Antiques & Art in NSW by World of Antiques & Art

antiques&art IN NEW SOUTH WALES

SEPTEMBER DECEMBER 2012

QUEEN STREET

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

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antiques &art ISSN 0813-9296

IN NEW SOUTH WALES

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A wonderful quality French crystal vase, with gold leafed interior and vitreous enamel scenes painted on the exterior of all four sides. Depicting ducks and foliage on two sides, the other butterflies, c. 1860, possibly Baccarat

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

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Right: George II chest of drawers, c. 1750 Below: Example of an early chest with carved initials and dates

THE AGE OF OAK I

n my next series of articles, I thought it would be interesting to look at specific timbers and their uses in furniture construction. In particular, I will focus on country or farmhouse furniture, beginning with English country oak furniture. Most furniture historians recognise the age of oak as being from around 1500 to 1660. The trees growing in medieval England were all hardwoods with oak being the most widely used because of its strength, durability and reluctance to warp or crack. Oak lent itself well to sturdy construction as well as to carving. Many country furniture pieces were often constructed from a variety of timbers used together, as in a Windsor chair, which may comprise elm, oak and ash, or a chest of drawers which may be oak, yew, and walnut. Oak furniture seems to have become a generic term applied to country-made pieces – as opposed to more sophisticated city counterparts – and includes coffers, chests, dressers, cupboards, large farm tables, sideboards, carved hutches and armoires, tables, stools and chairs. Changes in social trends saw a preference for dining privately rather than the prior semi-

public tradition resulting in a greater ease of conversation and seeing – hence trestles and long tables became oval and circular in design, accompanied by an increase in backed chairs rather than stools. This reflected a social order moving away from feudalism toward democracy. Today settles are also popular furniture items. Originally set next to the hearth, they usually seated two to four people with their backs often reaching to the floor to prevent draughts. Although these pieces always have backs, they are often, and inaccurately, referred to as ‘hall benches’, a result of the Victorians who were responsible for moving them from the living /working areas to the entrance hall. It’s little wonder they have retained their popularity with owners and decorators to this day, as most were multipurpose often offering storage under the seat or having drawers incorporated.

DECORATIVE CHARM In history, country furniture is often forgotten or relegated to a tiny section at the back. There were no patterns available for construction of everyday furniture, as with Chippendale and Hepplewhite in the 18th

century. Farmhouse furniture was rarely stamped and can be very difficult to date however some cabinetmakers, or ‘joyners’, would carve the piece with the date, and with either their initials or those of the individual who had commissioned it. Many other guilds, such as metal workers, pewterers, silversmiths or armourers, were obliged to sign their work with their initials in order that it might be subsequently identified. Outstanding craftsmanship in oak country furniture is often apparent, particularly with the advent of the Trade Guild of Joyners and Carvers in 1576. English carvers were close to folk artists. Scratch carving was the simplest form of decoration, although strictly speaking, it wasn’t carving, as these linear designs were scratched into the surface with a sharp pointed tool or small V-shaped gouge often combined with punched decoration, usually of small circles. The most typical carving of this time period, which was concentrated in the Jacobean era, was sunk or flat: the background was carved out with a chisel, leaving the design on a flat surface. The visual vocabulary of Jacobean carving saw popular motifs fall broadly into four categories: architectural, botanical, geometric and figural. Carving was expensive however,

so it was limited on modest pieces, sometimes to the rails and stiles or only to the panels. Rails and stiles were often carved with bands of running motifs. The panels within them allowed greater scope, often being filled with the aforementioned popular designs of the day, ranging from stylised flowers and foliage to abstract geometric patterns. Rustic, simple furniture does have a unique charm, particularly if it has achieved a glorious colour and patina from daily use and polishing. In today’s world, rustic farmhouse furniture is highly sought after, especially among younger buyers, as it teams well with modern chairs as well as contemporary art while imbuing warmth to the hard and sometimes cold architecture of today. Although oak was the chief timber used up to 1660, walnut became a popular choice for furniture after that date, as did elm and mahogany after 1725. Other more modish timbers suffered the aberration of fashion, apparently in cycles of 60 to 80 years. However, oak remained the popular choice until well into the 19th century. If, like me, you like Olde English, here are some novel descriptions from one of my favourite books, Oak Furniture, the British Tradition, by Victor Chinnery. They are referenced from ‘the earliest explicit inventory’ 1558...a new joined drawing table... 1565...a short two-leaved table... 1570...my leaf table of peartree... 1582...a table shot with leaves... 1586...Imprimis. A table board to draw out at both ends... one drawing table of ash and oake... 1594...one drawing table of wallnuttree cutt and carved of three leaves longe... 1603...one long joined borde wt. A frame and a piece wt. A foote to enlarge it in length... 1671...In the Hall...one drawing Table & 5 stooles... 1687...one table & one old table leaf...

Queen Ann dresser base, c. 1710

Example of a 17th century Windsor chair

Sally Beresford SALLY BERESFORD ANTIQUES 02 9362 1733 info@sallyberesford.com.au www.sallyberesford.com.au

Editorial Content COVER Henri de Toulouse-Lautrec Jane Avril 1899 brush colour lithograph, 56.0 x 29.8 cm National Gallery of Australia, Canberra The Poynton Bequest 2011 See page 94

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The age of oak – Sally Beresford

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Effective style tips from the Country Trader

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Queen Street – gateway to Banjo Patterson, Aboriginal art and heritage – Susanne Gervay

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Collecting fetish carvings – native American Zuni arts – Jeannette Arif

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The quest for the finest in fashion illustration – Derek & Kathryn Nicholls

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Textiles and the Sultan’s garden

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

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Pack & Send art and antique specialists

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Introducing Find Lots Online, Australia’s fastest growing online auction portal

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From a special place: Burmese Buddhist arts

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Sydney set to come alive with art this September at the Art Expo

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Love Vintage Show returns to Sydney in September

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Collecting Bakelite jewellery

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German master gilder reveals the secrets of this ancient craft

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Timeless elements

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

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‘Wrist-mas’ gift suggestions – Tammy Palmer

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Capturing flora at the Art Gallery of Ballarat

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What is Doug Up On Bourke?

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Savi Maurizio Furniture the Italian recipe for success

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New York style – Beverley Brown

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Mitchell Road Antique & Design Centre for the unusual and exciting

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Victorian fascination with hair-work jewellery

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Collector proof coins 1955 – 1963

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Aaron Upholstery built on a legacy of quality – Graeme Scanlon

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Pack & Send at Botany

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Noble Numismatics sale 100 realises $3.7 million – Jim Noble

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Centenary of the Titanic remembered at the Australian National Maritime Museum – Shirani Aththas

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Classic vessels captivate at this year’s Classic & Wooden Boat Festival – Jude Timms

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At the Australian National Maritime Museum – a snapshot of Australian design – Penny Hyde

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The history of the Aladdin incandescent mantle lamp

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It’s not just about the plating

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Wedgwood – synonymous with quality

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Australia, with reindeer and elephant

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Why everyone is talking about the Southern Antique Centre – a treasure hunt with lunch

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For Marie Antoinette heaven was Le Petit Trianon

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For the love of antiquities

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Insight into Shellac – drawn from nature and applied to furniture – Garry Auton

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Life’s journey traced through a rescued chair – David Foster

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Adieu to Annandale means bargains for astute collectors – Jane Rush

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

VALUE ADDED @worldaa.com NOW ONLINE Australia’s foremost magazines on the decorative arts antiques, art & collecting vintage & retro Need to contact your local dealer but don’t have a copy of your state’s Antiques & Art? Problem solved – log on and read online. Peruse World of Antiques & Art – the most authoritative magazine on the decorative (antiques) and fine arts in Australia. A portal to national and international collecting trends, subscribe to the online edition and SAVE! Check out Collectables Trader – subscribe to the online editions and save! Australia’s only bi-monthly magazine on vintage, retro and collectables.

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

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

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Ussed & Abbussed: The Department Store

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A distinctive Victorian accessory becomes a modern jewellery statement – Paula Rutledge

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Islington Antiques in Newcastle since 1990

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Explore Newcastle’s Centenary Antique Centre for all kinds of treasures – Narelle Ward

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Big things at Rare Find Country Antiques

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Windsor and Hawkesbury antiques and collectables trail

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Especially for the guys at historic Windsor

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The scenic Hunter Valley – perfect for antique hunters

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Victory Theatre at the Blue Mountains: a significant historical site – Jana Byrne

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Just like mother’s – Jane Crowley

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Longbarn opens ‘String’ as new stock arrives from France

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Canberra’s springtime fair in review

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Carol Jerrems at the National Gallery of Australia – Gael Newton

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

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The Forrest Hotel and Apartments

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The beginnings of time in horology 1300 – 1500 – Michael Colman

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The Australian Antique and Art Dealers Association

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

NOTICE The publishers reserve the right to refuse and edit material. The opinions expressed in this publication are not necessarily those of the publisher. No responsibility will be taken for any decision made by the reader as a result of such opinions.

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Out & about OPENING NIGHT AT THE AAADA SYDNEY ANTIQUES SHOW Held in early August, the new venue, plus superb antiques and art for sale, made the opening night of the Australian Antique and Art Dealers Association’s Sydney Show an outstanding success. Dealers reported the heritage Byron Kennedy Hall at the Entertainment Quarter, Moore Park, Sydney was the perfect setting to display their treasures and a significant number of beautiful items changed hands on the night. This is Sydney’s most prestigious antique and art fair with something for everyone; from the most affordable collectables to world-class antiques worth many thousands, so it was not surprising that many guests asked for pass-outs to return on the remaining show days.

Ken Rutherford at Judith Rutherford’s, Sydney

Sydney’s Anne Schofield

Customers at Liz Stevens’ Chiltons stand

Martin Gallon of Melbourne

Paul Rosenberg from Moorabool Antique Galleries, Melbourne

Robyn Carmody

Craig Broadfield from Leven Antiques, Tasmania

Christopher Day from Sydney

Opening night crowds

FROM PERTH TO EAST SYDNEY A show of new works by Perthbased artist Eveline Kotai opened in early August at the Conny Dietzschold Gallery in Crown Street, East Sydney. The exhibition titled Infinite Threads showcased 20 of her finest new works, which explores the concept of recycled art. This was Eveline’s second major exhibition in Sydney. To date she has shown her works in four international fairs including Singapore, Korea and Hong Kong.

Eveline Kotai

Elizabeth Day and Tom Loveday

Gallery guests

LOVE VINTAGE AT THE HORDERN PAVILION After six years in the inner-west of Sydney, the bi-annual Sydney Love Vintage Show was held at the Hordern Pavilion for the first time in March this year. The show brought vintage style to the eastern suburbs and attracted many thousands of new visitors to the event. Highlights included the beautiful wedding dress parade from Forever Vintage as well as an amazing salon parade by Bonnie Rose Vintage which featured jewellery, designer sunglasses, hats and handbags sourced from exhibitors at the show. All pictures by Ian Barry Candice DeVille modelling in the Bonnie Rose Vintage parade

A couple collect a goodie bag from sponsors, PepperPink Jewellery

Best Dressed in Vintage winner

The Sydney Swing Katz had the crowd jumpinâ&#x20AC;&#x2122;

Casey Simms from Forever Vintage Dressed in style

Foxtrot India on the catwalk The girls from My 50s Closet

CADRYS CELEBRATES 60 YEARS Marking 60 years of trading in Sydney, the Cadry family held a special exhibition of rare woven rugs drawn from their private collection. The exhibition was officially opened by the Mayor of Woollahra, Cr Susan Wynne and in honour of the occasion, the Cadry family presented a donation to the Sydney Childrenâ&#x20AC;&#x2122;s Hospital.

Cr Susan Wynne, Mayor of Woollahra

Eddy, Mark and Bob Cadry

Ari, Bob and Jared Cadry

Hayley Fitzmaurice and David Lennie

Sue Kontich and Margaret Megard

Tess Regan and Lucy McCabe

Harry Roberts and David Novak-Piper

Professor Les White and Eddy Cadry

Tom and Kim O'Connor

Natalie and Robert Dabscheck

Karen and Ben Kresner

Helen and Eddy Cadry

Vanessa Coyler Tay and Claire Patience

Sally Cambell, Ari Cadry and Siabella Court

Dana Ciaccia, Colleen Black and Nicky Lobo

Ari Cadry, Jodie Kingman, Natasha Levak and Holly Brown

Helen Lennie, Jason Elderhurst, David Hicks and David Lennie

EFFECTIVE STYLE TIPS from The Country Trader

he Country Trader, one of the most famous interior design furniture sources in Sydney, specialises in exceptional and remarkable furniture, promoting the art of living well in a very sophisticated but unpretentious way. Latest additions to the expansive range of furniture and home décor items available at The Country Trader include a great array of cupboards, armoires, cabinets and bookshelves. Design, provenance and style are all of the highest order at The Country Trader. From kitchen cupboards that inspire laid-back living to cabinets of curiosity, the shelf is nowadays more than just an organisational tool; it is probably one of the hottest spots in the home to display individual style.

CREATING AMBIENCE Accessorising the home is something very personal, but following some great tips is always useful to recreate a unique style, like that of The Country Trader. Softening a room with open storage tends to work best in the kitchen where having your porcelain and pans on display will lend instant rustic appeal to the room. Effortless and informal, while not for everyone, you don’t have to be a neat freak to pull it off. As for the scale, go as big or as little as you dare, from a French armoire that becomes the heart of the room, to just a few simple hooks.

MINIMALISM IS OUT At The Country Trader we believe life is too short for minimalism. If you love something, exhibit it! A hallway console or empty bookshelf can be the perfect spot to display some of your favourite objects. Beautiful

items work great when stylistically grouped by theme or even when gloriously mismatched. Don’t be shy, looks often rely on boldness!

PUTTING A DISPLAY TOGETHER If the idea of having random objects on display is intimidating, grouping objects by colour will give instant interior style. Be it an eye-catching bold or plain white glass, porcelain or paint – play with varying textures and tones and the display will look stunning. For a little bit of daring, always contrast the colour of the shelf.

