from antique to vintage and retro, as well as popular collectables. This is a fun day for all, especially for the collector in your family. The NSAC fair website is updated regularly, for more information or dealer registrations, please contact the Lions Club of Berowra ● NORTHERN SYDNEY ANTIQUES AND COLLECTABLES FAIR 0424 023 220 www.nsacfair.com.au

Where Berowra Community Center, Berowra When Friday 2, Saturday 3 & Sunday 4 September 2011 Times Friday 2, Official opening – 7:30pm. $15 Admission includes light refreshment and a glass of wine. Bookings are essential. Saturday 3, 10:00am – 6:00 pm Admission $5 each Sunday 4, 10:00am – 6:00 pm Admission $5 each The fair features over twenty stalls displaying a large range of antiques and collectables for sale. Dealers from all over NSW, South Australia and Victoria will be in attendance, providing a not to be missed trove of treasures, for view and purchase. Expert opinions on your own piece of family treasure and an estimate of the item’s value will be available for a small fee, on a first-in-best-dressed basis each day. Come browse at the Northern Sydney Antiques and Collectables Fair A fun day for all the family! Further information call 0424 023 220 or info@nsacfair.com.au

ANTIQUES & ART IN NEW SOUTH WALES

Vampires, steampunk, Goth AND THE ANTIQUES RENAISSANCE

‘T

hose who cannot remember the past are condemned to repeat it,’ said noted Spanish philosopher George Santayana (1863-1952). However, I propose that since the past will repeat itself regardless, those who remember the past or study history can predict the future. There was a lot of 1970 in 2010. This will not surprise anyone with an eye on the cycles of fashion, be that clothing, interior decoration, music, or whatever. Fashion can be followed through the centuries as a wave graph, moving between two aesthetic extremes. One extreme embraces geometric, architectonic forms, and is generally seen as cerebral, disciplined, ‘masculine’ and scientific. Its corollary is characterised by curves and irregular organic shapes. Is lush, ‘feminine’ and celebrates the emotive and spiritual. Our fashion pendulum swings regularly as clockwork from one to the other. Examples of the former style include Sheraton, Empire, early Biedermeier, Arts and Crafts, Art Deco, early modern and minimalism. Opposing styles include Rococo, mid-Victorian Rococo revival, Art Nouveau, 1960s bio-organic and contemporary maximalism. At this point it is useful to look at Australia’s unique experience. The advent of the World War I (1914-1918), the Great Depression (1929-1934) and World War II (1939-1945) meant that very little influence of Art Deco or modernism reached Australia until the 1950s. Many designs of Art Deco Europe were not readily available in Australia until the 1960s. It will disappoint those collectors that have very romantic ideas about fashion that most new styles are the direct result of changes in legislation, advances in technology or availability of new materials. Chromed tubular steel and plywood contributed greatly to the look of European Art Deco furnishings. After World War I many tubular steel factories remained, but the need for the bicycle – that essential of Edwardian wartime life, military and civilian – had diminished. Similarly, the war-time demand for plywood with which to make airplanes had diminished. The material was used to other purposes, developed for affordable mass produced furniture – designs by Alvar Aalto and Marcel Breuer for example. However, it was after World War II that major technological breakthroughs resulted in plywood being moulded into inexpensive organic sculptural forms – such as the celebrated designs of Arne Jacobsen. However, it would not be until the 1950s that Australia would embrace a domestic sphere of modernist tubular steel, flecked Formica, and textured vinyl with contrasting piping. Naturally, after five decades of poverty from the 1890s recession to the end of WWII, making do with hand-me-down furniture, Australians wanted nothing to do with wood furniture in general, and Victorian in particular. These were burned or given away. Brass beds were used to reinforce concrete driveways for the prized new family car. Baby Boomers who grew up in hygienic plastic and metal streamlined lounge rooms were as contemptuous of tubular steel and vinyl as their parents had been of old wooden furniture. By the end of the 60s they demanded the warmth of Scandinavian oiled wood furniture, and factory made brown glazed pottery that looked hand crafted. Regrettably, the ‘Earth Mother’ stage also compelled many to take up macramé and

make endless badly potted wine goblet sets. Bio-organic forms in furnishings, now associated with the Festival of Britain, were also popular in the reaction against post-war ‘clean lines.’ Notable was the kidney or boomerang shaped coffee tables with three cigar shaped splayed legs. Most excitingly, by 1970 the beginning of the antiques and heritage boom that was to become a frenzy in the 1980s was afoot. In 1970 there were comparatively few antique shops. Most people were just discovering the pleasure of ‘antiquing’ in op shops and junk stores. Wooden furniture, including Victorian and Edwardian era pieces, was cheap and one could sand it down and do it up as oiled wood like new Scandinavian or teak furniture. Gradually, people buying cheap old Edwardian hallstands for $15 and Victorian teapots for $1 became curious about these objects, and over the next decade there was an explosion of books about all kinds of antiques. It became fashionable to furnish with antiques and to be able to talk about them competitively after dinner. By the 1980s Victorian suburbs like Melbourne’s Fitzroy and Carlton were gentrifying. Neo-Victorian clutter was embraced and every credenza sparkled with silver plate and crystal. Antique shops proliferated. After the 1989 crash people could not afford this abundance and minimalism was the rationale for the six pieces of chipboard furniture that occupied space in homes. My theory is that so much time and emotional energy was consumed by keeping up with rapidly changing technology that few had any energy left for a complex environment. A simple empty space provided welcome relief from the demands of technological upheaval. Fortunately, since minimalism in Australia was a particularly bleak experience, it is now quite dead. Happily, we find ourselves in a remake of 1970. Once again there is a reaction against simplicity and ‘clean lines.’ This seems to be as much due to generational change as any other stimulus. While Generation X (roughly, people in their 30s and 40s) continues to be mesmerised by technological gadgetry, Gen Y is quite a contrast. There are a number of subcultures experiencing a renaissance at present, principally, but not exclusively, with Gen Y. The most obvious of these is the vampire craze. This is not a morbid craze. For centuries parents told their children cautionary tales, such as Little Red Riding Hood (originally Red died!) and Hansel and Gretel (who escaped, but others had not!). In the days when children grew up in a safe environment where everyone in the village nurtured the children, infants had to be warned that not everyone was kind, safe and trustworthy. In our age of helicopter parents and television, contemporary children must learn the opposite lesson: that not all people outside the nuclear family are wicked and dangerous. Hence the upbeat, celebratory vampire tale which explores the concept that some strangers are actually kind and good. Apart from this there is the traditional appeal of being able to live forever, stay young and beautiful and be able to wear fabulous clothes while having superhuman powers. Steampunk, so named in 1979, is rejuvenating. It proposes an alternate history where the technological developments of the Industrial Revolution delivered a more positive effect: flying machines rather than

just trains and choking pollution. Think of Jules Verne’s Nautilus, a submarine with velvet and bullion fringe curtains and carved mahogany and brass fittings. Steampunk, Goth and Vampire subcultures and their influences impinge on the antiques industry as they are symptomatic of the general zeitgeist of fascination with the past. Subculture specialist shops stock girls’ corsets, Edwardian collars and Victorian hats, canes, pocket watches and goggles for the boys. These are just three conduits to the Romantic past that cannot help but reinvigorate the antiques industry, and I mean antiques, not vintage, here. Even within the mainstream, shopping malls are filled with Victorian style clothes, typically jackets with bias binding edges and military frogging, a harkening of the Regency period is also popular. So history repeats, finding fresh expressions with each passing generation ●

Antelope chair designed by Ernest Race for Festival of Britain, 1951. Plywood moulding was used for the seat

Roy Williams ROY’S ANTIQUES 03 9489 8467 www.roys-antiques.com.au

Steampunk enthusiasts from New Orleans, 2010

Steampunk computer

Boomerang shaped coffee table with three cigar shaped splayed legs

DURAL ANTIQUES & ART IN NEW SOUTH WALES

Dural Antiques Well Worth the Drive…

We Buy & Sell

Licensed Dealers

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

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

CENTRAL COAST ANTIQUES & ART IN NEW SOUTH WALES

A GUIDE TO

Antiques & Collectables Dealers ON THE CENTRAL COAST 1. JAMES R & SUZANNE G ISAAC-COLE 106 Manns Road, Narara 2250 Open Monday - Friday 9-5 Saturday and Sunday by appointment 02 4324 7287 james_workshop@ bigpond.com Antiques and collectables, repairs and restoration, French polishing. Specialising in brass beds.

Six different butterfliews handpainted on the box, quality work of the 1920s and 30s, c. 1920, w: 20 x h: 11 x l: 23 cm, $350.

1 Australia Cup Treen, made from oak and NSW rosewood, features 6 cups locked by pegs on a revolving stand, c. 1930, h: 25 x d: 20 cm, $1200

2. AVOCA BEACH ANTIQUES Now incorporating the Beecroft Treasure House Specialising in antique jewellery with the largest range on the coast and an exceptional range of silver and extensive selection of fine porcelain and rare collectables. 173 Avoca Drive, Avoca Beach Open 7 days 02 4382 1149 or 02 4381 0288 avocabeach.antiques@bigpond.com

Russian diamond and blue enamel ring, c. 1920, $3200

COLLECTORS’ COTTAGE ANTIQUES

Rosewood veneered Sheraton Revival parlour cabinet featuring bevelled mirrors, turned column supports and string inlay, c. 1890, $3750

No longer trading from the Central Coast. Please ring 02 4389 1922 for any enquiries or requests. Otherwise please visit our shop in Newcastle: Shop 7A & 7B, Centenary Antique Centre, 29 Centenary Road, Newcastle, (100 metres north of Civic Station) also: www.antiquesplus.com.au (search for Collectors’ Cottage) to see hundreds of items for sale. Russian silver duck hunting horn flask, c. 1880, $980

Australian made (by Aronsons) 9 carat fob chain, 30g, c. 1930, $1350

ANTIQUES & ART IN NEW SOUTH WALES

The relentless pursuit of quality: THE STORY OF NORITAKE

aron Ichizaemon Morimura, founder of the Noritake company, was born in 1839 to a family of merchants that acted as purveyors to the feudal Tokugawa Shogunate in control of Japan during the last years of the Edo period. At this time, Japan was a highly insular, protectionist country that did not consider itself in need of Western products, ideas or influence. However, that relationship with the world changed with external pressure from Western powers and the foundering of the country’s social and economic system, giving impetus to modernisation with the Meiji Restoration in 1868. Coming from a family of merchants, Ichizaemon Morimura realised in the very early years of the new regime that the key to successful business in Japan was overseas trade. During a visit to the world fair held in Paris in 1855 he began to acquire the skills and understanding of the principles for successful trade between Japan and the West. In 1859-1860 when Japan sent a delegation to the United States, the opportunistic Baron Morimura was among the representatives. While there, he discovered the popularity of Japanese china among American consumers and quickly recognised the huge potential for exports to the United States, particularly in the area of manufacture and fine porcelain dinnerware. When Japan officially opened its doors to the world in 1868 Morimura found himself well positioned to help pioneer Japanese-American trade. In 1876, he and his younger brother Yutaka established Morimura-kumi, an import-export company in Tokyo. The success of this venture encouraged them to establish a trading branch in New York in 1878 – Hinode Shokai (Morimura Brothers). Goods sent to the United States included porcelains, ceramics and the more traditional souvenirs such as umbrellas, paper lanterns, bamboo objects and other giftware lines. It became the first imported goods shop to stock Japanese antiques and porcelain for the American market. It wasn’t long before the company expanded

and imports began to concentrate on the ceramic trade. Initially, porcelain blanks were purchased in Japan and sent to subcontractor decorating shops in Tokyo, Nagoya and Kyoto. However, the quality of the decorating and porcelain bodies was inconsistent so in 1892, in order to ensure stricter quality control, Ichizaemon and the other directors decided to centralise the administration and production units by merging the independent porcelain manufacturers and decorators with the existing company. By 1898, they had formed a concern that would secure the growth of the company for decades to follow. In 1902, in order to ensure the continuation of the highest quality of product, a factory was constructed to produce their own range of handpainted porcelain for export overseas. On 1 January 1904, their new ceramic company, Nippon Toki Gomei Kaisha was established near Nagoya. The factory site was situated on rice fields belonging to a powerful feudal clan named Noritake. It was their name that was eventually adopted for the company.1

EARLY years It was during the early years of production – the foundation period – that the ‘ fancy line’ of items which are so desirable today were produced. Flower vases, candy holders, dressing table sets, etc. were the main products but they also made utility items such as coffee and teapots, chocolate pots and sugar bowls. The majority of these pieces made during these early years were clearly influenced by the Art Nouveau style as seen in the flowery curves and the tree and flower motifs. But alongside these pieces the company made tableware for the Japanese market and items for export decorated with traditional European patterns. Noritake first made a hard wearing white porcelain dinner plate in 1913 and by 1914 began to export dinner sets to America. The earliest dinnerware items were mostly hand-painted, often with liberal applications of gold, but by the early 1920s, Noritake introduced assembly line techniques which allowed for the mass production

of high quality, yet affordable dinnerware. After World War I, markets worldwide began to demand cheaper, mass-produced tableware made to suit the new faster lifestyle, which led to a change in the decorative motifs. The hand painting and complicated curves gave way to a simpler style that incorporated straight lines and dramatic geometric shapes derived from motor cars, machines, high-rise buildings and other icons of the new, post-war, industrial age. Demand continued to increase and by 1927 the sale of dinner sets accounted for over half of their entire export range, outselling the once staple ‘fancy line’ range. These early Noritake products including those decorated in the Art Nouveau and the Art Deco manner are referred to by collectors as ‘Old Noritake’ and are keenly sought.2

LATER years During World War II, the main factory at Nagoya was seriously damaged and the factory’s production severely affected. As the United States was the largest customer of Noritake china, the administration was well aware of the quality and reputation of the company. After the war, the US government helped Noritake obtain the raw materials, fuel, gold and finances necessary to rebuild their business. The army then ensured a market for the company by ordering dinnerware for their troops and their families. However, the company was concerned that a shortage of raw materials and skilled labour would affect their high quality, so from 1945 to 1948 they labelled their products ‘Rose China’ rather than ‘Noritake’. In the years following, not content to rest on their laurels, the company branched out and in 1956 started to produce stainless steel items. By 1961, the production of crystal glassware and melamine products commenced, followed by further expansion into the industrial and electronics market during the 1970s. Since its inception, the Noritake Company has diversified from a solely ceramics based company to a cutting-edge company that is

successfully involved with the manufacture of industrial products, electronics, ceramics and materials and environmental engineering. Above all, their relentless concern for perfection and commitment to growth has established Noritake as one of the most prolific producers of porcelain dinnerware in the world. These days, over five million pieces of china are manufactured each month in factories scattered around the world and everywhere the name Noritake is synonymous with consistent quality and elegant design. The Baron would be proud ● Narelle Ward COLLECTORS’ COTTAGE ANTIQUES 02 4389 1922

Notes 1 Noritake china, which remained the unofficial name of the wares for decades, was only registered officially in 1981. 2 These early pieces are often referred to as ‘Nippon’ ware. Up until 1921 most china leaving Japan bore the country of manufacture mark ‘Nippon’ rather than the anglicised ‘Japan’ mark that was used post 1921.

References Karry-leeanne Fisher, Noritake for Australia and New Zealand: A Collector’s Journey of Discovery Joan Van Patten, Collector’s Encyclopedia of Noritake www.antique-china-porcelaincollectibles.com/noritake www.noritake.co.jp/eng/tableware/history.html www.noritakecollectorsguild.info

NEWCASTLE ANTIQUES & ART IN NEW SOUTH WALES

ISLINGTON ANTIQUES in Newcastle since 1990

elcome to over 2000 square feet of antiques and collectables and furniture from Victorian through to retro. At Islington Antiques we have a special emphasis on quality Art Deco furniture at affordable prices, most lovingly restored by our skilled craftsman. If you want a special piece restored, we will do it in our own workshop. Stripping, polishing, lock repairs and mirror resilvering are a few of the services we offer. We restore old brass beds, including converting a double to a queen size bed.

Royal Doulton is one of our specialties, in a showroom housing an enormous range of quality china and porcelain. We have 1500 Royal Doulton pieces in stock including dinner service pieces, Series Ware, Bunnykins and Flambé. We also sell and stock a selected range of new Royal Doulton. In our mirror showroom is a selection of modern, traditional and Art Deco mirrors displayed in all their different shapes and sizes. If you are renovating, redecorating or building we have a mirror for every room in your home – from lounge and dining to bedrooms and bathrooms.

Decorator pieces are another enhancement to find in our store. Hand-selected from importers from all around Australia, you can decide on lamps, figurines, paintings, prints and new furniture, any and all of which will complement both traditional and modern decors. Our second store – Our Style Furniture and Decor opened six years ago and is dedicated to handcrafted solid timber furniture which we import directly. The stock includes traditional English styles in mahogany and cedar, French provincial dining suites, Louis-style chairs and sofas in fruitwoods and cream-painted

furniture are prominent features. Newcastle, the gateway to the Hunter Valley, is a leisurely two-hour drive from Sydney. Please visit on your next trip. We can arrange freight Australia-wide ● ISLINGTON ANTIQUES 02 4961 0533

WE ARE OFFERING READERS AND SUBSCRIBERS A BONUS OPEN 4 DAYS 10 am - 5 pm

Come and browse through our 2000 sq ft showroom where you will find a dazzling range of furniture, china and collectables. We stock an extensive range from Victorian through to retro, including some stunning pieces from the art deco period. Recent additions to our collection include an inspiring range of decorator items, antique and art deco style wall mirrors that complement modern or traditional decors. When travelling to Newcastle and the Hunter Valley please pay us a visit, you will be glad you did.

• TRADING FOR 20 YEARS • FREIGHT CAN BE ARRANGED AUSTRALIA WIDE • • LARGE RANGE OF ROYAL DOULTON CHINA •

105-111 MAITLAND ROAD, ISLINGTON, NEWCASTLE Ph: 02 4961 0533 • Rod: 0414 610 533 • Tim: 0415 495 967 Open Friday, Saturday, Sunday, Monday 10 am - 5 pm • 3 km from the City centre

VALUE PLUS online and hard copy

Read all the magazines online and still receive them by post

Inquiries to info@worldaa.com

NEWCASTLE ANTIQUES & ART IN NEW SOUTH WALES

A NOSTALGIC REFLECTION OF THE WAY IT WAS

nce there was a time when you stepped into a corner general store and all your basic grocery and household needs were met by an aproned gentleman in collar and tie. He was more than likely standing before shelves stacked to the ceiling with tins and boxes behind a sturdy, polished wooden counter. Perhaps you might remember, if you are old enough, your mother buying broken biscuits packed in a brown paper bag selected from the Arnott’s biscuit tin or giving you an occasional treat from the lolly jar on the counter? One person who does remember, and has a vibrant recollection of the good old days, is 90year-old Harold Murray. He stands behind the counter of a grocery store museum established in Newcastle’s Centenary Antique Centre and relates tales of yesteryear as if they happened yesterday. These memories and more can be relived by older visitors at the museum grocery store and the younger generation can learn a thing or two about retail in the olden days. In reality, Harold’s grocery career started 75 years ago. He was inducted into the retail grocery trade at the age of 13. He learnt the grocery business literally from the ground-up. His early start was due to circumstances. Harold was forced to leave school to assist his family financially in 1931 during the Depression. ‘My headmaster and mother both agreed that the chance to gain work at the South Lismore General store was preferable to school and learning,’ he said. ‘I had no say in the matter. I was told to go.’ He started behind the scenes and commenced each day polishing the brass on the front window, and sprinkling sawdust and kerosene behind the counter before starting to fill the bottles with castor oil and kerosene. The next promotion was weighing out the onions and potatoes into bags. He was given a weekend to learn how to ride the shop’s bicycle and on that Monday began delivering boxes of groceries along country roads up to 10 miles out of town. He delivered no matter the weather conditions or time of day or night. The weekly wage was five shillings and three pence, of which he kept the three pence to buy an apple every second day. His pay was always given to his mother. Those were the days when the general store carried all your needs. ‘We had to learn all the products and how they were to be displayed in proper order before we could work behind the counter and serve. Back in those days, we also had our marketing ways,’ Harold recalled. ‘For example, tins of sliced peaches were displayed with tins of Nestlé’s cream and sold as a special for one shilling and three pence. Service to the customer was always of the utmost importance. Madam left her grocery order and it was packed and delivered right onto her kitchen table. The perishable butter, lard, dripping and cheese were wrapped in water-soaked sugar bags and newspaper to keep cool on the trip to her house and placed in the home’s ice chest by the delivery boy. They were very hard times and long days, yet

as young fellows we didn’t dare complain, as there were plenty of people wanting our job, so we had to do what was asked of us by the boss. I remember one time I had to peddle the bike to a farm and bring back to the store 36 dozen eggs balanced on the handlebars. When I turned 17, I learnt to drive the A model Ford owned by the boss.’ For the following ten years Harold worked at Tom Walsh’s general store until he enlisted to go to war. After war service in New Guinea, Harold returned in 1945 to find the store had been sold. He then gained a job with Burns Phillip, who had 42 branches of Pennies grocery stores throughout northern NSW and Qld. Their motto was ‘Pennies saved you Pounds.’ Harold was the troubleshooter and responsible for establishing new branches for the company. He married his Newcastle-born wife Ellenor and the couple finally moved to Newcastle. After a number of local positions, Harold commenced work with Richard Owens, whose grandparents in 1909 purchased a general store in Wollombi, bringing with him his wealth of experience in the grocery trade. ‘My biggest regret in life is that I knew Ellenor for ten years before we married and I wished I had done so earlier.’ Now a widower, Harold said they had 56 wonderful years together. In the early 1960s, Richard Owens joined his father and uncles and took the supermarket chain through many successful changes and introduced new shopping concepts to become one of the largest chains in the region, known originally as Shoeys. Harold worked at Richard Owens Food Store for 23 years, until his 50 years in the trade ended with retirement. The museum concept was a chance to display the ever-growing collection of grocery memorabilia collected by Richard Owens and family for more than 20 years. And there was no better person than Harold to be found to man the store, hence his step out of retirement. The museum is a replica of a typical grocery store before cash and carry was first introduced in the early 1930s and self-service supermarkets in the early 1950s. It is reminiscent of a time when shopping was a very personal experience and ‘your grocer’ knew your requirements and brand preferences as if his own, and customer service was the utmost priority. The Centenary Antique Centre’s museum’s original fixtures include a genuine cedar counter originating from McKenzie’s Department store in Glen Innes, as did the large mirrors with their original advertising slogans. The wooden shelves stretch to the ceiling, piled high with authentic bottles, jars, tins and boxes as they would have in the store owned by Richard Owens’ grandfather. The tin advertising placards were seen outside many a country store and every brand name, every tin or packet has its own story and familiar recollection. The ornate brass cash register is always keep meticulously polished as a labour of

love by Harold who certainly hasn’t lost the polishing knack learnt in his early years. Can anyone remember the blue bag on a string which your mother used to swish in the rinsing water on wash day to keep the white bed linen bright or to dab on your leg when you were bitten by a bull ant? It’s right there hanging on a shelf. Pick any product and Harold can tell you a yarn or two about it and its use in the home. Local schools often visit the museum on an excursion as part of their educational studies comparing yesteryear grocery stores with modern-day supermarkets. Harold, the resident grocer, dons his crisp white apron every second and last Sunday of the month to entertain and educate visitors with his interesting stories. The corner store of the past played a vital role in the community and family life of the day and is part of Australia’s heritage and folk history. The display is clearly visible through glass windows within the centre adjacent to the café. School,

social and community groups who are keen to visit the museum outside of these times can arrange an appointment by calling the centre. Richard Owens has established a second museum grocery store which can be visited at his Oakvale Vineyard and Cellar door, located in Broke Road, Pokolbin, in the Owens’ original timber slab hut. The Centenary Antique Centre is open 7 days a week, 10 am to 5 pm, and is located at 29 Centenary Road, Newcastle (behind Crowne Plaza Newcastle). It comprises Newcastle’s largest antique centre, with over 25 shops displaying a variety of collectables from the 1780s to the 1980s ● Marilyn Collins on behalf of THE CENTENARY ANTIQUE CENTRE 02 4926 4547 centenaryantiques@hunterlink.net.au

As featured on the ABC Collectors

Open 7 Days - 10 am to 5 pm

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

www.centenarycentre.com.au 77

HAMILTON ANTIQUES & ART IN NEW SOUTH WALES

PROVENANCE – things that turn up in the Hunter Valley

ustomers are always interested in the story behind a piece of furniture or its provenance. It’s nice to know where a piece spent its life, and if possible who owned it – especially if it was a famous person. Even though our colonial furniture dates to the 1800s, it is still very hard to trace the origins of pieces made 130 to 180 years ago. Recently, we have had a few pieces of furniture turn up in the Hunter Valley. We know some of the history, but how they got to where we found them is a mystery. The Huon pine chest of drawers is a quality piece, beautifully made with choice veneers. It has all original hardware, the original finish and was probably made in Melbourne or South Australia. Yet it turns up in the Hunter Valley in an old house with hardly any other antique furniture. The Huon pine apprentice chest follows a similar path. It was on a farm near Cessnock for the past 90 years, but before that who knows. The chest dating to circa 1880, has secondary timbers of red pine, common in South Australian furniture and is beautifully made. How it came to Cessnock is another story. Another mystery piece is a timber axe. The head is of musk wood with a Huon pine handle. Both the head and handle are the most amazing figured timber and it has been superbly crafted – possibly as a trophy of some sort. From the timbers one would guess Tasmanian but it turned up in a Hunter home with a little story.

Rare Find Country Antiques A selection of our quality and rare Australian chests of drawers

The Hunter’s largest selection of genuine Australian antique cedar furniture, most of our stock is pictured on the website: www.rarefindantiques.com.au Opening hours: Saturdays 10 am - 4 pm or by appointment. We are there most of the time as we live on-site. Secretaire chest, c. 1869, labelled Lawson and Carter in three places

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

The cedar two drawer desk is an early piece, circa 1840, or possibly earlier. It has fabulous timber throughout and the legs are finely splayed and tapered. The cedar has been prepared with an adze and all joints are mortice and tenon. It spent the last 80 years in Maitland and before that an early property owned by the family in Morpeth. Some of the other early pieces from this property were sent to the cabinet makers in the 1950s to be turned into ‘more useful’ coffee tables, occasional tables and nests of tables, so it was very lucky to survive. The Huon pine dresser, circa 1860, found in an old dairy in the Hunter, has been traced to a Hobart bakery. As it turns out, this dresser followed a family member from Hobart to an historic Maitland property many years ago. It was sold, taken out of the district and ended up sitting on bricks in a dairy. It is now fully

conserved and ready for another 150 years of service. Last is the cedar miner’s couch which came from Anthony Hordern and Sons’ shoe department. One of the employees from the shoe section purchased it when the store was being renovated. It was then passed onto her son and from there to us. It is circa 1885, has nice wear, good original finish, and a good provenance. Obviously people and their furniture moved around quite a bit and it is hard to know the full story, but if something is good it shouldn’t matter where it came from or where we found it. We often find outstanding pieces of furniture in the most unlikely places, indicating that these finds would have originally been for impressive homes. It would be wonderful to have the history, but often we can only guess. Many years ago when I purchased one of my first pieces of cedar from an old dealer I asked if it had a story. The reply was ‘No, but I can make one up for you if you want’ ● M Lee RARE FIND COUNTRY ANTIQUES 02 4969 3801 / 0418 684 724 rarefind@bigpond.et.au www.rarefindantiques.com.au

NEWCASTLE / HUNTER VALLEY ANTIQUES & ART IN NEW SOUTH WALES

NEWCASTLE & HUNTER VALLEY ANTIQUES TRAIL featuring bed & breakfast accommodation and art galleries 1

The Centenary Antique Centre

82 Elder Street, Lambton (opposite Lambton Park) Ph: 02 4957 8233 OPEN Monday to Friday 10 am – 4 pm Saturday 9.30 am – 3.30 pm Closed Sunday Affordable antiques – interesting china, jewellery, lamps and clocks. A range of items to suit the discerning buyer.

UNIQUE ANTIQUE ECLECTIC 29 Centenary Road, Newcastle Ph: 02 4926 4547 OPEN 7 days, 10 am – 5 pm 25 shops under the one roof: Newcastle’s largest antique centre with a great coffee shop and the Old Grocery Store Museum.

Antiques & Collectables on Darby

Bowerbird Antiques & Collectables

94 Maitland Road Islington Ph: 02 4961 0075 OPEN Friday to Monday 10 am – 5 pm A small shop with a surprisingly varied selection of antiques, eclectic, French and continental collectables and furniture.

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

13 Cambridge

Coliseum Antiques

7/54 Clyde St, Hamilton North Ph: 02 4927 6611 OPEN Monday – Saturday 10 am – 4 pm Sunday 10 am – 3 pm Selection of collectables, furniture, and antiques.

106 Maitland Road, Islington Ph: 0411 683 496 OPEN Friday, Saturday and Sunday 11 am – 5 pm Specialising in contemporary art, with jewellery, accessories, furniture and more.

Ambleside Antiques Cottage

17 Antique Toy Collectables 655 Hunter St Newcastle West 2302 Ph: John 0412 296 420 OPEN Mon – Fri by appointment (readily available) Sat 10 am – 4 pm Sun 11 am – 3 pm 100's of vintage toys, dolls, teddies, trains (Hornby O) plus pedal cars and doll prams. Largest range in Australia. *** JUST OPENED ***

Islington Antiques

105–111 Maitland Road, Islington, Newcastle Ph: 02 4961 0533 OPEN Friday, Saturday, Sunday & Monday 10 am – 5 pm Trading in Newcastle for 20 years. We stock a large and varied range of quality furniture, china and collectables in our 2000 sq ft showroom.

Rare Find Country Antiques

38 Denison St Hamilton Ph: 02 4969 3801, Mobile: 0418 684 724 Open by appointment only Specialists in Australian antiques, specialising in cedar.

108 Maitland Road, Islington Ph: 02 4962 1532 OPEN Thursday to Monday 10 am – 5 pm Attractive decorator pieces to enhance your home or that wanted item to add to your collection. Large affordable range: linen, tools, glass, china, furniture, jewellery, sewing items. Ample free street parking nearby. Air-conditioned.

Paul Vinecombe

Antiques & Decoratives 92 Wollombi Rd, West Cessnock Ph: 02 4990 9212, Mobile: 0418 635 658 OPEN Tuesday – Sunday 10 am – 5 pm Closed Monday After 29 years now trading in Hunter Valley at Cessnock.

The Tyler Gallery

Steptoes

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.

Lampworks Antique Centre

Cottage

21 Paterson Road, Bolwarra Ph: 02 4930 1824 OPEN Fri – Mon 10 am – 5 pm Antiques, cottage garden nursery and water plants, recycled furniture, pottery and paintings by local artists.

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.

The Exchange Galleries

327 High Street, Maitland Ph: 02 4934 3934 OPEN Thursday – Sunday 10 am – 4 pm Antiques, art and fine handcrafted furniture. Visit this transformed Art Deco pub and find a treasure. Furniture, linens and laces, 20s – 50s jewellery, china and collectables. Art, paintings and prints, old and new. Fine furniture handcrafted from local timbers.

Brunker Road Antiques

Heartland Antiques & Arts

321 High Street, Maitland Ph: 02 4933 9923 OPEN Six days 10 am – 4 pm Closed Tuesday Most unusual mix of decorator pieces and traditional antique furniture along with old pine and period styles, china, chintz, pottery, paintings, posters and prints. All things suitable for furnishing a country house, a farmhouse, a weekender or the odd ranch with both flair and decorum.

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.

Memory Lane Antiques & Decor

18 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.

Old Cinema Antiques

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

ANTIQUES & ART IN NEW SOUTH WALES

Newcastle’s ANTIQUES & COLLECTABLES ON DARBY offers a wealth of experience

elebrating their first successful six months at their new location, Antiques & Collectables on Darby is home to ten experienced dealers who have been in business for many years, with more senior members trading in excess of 30 years. Covering many collecting interests, the centre’s knowledgeable dealers are happy to answer questions about collecting and look forward to meeting other like-minded enthusiasts. To help customers get to know us a little better we would like to introduce ourselves via short profiles outlining our time in the trade and what we offer collectors.

GAYE and Chris Dawson Owner/managers of the new centre, Gaye and Chris Dawson have been involved in the antiques trade in Newcastle for 20 years. Gaye’s involvement in antiques traces to the early 90s when she started a business in the Canberra region while Chris, an avid collector for many years, with Gaye turned his passion into a livelihood. Their main focus now is providing quality pieces of furniture from the Victorian era to funky retro pieces and the ever-popular Art Deco era. Gaye’s passion for jewellery and her love of travelling translates to her sourcing antiques pieces from all corners of the globe. On a recent trip to Europe she acquired impressive pieces from Eastern Europe, Vienna and Paris, which she has brought back to Australia. Trading as Déjà vu Jewels, Gaye stocks a large range of vintage costume jewellery and fine reproduction pieces in gold, silver and gemstones. Complementing the range is contemporary jewellery including Gaye’s own designs and special one-off pieces.

KRISTINE French: Combined Collectables

individually named. Jan also has a large selection of vintage, retro, new clothing incorporating her Jan Gee label and much more.