FURNITURE DESIGNS THAT WORK The imagery gives a taste of the exquisite design options possible within the new range of furniture available at The Country Trader, including great 19th century style inspired cabinets that have been designed to suit a modern lifestyle by offering adjustable shelves.

FIND US The Country Trader presents the largest collection of decorative furnishing offerings in Australia and is located at the pyd building in Waterloo, a design-driven centre built with the purpose of retailing unique objects and leading home décor brands, an obvious destination for those who want to keep abreast of the latest trends. THE COUNTRY TRADER 02 9698 4661 mail@thecountrytrader.com.au

WOOLLAHRA Far left: Yinarupa Nangala, Ancient Women Left: Kudditji Kngwarreye, My Country

SPECIAL EXHIBITION OF ABORIGINAL ART AT THE HUGHENDEN 22 SEPTEMBER 2012 AN OPEN INVITATION

Queen Street – gateway to

Banjo Patterson, Aboriginal art and heritage

ueen Street is the gateway to the largest expanse of Victorian architecture in Australia, with its wrought iron terraces and grand houses such as Waimea, Shorewell, St Kevin’s and The Hughenden. An arts and heritage precinct, Queen Street was home to Banjo Patterson author of Waltzing Matilda, Dame Joan Sutherland – one of the world’s greatest opera singers, Barzillai Quaife, Australia’s first philosopher, prime ministers, film makers, artists and writers. If you miss actor and entertainer Barry Humphries wandering along Queen Street, drop into The Hughenden to enjoy the Barry Humphries-Dame Edna portrait by artist Jules Sevelson. At the crossroads of Queen and Oxford Street is Centennial Parklands, 189 hectares of Victorian parklands opened to the public by Sir Henry Parkes in 1888. Traditionally home to the Gadi people, it features formal gardens, ponds, grand avenues, statues – including a rare statue of Charles Dickens – historic buildings and is a venue for art and cultural events, a fitting place for Australia to be declared a nation on 1 January 1901.

ART GALLERIES TO VISIT The Queen Street art galleries of Rex Irwin, Istral, Asian Art, Dickerson Galleries and others are an entree to the arts community of Paddington-Woollahra. Discover the 18th century Myanmar kalaga, a tapestry of exquisitely woven gold and silver silk threads, sequins, wool, glass and beading in The Hughenden foyer. Stories from Buddhism’s Jataka tales and the Hindu epic Ramaya Hinduism are woven into the tapestry with its symbols of purity, white elephants, peacocks and hintha birds. Climb the Victorian staircase into Rex Irwin Galleries and view new exhibitions as well as Aboriginal artworks, Lucian Freud and Pablo Picasso. Venture into the Dickerson Gallery to enjoy original Dickerson paintings as well as new exhibitions. The Dr Seuss Gallery is a treasure with original works as well as limited print editions of the artwork of Cat in the Hat, the Sneetches, Horton, the Lorax and Yertle the Turtle. Uncover original Australian children’s illustrations in the Reading Room of The Hughenden or Stephen James’ powerful portraits of renowned Australian author Amanda Lohrey and director of the

Dr Garry Darby, academic and author specialising in Aboriginal art, is holding a selling exhibition of Aboriginal art from the central and western deserts of Australia. Works will include Gloria and Kathleen Petyarre, Lindsay Bird, Kudditji Kngwarreye, Debra McDonald Nangala, George Milpurrurru, Janet Long Nakamarra, Anna Price, Marcia Turner, Colleen Wallace, Yinarupa Nangala, Thomas Tjapaltjarri, Nellie Marks Nakamarra and other leading indigenous artists. There will be a feature of the desert art of Yinarupa Nangala, winner of the Telstra 2009 General Painting Award and Thomas Tjapaltjarri of the Pintubi 9 – one of the last nomads to leave the western desert in 1984. It is an opportune way to start or expand a collection with prices ranging from $65 to $20,000. The one-day exhibition runs from 10 am to 6 pm and Dr Darby is giving a lecture ‘The triumph of Desert art’ at 2.30 pm. For more information contact Dr Garry Darby on 02 9583 9916.

Brandenburg Orchestra, Paul Dwyer. Archibald winner artist Wendy Sharpe’s small self portrait contained in her hand-made frame is a rare work. Exhibitions, openings, heritage, the arts are the Queen Street experience.

To find out more about THE HUGHENDEN Free call 1800 642 432 reservations@thehughenden.com.au www.thehughenden.com.au

Thomas Tjapaltjarri, Tingari Ancestors

Your boutique Sydney escape • LITERARY EVENTS • ART EXHIBITIONS • RESTAURANT, PRIVATE DINING, CONFERENCE & FUNCTION ROOMS The Hughenden c. 1870, associated with Australia’s first philosopher Barzillai Quaife, is home to literature & the arts. Discover the works of Archibald artist Wendy Sharpe; 1930s Laurent works; c. 1850 painting of the Victorian girl, artist unknown. Jazz & musical evenings, art exhibitions and books are part of Hughenden life.

FROM

INCLUDING BREAKFAST IN A COSY ROOM

VALID SUN TO THURS

HUGHENDEN BOUTIQUE HOTEL 14 Queen Street, Woollahra, Sydney

www.thehughenden.com.au 02 9363 4863

Free Call 1800 642 432 9

Leekya and with his second wife Juanita photographed by Adair, 1940s

all types of animals and birds as well as leaves. His popularity among the traders and his skill in carving the turquoise and other stones were instrumental in putting fetish carving on the map. Later in life his work became more refined, due to more sophisticated equipment such as electrical tools however his earlier works, created with hand tools, are considered just as highly collectable today.

TRADING UP

Leekya

Collecting fetish carvings

NATIVE AMERICAN ZUNI ARTS THE FETISH IN A NUTSHELL

ook inside the purse of a fetish collector and you may find a little turquoise frog staring at you between the notes. It hasn’t just leapt in there but has been deliberately placed there to provide its owner with prosperity and wealth. The fetish acts as a magical talisman, believes the Zuni tribe of South-West United States. They mainly depict animals however carvings of people also exist. Ranging in size from a five cent coin to around 14cm in height, fetishes are hand carved from semi-precious stones such turquoise – the stone of protection – and other stones including jet, Picasso marble, alabaster, serpentine, black marble, dolomite and fluorite as well as glass, shell and bone.

THE RITE STUFF The Zuni people call themselves Ashiwi (ahSHEE-wee, which they write A:shiwi), a Pueblo Indian society of about 9,000 living on the Pueblo of Zuni in western New Mexico. Their intricate religion consists of six sects: within those sects are other divisions, each with its own religious calendar, priests and rites. The Zuni philosophy teaches that the human life exists in the spirit world, in various ways and forms, such as animal beings. It is not surprising that they created the fetish. The mille (MEE-lee) is the most commonly used fetish among the Zuni, given to the individual at the time of initiation into a religious sect. The ettone (EH-tone-eh) is traditionally the most important fetish among the Zuni, as it is associated with the Rainmakers,

Throughout most of his life he sourced stones at the Zuni community of Pescado. Joseph Baldwin Tanner, colloquially known as JB, would trade turquoise from his mine in Southern Arizona in return for Leekya’s beads. The grandson of JB, Joe Tanner, reported: ‘Old man Leekya was one of the best traders of his time.’ Leekya sold much of his work through traders such as the Kelseys, the Vander Wagens, the Kirks, John Kennedy, Joe Tanner and C.G. Wallace. The story goes that the most influential of those traders in Leekya’s life was Wallace because he sold so much of his work which furthered Leekya’s fame. Contrary to this popular legend, it is also said that Leekya worked for himself and traded with whom he pleased; that if Leekya did favour any traders, it was the Kirk family. It is also said that Leekya was prolific and

Jewellery made by Leekya

would bring in fetishes by the bucket-load both for stringing and standing fetishes, selling them for three dollars each.

INDIGENOUS AND INDIVIDUAL VALUE Originally for traditional and ceremonial purpose, Native America Indian jewellery was converted by Wallace, along with the other aforementioned traders, for commercial gain. Wallace supplied the carvers with studios in which to work plus tools and materials. He believed that keeping the indigenous influences in their work was paramount to

which is one of the six religious sects. Today, fetishes are often displayed on shelves or in cabinets with a little bowl of cornmeal, to sustain mystic power to their owner. Fetishes are often given as gifts for myriad reasons: A frog fetish would be given for fertility or prosperity; a bear fetish would enhance strength and longevity in life; a snake fetish would be given for direction, as it is known as the pathfinder; while a horse fetish would provide a talisman for safe travel. Three carvers who were prolific in the early to middle 20th century were Leo Poblano, Teddy Weahkee and Leekya Deyuse.

LEEKYA DEYUSE (1889-1966) MOST FAMOUS CARVER Among the Zuni carvers, the most prominent is Leekya Deyuse (LEEK-yah DAY-you-see). Known unquestionably as the most famous fetish carver in the history of Zuni, he was a great innovator of his time. Leekya Deyuse was a well-known bead maker long before his famous carved figurines. He started carving in the 1930s and worked for many years for noted Zuni traders, creating some of the finest carvings in Zuni. He is acknowledged by John Adair, an American anthropologist, as one of the ‘most expert-turquoise workers in the village.’ In his long career Leekya produced exquisite fetish necklaces, turquoise figurines and pieces set into jewellery, as he was commissioned by other artists to collaborate with their designs. For subjects, he favoured

Leekya, C.G. Wallace, Teddy Weahkee. Archival photograph, 1940. Courtesy KA Wallace archives

DOUBLE BAY

JENNIFER’S 2012 RETURN FROM THE SOUTHWEST BUYING TRIP COLLECTION • Extraordinary Leekya Deyuse necklaces, rings and earrings • McKee Platero pins and cufflinks • Inlay link belt by Teddy Weahkee • Linked bracelet by Frank Patania set with Bisbee turquoise • H.H. Begay bracelets, buckle and large coral cluster ring • Outstanding jewellery by Dan Simplicio, lush coral and turquoise sets • Silver jewellery by Kenny Begay • New jewellery pieces by Laguna silversmith Greg Lewis, old style work • Great collection of exotic vintage rings • Early Navajo silver button collection • Blue gem turquoise cuff and matching ring by Perry Shorty • Cuffs and rings by Mike Bird • A special collection of earrings by Keri Attumbi especially designed for Australia • Large new selection of fetishes from the Zuni Pueblo • New pieces by Cody Sanderson • John Gorden Leake pin and ring • A selection of great early earrings • Leo Poblano inlay jewellery • Eight turquoise joclahs • Early heishi and silver necklaces

11/28 Cross St, Double Bay 2028

02 9328 7951 www.fourwindsgallery.com.au their individuality. ‘I never ceased to impress on them that they should stay with traditional and do unique pieces. Individuality and authenticity are what made Indian jewellery valuable,’ Wallace said. (Vonier 1975) Adair, who in the early-1940s photographed Leekya with his second wife Juanita, said in his book The Navajo and Pueblo Silversmiths: ‘Their jewellery is the epitome of good taste… their turquoise is the envy of every man and woman in the village.’ Leekya was also employed as a workman at the Zuni ancestral village of Hawikku Pueblo, helping the archaeological field crew unearth stone. Leekya would study a stone until he would visualize the figure to be carved from it.

LEEKYA’S LEGACY OF ARTISANS No known records of Leekya’s parents exist. However, we do know that he had three brothers named, Charlie (Chethleh), Alec (Egpayle), Matza (Maytse) and a sister named Tsawaseyeytsa. His first wife, Tsalagtestsa, died in 1919. Leekya’s second wife was Juanita Cooyate and together they had seven children who all learnt the craft of carving. It is believed that Leekya himself claimed that his family name, Deyuse, was incorrect and requested that his children all use the surname Leekya instead. Elizabeth Leekya became a jeweller and married the famous inlay jeweller, Frank Vacit. Alice Leekya (died 1988) also became a notable fetish carver. Alice married Bernard Homer, Sr. Their children carve in the traditional family style. In the Homer family, Lambert Sr and Lambert Jr were excellent inlay artists but rarely carved fetishes. Today, many of Lambert Jr’s children work in a range of styles. Peter Leekya perished in World War II. Francis Leekya, became a talented jeweller and fetish carver in her later years. Her descendants carve in the old family style,

often in ‘Zuni stone’, known as travertine from the reservation area. Robert Leekya was a prominent jeweller in the 1970s, creating jewellery with turquoise nuggets. Roger Leekya became a recognised channel inlay worker. Sarah Leekya also is a respected jeweller, creating fetishes closely resembling that of her father’s. Leekya’s niece, Sadie married Morris Laahty (died 1987), a talented inlay jeweller and fetish carver. Sadie passed away in 1990 and their son Ricky, carries on the tradition.

ZUNI STONEMASTER Leekya’s work is known for its fine, stylised detail. One of his favourite subjects was bears and other animals he liked carving included wolves, livestock and the most beautiful birds as well as leaves. Leekya’s leaves were often set into silver and only a few were strung unset in the necklace. He also made human figures, often representing Zuni villagers, and was one of the first to do so along with Teddy Weahkee. Leekya’s fetishes often feature uplifted and slightly turned heads, folds in the skin and open mouths, that some say, seem to be smiling. The carvings themselves are well polished and inlay work is used for the eyes. Fetishes made for silver work were created with flat geometric bases ground down to accommodate a bezel. The little ‘tab’, another of Leekya’s touches, was carved on the bottom of his figurines. This is where he drilled the hole for stringing, so that the figure stood out from the necklace. Leekya never signed or scribed an attribution on his pieces. Therefore, reproductions of his work, usually poorly done, are not uncommon and a trained eye is necessary to ascertain if it’s an original piece. So admired was his work that it was not unusual for it to be incorporated into other

jewellers‘ pieces such as for noted artist Dan Simplicio Sr as well as Teddy Weahkee.

today, family members of Leekya are using this stone and know where to source it.