Kristine has been dealing in antiques, collectables and vintage clothing for 15years. Before deciding to become a dealer she was an avid collector, especially of the unusual. Kristine moved to Newcastle three years ago and joined Antiques and Collectables on Beaumont Street, moving to the new Antiques and Collectables on Darby. Kris specialises in vintage clothes, especially from the 60s and 70s. She says, ‘I like to have collections of things,’ so her stock extends to glassware, china, jewellery, and porcelain by Goebels, Beswick, Wade and SylvaC.

Saxon & Dean of Shop S & D have been in the business of eclectic vintage collectables for many years. They trade in a wide range of china, glassware and decorative household items including small items of furniture and Art Deco tables and standard lamps. They also have a wide selection of costume jewellery dating from Victorian through to the present day sourced mainly from the UK and accumulated treasures over many years.

SHERRILL Grainger: Shop 9

TRISH & Tony Aguado: Shop 8

Sherrill has been trading for over eight years and her shop is a great source for vintage fabrics, quality Italian glass, vintage and retro handbags and shoes. Shop 9 also stocks a variety of collectable smalls, vintage jewellery and small pieces of furniture. She has recently extended the range to include Japanese kimonos and small Japanese tansu chests.

If you’ve ever had the opportunity to browse through the treasures in Shop 8, you’ll realise that Tony and Trish, as well as being dealers, have been serious collectors for many years. They offer a special collection of interesting and affordable items, ranging from the rare and beautiful to the quirky and rustic. Their selection of desirable objects includes old cloisonné, jade, cinnabar, porcelain, and temple pieces from the Orient. As well, they have an extensive range of artworks, glassware, ceramics, lamps, and boudoir dolls, sourced overseas. Exciting jewellery reveals Venetian millefiori necklaces, European flapper beads, continental amber, Bakelite and early plastic pieces from the Art Deco period. Specialist interests include bladed weapons, Chinese lotus shoes and opium paraphernalia – though they find these hard to part with!

JAN Walker: Shop 5 Jan specialises in handmade 1920s style cloche hats made from vintage and new silks, brocades and velvets. Her cocktail hats, mostly 40s inspired, feature silk layered leaves with hand-tooled French flowers. For the doll enthusiast, there are wonderful hand-made Attic dolls. Each fabric piece has been hand dyed and lace trimmed. These individually crafted dolls feature rich colour combinations; the three-layered petticoat are authentic to the era, as are the satin pin tucked undergarments, the ruched velvet, silk ribbons, antique style jewellery and hand painted faces showing exquisite attention to detail. Signed by artist, every doll has been

SAXON & Dean: Shop S & D

GLORIA Meyer: Shop 12 Gloria has been trading in antiques in Newcastle for more than 30 years and is the centre’s most senior dealer with a wealth of

knowledge. Gloria specialises in glassware, French furniture, contemporary furniture, retro pieces, and lovely boudoir items. Shop 12 brings a wide variety of interesting and funky collectable items and lots of fun with a large collection of M&M candy collectables – forever young!

JUTTA Perceval: Shop 2 Jutta deals in kitchenalia, linen and lace, garagenalia – mixing vintage with retro and new. Much of her stock is French, sourced in and out of Paris where she had a stall at the Paris Flea market – Marche Paul Bert – for 10 years before returning to Newcastle in 2009. Jutta is going on a buying trip to France and plans on bringing back some of the buzz from the overseas market.

DENNIS & Ruth Redmond: Shop 100 Dennis and Ruth have been trading in antique centres for more than 25 years. They are excited to be at Antiques & Collectables on Darby and are looking forward to meeting new clients and helping them with their collections. In response to the ever-increasing number of younger collectors coming to the centre, Dennis and Ruth are expanding their range to include edgier and more current displays. These pieces do not impact on the strong traditional pieces they are known for, rather they enhance an already comprehensive range ●

Do call in and chat with Gaye and Chris, together with the dealers at ANTIQUES & COLLECTABLES ON DARBY 02 4926 3003

NEWCASTLE ANTIQUES & ART IN NEW SOUTH WALES

Antiques Collectables on DARBY

1/158 DARBY STREET NEWCASTLE Formerly of Beaumont Street, Hamilton

PHONE 02 4926 3003 CALL IN AND BROWSE OUR NEW SHOP WHERE WE WILL CONTINUE TO STOCK AN AMAZING COLLECTION OF ANTIQUE AND VINTAGE CLOTHING, FURNITURE, JEWELLERY, CHINA, BOOKS, TOYS AND CURIO ITEMS, ALL UNDER ONE ROOF OPEN 7 DAYS

PLENTY OF PARKING AT REAR

A BIG THANK YOU TO ALL OUR LOYAL CUSTOMERS WE HOPE TO SEE YOU IN OUR NEW LOCATION

ANTIQUES & ART IN NEW SOUTH WALES

THE GOOD LIFE: HEARTLAND – FOR SALE WITH FREEHOLD

f the lifestyle of a country squire appeals then Heartland, a freehold antique store in Maitland, may be the answer. Strategically located at the entrance to the Hunter Valley, this beautiful heritage building is an opportunity to incorporate a business with a more leisurely country lifestyle – the best of both worlds.

Maitland is now the fastest growing local government area in NSW and locals are benefitting from the injection of entrepreneurial investments in the region. The arts and culture renaissance has resulted in food festivals, commercial growth and the development of historical themed programs such as heritage walking tours before or after tourists visit the vineyards of the Hunter region. Maitland has been the hub of the Hunter for more than 150 years. It is steeped in history and fascinating heritage buildings. Located on the New England Highway, it is about 30 minutes drive from Newcastle and is accessed from Sydney via the F3 taking approximately two hours.

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

To inspect this unique property, phone Marion on 0414 012 608 or after hours on 02 4930 6984. Original Lloyd Loom chairs and cupboard

Magnificent Victorian mahogany half tester queen-size bed

Original piano box buggy, c. 1910

MAITLAND ANTIQUES & ART IN NEW SOUTH WALES

FOR SALE

This wonderful restored heritage building known as the Queen Victoria Building of Maitland in the heart of the Hunter Valley is FOR SALE with or without the Antique business. The large, ground floor houses mainly antique furniture and the first floor is an art gallery. The large two-storey, three bed apartment above has been fully restored and there is back access with a secure yard for parking and loading.

Please phone 0414 012 608 or A/H 02 4930 6984 for further information or inspections.

Country prices and big discounts All our stock sourced locally in the country Why pay big city prices â&#x20AC;&#x201C; we need to clear space for stock held in storage

ANTIQUES & ART IN NEW SOUTH WALES

Lake Macquarie Art Gallery. Image courtesy City of Lake Macquarie

THE SCENIC HUNTER REPAIRING ANTIQUE VALLEY perfect for antique hunters JEWELLERY A task more difficult F than customers realise

othing could more disappointing than having a treasured piece of antique jewellery damaged. But this is minor to the annoyance and frustration when more damage is inflicted as a result of repairs going wrong. The art and craft of jewellery repair is not only a difficult one, with many challenges, but it is an area of the trade that these days very few jewellers want to venture into. There is no public glamour and it is an area where both patience and skill are required to achieve good results. When jewellery is hand made there are normally three melting point grades of solder used – easy, medium and hard. This is done to ensure the piece's structure does not collapse during the process. To construct an item requires many different assembly joins, often in close proximity to each other. Early craftsmen used easy solder sparingly with new work. This was a cautionary measure that took into consideration the possibility of alterations to the design or the need for repairs if the piece was damaged. Soft or lead solder is never used on gold or in jewellery repairs. It is corrosive, eating into and weakening the surrounding metal, which then makes it brittle. Lead mixed into melted gold causes serious problems and will create significant issues for the jeweller working with the now-contaminated gold. Most lead solder repairs look grey-black around the area that has been repaired. Also, there is often far more solder used than necessary. Today, most repairs can be done using nonheating and localised pinpoint soldering lasers. These machines are very expensive to purchase and we fortunately have access to two machines which are shared with the optical industry. After gold work comes the job of replacing lost stones, an area that will always be a major problem. We cannot replace an old-cut diamond with a new-cut stone. The difference between the cuts is too significant and will be very noticeable. Then there is the issue of colour. Not only have cutting styles changed, but also the old mines have been exhausted and so stones from some new mines do not quite colour match earlier stones.

It can be very frustrating when there is a lack of appreciation for the degree of difficulty involved in sourcing matching stones. Finding old mine and European-cut diamonds is not a simple task. These are not shelf-line items and when faced with the task of finding smaller old stones, this is very problematic as they are extremely rare and not cheap. Fortunately, there is the Internet. So sourcing material is made easier, but it takes time. It can take up to ten months to acquire a small 1.5 mm rose-cut diamond in the old style. Let's say we have been given a Victorian dress ring with a broken claw to repair. To do so will require replacing the claw and although this might seem very simple, the ring is set with stones. Many antique pieces include semiprecious and precious stones such as emeralds, paste glass, pearls, turquoise and opals. These cannot come into contact with heat. Nine carat easy solder has the lowest melting point of about 620 degrees centigrade. If we were to heat these stones they would be ruined. This might mean that we have to remove those stones set in the ring to do the repair. This then leads to another problem. Because the gold is old and brittle from age we are faced with the possibility of other claws cracking when the stones are extracted – more work. One damaged claw turns into a number of claws requiring repairs. Once the claw or claws are fixed and finished, the piece needs to be colour matched. If the repair required the gold to be plated it will then need to be re-gilded and then given an aged patina. So you see, a small, one-claw repair can turn into an involved, complicated process requiring much thought and expertise before returning the much treasured item to the owner ●

Ken Penfold PENFOLDS JEWELLERS 07 3221 7516 penfoldjewellers@tpg.com.au

rom small shops specialising in music collectables or toys to the larger centres, the Hunter Valley caters for all tastes. You will find everything from buttons and linen and stunning Art Deco pieces to exquisite Georgian furniture, tools and old farm rustics to delightfully kitsch 50s and 60s home wares and charming country pine furniture. Just a two-hour drive north of Sydney, you could be enjoying the many delights of the Hunter Valley this weekend.

NEWCASTLE Founded in 1804 as a penal colony, Newcastle is a city rich in history. Discover Newcastle’s convict past and the birthplace of Australian industry; visit Victorian mansions and villas; marvel at the grand cathedral; or learn about the area’s colourful maritime history and how Fort Scratchley was built to protect the city from possible Russian invasion. Newcastle Tourism’s visitor information centre on Hunter Street will supply you with details on heritage walks through the city, art galleries and museums, just a few of the delights Newcastle has to offer. Of course, another delight is hunting through Newcastle’s many antique shops and centres. A fabulous city to explore, stay awhile and enjoy the comfort and history that Newcastle’s bed and breakfast homes can offer you. Australia’s sixth largest city and the capital of the Hunter region, Newcastle has much to offer the visitor here on a short break or an extended stay. Newcastle is a beachside city boasting a spectacular coastline with some of Australia’s best surfing beaches. Newcastle has a large working harbour, its entrance guarded by Nobby’s breakwater and lighthouse, probably the most famous Newcastle icon.

THE MAITLAND Region Maitland is a lovely heritage city in the heart of the Hunter Valley, a short drive from the famous Hunter Valley vineyards and acclaimed wilderness areas. Just minutes from Maitland you will discover the most delightful villages and towns. East Maitland: The original city site, this is an architecturally heritage-rich town with many beautiful buildings to appreciate including churches, the old Maitland Gaol and great antique hunting opportunities. Rutherford: A few minutes on the other side of Maitland is Rutherford, home to the historic Annanbah House, where the Australian movie

15 Amore (2000) was filmed, with still more antique hunting to enjoy. Lorn: Located just over the bridge from Maitland is Lorn. Fine examples of Federation houses, together with wonderfully preserved late Victorian homes set in magnificent gardens, make this place a true delight. Enjoy the Heritage Walk or just indulge in more antique hunting. Bolwarra: Just a few minutes along the road is Bolwarra with even more charming historic homes and gardens and even more antique hunting. This lovely town sits on the edge of some of the most beautiful, gentle farmland in the region.

DUNGOG With the first European settlement of the township occurring in the 1820s and 1830s, historic Dungog has much to offer visitors. There are quality antiques to discover in Dowling Street and a B&B set in magical rural surrounds in which to soak up the country atmosphere. The Visitor Information Centre on the corner of Brown and Dowling Streets (02 4992 2212) can supply you with maps and details on the many historic buildings in this beautiful township. Dungog is the perfect base for exploring the nearby Barrington Tops National Park. This unspoiled World Heritage listed area offers so much to experience, from cascading rivers and primeval wilderness to rare and endangered species of plants and animals. The many walking trails in the park cater to all, ranging from 20 minutes to the 22 km Link Trail Walk ● NEWCASTLE AND HUNTER VALLEY ANTIQUES TRAIL 02 4974 2999 www.newcastletourism.com

KURRAJONG ANTIQUES & ART IN NEW SOUTH WALES

KURRAJONG ANTIQUE CENTRE spanning 740 sq metres (8,000 sq ft)

Antiques and Collectables LOTS OF NEW STOCK Come up and visit our centre now with an increase to over 50 fully stocked display cabinets with china, glass, silver, silver plate, jewellery, crystal, porcelain and bric-à-brac. We have a large range of original art (oils, watercolours, etchings and lithographs), brass, as well as Victorian and Edwardian furniture (cedar, mahogany, pine and oak). All in a lovely old Art Deco Cinema/Theatre

UP TO 30% OFF ON VARIOUS CABINETS

101 OLD BELLS LINE OF ROAD, KURRAJONG • PHONE 02 4573 1683 OPEN 7 DAYS 10 am - 5 pm

A WORKING JEWELLER: In the workshop of Troy O’Brien

ith a flash of light Troy O’Brien repairs a tennis bracelet link without removing the stones or running the risk of solder flowing into the hinge and destroying its mobility. Proprietor of Troy O’Brien Fine Jewellery in Sydney’s Neutral Bay, he undertakes repairs to all manner of jewellery. An expert in fine restorative work, Troy can repair an antique enamelled pin without damaging the enamel or leaving visible signs of the restoration

work. Repairs to gemstone claws are achieved without removing the stones as would be traditionally required.

STATE of the art techniques The one tool that allows Troy to do each of these jobs so expertly is a laser welder. This is state of the art technology not found in most jewellery workshops and manufacturing facilities. Troy’s investment in this machine allows him to apply a sharply focused beam of light that produces very high heat. Lasers

provide jewellers with the ability to accurately direct heat to a small area. This allows them to routinely accomplish tasks that would once have been either impossible or too time consuming to be worthwhile. ‘It is like performing microscopic surgery on jewellery,’ says Troy. ‘We can work very close to heat sensitive stones without damaging them. Because you’re working under a microscope, and because you’re able to adjust the laser beam from two-tenths of a millimetre up to two millimetres in diameter, you can keep complete control of where you are firing the laser. We can work as close as half a millimetre away from heat sensitive stones.’ Repairs that once required multiple steps can now be completed in a single step. Before the introduction of the laser it was necessary to disassemble a piece. This involved unsetting stones, completing the repair, and then re-setting the stones. Today, for example, natural emerald cluster rings can be repaired safely and quickly, as opposed to the hours it can take to remove and re-set the stones, plus the associated risk of damage, explains Troy.

REPAIRING antique jewellery The laser’s concentrated heat also facilitates delicate repairs without risking further damage to fragile antique jewellery. ‘You can repair missing bridgework in antique filigree pieces without solder,’ says Troy. ‘With a blowtorch, you just can’t do a nice job.’ The use of the laser welder can make a tremendous difference in the value of a piece of

antique jewellery. ‘Once you remove the stones from a piece of jewellery, you ruin the integrity of that piece,’ comments Troy. ‘No matter how good you are, you’re never going to get it back together as it was before you started. With the laser welder, you keep the integrity of the piece by not removing heat sensitive stones, and the patina, the look that an old piece of jewellery has is not destroyed. That patina tells a story. When trying to repair or restore a piece using a conventional torch, the patina is lost. The piece of jewellery gets oxidised, the colours change, and you need to polish the piece. This means a piece that is 200 years old now looks like new.’

WORKING on contemporary designs Not only can lasers help maintain the look of antique jewellery in need of repair, but also that of newer designs. The laser is ideal for repairing mesh bracelets and fine chains. ‘A piece may have wire poking up and catching. With the laser you just push it back and zap it easily. You don’t lose the intricacy of the design, which you would if you had solder flowing through, freezing the links. Many other repairs are just so much cleaner and neater,’ Troy says. Troy has found that he can repair watch cases and bands. It is especially effective with stainless bands. As he points out, ‘In the past, when we had links that separated, we had to call the manufacturer and order a whole new bracelet. Now we are able to weld components like that back together.’ ● For advice on the repair and care of your valuable jewellery Troy can be contacted at:

TROY O’BRIEN FINE JEWELLERY 02 9908 3130 tojewellery@bigpond.com.au

ANTIQUES & ART IN NEW SOUTH WALES

The Junkyard

Kurrajong Antique Centre

WINDSOR & THE HAWKESBURY Antiques & Collectables Trail

indsor and the Hawkesbury is restablishing itself as a great destination for antiques, collectables and old wares. Windsor is a comfortable drive north west of Sydney in the picturesque Hawkesbury Valley. It is a popular short break, weekender and day trippers location. It is also a popular stopover point for city folk heading to the Blue Mountains, Hunter Valley, Central West as well as the North and South Coasts. Windsor boasts some magnificent historic buildings, its own paddle wheeler and horse drawn restaurant with the region being home to great national parks and the picturesque

Hawkesbury River. Windsor and the Hawkesbury is also home to 19 unique antiques, collectables and old wares shops within a short drive of each other. On Sundays, you can enjoy the Windsor Craft Market in the mall from 9 am – 4 pm. An overnight stay at one of Windsor’s boutique B&Bs ensures you miss nothing and allows a leisurely pace for browsing. If visiting on a Saturday you must fit in a visit between 10 am and 2 pm to Empire Beds, which is about 3 km from Kent’s. Phil and Peter Jurd’s workshop is good fun for blokes and fascinating for iron and brass bed enthusiasts.

Phil has been in beds for over 25 years and this is Sydney’s one-stop brass bed shop for made to order, restoration and extensions from double to queen. Walking down George Street to New Street you will see Maureen’s delightful dusky pink rendered store, Thompson’s Country Collectables. Maureen has an elegant range of antiques and collectables from 1750 to 1950, but specialises in Victorian furniture, silver, jewellery, china and glass. Around the corner from Maureen’s is Windsor Restoration Supplies. David has arguably the Hawkesbury’s most comprehensive

range of supplies for the restorer including brass and period lighting, cabinet fittings and handles, traditional timber finishes and period home restoration supplies. They also have an elegant range of outdoor furniture. Jump in the car and head out to The Junkyard at Londonderry. Sue and Gary have five acres of recycled farmyard and building materials, bric-à-brac from antiques to op shop stored in a variety of sheds, old bus and train carcases. The astute collector can find real bargains here – its nickname is ‘the five acre garage sale’ and you should allow some serious scrounging time here. One the boys will love for sure. John and Anne Koster, of Kostercraft, further on in North Richmond can help you out when you have found that special piece, but it needs some TLC. They specialise in preservation and restoration of antique and modern furniture and art. They can also repair and restore distressed ceramics. Further along the trail, Kurrajong Antiques Centre has a very large range of antiques and collectables. Brian has several large rooms, an upstairs and a downstairs filled with English china, glassware, art, furniture, toys – there’s probably very little he hasn’t got. Brian’s is the kind of large rambling antiques emporium you remember from the old days and has a wonderful yesteryear feel. We all look forward to seeing you on our trail one day soon ●

Peter and Phil Jurd, Empire Beds

Windsor Restoration Supplies

Maureen Partridge, Thompson’s Country Collectables

John Koster, Kostercraft

WINDSOR & THE HAWKESBURY ANTIQUES & ART IN NEW SOUTH WALES

WINDSOR & THE HAWKESBURY antiques & collectables trail 1

2 3

To advertise on this page please phone

02 9389 2919 Email: info@worldaa.com

3. Windsor Restoration Supplies, Windsor Proprietor: Dave Crawshaw Phone: 02 4577 4853 Opening Days & Times: Mon to Fri 9 am to 4.30 pm Sat 10 am to 2 pm Public Holidays: Closed Address: 268 George Street, Windsor

1. Empire Beds, Wilberforce Proprietors: Phil Jurd & Peter Jurd Phone: 02 4575 1223 Website: www.empirebeds.com.au Email: jurdp1@optusnet.com.au Opening Days & Times: Mon to Fri 9 am to 5 pm Sat 10 am to 2 pm Public Holidays: Closed Address: 2/11 Ti-Tree Place, Wilberforce

2. Thompsonâ&#x20AC;&#x2122;s Country Collectables, Windsor

4. The Junkyard, Londonderry Proprietors: Gary & Sue Evans Phone: 02 4572 5211 Opening Days & Times: 7 days 10 am to 4 pm (weather permitting) Public Holidays: Closed Address: 11 Bennett Road, Londonderry (Just a 10 minute drive from the centre of Windsor)

5. Kostercraft, North Richmond Proprietors: John and Anne Koster Phone: 02 4571 1320 Mobile: 0412 571132 Email: kostercraft@hotmail.com Website: www.kostercraft.com.au Opening Days & Times: Mon to Fri 9 am to 6 pm Sat, Sun: Available for enquiries and drop offs Public Holidays: Available for enquiries and drop offs Address: 27 Elizabeth Street, North Richmond

6. Kurrajong Antique Centre, Kurrajong Proprietor: Brian Briggs Phone: 02 4573 1683 Opening Days & Times: 7 days 10 am to 5 pm Public Holidays: 10 am to 5 pm Address: 101 Old Bells Line of Road, Kurrajong

Proprietor: Maureen Partridge Phone: 02 4577 2381 Opening Days & Times: 7 days 10 am to 5 pm Public Holidays: 10 am to 5 pm Address: 11 New Street, Windsor

BLUE MOUNTAINS ANTIQUES & ART IN NEW SOUTH WALES

The world’s largest private teapot collection ON DISPLAY AT BYGONE BEAUTYS

ygone Beautys, often described as an Aladdin’s cave due to the sheer volume of collectable and colourful items on display, is a unique shopping experience. This emporium is overflowing with antiques, jewellery – both new and estate – collectables, gifts, furniture, lamps, an entertaining array of gift cards, soft furnishings and much more. Bygone Beautys Emporium is also home to the world’s largest private teapot collection and is one of the most popular attractions in the Blue Mountains. Located one block east of the Leura shopping centre, the antique centre is home to the collection.

Thirty-three years ago Ronald Hooper started collecting teapots and in 1992 joined with Maurice Cooper to establish Bygone Beautys. Cooper, affectionately referred to as the ‘teapot man,’ brought to the partnership his passion for teapots and so between them they have built a significant and important display. There are examples dating from 1680, 1700s, 1800s to contemporary miniature collectables. Among the special pieces is a teapot commissioned by the Emperor of Japan in 1900. Another fine example is a piece from Josiah Wedgwood’s first creamware range made in 1792. A mint condition Britannia

metal tea service on display is a rare find. Tea ware made from this metal proved not so practical as the plating did not respond well to the constantly changing temperature. On show is the first teapot that started the collection more than 30 years ago. Much care and thought has gone into the displays and visitors can explore the history of the various styles and learn about the origins of tea taking. For example, a predecessor of the teapot is the c. 4000 BCE wine jug from China and which can fetch in excess of $200,000 at auction. A more recent example is the 300-year-old cast iron Chinese teapot.

“

Bygone Beautys Antiques

‘Treasured Teapot Collection’’

s seen on Getaway, Sydney Weekender, and in ABC Collectors Show

20~22 Grose Street, Leura Phone 02 4784 3117 Fax 02 4784 3078 info@bygonebeautys.com.au

www.bygonebeautys.com.au Open 7 days ~ 10 am ~ 5:30 pm Bus groups are welcome by arrangement, and you can organise a ‘Teapot Talk’ by contacting Bygone Beautys direct Winner of Regional Tourism Business of the Year 2009 88

Much care and thought has gone into the displays and visitors can explore the history of the various styles and learn about the origins of tea taking

”

HIGH TEA experience Of course, you can buy a unique teapot or sample fresh, fine-tipped tea served in the tearoom, which offers silver service – a highly recommended experience. The waiter, wearing a top hat and tails, serves tea in a shimmering silver teapot with finely rolled sandwiches as done by the Ritz Hotel in London, freshly baked scones, home-made jam and whipped cream and a range of delicate pastries served on fine bone china. All this to the refrains of ‘Land of Hope and Glory’ combines to make an unforgettable experience – bring your camera. High Tea is served daily and bookings are recommended. The Tearoom provides a perfect backdrop to the teapot collection where light gourmet lunches, soup, sandwiches, cakes, hot and cold refreshments are served. For those memorable mountain spring, summer and autumn days, enjoy the ambience of outdoor dining, soaking up the Federation past among the magnificent rhododendrons and roses ● BYGONE BEAUTYS ANTIQUES 02 4784 3117 info@bygonebeautys.com.au www.bygonebeautys.com.au

BLUE MOUNTAINS ANTIQUES & ART IN NEW SOUTH WALES

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

Bygone Beautys COTTAGES RETREATS in the Blue Mountains

WENTWORTH Falls

COSY comforts

Both Wentworth Falls and Bullaburra are on the Blue Mountains rail line as well as reached by a local bus that runs between Springwood and Katoomba. These transport options make return trips easy for hikers and bicyclists who plan nonmotorised exploration from their cottage. For superb Blue Mountains scenery without going too far from civilisation, Wentworth Falls is ideal. Canyons contain microclimates supporting many ferns and soft leafed trees where you can hear lyrebirds. Cliff-top walks are less strenuous than valley walks and you may see canyoners abseiling down Valley of the Waters. There are many craft and antique dealers through the area.

On arrival at a Bygone Beautys cottage, your burning log fire is set and every bed freshly made up with an electric blanket for chilly mountain nights. Awaiting you are fresh fruit, flowers and chocolates. A country-style breakfast platter is stocked for guests to prepare when and how they choose in a well-equipped kitchen. An ample supply of fluffy towels and bath toiletries ensures luxury during your stay. Bygone Beautys Tearooms in stylish Leura will serve you a delicious complimentary Devonshire Tea as part of your cottage booking. Enjoy the Bygone Beautys Treasured Teapot Museum with over 3,000 teapots on display, old and new from all over the world in an astounding range of styles, shapes and tastes.

ocated in the beautiful Blue Mountains west of Sydney, Bygone Beautys Cottages offer a range of self-contained cottages at Wentworth Falls and Bullaburra. Each is a perfect destination and base for a romantic weekend in the Blue Mountains or a family or group planning an active mountain holiday. Enjoy the moderate summer temperatures with a high of 22° C, 800 metres above the hot plains and sweltering suburbs. The novelty of winter temperatures that average highs of 9° C down to just above freezing makes burning log fires a welcome entertainment and comfort, as well as keeping children busy carrying in logs from the ample supply. Browse the largest private emporium of antiques and collectables in the Blue Mountains at Bygone Beautys in Leura, just a short walk from the train station. Appealing to collectors and those who appreciate history, here you will find jewellery, furniture, fine china and dinner services, dolls and toys and excellent service by knowledgeable staff.

Bullaburra Located between Lawson and Wentworth Falls, Bullaburra is nine kilometres east of Leura and 91 kilometres from Sydney. Located only 10-12 minutes drive from the bustle of the major tourist attractions, it is a sleepy village along the highway. Its attraction is that it is in the heart of the mountains and most areas are adjacent to bushland.

PICK Your Winter Getaway Bronte Cottage is a modern French provincial style country house in Bullaburra, with beautiful established gardens and a full size tennis court. It accommodates eight people. Chalet Cottage is an elegant cedar chalet in Wentworth Falls, designed for two people and accommodating up to four.

Pine Lodge retreat is an elegant cedar federation-inspired country house set in five acres of gardens in Wentworth Falls. It accommodates ten visitors, including ten comfortably seated at its traditional dining room table. Robin’s Nest is a very cute 100-year-old cottage in one of Bullaburra’s quiet streets with a lovely bush outlook. Come up and feed the possums or spot the wallabies in the early mornings and evenings, with accommodation for four people. Worker’s Cottage is a 1920s cedar weatherboard cottage set in five acres of beautiful gardens and a gentle half hour stroll into the village of Wentworth Falls. It accommodates four visitors. Sharphens in the township of Wentworth Falls is a charming 1940s cottage situated on three acres of bushland. It accommodates seven visitors. Bring good friends and good cheer to your Bygone Beautys cottage and everything else will be ready for your best Blue Mountains getaway ● BYGONE BEAUTYS COTTAGES Freecall 1800 663 619 info@bygonebeautys.com.au www.bygonebeautys.com.au

BLUE MOUNTAINS ANTIQUES & ART IN NEW SOUTH WALES

KEROSENE LAMPS

rowing up in the 1940s at Narrabeen, all we had was one electric light in our kitchen, and this also served to plug in the electric iron during the day. All our bedrooms had a kero lamp. Mine was a hurricane that hung on a hook next to the bed – the smell of kerosene burning brings back fond childhood memories. The oil lamp seems to have been around almost from the start of civilisation – there are numerous references to lamps in the Bible, but we won’t go back that far. Our interests are mostly focused on the end of the Georgian period through to the Edwardian era. From the 18th century onwards ships were sent out to cover the world’s oceans looking for whales so that they could be harvested of their oil. The font as we know it was apparently invented in the 1770s by an American, Richard Wistar, a friend of Benjamin Franklin. The first of these lamps had a crude wick made from a rag or piece of cotton inserted into a cork or plug placed into the oil font. The brass and tin burner evolved over

the next few years. Camphor and turpentine were experimented with as a fuel source but was found to be unsuitable as a smokey fume was produced. In 1834, J Porte of Boston discovered that if quick lime was added to the oil of turpentine and the mixture was then distilled the smokey resins could be removed. Alcohol was added and this was widely used in America, sold as Porter’s fluid. If a simple table lamp is divided into four sections we can trace the evolution of each section. At the top is the burner, next is the font and the plug or foot, which fits into the base. Have I forgotten the chimney? The chimney was not used until the introduction of kerosene. Metroz fonts seem to have come into use in around the 1770s. The peg of foot can be traced to the whale oil lamp patented by John Miles of Birmingham, England, in 1787. He described it as an ‘agitable’ lamp as it could be used in carriages or ships (the forerunner of today’s Gimble lamp). Production of the simple table lamp in large quantities began in America in the early 19th

BLACKHEATH, BLUE MOUNTAINS

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

More than 50 dealers selling bric-à-brac, antiques & collectables Largest antique centre west of Sydney Open 7 days 10am–5pm Phone: 02 4787 6002 90

century. It was basically the glass manufacturers who developed methods of making moulded glass lamps in large quantities. They were very popular in the US from the 1820s onwards. A well-known manufacturers was the Boston and Sandwich Glass Company, which was established at Cape Cod in 1826. Swiss born Francois-Pierre-Ami Argand (1750–1803) developed the tubular oil burner and in 1782 he demonstrated his lamp with the metal chimney at the Academie de Monpellier. He needed a durable glass chimney for his lamp and found the answer with a flint-glass chimney manufactured by the English firm of Hurter & Sons. He travelled to England in 1783 and because of the success of his experiments in France was invited to stay with the Royal Family. While at Windsor Castle he showed King George III his lamp. The monarch was very impressed and even though the initial attempts at patenting the design were unsuccessful, Argand went on to form a partnership with an English merchant William Parker and industrialist Matthew Boulton. By the late 1780s Arganddesigned lamps were found in Britain, Europe, North America and India. In 1848 Russian engineer F N Semyenov was responsible for the first modern oil well, drilled on the Aspheron Peninsula, however, credit for the first commercial oil well goes to James Miller Williams and Charles Tripp drilling at Black Creek, Ontario. The buckets of crude were to replace the diminishing stock of whale oil and generated a whole new business. A record of kerosene coming to Australia is found in an 1861 Ballarat advertisement. Another advertisement in 1863 by Blackwell and Curle of Daylesford stated that there was available for purchase kerosene lamps and kerosene at £1 for four gallons. The Victorian gold rush period was the perfect opportunity for American businessmen well versed in the needs of the miners as a result of the Californian gold rush. In 1861 kerosene was being imported into Australia by both America and Great Britain, with the US having the monopoly by 1865. Australians adopted the American spelling of kerosene as opposed to ‘kerosine’ and went further by dropping the name paraffin (mineral oil) in favour of kerosene, turning it into the diminutive ‘kero’, which is now part of the Australian vocabulary. In the 1880s lamps imported into Australia were essentially from Britain and Europe. By the turn of the century, the majority of lamps were coming from the US from manufacturers such as Bradley and Hubbard and Edward Miller & Co. The English duplex lamp continued to be popular as was the German Bismarck and Kosmos lamps. Cast iron table lamps range in design from the common pyramid base to tall, elegant and highly ornate lamps. Bases were given an added weight to stabilise them and a very popular finish was the antique bronze. The font was a milk glass with a colour wash. A popular font made in Sydney had impressed on it a pattern of flannel flowers.