TOOLS

A COLLECTOR’S MUST-HAVE

The tools Leekya used consisted of a hammer, chisel, many files and cutting instruments. Also in his toolkit were watchmakers’ files and cutting tools imported from Switzerland. He used a hand grinder most of his life, but in his later years moved to electrical equipment.

To this day, Native American Indian jewellery and fetish collectors consider that their collection isn’t complete without a piece from Leekya. The demand for his art is so great, attaining some of the highest prices in the Native American Indian jewellery market. His artistry continues to be shown in countless books, magazines and museums. Leekya’s gift lives on in the hearts… and purses of many.

MATERIALS Leekya’s traders would provide him with expensive turquoise and coral for carving. Other materials Leekya enjoyed using were clam and abalone shell as well as some of the finest nutria rock, agate and travertine. His favourite material was a native travertine called ‘Zuni rock’ or ‘Zuni stone’, which later became known as the ‘Leekya rock’. Still

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

The quest for the finest in fashion illustration F rench haute couture has always been appreciated, and talented artists were employed to introduce designers’ fashions to the public. The Musée des Artes Décoratifs at the Louvre in Paris displays fine examples of fashion – as well as the elegant illustrations by eminent fashion artists. In the 19th and early 20th century, only the privileged could afford a subscription to an exclusive fashion magazine. When new fashion designs were not worn, they were enjoyed in the magazine’s beautiful pochoir illustrations that were framed and hung on walls. Pochoir, the French word for stencil, has been used worldwide since this fashion illustration method was perfected by the French in the Art Deco period.

THE ORIGINAL LUXURY PERIODICAL The first and rarest of the luxury periodicals that used this method of illustration was Journal des Dames et des Modes (Costumes Parisien). Couturier Paul Poiret adopted this name from a periodical that was first produced early in the 17th century. Between June 1912 and August 1914 (until the outbreak of World War I), Poiret published his own Journal des Dames et des Modes (Costumes Parisien) on thick Holland paper. Poiret included fashion notes and short sections of poetry (perhaps to appeal to the ladies?) – and featured beautiful pochoir fashion plates. Around 180 different images were produced during the period of publication. Each exquisitely drawn image required up to 30 different stencils to be cut for the finesse acquired by skilled pochoir fashion artists in the layering of gouache and watercolour by hand. Fashion artists included Umberto Brunelleschii and Léon Bakst, who were also designers. Charming pochoir illustrations were also contributed by Armand Vallee, Roger Broders, Etienne Drian, Pierre Legrain and Gerda Wegener, as well as many other fine artists. The outstanding fashion illustrations by George Barbier, however, were (and still are) the most in demand. Barbier made his debut as a fashion designer during the few years this periodical was published. It is a shame that these wonderful little pochoir illustrations are rarely seen today. Perhaps Poiret was over-ambitious in publishing such painstaking and expensive

work three times each month – or perhaps he was made a better offer?

GAZETTE DU BON TON

Slightly larger, and simultaneously published, Gazette du Bon Ton: arts-modes et frivolities included literary works, lifestyle advice, information on how and where the latest fashions should be worn, and beautiful pochoir illustrations. Paul Poiret was among the major couturiers who signed contracts so that their designs could be introduced to the public by this magazine. Designers Madeleine Cheruit, Georges Doeuillet, Jacques Doucet, Jean Paquin, Poiret, Redfern & Sons, and Charles Worth all had a following, but designs by Worth were more often worn by the general public. The designer who is perhaps best known today is Jeanne Lanvin, whose wonderful designs for children were also showcased in this magazine. Lucien Vogel published ten editions of Gazette du Bon Ton each year from 1913 (except during the war), until the magazine was taken over by Condé Nast (publishers of Vogue) in 1925. Printed on thick paper, the pochoir were created similarly to those for Journal des Dames et des Modes (Costumes Parisien).

FASHION PLATES TO COLLECT There were eight hand-coloured fashion studies in each edition for Gazette du Bon Ton which sometimes included a double-size pochoir with its central fold attached by a slip of paper so as not to damage the image. The most beautiful fashion plate is undoubtedly

the only one that folded out twice. This superb pochoir displays 20 fashion designers’ latest evening gowns in a beautiful evening scene on a terrace in the south of France. Fashions of prominent designers were illustrated by charming fashion narratives which often included groups and settings, often accompanied by humorous captions. ‘Croquis’ (sketches), mostly illustrated by the David sisters, were based on the styles of the latest fashions, and were shown simply and elegantly, with no background scene.

ARTISTS OF NOTE

The most regular contributors to the Gazette du Bon Ton were George Barbier, Pierre Brissaud, George Lepape, and André-Edouard Marty. Other prominent artists included Charles Martin, Léon Bakst, Erté, Umberto Brunelleschi, Paul Iribe, Bernard Boutet de Monvel, H. Robert Dammy, and Fernand Siméon. Etienne Drian also provided charming pochoir plates. These delightful fashion illustrations captured the spirit of the era they were painted. Many of the designs are still relevant today – and not as retro-fashion. The beautiful pochoir illustrations of Parisian fashion for Gazette du Bon Ton and Journal des Dames et des Modes (Costumes Parisiens) are treasured, not only as fashion, but also for their artistic value – particularly when framed for wall decoration. Kathryn and Derek Nicholls ANTIQUE PRINT CLUB-HOUSE 07 5525 1363 sales@antiqueprintclub.com www.antiqueprintclub.com

PYRMONT

Blue Mosque

Detail of tiles decorating Topkapi Palace ceiling

Topkapi Palace – on the Golden Horn of the Bosporus

Topkapi Palace ceiling

TEXTILES AND THE SULTAN’S GARDEN I n this edition I decided to not write about the technical side of my work but rather look at the textile industry in Turkey. We begin our journey in Istanbul, the only city that sits on two continents. Here the European and Asian continents meet at the famous Bosporus River, and guarding the entrance to the river sits Topkapi Palace, home of the Ottoman Empire sultans. The initial construction of the palace was at the direction of Mehmet II in 1453. Over the centuries the palace grew to become more like a city complex consisting of courts, chambers, pavilions and annexes. Although the ravages of time have destroyed many of the earliest buildings the original 15th century architectural design is still intact and today the palace is a museum. Topkapi Palace is well known for holding some of the most important holy relics of the Muslim world. Among the many treasures housed in this amazing complex are Koran covers decorated with pearls for the personal use of the sultans. The palace, situated at the Golden Horn of the Bosporus, has a view that everyone should have on their bucket list of places to visit. It’s like Disney World for historians. In fact, this can be said for the entire country. Turkey is renowned for its dedication to the textiles industry. Every city has its own unique story and this is embedded in their work. Rugs from the same group of workshops in a specific city for example, tend to be alike structurally. Kilims, which are pileless fabrics, were made for local use. Contact between the Ottoman sultans and European artists was extensive. European artists as early as the 15th century started to

introduce Islamic art objects and symbols into their religious paintings. Among the images incorporated into the art were carpets. Very early representations, dating from the mid 15th century, were named after Lotto and Holbein. Mainly Italian, these artworks are valuable for dating surviving carpets and include designs of carpets that no longer exist. If you ever want to see how they are made you only need to book in for a day tour to a historic site and you are guaranteed to stop off for a private display of rugs, kilims and the famous flying carpet. Recently, in July, my daughter and her husband did just that, visiting the Topkapi Palace along with other famous historical sites displaying an array of antique relics. They did not have to look too far to find the historical artefacts that many antique collectors seek. Their photos accompany this article and you can see more and download the high definition images by visiting persiancarpetrestoration.com.au. If interested in learning more about floral designs such as tulips and carnations that came to decorate nearly all art works produced by the Ottoman court during the 16th century, the Textile Museum in Washington DC is running an exhibition titled The Sultans Garden: The Blossoming of Ottoman Art which can be viewed at textilemuseum.org.

Topkapi Palace – a museum of holy relics

A colourful spice market in Istanbul

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

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

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

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

BONDI JUNCTION

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 BU Y ~ SE L L ~ H I RE We repair and service all clocks and watches with 30 yearsâ&#x20AC;&#x2122; experience. French, German, American clocks, Swiss watches, all mechanical movements

1A Hollywood Ave Bondi Junction 50 metres from Westfield

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

FURNISH IN STYLE Bellagio International carries a wide range of crystal chandeliers, beautiful oil paintings, gilded mirrors, fine porcelain, bronze statues, console tables, dining suites and bedroom suites. They also offer a vast selection of clocks, period and modern furniture and much, much more. Items from their catalogue can be viewed on their website and ordered through their store. BELLAGIO INTERNATIONAL 02 9369 4934 0416 131 015 bellagiointernational@gmail.com www.bellagiointernational.net

BONDI JUNCTION

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 computertrack the item en route until it arrives safely and in pristine condition at its destination.

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

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

SAVES TIME AND MONEY Art and antique dealers, galleries and museums are now realising that using Pack & Send for their logistics is a means of providing a superior level of service to their customers and actually saves them time and money. Martyn Cook of Martyn Cook Antiques in Queen Street, Woollahra NSW is a fan. He uses Pack & Send to send artworks worth many thousand dollars. ‘From long experience I know I can rely and depend on Pack & Send. They collect fine art, pack and deliver for us nationwide and around the globe. We’ve had no breakages so far,’ he says with a smile. That’s good news to people such as the Miami, Florida, customer who purchased some framed sailing prints, including an 1830s copy of a French sailing ship heading out for a perilous expedition to the Arctic and a sailing scene on Sydney Harbour in the 1880s.

“

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

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

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

”

Superstores... We Send Anything, Anywhere!

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

304 Oxford Street, BONDI JUNCTION NSW 2022 PH: 02 9386 1644 FAX: 02 9386 1760 bondijunction@packsend.com.au 15

INTRODUCING FIND LOTS ONLINE Australasia’s fastest growing online auction portal Daum Nancy cameo & enamelled vase from Leonard Joel, Melbourne

Faberge lapis lazuli & gold box from Webb’s in New Zealand

ind Lots Online is a comprehensive online service that gathers art, antiques and collectables auction catalogues from around Australia and New Zealand and displays them in the one place, for you to peruse at your leisure. It is the perfect tool for people wanting to keep a close eye on auction catalogues and be the first to see items being offered for auction across the country and in New Zealand. Lot numbers, details, estimates and images are all provided to make the process super easy and streamlined. At Find Lots Online everything you need when it comes to auction catalogues is under the one ‘roof’. That means you no longer have to spend time and energy switching between sites to cross reference items and auctions houses. It is a living resource with over 10,000 auction lots being added on a monthly basis. This ensures the portal is at the cutting edge of the Australasian auction world. Using this auction house portal you can: Easily view forthcoming and past auction lots from Australian and New Zealand auction houses. Seamlessly search catalogues in the one place – no need to switch between sites. The online search tool provides comprehensive ways to drill down into auction catalogues. Not only can you search by keyword, you can also search by item category, auction house or sale location. Just search auctions in New South Wales, or even just Sydney for instance. Never miss out on any auction items you’ve been coveting thanks to Find Lots Online’s Lot Alert service. Acting very much as your very own built-in auction PA, this service automatically searches each new auction catalogue as it is loaded onto the site and fires off an email notification when items matching your alerts are found. It makes the process easy and seamless. Best of all, due to the multitude of auction houses on the site, it can open up auction sales you never knew existed. Keep abreast of the news and views from the auction world thanks to the digital news aggregation service that focuses on the fine and decorative arts worlds. You can opt in to receive weekly e-lert auction news bytes of significance from the week. Organise yourself with the unique Plan Your Week e-lerts which schedule your auction sale visits with the most up-to-date details of the week’s upcoming viewings and auctions. Build your very own rich resource of personalised searches and auction information using the unique features offered such as My Catalogue and My Finds. My Catalogue gives you the ability to create your own personalised auction viewing catalogue to print and take with you, ensuring you see the items you’ve spotted online. My Finds is a great tool to keep track of items you’re interested in. Ensure you’re well informed with the Past Price Archive. This feature allows you to keep an eye on the prices of items already sold. Here you can assess the value of the items which you are interested in and potentially use the archive to research the provenance of a lot by finding it in an earlier sale.

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James Cook’s Voyage Towards the South Pole & Round the World from Webb’s in New Zealand

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Thousands of auction lots Art, Antiques, Collectables and more From Australia & New Zealand For You Antiques & Art in New South Wales readers’ special promotion code AANSW1 See article for details

www.findlotsonline.com 16

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Rare Japanese lavender non-stop robot from Leonard Joel, Melbourne

They share a passion for searching out much-loved items for sale in the auction world. Frustrated with having to look through many different sites to view and search forthcoming auctions and not always being able to access past auction catalogues, they decided to create an effective, practical auction portal. The vision was a site that would bring all the key information together under the one roof along with a variety of razor-sharp services to make the hunting, searching, bidding and analysis process a breeze. The result is Find Lots Online – a comprehensive, user-friendly auction portal that brings together all the information and tools needed to make the process and experience far more streamlined, rewarding and enriching for users. And they have not stood still since launching the site, constantly adding auction houses and lots, expanding their horizons into auction houses from different areas, cities and towns. They welcome feedback from customers and act on requests for specific auction houses to be included as their aim is to be the most comprehensive, user-friendly and useful portal ever. If you’re an avid auction fan, you’re on the hunt for particular items, want to know what is happening in the auction world, and want the process to be stress-free, then Find Lots Online is the answer.

SPECIAL OFFER For readers of Antiques and Art in NSW, Find Lots Online is offering a special discount when you choose to upgrade from our free plan to receive lot alerts, access the past prices realised, or get both using Find the Lot services. Simply enter the promotional code ‘AANSW1’ on the subscription page to receive 25% off your plan. FIND LOTS ONLINE www.findlotsonline.com

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THE BRAINS BEHIND FIND LOTS ONLINE Find Lots Online is the brainchild of two people – Kate Dupree Green and Fiona Ruckert who bring a unique blend of commercial expertise to Find Lots Online thanks to many years experience working in the auction and IT industries.

Biedermeier roll top desk from Shapiro, Sydney

PADDINGTON

From a special place

Burmese Buddhist arts Lacquer ware proceeds go directly to Burmese families

elebrating 21 years of trading in Paddington, Special Pieces has secured a number of unique Burmese artefacts from family sources in Burma. All products have been provided to retain Burmese art and culture, showing the remainder of the world how special these artisans are… and hopefully save these artefacts from being lost or destroyed. All images of Buddha within the collection contain a Burmese Government seal of approval to ensure a controlled program of artefact distribution.

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

LACQUER WARE We already are familiar with two words and one source of the lacquer used in Burma. Lac is the varnish made from certain insects’

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

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

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

MODERN CHALLENGES Due to increasing economic costs associated with resin retrieval and the desire of modern Burmese people for ‘western’ products, the lacquer ware art has less demand and is dying. Fortunately, some Burmese families, in an attempt to preserve the ancient art, have chosen to share it with the remainder of the world.

Hopefully, through external interest, the unique talent of the Burmese people can be restored and flourish for all posterity. Visit Special Pieces in Paddington to view the selection of unique Burmese artefacts. Proceeds of product sales have gone directly to individual families – this project pays no third party. For more information contact SPECIAL PIECES 02 9360 7104 specialpieces@yahoo.com www.specialpieces.net.au

Chinese and Japanese Quality antique and reproduction furniture and artefacts

ESTABLISHED 1989

336 South Dowling Street, Paddington

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

Sydney set to come alive with art this

September at the Art Expo 21-23 September eflecting the diversity of art today, Sydney’s Art Expo is unlike any other visual art event, and it is on at the Hordern Pavilion, Moore Park, from 21-23 September. The Expo brings together Australia’s most promising names in art, a new wave of emerging artists, plus a host of visual art activities. Visitors can discover new artists, participate in hands-on workshops including painting, sculpture and photography, as well as watch artists bring a blank canvas to life in real time. With artwork for sale at the event to suit every taste and budget, there is something for everyone!

Buy work from both emerging and established artists

In addition to catering for established art lovers, Sydney’s Art Expo will also demystify art for the uninitiated, with interactive exhibits and education programs. These range from teaching basic art methods, through to experts revealing the secrets of buying art for both interior design and investment.

GALLERIA: A SPECIAL SHOW FEATURE Show highlights include the Galleria – a sophisticated, gallery-style exhibition space showcasing and selling works from established galleries to emerging artists selling direct to the public. Complementing the artworks are a gamut of art supplies for sale and an interactive stage area.

Crowds enjoy the variety of art on offer at the Expo

Love Vintage Show returns to Sydney in September

ow in its seventh successful year, the Sydney Love Vintage Summer Show returns to the Canterbury Park Racecourse Function Centre from 14-16 September. This year’s show is a shopping extravaganza! As well as all your favourite vintage and retro sellers, there are lots of new exhibitors from around Australia. Among the events running during the show will be free catwalks parades and guest speakers. Perfect if looking for inspirational ideas or ways to create that signature look.

For more information call EXPERTISE EVENTS 02 9452 7575 www.lovevintage.com.au

SPRING CARNIVAL THEME This year Love Vintage is featuring ‘spring racing carnival’ and summer looks, and is the perfect place for gals and guys to shop for a complete classic outfit, or chose a signature vintage piece to create a unique look. Discover accessories including vintage jewellery, hats, handbags, shoes, wraps, designer sunglasses and even corsetry.

Circa Vintage Hats have ‘the races’ covered. Photograph by Little Miss Rock

MORE THAN FASHION You’ll also find an array of covetable home wares and collectables that make beautiful gifts or a unique addition to your home – and every piece has a story to tell. Among the treasures are ‘on-trend’ Bakelite jewellery, retro lamps, antique linen, plus great advice and information from experienced collectors. Whether you’re a serious collector, a vintage dabbler, a fashion lover, or just like to reminisce, this is the show for you! To avoid missing the event, sign up for show updates on www.lovevintage.com.au.

Catwalk parades wow the crowd. Photograph by Brooke Orchard

For more information EXPERTISE EVENTS 02 9452 7575 www.artexpo.net.au

Collecting Bakelite jewellery T

he first entirely synthetic plastic was invented by chemist Leo H. Baekeland who patented it in 1907. Given the trade name Bakelite, it was cheap to manufacture and was used in a variety of mass consumer items, from kitchen and tablewares to cases for radios, telephones and fridges. As it could be tinted, Bakelite was also used in the manufacture of jewellery. The production of Bakelite jewellery began in the early 1920s and was very popular in the 1930s. This plastic could be made in bright vibrant colours: yellow, butterscotch, red, green and brown being the most common. It could be transparent or marbleized by mixing various colours. As it was a malleable material, Bakelite was moulded, carved, painted and made into fabulous jewellery pieces which today are highly collectable. There are other early plastics but Bakelite jewellery is the most sought after – the pieces are very wearable and are unique statements. Bakelite was made into every type of jewellery: bracelets, necklaces, rings, earrings, fur clips and buckles. The most popular pieces today are the heavily carved bangles – hinged bracelets are called clampers – and huge necklaces. The most desirable colours are red, black, orange and the rare blue. During the Great Depression large amounts of Bakelite jewellery were produced; it was affordable and cheerful in bright colours and often in whimsical designs.

Coco Chanel’s inclusion of Bakelite pieces in her 1927 accessories collection elevated it to the realms of haute couture. She continued to include it in many of her collections and there are photos of her wearing many Bakelite pieces. Other notable designers to use Bakelite for their costume jewellery designs included Hattie Carnegie and Elsa Schiaparelli. Clear Bakelite, often called Prystal, was invented in this period; these pieces today have often mellowed to a pale yellow and are referred to as ‘apple juice’. Reverse carved pieces are highly desirable where a design, often animals or flowers, has been carved into the back. Another popular design features hand painted and coloured or laminated pieces where two colours are seamlessly joined together. During World War II, production of Bakelite jewellery ceased as the material was used for the manufacture of goods needed for the war effort. After the war many new plastics came along such as Lucite, which has also been fashioned into amazing jewellery pieces. Bakelite jewellery came back to prominence with the sale by auction of Andy Warhol’s collection after his death in 1987. Since then there have been several large collections dispersed, the most recent of these being the Susan Kelner Freeman collection with many pieces fetching over US$6,000.

For more information and details about Bakelite jewellery contact ONLINE ANTIQUES 0407 321 865 www.onlineantiques.com.au

BEWARE OF FAKES As there are reproduction pieces and many pieces are marked with the wrong date, it is always best to buy from a reputable dealer. There are many tests for Bakelite including hot water tests, simichrome paste, clunk tests, etc. However, there is no substitute for handling vintage Bakelite and studying the designs and carvings. Beware of pieces that are heavily carved and have a fine white powder-look in the depths of the carving, these are generally reproduction.

CARING FOR BAKELITE

Online Antiques will be exhibiting at the Love Summer Vintage Show September 14-16 and Art Expo 2012 September 21-23 More details on our website

Never use modern cleaners as they can discolour the piece. Simichrome paste (available from some hardware stores) can be used to remove fine scratches from Bakelite and olive oil can be used to restore lustre to many pieces.

SURRY HILLS

Art Gilding Academy German Master Gilder reveals the secrets of this ancient craft. Learn professional gilding in a 9 day hands-on course

Master Gilding class 2012

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

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

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

Greek Orthodox Church, King Street, Newtown, NSW. We gilded 10 capitals with faux gold leaf

MASTER GILDING CLASS FREEDOM TO BUILD UP YOUR OWN BUSINESS AND WORK FROM HOME The Professional Master Gilding class is fully hands on and runs over a nine day period, starting Saturday and finishing on the following Sunday, from 10am to 4pm daily. During these nine days, students learn more than they could in a three-year apprenticeship. We provide a relaxed and fun atmosphere and attendees are always like-minded people. After the end of a day’s class there is plenty of time in the evenings to enjoy what beautiful Sydney has to offer with restaurants and entertainment to suit every budget. For your benefit, classes enrol no more than six students, guaranteeing personal attention. Completing the Master Gilding training course allows students to add skills to your chosen profession and offers the freedom to build up a business and work from home. On completion of the professional Master Gilding Class, students receive a certificate.

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

HANDS-ON EXPERIENCE FOR STUDENTS This year, Master Class students were invited to join the Art Gilding team on a number of gilding projects. Translating theory to practice under the watchful eyes of experts was a valuable learning experience for students as they applied their newly learned skills to practical situations. This is a win/win situation for everybody concerned.

Brigitte with the weekend class 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. Moreover, it’s fun! The weekend class is very reasonably priced at $795. This includes the project – an Egyptian plaque – and all tuition and materials. In certain circumstances this fee could be claimed as a tax deduction. Those able to benefit by acquiring this skill include artists, painters, framers, restorers and French polishers; in fact, anyone who wants to add new skills and a new source of profit to their business. Art Gilding will have stand F13 at the Art Expo 2012 Sydney (Hordern Pavilion) from 21 to 23 September. Weekend Gilding Class schedule for 2012 October

13th - 14th

November

3rd - 4th

December

1st - 2nd

Master Gilding Class schedule for 2012

September

29th - 7th Oct

October

20th - 28th

November

10th - 18th

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

SURRY HILLS

TIMELESS ELEMENTS ‘W e have been able to seize, with some degree of success, the beautiful spirit of antiquity, and to transfuse it, with novelty and variety, through all our numerous works.’ Robert Adam (1728-1792).1 In the late 18th century and throughout much of the 19th century, furniture designers, artisans and architects across Europe and England turned to the heritage of the classical world of Greece, Rome and Egypt. The discoveries at Pompeii and Herculaneum in 1748 revealed the characteristics of the interiors and furniture of these ancient civilisations. This was the beginning of the Neo-classical period, which extended into the Directoire period (often called Transitional furniture), which in turn marks the beginning of French Empire furniture. This movement dominated French furniture design for quite some time. Architecture and furniture in the ancient world often shared a symbiotic, intertwined relationship, and this collaboration is on the rise again. Time-poor homeowners need the partnership of an architect and an interior designer to help them achieve a personal and aesthetically pleasing environment to live in. In an age where techno-wizardry is the norm, perhaps comfort is being sought after in the home. The decorative arts, furnishings and the like are experiencing a renaissance. The welcome return of decoration is seen in wallpapers, luxe fabrics, ornate mirrors and chandeliers alongside the new found appreciation for hand-crafted pieces that have natural flaws such as original antique doors and decorative objects sourced globally. It’s interesting to see that this once popular style, which lost its appeal is now re- emerging as the

decorative style of choice, and in contemporary settings looks remarkably original. Classic pieces have always had the ability to soften and add interest to an interior or an exterior space. For evidence of this, one need look no further than the classical orders of ancient Greece and Rome that late 18th century European architects and interior decorators drew on extensively. Interior decoration and architecture were especially harmonious throughout the Directoire and the later First Empire period as well as during the early 20th century Arts & Crafts Movement. The recent revival of classical elements indicates that we are learning to strike a good balance in styles – particularly in the realm of the ‘old’ and ‘new’. For example, a healthy respect for historical buildings juxtaposed with a love for cutting-edge design has seen the advent of the warehouse conversions and remodelled inner city apartments. By balancing newly-built environs with select pieces, such as a well-loved chair or a favourite family antique, and adhering to form and proportion along the way makes for harmonious living spaces. The popularity of mid-20th century furniture and the modern design aesthetic together with the rediscovery of the classics means that the palette for layering and mixing styles, colours, and materials has broadened. In Australia, it is refreshing to see an increasing use of architectural antiques and decorative furniture in houses of varying styles. Whether it is an imposing entry door or a pretty wrought iron console for the hallway, or a pair of old Rajasthan garden gates, pieces such as this possess a unique lived-in quality that can add much needed texture and interest to a newly-built home or apartment.

ARCHITECTURAL & ANTIQUE ELEMENTS 02 9560 3067 www.elements.net.au Note 1 Scottish born architect and designer Robert Adam was greatly influenced by Greek and Roman art and architecture. He transformed the popular Palladian designs of Georgian England into an innovative and original style best described as ‘neo-classical’. Surviving examples include Syon House, Kedleston Hall, Harewood House and Osterly.

SURRY HILLS

Selection of boxes and treen

English and French Bronzes, Austrian carved figure, Anglo-Indian ebony & ivory elephants

Viennese bronze animal figures

DEREK GREENGRASS ANTIQUES & THE HUNTRESS open shop at sydney antique centre

ongstanding dealers Derek Greengrass and Jane Lennon, trading respectively as Derek Greengrass Antiques and The Huntress, have recently moved into Sydney Antique Centre in South Dowling Street. Both are members of the Australian Antique & Art Dealers Association (AAADA).

ABOUT DEREK GREENGRASS

THE

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

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

HUNTRESS (ANCANTHE)

& DEREK GREENGRASS ANTIQUES

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

INTRODUCING JANE LENNON Jane Lennon was one of the original dealers at the Sydney Antique Centre when it opened in 1974. The last few years have seen her in Hobart, Tasmania where she traded as Ancanthe (a name taken from the classical revival museum built by the governor’s wife, Lady Jane Franklin in 1842). Lennon has a PhD in Australian art history and undertakes select consultancy work in that area. For many years she worked as a researcher at the Power Institute of Fine Arts at the University of Sydney and she has undertaken curatorial work for various museums. Jane is a former co-editor with Eva Jaku of this magazine and of the sister publication, World of Antiques and Art. Ancanthe will henceforth be trading as The Huntress, a name derived from the twin pursuits of tracking down antiques and undertaking research. Jane deals in a broad range of antiques and her professional background means that the stand is always well represented by Australiana.