Table lamps were produced well into the 20th century and are quite common. They have held their value and have been generating consistent returns during the last seven years. An iron base lamp with the original glass font, gallery and shade can sell for around $400 plus. A banquet lamp set on a marble or onyx base with a ruby font and original ruby shade which incorporates gold dust will fetch between $5,000-10,000. Large numbers of Aladdin lamps made by the Mantle Lamp Company were imported into Australia from 1923. The company was formed by Victor Samuel Johnson in Chicago, 1908. Originally selling the German ‘Practicus’ incandescent mantle lamp and other imported lamps and parts, the company developed a much improved burner in 1909 – the ‘Aladdin’ lamp. Model 11 was imported into Australia from 1923 and quickly replaced those Miller and Rochester lamps which were sent to Australia because the country was seen as the perfect dumping ground for obsolete models. In 1928, model 12 with the Lox-on mantle was released. It was made until 1935 and imported into Australia up to the outbreak of the Second World War. Aladdin Industries initially had a premise in the Sydney suburb of Chippendale. In 1929 they relocated to William Street, Sydney. The fourstorey building came to be known as Aladdin House. If you stand at the Central Station bus stop you can still see the Aladdin House sign. In 1932 they began to manufacture fonts, vase lamps, parchment shades and oil pots. The designs followed those produced in the United States but did not include exotic forms. The ceramic vase bases used by Aladdin were manufactured in England by the firm of Fieldings under the name of ‘Crown Devon’. During the war, there was an increased call for emergency lighting and the English Super Aladdin lamps were sold in Australia in 1941-42. Wartime shortages meant that steel was used in place of brass and decorated with plain colours. As it was difficult to obtain mantles and chimneys these were manufactured by the Australian Glass Manufacturers. For collectors of Aladdin lamps, earlier models are quite rare in this country as in 1940 the company offered a trade-in on the newer model 12. These older models were used for scrap metal. Other brands were also modified or converted. There are more examples of banquet and library lamps as these provided a reasonable form of lighting efficiency against the low power of candlelight. Collecting old lamps can be quite challenging as the stock is limited. But if you do come across an original piece they will make an interesting addition to any collection ● REFERENCE Peter Cuffley, Oil & Kerosene Lamps, The Oil Lamp Company, Victoria, 2004

VICTORY ANTIQUE CENTRE 02 4787 6002 www.victorytheatre.com.au

DUBBO ANTIQUES & ART IN NEW SOUTH WALES

FOR THE DIARY: ANNUAL DUBBO ANTIQUE & COLLECTABLES FAIR 16 – 17 July 2011

he Dubbo Regional Theatre and Convention Centre will be filled with the splendour and quality of the annual Antique & Collectables Fair hosted by the Rotaract Club of Dubbo City Inc, with assistance from the Rotary Club of Dubbo City Inc.

INVITATION to gala Friday night opening 15 July 6 pm-9 pm Cost $20 The centre comes alive on the Friday night for the gala opening. Wine, canapés and local musicians create an ambience not to be missed. Tickets are sold at the door for the opening at 6 pm, offering a great opportunity for the discerning buyer to get a first glimpse of the many wares on display and for sale.

FREE programs Running on both fair days are free talks on a diverse range of subjects. The talks, running for approximately 30 minutes, include subjects such as Moorcroft pottery, silver, jewellery identification and care, and Beswick’s Beatrix Potter. These topics plus the other subjects will intrigue the avid collector, enthusiast and the interested browser. As in the past, it is anticipated that over the weekend close to 2,000 visitors will visit the fair. It is an opportunity to view the special pieces brought to this major regional event by more than 20 antique dealers from New South Wales, Victoria and South Australia. From intricate collectables, fine jewellery, elegant dinner services, to carefully crafted furnishings, there is definitely something for every taste and collecting interest.

VISITING Dubbo The thriving city of Dubbo is at the crossroads of regional NSW and only five hours’ drive north-west of Sydney, making the event easily accessible to locals and Sydneysiders looking to get away for a heritage themed weekend.

WHILE at the fair Past visitors to the fair know the café area offers a welcoming break for tired shoppers. Here patrons socialise and recharge, enjoying the wonderful treats prepared and served by the dedicated volunteers from the National

Trust and Vision Australia organisations. As well as providing home-style morning teas, return for a substantial lunch later in the day, you will not be disappointed. For the afternoon break, consider the Devonshire Tea option.

PRIZES to be won On entering, you are provided with an entry form for the numerous Lucky Door prizes drawn throughout the day. Tickets for raffles are also on sale. Before leaving the fair remember to fill out the survey for your chance to win a prize.

SUPPORTING the community Members of the Rotaract Club of Dubbo City Inc and the Rotary Club of Dubbo City Inc take pride in hosting this event, providing patrons and participating antique dealers with a pleasurable experience. Profits from the weekend fair are part of the Club’s fundraising program and used to assist local community charities including the Salvation Army, Uniting Care Burnside and Legacy, to name a few ● For more information contact Carla Pittman ROTARACT CLUB OF DUBBO CITY INC www.dubborotaract.org.au

DUBBO ROTARACT WITH THE ASSISTANCE OF THE ROTARY CLUB OF DUBBO INC. PRESENTS:

DUBBO

ANTIQUES COLLECTABLES FAIR

GALA OPENING NIGHT FRIDAY 15 JULY OPEN 6.00 - 9.00PM | COST $20.00 | INCLUDES LIGHT REFRESHMENTS

DUBBO REGIONAL THEATRE AND CONVENTION CENTRE OPENS 10.00AM TO 4.00PM | $5.00 DAY PASS | $8.00 WEEKEND PASS

15, 16 & 17 JULY www.dubborotaract.org.au | antiquesfair@dubborotaract.org.au 91

LIVERPOOL Jan Armstrong Collection

ANTIQUES & ART IN NEW SOUTH WALES

Collection of modern wooden dolls

Armand Marseille doll, c. 1910

Japanese bisque head doll, c. early 1900s, has jointed body and very long legs

Unmarked German bisque head doll, c. 1910, possibly made by Schoenau & Hoffmeister (Germany)

Large full composition Shirley Temple doll, c. 1940s, height 68.58 cm (27 inches). The doll was bought in a box of bits

Porcelain sedan chair, early 1800s; dollâ&#x20AC;&#x2122;s house doll dressed in period costume

Come and join in the good time at the DOLL COLLECTORSâ&#x20AC;&#x2122; 30TH ANNUAL DOLL FAIR 30 - 31 July

oll collecting is alive and well! Traditionally, on the last weekend of July each year, doll makers, traders and collectors from all states gather to buy, sell and update their collections at the annual NSW Doll Collectorsâ&#x20AC;&#x2122; Club fair. This is the Doll Collectorsâ&#x20AC;&#x2122; Club main event bringing members and the public together sharing the enjoyment they have with dolls of all types â&#x20AC;&#x201C; old, new and everything in between.

BENEFITTING charity

NEW venue

Each year a different charity is chosen by members to be the recipient of proceeds from the fair and other functions organised by the association. Over the 32 years of the clubâ&#x20AC;&#x2122;s history many local and overseas charities have benefited from the efforts of members and committees who have worked tirelessly to make the fair a continuing success. The charity for 2011 is the Leukaemia Foundation.

In earlier times the club held its doll fairs in Parramatta Town Hall, after which the event was at the Whitlam Leisure Centre, Liverpool, for the next 23 years. Renovations there required a move to Blacktown, with a return to Liverpool two years ago. This yearâ&#x20AC;&#x2122;s fair is being held at the Liverpool Catholic Club, in the heart of south western Sydney, five minutes from the M5 and right next door to the M7 motorway.

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INVITATION to Anniversary Dinner A special 30th Fair anniversary dinner is being held at the Catholic Club on the Saturday evening, 30 July, with speaker Claudia Chan Shaw and entertainment provided by musician Danny Elliot. Bookings are essential. Telephone 02 9389 0324 for a reservation of what promises to be an entertaining night out.

knowledgeable members who are able to value and identify dolls for owners who may not know much about them. Who knows, you may have a treasure just waiting for some acknowledgement!

WORKSHOPS and speaker programs The public are invited to participate in workshops and lectures running over the fair weekend. These include Claire Newell of Claire Bears Ultimate Tours of Europe, and Gayle Steele who will display her dolls and explain why handmade dolls are more expensive. Gaye is also outlining the steps involved with making a porcelain doll or figurine. Wendy Frank will demonstrate how to make fairy wings for art dolls.

LIMITED editions to buy Two limited edition dolls and one limited edition bear have been created by members for this fair. These select pieces are only available at the fair and will be highly collectable.

DOLLS and more for sale

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DOLL accessories and accoutrements Available will be dollsâ&#x20AC;&#x2122; clothes and accessories including shoes, old prams, dollsâ&#x20AC;&#x2122; houses and their miniature contents, as well as fabrics and laces. Doll furniture, books, toys and collectables of all shapes and sizes add to the excitement of the weekend. Old doll magazines can be bought cheaply and are quite valuable as many have patterns for clothes, dolls and bears, which are not now readily available.

A MEMORABLE day out Some traders have participated in every fair the club has held. Each year there are new faces amongst the traders and the visitors. The fair draws people searching for that doll they lost when they â&#x20AC;&#x2DC;grew up,â&#x20AC;&#x2122; or collectors starting a new collection. Then there are those who already have dolls or bears and need accessories to finish an outfit or a wig to replace a missing original. Some purists think that original, no matter what condition, is best, others like to make the best of both worlds and dress their dolls â&#x20AC;&#x2DC;to impress.â&#x20AC;&#x2122;You will find old lace and possibly someone to advise you on how to turn it into something special. Gollies have made a comeback, and a Steiff bear with the metal button in the left ear is a treasure to find. The Doll Collectorsâ&#x20AC;&#x2122; Fair is the place to search out that elusive piece or just to enjoy an interesting day out. The cost is Saturday $10, Sunday $5. Children under 15 free entry with an adult â&#x2014;?

New and seasoned collectors will be able to buy beautiful antique dolls and bears. Dealers are coming with new and vintage cloth dolls; bisque, composition, and plastic dolls from the 1930s to 1980s. Or purchase new kits and patterns and make your own porcelain or cloth doll. Alternately, consider the teddy bear kit and pattern.

VALUATION table Members of the public are invited to bring their dolls along to the Clubâ&#x20AC;&#x2122;s valuation table. There is a limit of three dolls per person and the small fee charged will be donated to charity. Manning the table are the clubâ&#x20AC;&#x2122;s very

DOLL COLLECTORS CLUB NSW Fair inquiries: Jan 02 9525 8291 dollfairnsw@gmail.com www.dollclubnsw.com.au

CAMDEN ANTIQUES & ART IN NEW SOUTH WALES

CAMDEN QUOTA ANTIQUE FAIR bringing collectors and antiques together Saturday 6 and Sunday 7 August 2011

ntiques come in many different sizes and so do the collectors who admire them. Camden Quota Antique Fair held on the first weekend of August each year has been bringing collectors and antiques together for 25 years!

MAJOR ANTIQUE & collectable show

APPRAISAL service A well-respected professional valuer will offer appraisals of your family and personal treasures. You only pay $3 for appraisal of each item. Please observe the limit of only two items per person so everyone has a chance to receive this important appraisal service. All appraisal fees are donated to charity.

In 2011 approximately 30 well-known dealers will bring fresh stock of antiques including furniture, jewellery, linen and porcelain. These antique dealers come from all around the state with an amazing array of collectable and rare items so you are sure to find something special, and perhaps the item for which you have been searching.

COFFEE shop

PREVIEW evening

Helping others

The preview is on the evening of Friday 5 August from 6.30 pm to 9 pm. This is the best opportunity to browse, buy, or consider buying before the fair opens to everyone on the weekend. The preview evening costs $12 per person which includes a light supper. Entry on Saturday and Sunday will be $6 per person per day. A ticket in the lucky door prize of an antique is included in your admission fee. In addition to buying treasured antiques and collectables, support the raffle with its prize of a valued antique and increase our donation to charities.

Over the weekend our coffee shop will be serving delicious refreshments along with tea and coffee. Each year our Camden country soup, hot home-made pies and freshly-made sandwiches are a big hit. All profits are donated to charity. The fair is a fund raising activity of QUOTA International of Camden, a not-for-profit organisation which supports local, regional and international charities. Since our first fair, approximately $400,000 has been raised and donated to many worthwhile charities. Beneficiaries for this year’s fair will include the Camden SES and other charities. For over 24 years we have donated to Careflight, Guide Dogs, Bush Fire Brigades, State Emergency Services, Leukaemia Foundation, palliative care services at local hospitals and to research on cures for cancer and heart disease ●

For more information about the fair contact Eileen Regent CAMDEN QUOTA ANTIQUE FAIR 02 4655 5963

25th ANNUAL

CAMDEN

Antique Fair

CAMDEN CIVIC CENTRE, OXLEY ST CAMDEN (opposite Woolworths)

Preview Evening, 5 August 2011 6.30 pm - 9 pm Entry on Friday evening is $12 per person which includes a light supper

Saturday, 6 August 2011 – 10 am to 5 pm Sunday, 7 August 2011 – 10 am to 4.30 pm Entry Saturday and Sunday $6. per person. Children under 12 free. No concessions

Quality selection of antique furniture, jewellery, Australiana, linen and lace, fine china, porcelain and precious objects for sale A well respected valuer will be available on Saturday and Sunday to give verbal appraisals of family heirlooms at a cost of $3 per item Limit two items per person Refreshments including soup, homemade pies, sandwiches, tea, coffee available on Saturday and Sunday Net proceeds to the Camden SES & other charities NSW Guide Dogs and other charities A fund-raising initiative of QUOTA International of Camden Inc.

Enquiries about the Fair 02 4655 5963 Monday to Friday 10 am to 6 pm 93

SOUTHERN HIGHLANDS / WINGEN ANTIQUES & ART IN NEW SOUTH WALES

MOSS VALE

BERRIMA

MITTAGONG

VILLAGE ANTIQUES A TOUCH OF BRASS Jellore Street, Berrima 2577 02 4877 1366

ANTIQUES ON CONSIGNMENT

Open Wed, Thur, Fri, Sat 11am - 4pm Sun, Mon, Tues by appointment

Huge selection of antique beds in metal (fancy iron, and brass and iron) and various timbers, pine sleigh beds, mahogany halftester beds, French beds, etc. All sizes.

SALLY BERESFORD DESIGNS Mobile 0413 875 289 www.sallyberesford.com.au French provincial furniture, industrial, architectural & decorative Items.

MITTAGONG ANTIQUES CENTRE 85-87 Main Street (Hume Hwy) Mittagong 2575 02 4872 3198 Fax 02 4872 3216 Open 7 Days 10am - 5pm 650 sq metres (7,000 sq ft) with large variety of stock. Plenty of parking. Excellent loading docks. Eftpos & credit cards welcome.

Old Hume Highway, Nth Mittagong (Braemar) 02 4872 2844 Mob 0416 251 946 Kamilaroi c. 1906 has 6 rooms of French, English, Oriental and Scandinavian antique furniture, mirrors, clocks, chandeliers, porcelain, silver, jewellery, paintings, objets d’art and decorative items. Also the Parterre Garden and the Barn and Cottage with other exciting items.

Sutton Forest PEPPERS MT BROUGHTON A SOUTHERN HIGHLANDS GRAND COUNTRY ESTATE Kater Road, Sutton Forest 2577 02 4868 2355 Fax 02 4868 3257 The estate’s extensive facilities include an à la carte restaurant, cocktail bar, swimming, tennis, cycling, volley ball, gym and walks through the glorious old gardens. A round of golf at the adjoining Mount Broughton Golf and Country Club can be arranged.

VISIT THE HIGHLANDS

BestRegional Attraction*

over 45 Antique Dealers plus a coffee shop all under the one roof!