A COMBINATION OF TALENT The combined talents of Greengrass and Lennon have resulted in an eclectic display ranging from fine Georgian glass and Grand Tour pieces to medical models and early advertising mirrors. The selection of boxes ranges from painted snuffboxes to a Victorian bird’s eye maple table letter box and an Anglo-Indian, Regency porcupine, tortoiseshell and ivory sewing box. Oriental antiques include ivory netsukes, a large Meiji period lacquer decorated writing box and a pair of Japanese painted Noh masks. The large range of walking canes which are always on display currently include a segmented one made of whale’s teeth, and there are usually one or more stick stands for sale to collectors. Other examples of stock in hand include:

MARITIME

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

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

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

Medical model & advertising sign

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

NATURAL HISTORY CURIOSITIES An Edwardian collection of birds’ eggs in an original collector’s chest assembled by the Australian ornithologist N.A.R. Arnold; a large 19th century cased display of English birds by Tom Allder of Newbury; a mounted Victorian tiger’s head; and a Victorian coral display in its original Australian cedar case. This is just a small sampling of what we have to offer. Regular shipments will be arriving from England in addition to the stock sourced locally. To find us, turn right upon entering the building and we are a couple of stalls along on the right. If we are not in attendance then the helpful staff at the central desk can assist you. Alternatively, please call us to discuss any item or to make an appointment to view. If there is anything in particular that you would like us to track down or if you would like to be included on our mailing list please talk to us in person or by telephone. Derek Greengrass & Jane Lennon DEREK GREENGRASS ANTIQUES & THE HUNTRESS 0400 103 316 At SYDNEY ANTIQUE CENTRE 02 9361 3244 www.sydantcent.com.au

SURRY HILLS

'WRIST-MAS’ gift suggestions

iving gifts is a basic human way of establishing and strengthening social relationships and people cherish most gifts they receive. Ideally, a gift will reflect the person who is the recipient, so the gift may be meaningful but not necessarily practical, such as ornamental or luxury items that we do not buy for ourselves very often. Now, would you like to be remembered for the special unique vintage gifts you choose?

SPECIAL GIFTS FOR SPECIAL MEN Anything a man can put on his hand and wrist is a welcome and original gift. Rings, watches and cufflinks are the few items of jewellery that men wear readily. A man subtly expresses his personality in his social and work worlds by the jewellery he wears.

RINGS An antique ring is an original and very meaningful gift for your special man. Men’s rings traditionally signify their status in relationships such as wedding or ecclesiastical rings; club, political or university affiliations; sporting, occupational symbols; and family history such as heraldic signs or initials. A signet ring was made to use as a seal, guaranteeing the authenticity of a document, with an intaglio design cut into the surface of the stone so that an impression can be taken to leave as the seal.

CUFFLINKS Cufflinks are ‘personality on a wrist’ and are much more than a fashionable way to keep shirt cuffs together. They are back in fashion with today’s trend being ‘off the cuff’ or unusual cufflinks for both men and women. Today’s Australian cufflink purchasers follow up-to-date international trends. Cufflink priorities are the essence of fashion, interesting trends and fabulous designs from Art Deco to 1960s retro. Vintage and antique cufflinks have a new life and a new audience; their collectors preferring historic designs for their elegance and style, paying prices quite comparable to new mass-produced items. Although cufflinks are sold in most clothing chains and franchise jewellery shops, modern selections appear homogenised or globalised, with mass manufacturing of jewellery stifling design, in particular of cufflinks and watches.

WRISTWATCHES A distinctive wristwatch helps every man to be punctual as well as well-dressed. There are many special watches within an average budget that are worth owning and wearing, and they are superior gifts that will ensure perpetual gratitude to the giver. Wristwatches only came into existence about 1880, in Britain, called wristlets. Iconic vintage wristwatches are still acquirable and have a renewed fashion status. Prices vary significantly depending upon materials, movement calibre, vintage, availability and demand. Specific brands and models worthy of a special purchase for a special person or yourself, in addition to Rolex, are the following five: Louis-Joseph Cartier’s first design for a Tank wristwatch was in 1917. His inspiration was a new armoured tank featuring twin tracks that were longer than the machine between them. The first six production models went on sale in 1919 and every subsequent Tank model, more than 30, has followed those first models. Edmond Jaeger collaborated with JacquesDavid LeCoultre and a colleague to design the Jaeger-LeCoultre Reverso, patented and first produced in 1931. It was cased in English Staybrite stainless steel with a Swiss Tavannes movement and could be slid into its support and completely turned over (reversed) in its outer case. The Reverso enshrines all the Art Deco values: universality, understated aesthetics based on fundamental shapes, hand craftsmanship, along with a taste for playfulness and celebration. Omega Speedmaster dates from 1957. Its nickname ‘moonwatch’ is after astronauts’ wearing it, first aboard the Gemini 3 in 1965, then Neil Armstrong walked on the Moon in 1969 wearing one. Speedmasters were worn during the historic docking of Apollo and Soyuz in 1975. Jaeger-LeCoultre Memovox was innovative as the first successful automatic alarm wristwatch. The mechanisms were dual crowns and winding stems controlling the movement and the mechanical movement separately. Originally hand-wound, it now has an automatic wind and several versions are still in production. Omega Seamaster was originally designed

as a waterproof wristwatch, but the design of its case and essential movements are treasured for their classic features. Another Seamaster feature is the pie-pan design of some dials that added dimension to dials for the first time instead of being flat. The Seamaster’s automatic movement lead to it acquiring the nickname ‘bumper movement,’ derived from the reverberating thump that the automatic winding mechanism made each time it rotated. Felt more than heard, it is treasured as part of the wearer’s personal experience, as though the watch is speaking to the wearer. Now in its tenth year, Vintage Times specialises in unique vintage watch, cufflink

and jewellery pieces. We are ready to assist you in selecting special gifts or acquiring a unique purchase for yourself. Mention this article when purchasing either at the shop or online to receive a 10 per cent discount off your purchase of regular priced, non-discounted stock items, as well as free shipping for online purchases. We regret that this discount offer cannot be applied retroactively. Tammy Palmer VINTAGE TIMES 02 9361 3244 www.vintagetimes.com.au

Unknown artist, Clianthus dampieri, (lc d)

Margaret Flockton, Christmas Bells and ferns, (lc f)

Louis Van Houtte, Brachychiton bidwilli, Hook

CAPTURING FLORA AT THE ART GALLERY OF BALLARAT is the most comprehensive exhibition of Australian botanical art ever held in this country

otanical art – scientifically accurate renderings of plant species – has been with us for a very long time as an art form that has been always been linked with science. When used by a doctor in the medieval period, the accuracy of a botanical illustration could be a matter of life and death. Because botanical art encompasses images of plants which have been created to identify, classify and compare plants from either a scientific or a horticultural perspective, their primary purpose is functional. Regardless of this utilitarian origin, great botanical art has always had an exceptional appeal. Capturing Flora: three centuries of Australian botanical art will explore and celebrate the art that has been created to depict Australian flora from the end of the 17th century to the present day; telling this complex story through more than 350 images ranging in date from 1729 to 2012. It will be a visual journey examining issues of aesthetics, science, exploration, horticulture and social history which have combined in different ways over 300 years.

VOYAGES OF DISCOVERY LINKING BOTANICAL ILLUSTRATIONS The European discovery of this continent took place during the Enlightenment, an era when time, effort and finances were put into voyages of exploration. Collecting specimens during these expeditions was the work of some of the greatest botanists of all time, such as Sir Joseph Banks (1743-1820) and French naturalist-explorer Jacques Labillardière (1755-1834). The illustrations from this period are by artists of almost legendary stature such as Ferdinand Bauer (1760-1826) and Pierre Joseph Redouté (1759-1840). The botanical art which recorded newly-discovered plants, radically strange to European eyes, was of extraordinarily high quality.

THE EXOTIC CELEBRATED IN EUROPE During the 19th century, the growing middle class, both in the colonies and the home

country, developed an insatiable interest in horticultural pursuits. The new ‘exotick’ plants were highly desirable specimens in British and European hothouses and conservatories in the first half of the 19th century. Long before it became fashionable to grow ‘native’ plants in Australia, certain species enjoyed a huge vogue on the other side of the world, in spite of the difficulties of keeping them alive in the harsh climates of northern Europe.

ROLE OF WOMEN IN BOTANICAL ART A feature of upper middle class British society was the encouragement given to women to engage in drawing as a pastime. One of the favoured subjects was flower painting and when translated to Australia this often took the form of capturing native wildflowers of the newly settled regions. The work of ‘lady amateurs’ of the Victorian era forms a distinctive section of the exhibition. Much of it is of exceptional quality, and indeed a number of these artists moved from amateur to professional rank in the final years of the 19th century.

REVITALISING AN ART FORM World War I and two serious depressions brought all of these developments to a halt but by the 1950s a new group of professionals was being trained and commissioned to continue the process of documentation of Australian flora. Australia has enjoyed a renaissance of botanical art in the last 40 years and the final part of the exhibition will explore the background to this revival and feature the works of 10 of Australia’s leading practitioners. The last 30 years has seen a veritable flood of highly talented artists emerge – so many that no exhibition could accommodate all the major figures. Capturing Flora makes no further claim than to show a representative sampling of great work from the 1980s to the present day including Jenny Phillips, Anita Barley, Mali Moir, John Pastoriza-Piñol, Andrew Seward and Jean Dennis.

PRINTED ILLUSTRATIONS IN AUSTRALIA All early Australian botanical art was made overseas. With the economic stimulus of the gold rush, universities and botanic gardens were set up in all the colonies and by the 1860s botanists were conducting research into the indigenous flora rather than simply forwarding specimens back to Europe. At the same time developments in lithography meant that botanical illustrations could be mass-produced in this country. Several colonies, notably Victoria, South Australia and New South Wales, vied with each other to create the most impressive botanical publications. The new printing techniques allowed prints to be coloured mechanically, resulting in a boom in botanical art which lasted into the 20th century.

Unknown artist after Walter Fitch, Nymphea gigantea

HISTORICALLY SIGNIFICANT EXHIBITION This exhibition will be the most comprehensive exhibition of Australia botanical art ever held in this country. It brings together over 300 images, the vast majority of which have been collected by the Art Gallery of Ballarat in recent years. Capturing Flora is an Art Gallery of Ballarat exhibition. It will be on show at the Gallery from Tuesday 25 September to Sunday 2 December. The exhibition will be accompanied by a major publication, the first comprehensive monograph to cover this ‘territory’ for over 10 years. For more information ART GALLERY OF BALLARAT artgal@ballarat.vic.gov.au www.artgalleryofballarat.com.au

WATERLOO

What is

Doug Up On Bourke?

ore than a warehouse in Waterloo, Doug up on Bourke is one of the largest sources of industrial, commercial, rustic antiques and hard core collectables in Sydney today. Here renovators, collectors or anyone looking for to create a decorative statement will find that special piece. All stock is sourced in Australia and they specialise in mid 1800s to late 1950s. Come and view the mind-blowing collection of pigeonhole units, timber plan drawers, filing cabinets, rustic kitchen tables and trestle tables, advertising signs and old road signs. There are industrial work benches, old machinery tables, chairs, vintage original Bakelite phones, lovely old suitcases and shipping trunks, rustic sawhorses, childrenâ&#x20AC;&#x2122;s toys and chairs, enamel and gal buckets. Nickel framed showcases, early tram and bus rolls and not forgetting the extensive selection of more than 200 old watering cans, offer interesting decorating ideas. Make sure you have plenty of time as Doug Up On Bourke is a place to browse. Both the store and their online gallery are designed to mooch around slowly, here surprises lurk and memories of the past come flooding back. Pay a visit to Doug Up On Bourke, we promise that your first visit will not be your last. If unable to call into the warehouse then drop in online, you will not be disappointed as each visit will reveal yet another surprise!

DOUG UP ON BOURKE 02 9690 0962 info@douguponbourke.com.au www.douguponbourke.com.au

901 Bourke Street Waterloo NSW 2017

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

SAVI MAURIZIO FURNITURE the Italian recipe for success

fter operating for 10 years in Leichhardt then having spent the last year in Italy sourcing new products, Savi Maurizio Furniture has now reopened with a new showroom in Botany Road, Waterloo. Italian furniture offers timeless style and Savi Maurizio Furniture offers one of the most extensive collections of such quality pieces. All items are guaranteed to be designed and made in Italy and, very importantly, are offered at very affordable prices. A custom design service is also available to suit your personal requirements so

Savi Maurizio Furniture can liaise directly with craftsmen in Italy, some of whom have worked with the company for over 30 years. Avoiding the middleman means keeping prices down without compromising quality. Ambitious projects requiring complete transformations such as a home library or living/entertainment areas are a speciality – from custom-built units to the complete fitout of whole rooms. All measures and quotes, deliveries and assembly are carefully attended to and completed by Maurizio Savi himself, who is a qualified craftsman and antique restorer with 40 years of experience.

TRADITION OF QUALITY Savi Maurizio Furniture has a range of collections from which to choose great quality items for your home with a unique mix of Italian and French styles including the company’s signature Real Antiques collection, offering pieces reproduced to such fine detail that they indeed earn this label. The design of this collection is inspired by historic Italian furniture produced between the 15th and 18th centuries. Indeed some wood used is actually aged timbers originating from ancient villas, historic palaces and old farmhouses. The timbers are expertly treated and restored before being used to produce quality furniture.

The furniture is constructed of only solid wood using the finest timbers such as walnut, cherrywood and oak which are then skilfully carved. Heir to a century-long tradition of skilled craftsmanship in the Bassano Del Grappa region of Italy, the collection’s drawings of rosettes and panels are also inspired by ancient floor decorations. The polishing process is an ancient secret tradition handed down from master to apprentice. The finish consists of 15 coatings all applied by hand and necessary to achieve the brilliance that enhances the wood grain. To respect the environment, water dyes are used together with non toxic glues and resins. All the iron components are hand forged according to old blacksmith traditions. The final touch – applied again by hand – utilises a soft, scented natural beeswax. As a result, Real Antiques is a truly magnificent collection that will add warmth and soul to any home.

CLASSIC HISTORY Italian furniture has held its own in the design world for centuries and continues to be sought after around the world. An increasing interest in the ancient arts and antiquities during the 15th century inspired Italian designers, resulting in Renaissance furniture becoming grand and imposing, echoing the tables, thrones and chairs

of the Roman Empire. Further changes in the 16th century art world saw Italian furniture evolving to more elegant forms. The 17th century’s Italian Baroque and Rococo styles meant large pieces continued to prove popular but they were now more comfortable and designed with irregular or curved forms. The Empire and neoclassicism styles dominated 18th century Italian furniture design. Neoclassical designs featured geometrical forms. The 19th century brought a revival of Renaissance, Gothic and Rococo styles to Italian furniture accompanied by the popularity of beautiful ivory, walnut and ebony inlay. In Italy, the skilled trade of furniture design has been passed down for hundreds of years. While the styles may have changed, the quality craftsmanship has always been maintained and held in high regard worldwide. Thus Italian furniture is not only sturdy and built to last but each piece is a work of art reflecting classic traditions and history. Visit Savi Maurizio Furniture today to highlight your home with a quality, timeless piece of Italian style.

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

WATERLOO

146 – 152 Botany Road Waterloo NSW

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

www.savifurniture.com.au 27

ALEXANDRIA

NEW YORK STYLE W

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 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

STYLE BY RENOWNED NEW YORK DESIGNER, THOMAS O’BRIEN, FOR HICKORY CHAIR CO. OF NORTH CAROLINA AVAILABLE EXCLUSIVELY AT

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

T: 02 9667 4415 · W: www.laurakincade.com 28

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

THE MITCHELL ROAD ANTIQUE & DESIGN CENTRE

Antiques, 20th century design, industrial and architectural heritage, toys and dolls, rustic farmhouse furniture, jewellery

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

Mitchell Road Antique & Design Centre

for the unusual and exciting M

arking seven years of success, Mitchell Road Antique & Design Centre is renowned as a popular and important centre for those in search of the beautiful and the unusual. Customers include many designers, home owners and film producers.

EASY TO FIND Located upstairs in the big yellow building on the corner of Mitchell Road and Fountain Street in Alexandria, the centre is home to over 60 dealers displaying their wares. The scope of pre-loved and recycled items is breathtaking and all this under one roof is a brilliant convenience. Antique furniture and collectables sit comfortably among a huge range of retro clothing, furniture and accessories. Collections of early toys and robots, music makers, records, radios, kitchen and garden furniture and utensils rub shoulders with industrial furniture and artefacts. Lamps and sculptures created from machinery saved from landfill live in harmony with tribal artefacts from the Pacific region and elsewhere.

A DESIGNER’S DELIGHT We have long been a favourite hunting ground for stylists and set designers looking for period pieces and accessories or simply unusual and funky items with which to create a signature mood and look. Customers take delight in creating their own trend with the treasures they discover at the centre. Gift vouchers are a favourite present for those who find difficulty in choosing that special piece from the extensive displays.

SO, WHAT’S HOT AT MITCHELL ROAD? INDUSTRIAL! Whether you are looking to fit out an entire café or bar, or just want one special standout piece to complete a room in your home or office – Mitchell Road Antique & Design Centre is the place to shop for industrial.

INTRODUCING OUR INDUSTRIAL EXPERT The current trend of decorating using industrial furniture and lighting has increased enormously in the last 12 months. At Mitchell Road Antique & Design Centre, stallholder Igor Kotychev is our industrial expert. His keen eye for design and detail is reflected in the amazing pieces that he restores and creates, resulting in a high demand for his work. Large metal framed tables with timber tops glowing with patina are a favourite for use as dining or conference tables. A huge selection of both hanging and freestanding industrial and theatre lighting fills his stall with an ambience which has to be seen to be believed. Metal shelving, boxes and lockers for all your storage solutions are abundant. And just when

you think you’ve seen everything, take a look at his macabre little medical display complete with an early anaesthetic machine that makes a hammer seem like a good idea! But seriously, all your industrial dreams will come true with a trip to ‘the Russian’s’ (as he is affectionately known) stall. Others may come and go, but we remain a constant and reliable source of recycled and rescued history for everyone who visits us. For more information contact MITCHELL ROAD ANTIQUE & DESIGN CENTRE 02 9698 0907 www.mitchellroad.wordpress.com

SPECIAL SPACES TO VISIT Each space reflects the personal passion of a particular dealer and you will frequently find them tending their space and eager to talk about the treasures on offer. Without realising it, almost everyone would have seen items from Mitchell Road Antique & Design Centre in the course of watching Australian made films or television shows or when reading a magazine.

Victorian fascination

WITH HAIR-WORK JEWELLERY M

any people look upon antique jewellery that incorporates human hair as being somewhat morbid or always having a reference to a loved one’s passing. While many mourning jewellery pieces do indeed have hair set into the jewellery, there was a whole genre of jewellery made especially during the Victorian era that was made with hair yet was not mourning jewellery at all, and will always remain a fascinating area of collecting and wearing antique jewellery. What has to be remembered is that hair from a loved one is really just another material in which to make or incorporate jewellery. Over the centuries, jewellery has been made from ivory, horn, tortoiseshell, whales’ teeth, mammoth bones, and fossilised material such as Whitby jet and Bog oak and even beetles and butterfly wings. So in Georgian and Victorian times to have jewellery that incorporated hair, was not something so utterly strange.

SENTIMENTAL NOT MELANCHOLY JEWELLERY Jewellery fashioned with human hair increased in popularity during the Victorian era. A large quantity was produced by young women who followed instructions that appeared in monthly magazines or in booklets such as The Jewellers Book of Patterns written by William Halford and Charles Young, published in London in 1864. Hair-work was not restricted to mourning jewellery but was also made for jewellery to be exchanged at a betrothal or marriage. There is a record at Garrard – the world’s oldest jewellers – having an envelope containing a lock of Queen Alexandra’s hair which was to be incorporated into a bracelet at the time of her marriage in 1863. The jewellery made at the time did not necessarily come from deceased loved ones. In fact, an entire trade evolved due to the popularity of hair jewellery. Businesses even sprung up where it was possible to send the hair to companies that would make a wide variety of items out of it. This became the second largest jewellery industry at one time making hair more valuable than silver per ounce. A very popular design was the locket. There were those that included miniature portraits and lockets of hair, and others that had hair in the reverse, often woven into a very attractive design. The 1851 Great Exhibition held in London included displays of hair-work jewellery promoted as works of ingenuity. One such jeweller was Hansen and de Konig of Soho who advertised ‘Work in human hair: Basket: flowers in natural size, in relievo.’ At the 1862 International Exhibition a Mr Forrerr of Hanover Street exhibited hair brooches.

WHAT HAIR-WORK INVOLVED To prepare the hair required first boiling it in soda water for 15 minutes, and then dividing it into strands of 20 to 30 hairs each, by length. When the hair-work was completed it was sent to jewellers often in Birmingham or London for the addition of fittings which were commonly gold. This hair jewellery was different to that of mourning jewellery as the designs did not include black accents such as black enamel, Whitby jet, or onyx that was often used for mourning jewellery.

THERE WERE 4 MAIN HAIRWORK DESIGNS Palette work consists of arranging the pieces of hairs into shapes including geometric designs as well as flowers Hair flower work resulted in producing three-dimensional flowers, often resulting in quite large wreaths Table work produced items such as bracelets where the hair was woven using a specially made table with a hole in the centre with weights Sepia work used tiny chopped up hair as embellishments to line drawings or the art was exclusively sketched in hair. It is understandable if people think of hair jewellery as somewhat bizarre. However, the next time you see some jewellery with hair in it, take a close look at the pattern and design of weave, as it can be truly spectacular and quite amazing. KALMAR ANTIQUES 02 9264 3663 kalmar@ozemail.com.au www.kalmarantiques.com.au Further reading Charlotte Gere, Victorian Jewelery Design, Henry Gegenery Co., Chicago, 1973 http://www.victorianhairartists.com

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COLLECTOR PROOF COINS 1955 – 1963 struck at the Melbourne and Perth mints are Australia’s most affordable rare coin investment series Right: 1956 Perth proof penny. Valued at $7,500 in 2006; current 2012 value, $16,000

t is a fact that the mints in Canberra and in Perth are today prolific producers of proof coins specifically designed and marketed to collectors on a commercial basis to generate profits. Consider that in the year 2010, the Royal Australian Mint in Canberra produced more than 17,000 proof sets. And that’s just one product out of hundreds. It is a natural assumption that Australia’s pre-decimal proofs were struck on a similar basis. The reality is that this is far from the truth.

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

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

STRUCK PROOF COINS The Melbourne Mint was striking both silver and copper coins for Treasury which meant that it could strike both silver and copper proof coins: florin, shilling, sixpence, three pence, penny and half penny. For the Perth Mint, operating as a copper producing mint, this meant the striking of penny and half penny proofs only.

1956 Melbourne five coin proof set. Valued at $1,900 in 2006; current 2012 value, $30,000

The coins were released annually with an official issue price of face value plus a premium of one shilling per coin – mintages averaged around the 1,500 mark. Each piece was minted to exacting standards – from the selection and polishing of blanks, the preparation of dies and ultimately the actual striking. The result is a coin that is pleasing to the eye, well struck with strong designs and superb smooth background fields. It is an important series in our currency heritage for it represents Australia’s very first annual proof coining program: the pre-cursor to the series introduced by the Royal Australian Mint in 1966.

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

TRACING THE GROWTH IN VALUE The demand for premium quality examples in this series has far outstripped supplies, underpinning considerable growth. The complete set (of 54 coins) in perfect quality was selling for $50,000 in 2006. Today it is worth $100,000. One of the greatest advantages of this series is that the coins can be acquired progressively one year at a time.

1955 1956 1957 1958 1959 1960 1961 1962 1963

Old O ld money talks. It sspeaks peaks of history and ra rarity. arity. Of value that is ne never ever dim minished. Investment in n rare banknotes allow ws you diminished. allows to balance b your portfolio for superannuation or other inve estment with stability and a solid growth. T o pre eserve investment To preserve you ur wealth now and into the future. F or informa ation, your For information, see e coinworks.com.au coinworks com au u or phone +61 3 9642 2 3133

1955 1956 1957 1958 1959 1960 1961 1962 1963

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

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

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

A proof coin is special and the following text will help to explain why. As a general statement, coins are minted in two distinctly different styles and for two distinctly different purposes. 1. Coins are struck for circulation so that you and I can use them in everyday commerce – buying a loaf of bread, the newspaper or a bottle of wine. They are struck in a factory environment in their millions. 2. Coins are also struck to proof quality. A proof coin is a display piece (showpiece) of its circulating counterpart and was never intended to be used as currency. It is considered a ‘piece of art’. That is, coinage in its most elegant and artistic form and because of the lengthy time involved in its production, proofs are struck in restricted numbers –usually less than 20.

PREPARING THE PROOF DIES A lot of preparation goes into the striking of a proof coin. The dies are hardened and brushed to ensure that the design will be sharp and almost three-dimensional in its appearance. The blanks are hand-picked and highly polished to produce a coin with a mirror shine and smooth fields. The dies are struck twice to create a sharp, well-defined design. The rims encircling the coins are high, creating a picture frame effect encasing the design. The pristine nature of the striking is particularly evident in the denticles. They are crisp and uniformly spaced around the circumference of the coin. COINWORKS AUSTRALIAN RARE COINS AND NOTES 03 9642 3133 info@coinworks.com.au www.coinworks.com.au

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BOTANY

Aaron Upholstery built on a legacy of quality

hirty something years ago I worked in a shop with a residence on Carrington Road, Coogee. One day a young guy walked in. He introduced himself and said his name was Steve and that he had opened an upholstery shop on Maroubra Road, Maroubra. He then proceeded to ask a whole range of questions about business, the industry and tricks of the trade. After a few visits – much to the annoyance of my wife who thought he was only picking my brain – I found out that he put himself through technical college, had worked in Canada and did a lot of work with Down Syndrome children while living there. As I got to know Steve a lot better I came to appreciate that he was very business minded and above all – quality driven. His desire was to provide a quality in furniture that was confined to the luxury end of the market and not made for the

average home. He wanted to create quality affordable pieces, not just re-cover lounges. I didn’t see him for a while and in 1980 I heard through the grapevine (ours is a tiny industry) that he had a factory in Bay Street, Botany where he had installed more upholsterers, and even had office staff. He had hired Evelyn Aynie who is still with the company today. At that time it was an indication of success and just how busy he was. To my surprise I found out that he had expanded from reupholstery work to making new lounges for decorators and high end clients, which was considered at the time to be a very brave move. All the frames he had made were in hard wood, glued and screwed. He had steel bound coil spring seats stitched with coconut fibre flock filled with lintus and feather filled seats and back cushions – the sky was the

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

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Please feel free to call us in regards to upholstery enquiries – FREE QUOTES – Our friendly and helpful staff will be more than happy to assist. 1611-1613 BOTANY ROAD BOTANY 2019 NSW PHONE: 02 9666 5696 WEBSITE: aaronupholstery.com.au (Under Construction) Email: evelyn@aaronuph.com.au SHOWROOM: BY APPOINTMENT ONLY CUSTOM WORK: TRADE ONLY — SEE YOUR DESIGNER RECOVER-REUPHOLSTERY WORK OPEN TO THE PUBLIC IN ASSOCIATION WITH GRAEME SCANLON UPHOLSTERY OFFICE HOURS: 8.30 AM – 5.00 PM (MON-THURS), 8.30 AM – 3.00 PM (FRI)

limit. This was how fine antique furniture was originally made. Steve didn’t stop growing and in the 1990s he moved to a larger factory on Botany Road, Botany. As he grew, there were some problems with the frames so Steve went back to school to learn about frame building. With this knowledge he was able to rectify the situation and have frames made to his exacting standards of quality. With this in mind, Steve then went on to rent the two factories next to his to expand his business and have a frame shop within his factory to oversee the frame making. Still remaining true to the trade he loved, he kept the re-covering work going although he was now equipped to make his furniture from start to finish. Steve also built a showroom within one of the factories. Another business skill was that he also developed a computer program for jobs, fabrics, work hours, etc. As things turned out I ended up working for Steve in 1998, helping out with the recovering work, and I have been there ever since. I was very fortunate to work with a few older upholsterers in my career and to learn how to upholster antiques the way they were originally done. These skills have been passed on to Steve’s younger upholsterers. The tables kind of turned, and I ended up picking his brain and we ended up becoming close friends. This friendship also extended to my wife. Working closer with Steve meant that I learnt that if he could make things easier for his staff he would do it, or buy it. He never forgot his love for music – one of his hobbies was playing the guitar – and with the encouragement of his wife Petrena, he set up a music room out the back of the factory which everyone was welcome to use. Sadly, in October 2011 we lost Steve to cancer and in honour of his memory the business continues to follow the high standards he set with Steve’s wife Petrena Shaw at the helm. A gifted sculptor, Petrena combines her art practices with running the business side of