B URNING M OUNTAIN

ANTIQUES & P LOUGH I NN NEW ENGLAND HIGHWAY, WINGEN, NSW 2337 TELEPHONE: 02 6545 0235 Barry and Stephen Daniel FOR AUSTRALIANA AND COLLECTABLES

OPEN EVERY DAY 10.00AM TO 5.00PM 85-87 M AIN S TREET • M ITTAGONG T ELEPHONE 02 4872 3198 • FACSIMILE 02 4872 3216 porcelain • fine arts • furniture • silver • books • & more

* WINNER

BEST

OF THE 1999 SOUTHERN HIGHLANDS OUTSTANDING BUSINESS AWARD FOR

REGIONAL

ATTRACTION

Everything from antique furniture, jewellery, memorabilia & other paraphernalia. Housed in the Historic Old Post Office in Wingen, on the New England Highway about 20 minutes north of Scone

OPEN 7 DAYS • TELEPHONE: 02 6545 0235

BOWRAL ANTIQUES & ART IN NEW SOUTH WALES

HUNTERS & COLLECTORS ANTIQUES

Cameo vase, signed Le Verre, h: 23 cm

Papua New Guinea crocodile head, c. 1940s, decorated with mud & shells, l: 82 cm

EPNS, Emu egg stand display, c. 1890s h: 18 cm

Australian kauri pine lockers, c.1940s, 176 x 202 x 30 cm

Taxidermy specimen of a penguin, c. 1960s, h: 45 cm, ex-museum

American carousel pig, c. 1960s, l: 126 cm

Art Deco Ivory figurine, signed L Sasson

Royal Amphora bull dog, c. 1870s

Gentlemanâ&#x20AC;&#x2122;s flintlock pistol, c. 1810 l: 48 cm; Irish percussion pistol made by Lawler, c. 1850, l: 19 cm; Flintlock blunderbuss, c. 1770s, l: 50 cm

Remued vase, c. 1930s, h: 18 cm

Painting on canvas for Rosella Tomato Sauce, c. 1930s

Taxidermy specimen of Bengal tiger, c. 1969, died in US zoo

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

All things interesting & unusual Our new premises are at 8 Bowral Road, Mittagong, NSW 2575 (80 minutes south of Sydney) Tel: (02) 4872 1661 or 0414 449 366 â&#x20AC;˘ www.huntersandcollectorsantiques.com 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

Open 7 days 10 am to 5 pm Rod Cauchi & Kathy Kasz

MEMBER

BOWRAL ANTIQUES & ART IN NEW SOUTH WALES

MIXING IT UP – Decorating à la you!

e have been watching the rise of vintage over recent years and seen it become an integral part of decorating styles. This acceptance of more recent decades as sources of great furniture and home accessories has given many people who had previously only sparred with antiques when an elderly relative left them the dining room setting, the opportunity to dip their toes into the world of exclusive highbrow

antiques. Vintage is a lifeline to the decades of the 20th century and a term that should be treasured rather than treated with scorn. Vintage can be as young as 30 years old – back to the good old 1980s – when Spandau Ballet and Boy George were at the height of their fame. When jackets with monolithic shoulder pads were modelled by the first of the super models and every suburban home had Parker Knoll furniture. Who would have

thought that our family TV units and cocktail cabinets would be the antiques of the future? Certainly not me! Then there is the fabulously wild, psychedelic 1970s, all flares, tie-dyed t-shirts and plastic. After manufacturing processes were improved in the 1960s the use of plastic and fibreglass in moulding furniture took off. By the 1970s plastic furniture was available to everyone. Now furniture could be any colour your heart desired. The 1960s offers huge inspiration particularly from Danish and Finnish designers. The iconic stacking chair of 1960 created by Verner Panton and Eero Aarnio’s ball chair designed in 1968 were hip, groovy and what every young rock fan wanted to own as well as pop art, space inspired coffee tables and rocket shaped teapots It was the era of rock ‘n roll. Vintage, retro, whatever you wish to call these decades, they open up homes to an overflowing vault of design options. By using the term vintage in such a broad sense we are opening up our senses to look at furnishings and decorative items in a new light. Previously – and I am particularly guilty here – we would have gone only into furniture shops carrying styles suited to the era we were trying to mimic. Any store where our style was not on display would have been given a very wide berth. Now, the freedom of vintage is an opportunity to explore shop windows that once were passed by, taking a bit from here and a bit from there and decorating with a sense of what is loved. I was in the dentist the other day, reading a magazine. What a surprise! The magazine had a story on Ralph Lauren’s New York apartment. Now imagine what it looked like – was it all tartans and dark stained furniture beamed in from the Scottish Highlands? Or perhaps you may think it was more classic Hampton’s style, lots of stripes in good, strong blues and reds. No, you are all wrong. It was completely done out in white and glass. On the wall of the entrance foyer was an enormous photo at least two and a half meters wide of a motorcycle engine. In front of the photo and off to the side was a storm trooper costume, and just out from the wall a very stylish Swedish hall seat from the 1960s. It looked brilliant. Look at what Mr Lauren has done. He has selected three favourite items. They aren’t related in any way, and they don’t represent any particular style. He has placed them together because (and here I’m not really trying to read his mind, I’m just surmising) he loves these things and wants to have a bit of fun. Mr Lauren isn’t the only one doing this. Top decorators around the world are doing the

same; mixing it up, putting old with new, and creating the unexpected – decorating and having fun. That is what it is all about; placing fabulously rustic oversized candlesticks in front of a shabby French gilt mirror and then sitting back on the very modern black leather sofa and enjoying the play of reflected candlelight. After a hard day at work homes need to be havens; a place to truly express who we are, be it bookish, be it full of nature’s artefacts, or be it whimsical. Whatever your style, draw on the inspiration of the 1960s, 70s and 80s and open up the door to a plethora of goodies. So go on, and have some fun! ●

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

BRAIDWOOD ANTIQUES & ART IN NEW SOUTH WALES

ANTIQUES & ART IN NEW SOUTH WALES

James WR Linton (1869-1947), Falls Road, late evening, 1926, watercolour, 54.6 x 75.4 cm. National Gallery of Australia, Canberra

Edmund Henderson (1821-96), Perth, Western Australia, 1862, watercolour, 35 x 50.6 cm. The Wordsworth Collection, National Gallery of Australia, Canberra

NATIONAL GALLERY OF AUSTRALIA Out of the West: Art of Western Australia from the National Collection from 8 July 2011

hen settlers arrived in Western Australia nearly two centuries ago, they were mesmerised by the light, heat, long horizons, and vast expanses. By the 20th century art societies had formed, and local traditions had developed. The exhibition, Out of the West presents a starting point for visitors to explore the art made from these responses to Western Australia, through a diverse range of media including painting, sculpture, watercolour, drawing, print-making, photography, video installation, jewellery, furniture, decorative arts and design. The story of colonial European art and artists in Western Australia is unique; it differs significantly from that elsewhere in Australia, and is a story that has largely been left out of the histories of Australian art. The early artists in WA were mostly amateur and worked in pencil or watercolour on paper, easily transportable materials, reasonably cheap and also readily accessible. Edmund Henderson arrived with the first convicts in the Scindian on 1 June 1850 as Comptroller General in charge of convicts in Western Australia, a position he held for 11 years. He was a kind and just man, and the

initial success of the convict system in WA was largely due to his wise administration. A talented amateur artist, Henderson painted a number of atmospheric drawings and watercolours; not for any official purpose but simply to express his response to place. Henderson’s splendid watercolour Perth, Western Australia, 1862, is an important image of the past, depicting Mounts Bay Road and the steam mills at the foot of Mount Eliza. But more significantly, Henderson transformed the vista into a magical scene, full of air and sparkling light, revealing how he had been captivated by his new world. With the large gold discoveries at Coolgardie in 1892 and at Kalgoorlie in 1893, there was rush to the west in search of gold. Not surprisingly, jewellers flourished on the goldfields, making items which were both attractive and recognisably Western Australian. It is said that at least 50 goldsmiths established business in the West before 1900.1 One of the earliest and most prominent of these jewellers was George Richard Addis who had previously worked in Melbourne and Launceston. Dorothy Erickson has observed

that his 18 carat Kalgoorlie brooch of about 1894-99 is strikingly similar to those made by Donovan & Overland, such as the Southern Cross and Marble Bar brooches. The brooch may have been purchased wholesale from Donovan & Overland and then marked and assembled by Addis.2 In all of these brooches the miner’s tools become decorative emblems, with fretted letters in an arch above. In 1896 the artist James W R Linton was sent to the goldfields by his successful artist father, Sir James Linton, who had invested in the Miner’s Dream Gold Mines at Broad Arrow, north-east of Kalgoorlie. Sir James was concerned that his venture might be worthless. He was right, and like many other London investors, he had been duped. His son stayed in Western Australia and became one of the foremost artists, teaching at the Perth Technical School from 1902 until 1931, inspiring a new a generation of artists and encouraging a serious, professional approach to art. Linton took up the applied arts because his duties at the Perth Technical School required him to teach woodwork and metalwork, and also because while living on a limited budget

From left: James WR Linton (1869-1947), Casket with ibis and flower motif, c. 1935, metalwork: patinated brass, polished brass mounts, cloisonné enamel, 10 x 14.6 x 9.9 cm. National Gallery of Australia, Canberra George Richard Addis (1864-1937), Kalgoorlie brooch, 1894-99, 18 carat gold 2.5 x 5.5 cm. National Gallery of Australia, Canberra

in a small isolated community he found it useful to be able to make furniture and fittings for his home. Linton’s jewellery and metalwork is characteristically practical, simple and spare in design. Typical of his work is a casket with ibis and flower motif, c. 1935, in which he featured a stylised cloisonné enamel ibis and incorporated elements of a modern, geometric art deco style. Out of the West is the first survey exhibition outside Western Australia to present a large sample of Western Australian art from presettlement until today. It includes known images together with new discoveries. The National Gallery has a responsibility to show the full gamut of Australian art – from all states, over all periods. Vital to the exhibition are important historical works from the National Gallery’s Wordsworth Collection which shows how Western Australia was perceived during its formation. It complements the rich public and private holdings of Western Australian art held in Perth ● Out of the West: The early years (from presettlement to the 1930s) will be displayed in the Project Gallery. Art by more recent artists such as Herbert McClintock, Harald Vike, Elise Blumann, Guy Grey-Smith, Robert Juniper, Howard Taylor, Brian Blanchflower, James Angus and Rodney Glick will be displayed in Out of the West: Modern Times in the Orde Poynton Gallery.

Anne Gray Head of Australian art NATIONAL GALLERY OF AUSTRALIA CANBERRA 02 6240 6411 www.nga.gov.au

NOTES

1 Dorothy Erickson, Gold & Silversmithing in Western Australia: A History (Perth: University of Western Australia Press, 2010), p. 75. 2 Erickson, Gold & Silversmithing, p. 93.

CANBERRA ANTIQUES & ART IN NEW SOUTH WALES

OF THE from 8 July 2011 | Project Gallery and Orde Poynton Gallery Canberra | nga.gov.au Edmund Henderson Perth, Western Australia 1862 (detail), The Wordsworth Collection, National Gallery of Australia, Canberra, purchased 2010

ANTIQUES & ART IN NEW SOUTH WALES

NATIONAL GALLERY OF AUSTRALIA presents Fred Williams: infinite horizons 12 August – 6 November

he major retrospective Fred Williams: infinite horizons provides visitors with the opportunity to engage with the achievement of one of Australia’s great artists. The exhibition focuses on Williams’ paintings and gouaches from the late 1940s to 1981, including works from private and public collections around Australia and from the Tate Gallery in London. Williams’ inspiration often emerged from the unique qualities of landscapes around Australia: from Upwey in Victoria to the Bass Strait in Tasmania to Weipa in far north Queensland to the Pilbara region in Western Australia. Although his art is often associated with dry environments, some of the surprises in the exhibition are his accomplished and innovative works that reveal his fascination with water – ponds, seascapes, beaches, creeks, billabongs and waterfalls. The show includes other unexpected finds, such as the quite magical intimate studies of plants and animals, as well as portraits of family and friends. Among the most notable portraits is one of artist John Brack, a lifelong friend with whom he shared a studio in the late 1940s. A seminal landscape in the exhibition Tree loppers, 1955 (front cover image AANSW), is an astonishingly powerful image painted on a modest scale. It reveals Williams interest in paring away inessential elements that would become a characteristic feature of his mature

art and forms part of a group of works in the retrospective from the 1950s that deserve to be better known. Works focussing on trees, rocks and rivers were inspired by environments around Mittagong in the Southern Highlands of New South Wales and Echuca and Sherbrooke in Victoria. These formative works also convey the impact of French painters whose art Williams greatly admired including Paul Cézanne and Georges Braque. By the early 1960s, Williams’ forest and sapling paintings were becoming increasingly abstract, revealing affinities with a Japanese aesthetic. It was not that Williams was aiming for this connection, but rather for a parallel understanding of the potency of evocation – that less can be more. Between 1963 and 1965, Williams revolutionised the way in which we see the Australian landscape, conveying its spaciousness and the scatter of elements. As he said in an interview with James Gleeson in 1978, ‘Obviously, it was too good a thing for me to pass up. If there’s going to be no focal point in a landscape, then it had to build into paint.’ His works were not about picturesque scenes, but rather a clear-sighted response to the local terrain. Two series led the way: the You Yangs and the Upwey landscapes. The former were breakthrough works, moving from the vertical forests into open vistas enlivened by sensuous touches of paint suggesting the scrubby

environment with no horizon. In the Upwey series, Williams introduced a definite horizon line, a precise division between heavily worked grounds and luminous clear spaces above, inflected with lively little plant-like notations. In the mid-1960s Williams was painting a number of remarkable series of works simultaneously including hillsides that emphasised the geometry of curves, diagonals and circular forms, including the evocative Circle landscape, 1965. By the end of the decade, his paintings became increasingly minimal and open-ended. In the perfectly balanced Silver and grey, 1969, Williams reached a pinnacle of what he had been aiming for since the late 1950s in the compressed energy and structure of the painting itself. The studio, 1977, publicly exhibited in this retrospective for the first time, is based on Williams’ Taronga Road studio in the Melbourne suburb of Hawthorn. A painting within a painting, the work on the wall depicts ferns regenerating after bush fires. While living at Upwey, the artist experienced terrifying bush fires in 1968. He witnessed different stages of the fire’s passage, including the aftermath when small plants sprang back to life. The organic forms of the ferns contrast with the geometry of the architectural features of the studio and the objects within it, reinforcing his passion for painting itself. The 1970s saw a number of changes in Williams’ works. Lightning storm, Walkerville, Far left: Fred Williams, The studio, 1977, oil on canvas. Private collection © Estate of Fred Williams Left: Fred Williams, Upwey landscape, 1965-66, oil on canvas. National Gallery of Australia, Canberra. Purchased 1966 © Estate of Fred Williams

1971, is a particularly striking small oil that has affinities with the strip gouaches that he painted in this decade. The idea of painting in parallel horizontal strips was in part inspired by early colonial drawings and watercolours. Shown together, the group of gouaches and oils relating to seascapes and beaches in various locations (including Erith Island in the Bass Strait) are a revelation, meriting greater recognition alongside his earlier classic landscapes. They reveal a dramatic shift in his more-earthy palette to blues and iridescent greens complemented by warm yellows, showing him to be a most subtle and remarkable colourist. Williams’ abilities as a colourist were again revealed in his series of Weipa gouaches and paintings of the Pilbara region, including the brilliant red Iron ore landscape of 1981. The series came about through the invitation of Roderick Carnegie of Comalco (now known as Rio Tinto, the principal sponsors of this retrospective). The experience of flying over the expansive landscape of Western Australia made a profound impression on the artist. His first paintings of this area were works on paper, some painted in the landscape, others back in his studio. A number of these impressive gouaches that haven’t been previously exhibited, as well as major oils that were among his last works prior to his untimely death at 55 years of age are being shown. Over the years, Williams’ art has steadily been building a national and international reputation. He was the first Australian artist to have a solo exhibition at the Museum of Modern Art in New York, Landscapes of a continent in 1977, and in the past decade his art has been shown at Tate Modern and the British Museum in London. Twenty-five years after the last retrospective, Fred Williams: infinite horizons provides the chance for a wide audience to engage with a range of Williams’ art over several decades, including many works that had disappeared into private collections years ago, with the aim of revealing afresh his distinctive and considerable artistic legacy ● Deborah Hart Senior Curator, Australian Painting and Sculpture post-1920 NATIONAL GALLERY OF AUSTRALIA, CANBERRA 02 6240 6411 www.nga.gov.au

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CANBERRA ANTIQUES & ART IN NEW SOUTH WALES

12 AUGUST – 6 NOVEMBER 2011 Fred Williams Forest pond 1974 (detail), Art Gallery of South Australia, Adelaide, South Australian Government Grant, 1975. © Estate of Fred Williams

Canberra | nga.gov.au

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JAMBEROO / CANBERRA ANTIQUES & ART IN NEW SOUTH WALES

Nerilee Antiques

ACT SEASONAL ANTIQUE FAIRS present

(inc. Micawber Antiques)

ANTIQUES AND COLLECTABLES FAIR

2011 SPRINGTIME in the

ALBERT HALL COMMONWEALTH AVENUE CANBERRA on FRIDAY NIGHT 12 August 2011 SATURDAY 13 August 2011 SUNDAY 14 August 2011

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

Presented by Rotary Club of Canberra City Admission $7 Concession $5

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

(children under 14 years admitted free)

Established Genuine Antiques and Collectables Fair Enquiries: 02 6231 5244 or 0418 631 445 R E F R E S H M E N T S AVA I L A B L E

Proceeds to support local organisations that assist the less fortunate in the ACT Wheelchair access is available Sponsors of the fairs include WIN TV, Choice Liquor (Phillip) and COSMOREX Coffee

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

A SPRING FAIR IN CANBERRA 12-14 August hake off the winter blues and come and explore Canberra’s signature ACT Springtime Antique Fair –one of the longest running antique fairs in Australia. As in years past, this highly anticipated event will again be held in Canberra’s historic Albert Hall in old gracious Yarralumla. Presented by the Rotary Club of Canberra City, the spring fair follows the traditional autumn fair and promises to continue the high standard of dealers. These successful and well-run fairs always attract strong attendance from knowledgeable and keen collectors.

grow or select a special gift for someone special. Adding an extra collecting dimension is a new dealer bringing old glass.