The late Steve Shaw with his wife Petrena

things. Evelyn is still in the office, and we have Scott (Steve’s son) in the frame shop. Like his father who trained him Scott ensures the frames made in the workshop are of the highest standard and quality. Kevin Bednarz (Mr Perfection) is the cutter and we have a team of upholsterers just waiting to be of service to you. With that being said, I guess one of the best tradesmen I ever knew is up making furniture in heaven; they must be comfortable. Graeme Scanlon AARON UPHOLSTERY 02 9666 5696 evelyn@aaronuph.com.au

BOTANY

PACK & SEND at Botany

rt and antique dealers, galleries and museums are now realising that using Pack & Send for their logistics is a means of providing a superior level of service to their customers and actually saves them time and money. At Pack & Send we specialise in transporting art and antiques, which means that we stock an extensive range of packing supplies – including bubble wrap, acid-free films and tailor-made boxes made of cardboard, pine or plywood – for both shops and individuals who choose to do their own packing. Museums, art galleries and antique dealers Australia-wide are finding our service truly valuable and asking us to take care of the entire logistical process – from pick-up to packaging to insurance, paperwork, freighting and safe door-to-door delivery. No other company in Australia does this. By letting us take care of all the details, curators and collectors are free to concentrate on their core business. At Pack & Send we will personally manage the entire job and even computer-track the item en route until it arrives safely and in pristine condition at its destination.

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

“

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

”

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

NO JOB TOO BIG OR TOO SMALL When you call Pack & Send, regardless of whether the job is large or small, we can professionally pack it and co-ordinate its delivery to anywhere in the world. Anything from an envelope, archaeological artefacts, to large oversize paintings and 100-year-old antique chandeliers, Pack & Send have the expertise to transport it safely.

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

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

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 35

ROCKDALE

ph 02 9567 1322 fax 02 9597 1782

CITY

NOBLE NUMISMATICS SALE 100

REALISES $3.7 MILLION

his, our one hundredth sale was successful, especially in the light of prevailing global economic outlook. The sale was very well attended with several sessions at full capacity. Over 80 percent was sold by volume at six percent over estimate. The total for the 4,413 lots at $3.7 million compares with the 729 lots in Sale 1 held in Sydney in October 1977 at $380,596, then a record for an Australian coin auction. The highlight was the sale of a very fine holey dollar which was contested from $90,000 to a final winning bid under the hammer of $98,000 or $114,170 with the buyer’s premium and GST on the premium added (a total of 16.5 percent). This compared with estimate of $100,000. This same coin realised $22,500 in July 1986 at our Sale 19. An interesting feature of this sale was the large spread of buyers. Nearly 600 were successful with a record number of internet bidders from around the globe.

SESSION ONE HIGHLIGHTS In the first session in the mis-strikes section, an off centre sovereign (est. $900) drew strong bidding and after an interrupted bidding war at $1,800, eventually realised $4,427. An obverse brockage penny 1942I (est. $1,250) sold for $1,980. It was bought at our Sale 37, November1991 for $560. A 50 percent off centre strike of a 1945 penny (est. $1,200) went for $1,748. As with the previously mentioned lot, this was also from Sale 37 when it then sold for $360. A 20 cent of 1966 in nearly uncirculated condition (est. $1,500) achieved $3,146. Another strong result was

for a Great Britain 1951 farthing struck on a sixpence planchet, ex-Norweb collection with an estimate of $4,000, which sold for $4,544, the top price in the section.

Commonwealth of Australia ten pound note, Cerutty/Collins, 1918. Sold $20,970

SESSION TWO HIGHLIGHTS In the British series, sold in the morning of the second day, a gold 1887 £5 (est. $2,500) sold for $4,194. Of the J.B. Brooks half crowns the 1658 Cromwell (est. $3,000) and the 1685 James II (est. $2,000) did best realising $5,243 and $5,010 respectively. The Bello et Pace 1713 farthing (est. $6,000) went for $7,573 (or £5,000) and was bought by a UK bidder. The Pistrucci reverse trial ex Brand collection (est. $500) was pursued by many overseas bidders finally going for $1,922. The gold 40 shillings token of 1812 (est. $6,000) achieved $8,854 (or £5,900) to another UK bidder

Royal Red Cross, South Africa medal, 1899, Awarded to nursing sisters. Sold $25,630 New South Wales, fifteen pence dump, 1813. Sold $47,765

SESSION THREE HIGHLIGHTS The J.B. Brooks collection of Australian Commonwealth issues was well supported. The 1932 florin (est. $6,000) achieved the top price of $8,621, while a choice 1918M sixpence easily beat estimate of $3,500 with a price of $5,126. Another choice coin, a 1923 threepence brought a record price of $5,592 against an estimate of $2,000. In the pennies, a full red 1915H and 1918I did the best. Both were estimated at $3,500 each. The 1915H (lot 828) sold for $5,126 and the 1918I realised $6,408. A specimen-like 1919 (est. $800) was keenly chased up to $3,379, a new record for the date. In other properties all four 1930 pennies sold. The estimates ranged from $25,000 down to $15,000 with collectors paying $26,795,

New Zealand, George V, pattern shilling, 1933. Sold $44,270

$24,756, $20,388 and $15,145 respectively. Another strong result was for a 1915H halfpenny. Against an estimate of $2,000, it sold for $5,359. Similarly, a 1918I halfpenny attracted $5,126 against an estimate of $1,500. Of the 1923 halfpennies, the first two offered for sale achieved close to their estimates – lot 898 with an estimate of $7,500 realised $7,573 and lot 899, estimate $6,000, sold for $6,990.

SESSION FOUR HIGHLIGHTS Highlights were the German New Guinea gold 20 mark, 1895A with an estimate of $27,000. This coin was ex Sir John Ferguson collection, which was Sale 5 in March 1981 and then sold for $13,000. The coin selling at $39,610 set a new record for our sales after a bidding war between four bidders opening at $25,000. The New Zealand 1933 pattern shilling (est. $40,000) bought at Sale 42 July 1993 for $25,500 was purchased by a collector in the room for $44,270. Highlights in the tokens were a full red uncirculated Hodgson 1860 halfpenny, (est. $1,000) at $1,981, a Morris Marks bronze penny (est. $900) at a record $3,146, a Petersen penny (est. $900) sold for $2,796. The highest price went to the Tasmanian 1823 shilling (est. $25,000) at $26,795, to a collector in the room.

NIGHT (FIFTH) SESSION HIGHLIGHTS The 1813 NSW 15 pence or dump (est. $40,000) also sold to the same buyer in the room as the holey dollar mentioned in the beginning, at $47,765. It was bought originally in Sale 17, November 1985 for $7,600. The 1852 Adelaide pound, which came from the same collector as the holey dollar and dump went to the same buyer in the room at $44,270 (est. $35,000). It was bought at Sale 27, March 1989 for $15,400. Some strong results were seen for young head St George reverse sovereigns. The uncirculated 1874 Sydney (est. $1,500) achieved $3,612 and the nearly uncirculated 1883 Sydney (est. $600) went for $4,660 after a long bidding war in $100 rises between two floor bidders. In Australian Commonwealth coins the highest price of $41,940 went to the 1935 proof penny and halfpenny set, below the estimate of $45,000. Selling above the estimate of $1,500 was a Perth 1946 shilling which reached a new record price of $2,214. Also doing well was a better than average 1922/1 overdate threepence which attracted $8,971 (est. $8,000).

MILITARY MEDALS In the military medals section the pair to a Nursing Sister, Royal Red Cross and QSA (est. $17,500), the first to be awarded to an Australian, realised the highest price $25,630 in the important Chris Thomas collection of which 45 lots sold out of 70. The top price went to the Colditz Castle escaper group with a unique Australian connection (est. $20,000) at $37,280 after a bidding duel which saw bidding open at $22,000.

STAMPS The J.B. Brooks collection of stamps was well received with three floor bidders winning most of the kangaroos. The best price over estimate went to a small multiple watermark £2 (est. $1,500) at $3,961. The 1st watermark £2 (est. $4,000) achieved the top price of $5,592.

EARLY AUSTRALIAN NOTES These were auctioned in the evening session. An Australian Joint Stock Bank Brisbane 1884 specimen one pound sold well above the estimate of $8,000 for $11,650 to a New South Wales collector. The CBC notes all sold at close to estimate except for the first which was the top price going to the £50 of c. 1875 at $20,388, slightly lower than the estimate of $22,000. The 1866 Queensland Treasury note for £5 sold for $22,718, close to the estimate of $22,000. A similar result was achieved for a Union Bank £1 note issued at Geelong in 1845, estimated at $16,000 and selling for $16,893. The note was ex Dr Alan Nicholson collection. The J.B. Brooks collection of Australian Commonwealth notes sold over estimate with all lots sold. The top prices were for a 1914 £5 pound (est. $5,500) at $8,155 and a 1918 £10 (est. $18,500) for $20,970. A 1927 note (lot 3098; est. $8,500) went for $10,485; a 1934 note (lot 3099; est. $6,500) sold for $8,272. In other properties a good fine superscribed £1 (est. $9,500) achieved $10,485. The specimen notes did well. The highest price going to the 1954 £10 (est. $35,000) at $93,200, followed by a 1988 £10 (est. $7,500) and the 1996 $100 (est. $12,500), both sold for $16,310. In the star notes a 1942 £1 (est. $15,000) went for $15,145 and a pair of 1953 £1 notes with an estimate of $20,000 went under the hammer for $22,135.

New South Wales, five shillings or holey dollar, 1813. Sold $114,170

Commonwealth of Australia ten pound specimen note, Coombs/Wilson, 1954. Sold $93,200

CITY

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

Reminiscent of the French jewellery salons of the 19th century and located in the historic Strand Arcade, Victoria & Albert Antiques is a treasure trove filled with interesting and unusual antique, vintage and quality reproduction pieces. With decades of experience, our knowledgeable staff will help you find the perfect gift, or special treat for yourself.

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

Shop 28, Ground Floor, Strand Arcade 193 Pitt Street Mall, Sydney PHONE: 02 9221 3373 MOBILE: 0407 676 838 MONDAY to SATURDAY ANCIENT GOLD On the final day several satisfactory results were achieved for the ancient gold. The gold stater of Pantikapaion (est. $40,000) sold slightly below the estimate and was the top price at $38,445 followed by the aureus of Nero; (est. $16,000) at $18,640. An aureus of Claudius (est. $14,000) sold well at $15,145; both to the same room bidder. In silver the Egypt silver decadrachm (est. $6,000) attracted a price of $6,757 and a good portrait denarius of Caesar (est. $7,000) went to a collector in the room at $9,320. In the bronze a Claudius as (est. $500) also did well. After a bidding duel, it sold for $2,563. Another strong result was for an as of Antoninus Pius (est. $350) at $1,748.

WORLD CURRENCY BANKNOTES The Indian currency did best with the two 1918 rupees eight annas (est. $3,000 each) going for $4,660 each. The 50 rupees of 1930 (est. $5,000) sold for the top price of $6,408. The Hyderabad five rupees (1923-4) (est. $1,000) went for $3,961 to a Sydney collector in the room. A choice example of the 1,000 rupees (est. $3,000) was pushed out in the bidding finally selling for $5,243. A USA one dollar silver certificate with Martha Washington’s portrait with a conservative estimate of $250 was finally bought at $1,398 by a Sydney dealer against a visiting American collector in the room.

COINS In world gold the three China proof gold coins of 1981 (est. $1,200; $1,500 and $2,500) went for $4,078, $4,078 and $6,408 respectively after much anticipated bidding. Strong bidding on world coins was not restricted to China. Issues from other countries exceeded expectation such as a Norway 1888 two kroner that raced away to $4,311 against an

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

estimate of $300. The Indian coins generally sold for more than estimate. Some such as lot 4301 with an estimate of $100 at multiples of estimate realising $583. A gold pagoda of Tipu Sultan (est. $150) went for $525. Finally in the miscellaneous, J.E. Boehm’s Jubilee plaster relief portrait sold to a Sydney collector for $2,563 against an estimate of $2,000. Highlights in the world silver were the British Guiana three guilders (est. $20,000) which sold for $18,640, or £12,500, and the St Vincent 12 bitts (est. $15,000) at $15,145, or £10,000. Other highlights reflected the strength in collecting world silver coins. A Russian 1898 commemorative rouble attracted much bidding and went well above the estimate of $500 selling for $2,913. The Chinese coins from an estate were subject of ferocious bidding over estimates. A Fengtien Province dollar (est. $100) achieved $1,573; eight Kiangnan chop marked dollars estimated at $250 sold for $2,214; two Kirin dollars (est. $120) attracted $1,282; an old man dollar of Taiwan sold well at $2,097 against an estimate of $150, and a silver sycee also went for well above the estimate of $300 at $1,748. Five silver dollars of the Republic with an estimate of $200 went under the hammer for $1,456 and a 1912 issue estimated at $100 did well at $1,165.