24 DEALERS with fresh stock

• Any restoration must be and will be disclosed to a prospective buyer

A Canberra institution, the fair always features an excellent blend of high quality, genuine, affordable antiques, old world nostalgia and wonderful collectables, all for sale. Whether you are seeking dining tables and chairs, fine china, jewellery, linen or lace, any one of the participating antique dealers is sure to have something to help your collection

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CUSTOMER protection ACT Seasonal Antique Fairs have distinctive customer protection. Organisers assure prospective buyers of the quality and authenticity of all items. Intending dealers must agree to and follow these quality controls: • Every item must be accurately described • No reproductions • No new merchandise

Tim & Glenda Bloomfield 6 Victoria St Hall ACT 2618 Tel 02 6230 9377, Mob 0418 162 830 0pen weekends and public holidays 11am - 4pm

$7 ADMISSION, night or day Gala opening night is Friday evening, 12 August from 6 to 9 pm. For the first hour (6-7 pm) there are complimentary drinks and hors d’oeuvres, all for only costs $7 or $5 concession. Of course, donations will be accepted for charity at this gala evening. The fair continues on Saturday 13 August from 10 am to 5.30 pm, and on Sunday 14 August from 10 am to 4 pm. Children 14 years and under are admitted free (with an accompanying adult), so make this a family excursion to visit childhoods from the past. Wheelchair access is cheerfully organised, on request to 0418 631 445 ●

CHARITY benefits As always, 100 per cent of the profits go to charity. All monies raised go to local Canberra charities. Since commencing 26 years ago, more than $350,000 has been raised from the proceeds of door receipts and raffles that are part of every fair.

For more information contact Les Selkirk ROTARY CLUB OF CANBERRA CITY 02 6231-5244/ 0418 631 445

Selkirk

ANTIQUES & RESTORATIONS Offering personalised service and sales Specialising in Georgian, Victorian and Edwardian mahogany and walnut furniture Small silver items, both sterling and plate Selkirk Antiques have selected pieces of Doulton, (including Flambé), Shelley & Moorcroft Ceramics Furniture restoration service available 29 Summerland Circuit, Kambah ACT 2902

02 6231 5244 Fax 02 6231 3656 Mobile 0418 631 445

ANTIQUES & ART IN NEW SOUTH WALES

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Figure 7

Figure 3

Figure 2

Figure 8

Figure 9

Figure 5

Figure 4

Figure 11

Figure 10

Figure 6

Figure 12

THE MILLER LAMP

dward Miller & Co. of Meriden, Connecticut, produced a large variety of lamps to suit every possible application ranging from the very small bedside lamp to highly decorative hanging lamps. In this issue, I will concentrate on banquet lamps together with a couple of unusual lamps. In the words of Edward Miller & Co.’s advertising: ‘Banquet lamps were artistic, useful as well as ornamental’. Banquet or parlour lamps were made between approximately 1890 and 1920 and were used primarily for dining, sitting and drawing rooms. These lamps, with their highly decorative designs, added to the splendour of the house in which they were placed. The lamps were not expensive given their style and function compared to their English counterparts. The lamp’s height was usually about 56 cm (22 inches) to the top of the burner. With the use of a ball shade instead of a dome shade, light diffuses throughout the room rather than being confined to a table—hence the name banquet or parlour lamp. They could also be supplied with a dome shade to light a sideboard or table. The fonts on banquet lamps were of two types: fixed and removable. The fixed varieties were of embossed brass similar to those used on table lamps. Figure 1 shows a lamp with a fixed font using the No. 2 centre draft burner with the Miller patented lifting gallery which allowed the lamp to be lit without removing either the chimney or shade, if you were careful. The cherub figure column was made of spelter and stood on a cast open-work base. The column was finished in satin gilt and the remainder of the lamp was polished gilt. It was supplied with either a ball shade or a 10 inch (25 cm) dome shade. Figure 2 is of the fixed font type, 46 cm (18 inches) in height and supplied in a gilt finish and a No. 2 burner rated at 60 candle power. This was quite a quantity for that period and it certainly took up less room than 60 candles! The column is of onyx and is 15 cm (6 inches) high.

Other lamps of the type were supplied with glass columns painted on the inside to replicate onyx and marble, perhaps because there was a shortage of onyx. This lamp had a decorated ball shade 23 cm (9 inch) in diameter and it could also be purchased with a dome shade. The base was of cast steel with a gilt finish. Figure 3 is similar to figure 2 having a cast spelter column. The height to the top of the burner is 48 cm (18¾ inches). This lamp was finished in polished gilt and the base was of cast steel with a spread of 22 cm (8¾ inches). With the removable font type of lamp, the fonts were made from brass with an embossed top. These were the same as for the hanging lamps and the font sat in a spelter openwork head or brass head. This meant the font could be separated and taken to another room. Figure 4 shows a lamp with this arrangement. It stood 58 cm (23 inches) in height. The column and openwork head is made of spelter and finished in polished gilt, while the stand is openwork cast and finished in polished gilt with a spread of 23 cm (9 inches). The lamp could also be supplied with either a ball shade or a 10 inch (25 cm) dome shade. Figure 5 is very ornate with the body of the lamp being of brass with an embossed pattern. The collar around the body is of polished brass. The base is of cast steel with a gilt finish. It is equipped with a removable font using a No. 2 centre draft burner as with the above-mentioned lamps. Figure 6 is a little plainer. All the parts are made of brass and the shade is finished with wreaths in relief. Figure 7 has the same description as figure 4 with a different column of cast spelter, and is also finished in polished gilt. The openwork head is of a different design. The wall lamp in figure 8 uses the same principle as the removable font banquet lamps and replaces the column and base with a wall bracket, giving it a completely different look, although with a very similar function. Being on the wall meant it was not taking up space on the table or sideboard. The shade is

smaller and of etched glass instead of opal painted glass. Fonts and burners were also available in various sizes such as No. 0 (as used in bedside lamps), No. I (as used in small table lamps) and No. 2 (as used in table, banquet and hanging lamps). The lamps were finished in brass, antique brass or nickel finishes. The lamp in figure 9 is called the ‘No. 2 Empress’. It was used as a table lamp and possibly was a feature of dining rooms before the introduction of the banquet lamp. The lamp was made from embossed brass in an unusual style, quite different to other Miller lamps which are easily recognisable. Although it was of similar dimensions to later models and used a No. 2 burner with a patented extinguisher; when the wick was turned down the flame was automatically extinguished by the flame spreader, an extra rim which sat on the top of wick. Figure 10 is called the ‘home lamp’. This was an inexpensive lamp for everyday use. It was made of tin and brass plated with a No. 0 burner rated at around 25 candle power. The lamp was ideal for those trips at night from the bedroom to the smallest room in the house. The lamp could be supplied with a

reflector, as in the illustration, or with a 6 inch (15 cm) opal dome shade. Bicycle lamps were another interesting product. The ‘Everlit’ illustrated in figure 11, was not as big as a headlight, but was of a similar size to carbide lamps. It was made of brass, nickel plated with a hinged door and with a 2½ inch (6 cm) convex lens. The font was removable for easy filling, which meant that you didn’t have to remove the whole lamp from your bicycle. The student lamp in figure 12 was one of Miller’s first student lamp designs; as with all student lamps the font is removable for filling. The head and container are very similar in design to the banquet lamps, except the font goes in upside down. The container and burner section could be moved up or down the centre rod to focus light on a single book or on the entire desk. The separation of the oil container and burner mechanism reduced the shadow over the work area, reducing the strain to the student’s eyes ● Juergen Weissner THE EVERBURNING LIGHT 02 6565 0104 oli-lamp@zip.com.au

Antique, old and new Kerosene Lamps Spare parts including shades, shade holders, burners, mantles, lamp oil, specially treated wicks for better burning, custom made high quality chimneys. ● Aladdin Mantle Lamps that produce 60 watts of light with no smoke or smell, ideal for emergency lighting. ● Restoration and repairs, brass polishing, nickel plating, copper plating and antique copper finish for small items. ●

The Everburning Light 2265 Pacific Highway, Clybucca NSW 2440. Phone: 02 6565 0104 e-mail: oil-lamp@zip.com.au Website: www.zipworld.com.au/~oil-lamp/

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ANTIQUES & ART IN NEW SOUTH WALES

The BEGINNINGS OF TIME in Horology FROM 1000 – 1300 CE

he mechanical clock, considered by many as the greatest turning point in the history of science and technology, has no defined beginning or single stroke of genius but rather appears as a gradual evolution with defined periods of further development. Chinese recording of events was further advanced than in the West. The early invention of printing in China (8th-9th century CE) and better attention to record keeping have given us faithful reproductions of original texts of early horology work in China, even when time keeping was secondary to the device’s original purpose. Possibly the first timepiece with a better performance level than the clepsydra was the remarkable water-driven astronomical clock designed by the monk Su Sung in 1088 and completed in 1094. His clock has not survived, but a description by its inventor has. Models have been made from these documents. The mechanical improvements of this instrument took it way beyond anything previously made, possibly only passed 600 years later with the invention of the pendulum. The essential feature of this clock was a link work escapement quite different from the foliot escapement invented later in Europe.

Water poured from a reservoir into a constant level tank, then into one scoop after another of a large waterwheel with a controlling device, which would not release until each scoop was full. As the scoop filled, the weight tipped the lever, allowing the main wheel to ‘escape’ its position. In effect this astronomical instrument recorded the number of scoops filled with water, which was then converted into time elapsed. Producing an effective escapement action, between the scoops and levers, this was more than a clock. It was over 11 metres tall, with wheels 1.5-2.5 metres across, with five halfstoreys. It was calibrated by a sighting tube pointed at a selected star and was far more accurate than anything before. It had a celestial globe, an armillary sphere, gave hours of the day and quarters on bells and drums and struck the night watch on gongs. China used an equal 2 x 12 hour cycle for the day with 100 minutes and had done so since about 500 CE. During the Middle Ages the significance of time recording was not appreciated, possibly as they were ill equipped to measure it. Water clocks were rare and expensive. Sundials were cheaper to manufacture but were generally

inadequate in Europe, as skies were often cloudy. During the Middle Ages time was not that important to people, except for the Church. In 1220 in Cologne there was a special street called Uhlogengasse, or Clockmakers Street. This is the first evidence of a professional Guild of Clockmakers, making water clocks. Imagine their frustration in winter! Guild Craft Associations were for journeymen, apprentices and employers, who formed to set working conditions, apprenticeships, prevent unfair practices and maintain high standards of craftsmanship, and date from the 12th or 13th century. It is feasible that many of the Chinese instrument ideas had made their way from China, through India, into Islam and finally Europe. The origin of the mechanical clock remains a mystery, but it probably occurred towards the end of the 13th century. The incentive to develop it possibly came from the medieval monastery, where punctuality was a virtue that was rigorously insisted on, and late arrival at divine service or meals was punished. Clocks were useful to regulate the strict monastic life. At this time, remember that the church controlled education. The word ‘clock’ is related to the medieval Latin word clocca and the French word cloche, meaning bell. The first clocks did not have dials and these clocks had clock makers whose sole job was to mind, watch the wheels and as certain parts of the wheels went past, strike a bell to indicate time elapsed. An early treatise on astronomy, written about 1271 by Robert the Englishman, states that ‘clockmakers are trying to make a wheel

turn controlled, for one equal circle, (constant equal speed) … and if they could, they would make an instrument better than any available’. The text describes how they were using a weight suspended by a rope, looped around an arbour to friction-control the rate of a wheel turn. A similar device in an architectural drawing of 1240-51 by Wilars de Honnecourt resembles this description. The descending weight would turn the figure of an angel on the roof of a church. This would point to follow the Sun, even when the sun could not be seen, indicating the time of day. Such angel devices were installed on the roofs of Chartres Cathedral and old St Paul’s, London. No definitive link has been found between the first mechanical clocks and the earlier geared astronomical instruments. Perhaps the lack of a dial on these early clocks indicates part of another instrument as the origin. Another outstanding clock designed was the Astrarium (astronomical) clock by Giovanni da Dondi (1318-1389) of Padua. This is the earliest drawing of a clock escapement known as a ‘crown wheel and verge.’ This type of escapement was regulated, with difficulty, by adjusting the weight supplying the power. The Italian brass clock was far finer than the clumsy English forged iron clocks. The clock was incidentally made for time keeping, which it did with the start of the day at sunset, called Italian hours. This was truly a kind of planetarium and much more elaborate than similar clocks like the Strasbourg clock. Da Dondi describes his clock as ‘a common clock’ with the ‘usual’ beat.

Wilars de Honnecourt, middle of picture left, 1240-51

Drawing crown wheel, verge and foliot

Su Sung’s water clock escapement

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VICTORIA ANTIQUES & ART IN NEW SOUTH WALES

Salisbury Cathedral clock of 1386

“

The invention of the hourglass or sandglass had required a form of breakthrough in technology

” FROM 1300 – 1400 AD The mechanical clock appeared around 1280-1300, along with the crucial invention of the ‘crown wheel and verge’ escapement. This device requires a crown wheel, with an odd number of teeth to the side, like a hole-cutting saw blade mounted vertically. Across the crown wheel is a vertically mounted arbor or shaft, with a balance wheel on top. Two small projections of steel called pallets are mounted on this arbor (the verge). Each pallet face meets a tooth of the crown wheel alternately spinning the balance wheel each way, allowing the crown wheel to escape (release) one tooth at a time. The regulating of this escapement was controlled by adjustable driving weights, and required frequent adjustment to time. The crown wheel was held, the verge lifted out, the train let run freely to the desired time, stopped on crown wheel and verge replaced and set going. This required an attendant of some skill; considering that the clock may have taken two years to make, a mistake would be costly. The basic crown wheel and verge escapement lasted with several improvements for almost 500 years. An alternative soon appeared to the crown wheel and verge. A horizontal bar was attached to the arbor in place of the balance wheel and suspended by pig or horsehair. At each end of the bar were notches where weights could be moved in for faster or out for slower. The new escapement was a ‘crown wheel and verge foliot’, known as a verge foliot. It worked the same way as the verge balance but was able to be regulated independently. This system was very robust, would tick away almost forever as long as its moving parts were kept oiled. However it was still a very poor timekeeper, but better than the crown wheel and verge. The oldest surviving clock in England is in Salisbury Cathedral. It was verge foliot, has no dials but strikes the hour. It was made about 1386, for historical accounts show that in 1386 provision was made for a house for the use of the clock keeper. Ralph Erghum was bishop of Salisbury and was a regular visitor to the court of King Edward III. He later moved to Wells Cathedral in Somerset and commissioned

Wells Cathedral clock outer dial

Hourglass or sand-glass held by figure at right, shown in an early fresco

another clock in 1388, having it installed in 1392. Both these clocks are the oldest surviving clocks in England and have been found in more recent times to be made by the same craftsmen. These two clocks have now been attributed to Johannes Lietuijt, or the brothers Johannes and Williemus Vrieman, a group of three clockmakers invited to England in 1368 by King Edward III from the Low Countries (Holland). The Salisbury clock was replaced by a new mechanism in 1884. It was saved from oblivion in 1929 when TR Robinson drew attention to its great antiquity. As can be seen, the wrought iron clock frame is held together with wedges. These earlier clocks were ground-mounted like the water clocks. The weights were suspended from pulleys higher than the clock. Eventually these clocks were put in a tower with weights hung below, becoming known as Turret or Tower Clocks. In 1931 the original mechanism was cleaned up and put on display, and finally in 1956, with the help of Rolls-Royce, certain parts were X-rayed to see what was original. By using original parts and some new, it was restored back to verge foliot from a previous pendulum alteration. The restored Salisbury clock is probably the oldest clock in the world today still running. The Wells Cathedral clock of 1392 strikes the quarters as well as the hours. It has two dials, one astronomical and three separate automata. The original movement now resides in the Science Museum in London, having been replaced in 1835 and that movement in turn replaced c.1890. The original astronomical dial at Wells Cathedral is the finest still preserved in England. Around the early 14th century the hourglass finally appears to have been developed. The first known illustration of the hourglass is in an Italian fresco painted between 1337-1339 in the Palazzo Pubblico in Siena; the sandglass is held aloft formally indicating something of great or of new importance. The invention of the hourglass or sandglass had required a form of breakthrough in technology. Not in the glass, but rather in the need for an alternative to sand. Sand, because of its abrasiveness, would soon grind and enlarge the hole thus destroying the time keeping. The introduction of the hourglass required a man-made medium, and this was finally overcome with the use of evenly crushed eggshell. The hourglass was used widely for timing at sea where it was not affected by the sway of

the ship, often used to set the four-hour watch. In industry, it was used as a timer in manufacturing. On Sundays it was used to time the sermon, where it was also known as a sermon or pulpit glass. If the clergy were so inclined they would say ‘Brethren, we will take another glass’ and turn the glass upside-down to continue the sermon for another hour ●

Further reading Joseph Needham, Wang Ling & Derek J. Price, Heavenly Clockwork, Cambridge University Press Eric Bruton, The History of Clocks & Watches, Little, Brown & Company, 1979 Colin Wilson, The Book of Time, Jacaranda Press G. J. Whitrow, Time in History, Oxford University Press Kristen Lippincott, The History of Time, Merrell Holberton

Michael Colman COLMAN CLOCKS 03 9824 8244 www.colmanantiqueclocks.biz

Colman Antique Clocks WAT C H & C L O C K R E S T O R E R S

French Louis Philippe carriage style mantel clock, c. 1840 in tortoise shell veneer with fine ivory Inlay by Barbot, 9” handle up.

French mantel clock c. 1880 in fire gilded ormolu on bronze finish with 3 hand painted Sèvres panels possibly depicting 16th century Prague with cartouche style dial

French Empire figured mantel clock, c. 1810. Bronze ormolu finish with simple automaton, signed to dial Le Cointe - Renard à Laon. Secretly signed Pons to the pendule de Paris silk thread movement striking on silvered bell Pons, Honoré Pons DePaul awarded 2 silver & 3 gold medals in French Industrial awards as ébauche maker

George II double fusee verge bracket clock, c.1760, England, signature maker’s case, mahogany, ormolu mounts by Ellicott (England: London), profusely engraved back plate with pull cord repeat, in fine original condition

French 18th century waisted Boulle bracket clock c. 1760, on original wall bracket. Original finish and fittings, brass inlay, tortoise shell veneered case. The dial made of cast and chased surround with 25 fired enamel cartouche numerals, superb hand chased blued steel hands. Thirty day movement and large proportions, 5 turned shaped pillars, shaped plates engraved with maker’s name to rear plate and fitted with recoil escapement, Sun King pendulum

English mahogany cased bracket clock, 19th century on original wall bracket made by Smith & Son’s, of Clerkenwell, London.

1421 Malvern Road Malvern, Victoria 3144 Australia Au s t ra l i an An t i q u e a n d Art Deal e rs A s s oc iat i on

Ph: 03 9824 8244 Fax: 03 9824 4230 Email: michaelcolman@optusnet.net.au Website: www.colmanantiqueclocks.biz Member of the Watch and Clock Makers of Australia (formerly HGA) and the BHI

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VICTORIA ANTIQUES & ART IN NEW SOUTH WALES

3. 1.

7. 6.

10.

11.

1. Victorian miniature secretaire cabinet, c. 1860. Sold $2328

6. Brass telescope made by E.G. Wood (London), c. 1850. Sold $815

2. Large Chinese famille jaune floor vase bearing Guangxu mark (1875-1908). Sold $1398

7. IWC Novecento Perpetual Calendar wristwatch. Sold $10,485

3. Meiji period (1868-1912) Satsuma koro. Sold $2796; Meiji period (1868-1912) Satsuma vase. Sold $2563; Meiji period (1868-1912) Satsuma tea caddy. Sold $1398

8. Emerald and diamond line bracelet. Sold $2077

4. Bohemian art glass vase, attributed to Loetz, c. 1900. Sold $369; Tiffany Favrile iridescent glass trumpet vase, c. 1910. Sold $1384 5. Le Verre Francais ‘Charder’ glass cameo vase, c. 1925. Sold $2538; Le Verre Francais ‘Lauriers’ cameo vase, c. 1925. Sold $1154; Legras glass vase, c. 1910. Sold $1154

9. Claret jug, c. 1905. Sold $461l; Silver tea caddy made by Theodor Hartmann (Augsburg, Germany), c. 1904. Sold $634; Sterling silver salver made by Hawksworth Eyre & Co Ltd (London), c. 1917. Sold $577 10. Patek Phillipe ‘Caltrava’ Pp 1741, c. 1960. Sold $5126 11. Bonheur du jour, c. 1860. Sold $6347

AUCTION SCHEDULE 2011

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Fine and Decorative Arts Modern and Antique Jewellery Viewing a week prior to sale

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QUEENSLAND ANTIQUES & ART IN NEW SOUTH WALES

GAZETTE DU BON TON – ART MODES & FRIVOLITÉS The most influential fashion periodical of its time

azette du Bon Ton was without doubt the most influential fashion periodical of its time. It was published by Lucien Vogel in Paris between 1912 and 1925 – except between 1915 and 1920 (during World War I). Gazette du Bon Ton was circulated in Paris, London, Geneva and Buenos Aires, and was so much in demand that it was distributed by Condé Nast in the USA as Gazette du Bon Genre. Translated approximately as the ‘journal of good style - art, fashion and frivolities’ each monthly issue contained articles on theatre, travel, sport and other pursuits of the wealthy, interspersed with small illustrative sketches. Personal presentation was the main subject illustrated by pochoir fashion plates. The style and quality of the illustrations were the main reasons for the popularity of the Gazette. The finest artists of the day whose reputations were usually established outside the field of fashion used the distinctive pochoir (French for stencil) style of illustration to show the latest fashions by prominent French designers. In use from the 15th century, pochoir was a labour-intensive method of printing, with a different zinc stencil cut for each colour to prevent the colours running together during the printing process. The colouring was done by hand with gouache, watercolour and ink, by carefully placing each stencil in line with the previous one and building up the intensity of colour and nuance of the image with each successive application of stencil.

ARTISTS The illustrations had the distinctive styles of various artists. Among the most prominent and popular were the spectacular compositions by George Barbier (1882-1932), Pierre Brissaud (1885-1964), George Le Pape (1887-1971) and Andre Marty (1882-1974). The almost ethereal and free-flowing styles of Eduardo Garcia Benito and Pierre Mourgue also acquired a following, as did Charles Martin (1884-1934) whose pochoir illustrations for the short stories and fables of Jean de La Fontaine (1621-1695) were aptly more risqué than for the Gazette!

George Barbier was perhaps the most influential artist on the style adapted for the Gazette. Initially contributing illustrations to a number of humorous journals, Barbier exhibited at the Salon des Humoristes in 1910 under the name of Edouard William. From age 30, he established his reputation as painter and illustrator, exhibiting regularly at the Salon des Artistes Décorateurs and receiving many prizes. He contributed to many fashion periodicals, but mainly to the Gazette, with his imaginative presentation and confident style resulting in increasing demand for his work. As well as illustrating catalogues and books, Barbier created décor and costumes for music hall, theatre and cinema. In addition to illustrating the designs of prominent couturiers, Barbier illustrated many of his own designs. When its distributor Condé Nast acquired ownership of Gazette du Bon Ton in 1925, Barbier’s contract as a fashion illustrator was transferred along with that of Pierre Brissaud who also provided delightful fashion chronicles during his years with the publication. Many of their illustrations showed fashions worn in appropriate settings, posed with or accompanied by other stylishly attired individuals whose gestures and facial expressions provided a narrative of the situation, often with discrete symbolism for emphasis. For instance, Brissaud’s Wedding at a Chateau shows the bride and groom standing under a tree with cupid on a branch above while wedding guests look on. In several pochoir the appended caption describing the occasion depicted, particularly when indicating the niceties of polite behaviour, is probably as entertaining as the fashion study itself.

HAUTE couture fashion Unlike earlier times when designers did not receive recognition for their fashion creations, Gazette du Bon Ton usually named the

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designers whose work they illustrated. Between 1900 and 1925 there were around 20 haute couture fashion houses in Paris, with Charles Worth (1826-1895) the first couturier acknowledged for his influence on fashion worn by the general public. These illustrations circulated French designers’ introduction of new styles, probably the best-known today being Jeanne Lanvin. More prominent at the time was Paul Poiret who introduced the new straighter silhouette, illustrated first by Paul Iribe in Les Robes de Paul Poiret in 1908, then in Les Choses de Paul Poiret by George Lepape in 1911. Lepape later designed costumes for the Russian ballet whose bright colours greatly influenced him. As with Barbier and Brissaud, Lepape created many stylish pochoir illustrating his own fashion designs for the Gazette. Gazette du Bon Ton encapsulated an interesting period of fashion, starting nearly ten years prior to the 1920s when it was fashionable to drape fabric to accentuate the figure. By the early 1920s, fashion design completely departed from previous sedate styles, with skirt lengths considerably

shortened creating fashions that still appear modern today. The beautiful colour combinations, fabric and form were often incorporated in geometric designs that anticipated Art Deco whose classic simplicity and stylish lines are still popular. The lovely pochoir prints for Gazette du Bon Ton were excellent portraits of both the latest superior fashion and the lifestyle of the wealthy during the early Art Deco period. Since their initial publication they have been appreciated, collected and framed – the sporting images being particularly collectable. One series of pochoir combines fashion and sport in advertisements for the Citroën motorcar – showing fashions to be worn to view the sport – and the player in his element. By combining elegant fashion with delicacy and charm of presentation, the pochoir images from Gazette du Bon Ton appeal to all ages – both male and female ● Kathryn and Derek Nicholls ANTIQUE PRINT & MAP COMPANY 07 3368 1167 www.antiqueprintclub.com

Antique Print & Map Company Original pochoir from Paris circa 1913-1925, illustrating the latest fashions. Available at our Camford Square Gallery, corner Douglas & Dorsey Streets, MILTON Brisbane Wednesday to Friday 10am to 6pm, Saturday 10am to 4pm Phone (07) 3368 1167 Website www.antiqueprintclub.com Email sales@antiqueprintclub.com

Faithfulness Rewarded

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ANTIQUES & ART IN NEW SOUTH WALES

2011 AAADA MELBOURNE ANTIQUE AND ART SHOW breaks records!

t’s been years since Melbourne had an antique and art show worthy of this beautiful city so the inaugural AAADA Melbourne Antique and Art show was highly anticipated. Crowds flocked to the show held over the Mother’s Day weekend in the magnificent surroundings of the historic Royal Exhibition Building. It was a huge success with many saying that the Royal Exhibition Building in the Carlton Gardens was a fitting setting for the fine showing of the country’s best in antiques and art. From a half hour before opening, queues waited patiently to inspect the rare delights on offer from over 50 of the nation’s most respected dealers. Many dealers travelled from all over the country to display everything from exquisite jewellery to superb furniture, historic silver, paintings, carpets, antiquities and quirky collectables. Pieces had been especially sourced for the fair and not seen before. As with all AAADA events, every item on display had been vetted by experts for authenticity.

MOTHER’S DAY treats On Sunday, as part of Mother’s Day, mothers were given free entry. Adding an

extra flavour to the day, Wedgwood donated collector’s tins of special tea to the hundreds of mothers who attended. Quite a few were brought by their families for the special High Tea held in the show cafe.

SPECIAL FAIR displays The special guest displays were also a hit. Decollo Interiors and their outstanding display showed the art of mixing old and new. Visitors to the stand were inspired to look afresh at the way their own homes were decorated. Dr Genevieve Cummins’ remarkable display of 18th and 19th century costumes on mannequins were accessorised with decorative chatelaines and original costume watches, which were worn as fashion accessories in the same periods. Dr Cummins was on hand to sign her new release How The Watch Was Worn – A Fashion for 500 years. One visitor was heard to say ‘It was very lovely to meet Dr Genevieve Cummins – a real pleasure. Her knowledge and passion is outstanding.’ Other interesting exhibits were those of the National Trust, Furniture History Society and the Silver Society, who also provided details of their activities. All were pleased to be invited and even more delighted to be

signing up many new members to their respective organisations. By the show’s end, attendance figures were the highest recorded for any event organised by the Association in its long and successful history. Judging by the happy faces clutching carefully wrapped and precious items as they left, not everyone came simply to look and learn. Dealers subsequently reported that there were a number of sales after the fair’s close and follow up calls, adding to the lustre of this inaugural Melbourne event.

FUTURE events We are looking forward to next year’s antique and art show, and already have very interesting guest exhibitors lined up. Building on this year’s success, many more antique and art dealer members are wanting to take part in 2012. In the meantime, the next AAADA show will be held in Sydney in September and we can assure antique and art lovers that they are in for another wonderful experience. AAADA Show Sydney 2011 The Pavilion, Royal Randwick Racecourse Alison Road, Randwick NSW 7 – 11 September 2011

NSW LECTURE series Following on from the show, the popular lecture series run by New South Wales members will commence again in October. The program of eight lectures concludes at the beginning of December. The interesting and diverse subjects offered in the series gives you the opportunity to further knowledge on a favourite area of interest or perhaps pursue a new subject entirely. For further information and bookings please contact Adrienne Wilson: adriennewilson@iinet.net.au, telephone 02 9332 3882 or PO Box 649, Woollahra NSW 2025.

BUY well! Look for the AAADA logo in galleries, antique shops and centres as your guarantee of quality, expertise and good service.

FREE nationwide list Contact the AAADA office for a free nationwide list of members, services and Decollo Interiors stand

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educational workshops or log on to our website www.aaada.org.au. The site offers a good selection of stock and new pieces are being added all the time. As well as offering information about the AAADA shows in Melbourne and Sydney, the site is an easy way to establish contact with our members if looking for specific items or wish to sell. Seize the opportunity of having a ‘hands-on’ experience and the interaction of conversation with your local or interstate AAADA dealer ● AUSTRALIAN ANTIQUE & ART DEALERS ASSOCIATION 03 9576 2275 secaada@ozemail.com.au www.aaada.org.au

ANTIQUES & ART IN VICTORIA

Integrity guaranteed Meet the top people in antiques and art The Australian Antique and Art Dealers Association is the national body that links the country’s most respected antique & art market professionals. It insists on and ensures the highest levels of conduct and probity by its members. Dealing with an AAADA member assures you of quality, expertise and professional service. The AAADA Website Log on to a unique resource - a constantly changing shop window which will open your eyes to a wealth of treasures, as well as bringing you up-to-date news and articles from the antiques and art world.

AAADA Directory & Essential Buyers Guide Your printed guide to: – the shops, galleries and websites of the leading people in the antiques and art business, the people the experts deal with. – plus listings of service providers for all your restoration, conservation, framing and valuation needs. Order a free copy from secaada@ozemail.com.au or telephone 03 9576 2275

Visit www.aaada.org.au

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ANTIQUES & ART IN NEW SOUTH WALES

Khottan

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CADRYS IS BRINGING A SPECIAL COLLECTION TO AUSTRALIA

andahar is a special collection exclusive to Cadrys. The designs, based on ancient motifs, have resulted in floor furnishings that will add distinction to any room where they are featured. These beautiful creations are woven in Afghanistan of the finest of hand-spun wools. The colours, created using natural dyes, ensure that the rugs are a successful blending of a modern colour palette with the charm if an even worn vintage appearance. Robert, Mark and Jared Cadry talk about this new collection that has taken the American and European markets by storm and now is available for the Australian market. Robert says that he was introduced to the collection through a very close friend and leading dealer from Milan. ‘I was really surprised; they have a unique handle exactly like an evenly worn antique collector’s piece. The exquisite refined traditional designs are based on 16th century masterpieces yet with the amazing restrained colour palette that can look as comfortable in an ultra-modern setting as in a traditional environment.’ Mark also was very taken with the collection. ‘I can truly say I had never seen something so beautiful and eye-catching, we were all amazed. Jared comments that ‘for

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me, being at my first trade show with Dad and Mark was amazing, but when we discovered these rugs, I too was in awe.’ As Mark says, ‘In essence, they have created their own category – like a modern classic or a transitional work of art.’ Robert further points out that typically the designs are based on the finest antique rugs from the 16th to18th centuries and cover famous rug making regions of Persia, Turkmenistan, Agra and Khottan. Cadrys are known for their classic and contemporary collections, and the Ariana collection adds another dimension to the range of designs based on traditional motifs, but which are as appealing in a modern, uncluttered space as in a classic setting. Visit their showroom and you’ll see that rugs are not just a business, but also a tradition. Discover for yourself the inherent beauty and lasting quality that only a hand-woven rug from Cadrys can offer and let their timeless appeal and charm enhance your surroundings ●

For more information contact CADRYS 02 9328 6144 www.cadrys.com.au

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THE COUNTRY TRADER DISCOVER SYDNEY’S ANTIQUE AND DESIGN RESOURCE

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Opening Hours: See website for details PYD Building - 197 Young Street Waterloo 2017 Tel: 02 9698 4661

Online Gallery: www.thecountrytrader.com.au