FORTHCOMING NOVEMBER SALE Our next sale takes place in Sydney, Tuesday 20 to Thursday 22 November at the Hotel InterContinental. Already included are a NSW holey dollar and dump, 1930 pennies and the collection of the late Fred Dobbin. Consignments for this important sale are being accepted until 14 September. To find out more contact Jim Noble NOBLES NUMISMATICS 02 9223 4578 www.noble.com.au

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

WE BUY & SELL

Antique, vintage and selected new buttons Shop 25 Nurses Walk, The Rocks (enter through Surgeon’s Court off George St, opposite Museum of Contemporary Art)

Ph: 02 9252 0833 Email: dd@buttonsbuttons.net OPEN 7 DAYS 10am - 5.30pm 39

L to r: Yellow strolling or deck dress worn by Rose (Kate Winslet); Jack Dawson costume (Leonardo DiCaprio); Rose’s tea gown, also known as the sinking or swimming dress; Caledon ‘Cal’ Hockley lounge suit (Billy Zane). Costumes designed by Deborah Lynn Scott 1996/97. On loan from the 20th Century Fox Costume Department. Image courtesy of the Australian National Maritime Museum

RMS Titanic propellers in dry dock at Belfast. Image courtesy Titanic in Photographs: Klistorner & Hall

Centenary of the Titanic remembered at the ANMM A

rguably one of the most significant events of the 20th century, the sinking of the Titanic has captivated people and generated controversy for decades. Now 100 years on, the Australian National Maritime Museum will mark the centenary of the disaster with an intimate memorial exhibition and events program. RMS Titanic was to be the greatest ship afloat, shining proof of the industrial power of the modern world. But tragically, this vision was shattered on its first voyage when it struck an iceberg and sank on 15 April 1912 with the loss of over 1500 lives. The exhibition at the Australian Maritime Museum presents the history of this epic tragedy from construction to fateful sinking and rediscovery, and the controversy surrounding it. Drawing on replica objects, ship models, memorabilia, newspapers and graphics, this exhibition concentrates on the human stories behind the disaster. Learn about the ‘unsinkable’ Molly Brown, the unsung heroes like junior wireless operator Harold Sydney Bride, and Arthur Henry Rostron, Captain of the Carpathia which came to Titanic’s aid. Visitors see a large memorial wall which lists the names of all the known survivors and the

victims of the sinking – a dramatic realisation of the size of the disaster in human terms.

Titanic in popular culture See the impact of the Titanic on popular culture from books to films, culminating in the recent release of James Cameron’s Titanic in 3D. The museum has partnered with 20th Century Fox to include selected costumes and props from the Academy Award®-winning 1997 film Titanic. Written, directed and produced by James Cameron, Titanic is the second-highest grossing movie of all time and received a record 11 Academy Awards® including Best Picture and Best Director. To commemorate the anniversary, James Cameron and producing partner Jon Landau have digitally remastered and meticulously enhanced the film to 3D, allowing audiences to experience this ground-breaking and uniquely emotional and visual epic on the big screen like never before. Nine costumes from Oscar®-winning costume designer Deborah Lynn Scott are displayed, including outfits worn by Kate Winslet, Leonardo DiCaprio and Billy Zane, together with props, photographs and design sketches. Highlights include:

RMS Titanic leaving Southampton, 1912. Courtesy Titanic In Photographs: Klistorner & Hall

• Pale lavender chiffon dress worn by Kate Winslet (Rose DeWitt Bukater) throughout the sinking scenes • Antique white silk dress with gold embroidery worn by Kate while walking on the ship’s deck • Corduroy pants with vest and suspenders worn by Leonardo DiCaprio (Jack Dawson) • Gentleman’s suit worn by Billy Zane (Cal Hockley) • Beaded evening gown worn by Kathy Bates (Molly Brown). Other costumes include those worn by the characters Spicer Lovejoy, Madeleine Astor, a dinner party extra, and a ship’s officer. Props include a Titanic life vest, Carpathia life ring, Rose’s hand mirror and a binoculars’ case (salvaged from the wreck in the film). An audiovisual installation also delves into the filmmakers’ vision for the film and their passion to bring it back to the big screen in 3D. Controversy has surrounded Titanic for decades… from the shocking number of deaths, particularly among third-class passengers, to the scarcity of lifeboats on board. In more recent years the salvaging of the wreck site and recovery of objects have been likened to grave robbing. The exhibition

Mrs JJ Brown, 1912. Survivor of the Titanic as she landed from Carpathia. Image courtesy of the Library of Congress Prints and Photographs Division, Washington USA

looks at these issues, the basis for them and the differing viewpoints. The exhibition is presented in association with principal partner 20th Century Fox that released James Cameron’s Academy Awardwinning Titanic in 3D. Remembering Titanic is open until 11 November 2012. Entry is included with general admission: $7 adults, $3.50 child/concession or $17.50 families. The Australian National Maritime Museum, Darling Harbour, is open daily from 9.30 am to 5 pm. More details at www.titanicexhibition.anmm.gov.au. Shirani Aththas AUSTRALIAN NATIONAL MARITIME MUSEUM 02 9298 3777 www.anmm.gov.au

Photograph of Rose (Kate Winslet) and Jack (Leonardo DiCaprio) on the deck of RMS Titanic, from James Cameron’s film Titanic

DARLING HARBOUR

The museum’s Classic & Wooden Boat Festival will feature a beautiful range of classic boats. Photo: Andrew Frolows

Restored Halvorsen cruiser Silver Cloud. Photo: Andrew Frolows

Classic vessels captivate at this year’s

CLASSIC & WOODEN BOAT FESTIVAL T he Australian National Maritime Museum’s popular Classic and Wooden Boat Festival returns to Darling Harbour this October. The colourful festival on the weekend of 13 and 14 October gives visitors the chance to get up close and personal with more than 70 classic boats that recall the golden age of sailing. The vessels that will be gracing the wharfs range from graceful yachts and streamlined speedboats to tugs, workboats and a dozen beautiful Halvorsen cruisers.

SPECIAL HIGHTLIGHT OF HALVORSEN VESSELS The Halvorsen name is central to the achievements of 20th century boatbuilding in Australia. A family of Norwegian migrants, their boats are of a quality, style and beauty few can match. A particularly impressive Halvorsen vessel that will feature in the festival is Silver Cloud. Built in 1939 it is the largest surviving Halvorsen-built luxury bridge-deck cruiser and showcases the magnificent craft that was the epitome of classic boat building. Sporting an oregon and spotted gum hull with teak deck, the vessel was commissioned by Jack Bruce, a well-known Sydney identity. It saw war service from 1941 to 1945, including the Japanese mini submarine attacks on Sydney Harbour in May 1942. Having been maintained in good condition by several owners over the years, Silver Cloud received a complete overhaul to resume her place as the ‘grande dame’ of classic boating. It now has a permanent record in Australian maritime history, listed on the museum’s Australian Register of Historic Vessels which

The museum’s 75-year-old naval officer’s motor launch MB 172. Photo: Andrew Frolows

catalogues vessels of historical significance around the country. Another beautiful Halvorsen vessel appearing at the festival is Septima, a 44-foot motor cruiser built in 1961. It features a carved planked oregon hull and teak decks with a Queensland maple interior and was the only 44 foot built of this design.

The classic 44-foot Halvorsen Septima. Photo: Ken Woodward

RAN TRAINING VESSELS But it’s not all about the pleasure and leisure boats at the Classic and Wooden Boat Festival. A selection of hardworking vessels will be on show including ex Royal Australian Navy auxiliary workboat AWB-442. Built in 1944 it was used as a Navy training vessel and as a platform for clearance divers. After 25 years with the RAN it was decommissioned, sold and restored to peak condition. At the festival, AWB-442 will be reunited for the first time since being in service with a number of other ex-RAN workboats including the museum’s own MB 172 which can often be seen zipping around Sydney Harbour. In its previous life with the Navy, MB 172 was used to ferry Naval officers around, whereas today it forms part of the museum’s historic fleet and occasionally transports museum staff and guests.

A WEEKEND OF ACTIVITIES FOR ALL THE FAMILY With the boats as the centrepiece, Sydney’s Classic and Wooden Boat Festival is an action-packed family event with plenty of glamorous vessels to captivate visitors. The weekend includes live music, demonstrations, children’s activities and the ‘Quick and Dirty’ boat building competition, where makeshift boats are made and sailed in record time. And for the first time the festival will kick on into the evening with live music and the museum’s first waterside pop-up bar. For more information on this year’s Classic and Wooden Boat Festival visit www.anmm.gov.au/cwbf. To see other beautiful historic vessels from around the country, log on to the Australian Register of Historic Vessels at www.anmm.gov.au/arhv. Jude Timms AUSTRALIAN NATIONAL MARITIME MUSEUM 02 9298 3777 www.anmm.gov.au

Model wearing swimwear by designer Peter O’Sullivan. ANMM. Gift from Dale O’Sullivan

Designs of 1930s swimwear collected by designer Peter O’Sullivan. ANMM. Gift from Dale O’Sullivan

At the Australian National Maritime Museum – a snapshot of Australian design PETER O’SULLIVAN: DESIGNING AUSTRALIAN SWIMWEAR

n the late 1990s the Australian National Maritime Museum acquired an extraordinary collection of material relating to the design and manufacture of swimwear in Australia. The collection in question related to Melbourne-based designer Peter O’Sullivan

(1904-1977) who worked for Australian brands such as Black Lance and Seagull throughout the 1930s and 1940s. The collection encapsulates this period – a pivotal time in the evolution of swimwear as it grappled to combine social conservatism with increasingly immodest fashion trends. Bikinis were still 20-odd years away and from my point of view, writing in 2012, the beach fashion of the ’30s and ’40s is visually the most interesting period in the history of swimwear. Even those who did not live through the times can conjure images of Marilyn Monroe, Rita Hayworth, Jayne Mansfield – the glamorous swimsuit-clad pinups of the pre-war and war period: icons and ideals of beauty and fashion showcased within swimwear.

THE HISTORY OF THE SWIMSUIT IS A CONCENTRATED HISTORY OF FASHION What we wear when we swim has been the subject of an ongoing global conversation that incorporates issues of design trends, sport, sex and individual expression. This evolution also occurred here in Australia – on our beaches and within our communities. And so with this year’s History Week theme of ‘Threads’, exploring Australia’s history and cultural identity through our relationship with fashion, what better time to showcase this collection – a snapshot of Australian design in a period of international social change.

RARE EXAMPLES OF AUSTRALIAN MADE AND DESIGNED SWIMSUITS The O’Sullivan collection includes several rare examples of Australian made and designed swimsuits. The collection, however,

Women’s Black Lance one-piece swimsuit. ANMM. Gift from Dale O’Sullivan

is predominantly significant for the fact that it includes an extensive amount of archival material such as patent applications, photographs, company budgets and notes relating to the Botany Knitting Mills in Fitzroy, distribution pamphlets, references for models and design sketches.

IMPORTANT ARCHIVAL MATERIAL O’Sullivan also collected a large amount of magazine clippings relating to topics such as exercise, beauty, water sports, weight loss, sportspeople and swimming safety. He assembled magazines, catalogues, articles and knitwear patterns relating to developments in fabric technology and current European and American trends in swimwear fashion. As a local Australian designer, O’Sullivan demonstrated a keen awareness of the latest trends from the influential European and American markets.

INTERNATIONAL DESIGN INFLUENCES Examples from O’Sullivan’s pieces illustrate the influence of international fashions on his designs. Photographs of models posing in his suits in low-backed one-pieces are a response to the 1930s trend in evening wear for lowbacked dresses that required an even and equally low suntan. Similarly, both the men’s and women’s designs of this period feature details that reflect the push and pull effect of modesty versus fashion. As topless bathing for men was still controversial and disapproved of by authorities, many men’s designs featured detachable or roll-down tops. The women’s maillot-style one-piece shown here features the fashionable low cut back and a high cut leg, designed for maximum exposure for sun baking. Although the low cut back of these 1930s costumes met with some opposition, they remained a stubbornly popular fashion statement.

AN AUSTRALIAN ON THE WORLD STAGE Despite seeking influence from international fashions, O’Sullivan had some innovations of his own that saw him become the first Australian to design and manufacture swimwear for export to the United States. O’Sullivan won the world patent for the square belt buckle known as the ‘Superman’ buckle and also introduced a skirt across the front of swimming costumes that was known as a ‘modesty panel’. Both innovations became popular features of swimwear throughout the 1930s and 40s.

DESIGNS FOR LIFE SAVERS Fashion trends aside, O’Sullivan was also interested in providing a better fit and comfort for Australians as the popularity of water sports increased. The O’Sullivan collection includes measurements and notes for swimwear designs for local Surf Life Saving clubs as well as pamphlets on movement and exercise. Perhaps most importantly for our museum, the O’Sullivan collection as a whole provides a rare example of the design process of Australian produced swimwear from start to finish, from concept to catalogue, from design to distribution. O’Sullivan’s selection of clippings, his sketches and the finished products track an influence of global styles that were siphoned through an Australian market to produce distinctly Australian products. For anyone with an interest in Australian produced swimwear, a large portion of the O’Sullivan collection is now available to view on the museum’s online collection database at www.anmm.gov.au/collection Penny Hyde Curatorial assistant AUSTRALIAN NATIONAL MARITIME MUSEUM 02 9298 3777 www.anmm.gov.au

CLYBUCCA

Model 12 table lamp

Model 12 four post hanging lamp

‘So simple a child can operate it. Its safety an outstanding feature.’

The history of the

Aladdin incandescent mantle lamp T

he first lamp produced by Aladdin Industries Australia was the Model 11 Lamp, which was sold in the years 1922 to 1928. It proved to be a milestone because the Model 11 was the first locally made incandescent mantle lamp that worked with a non-pressure burner. Rated at approximately 70 candlepower, it produced a white light and burned without smoke or smell. The Model 11 lamp was very much liked for its practical and aesthetic appearance; it incorporated the centre draft design using a kone cap mantle and heelless

Aladdin shade with white satin dome and crystal prismatic panels

Model 12 vase lamp

chimney. Some heelless chimneys were made in Czechoslovakia for Aladdin Industries. These chimneys were made of the finest lead crystal glass and carried the Aladdin circular logo. The Model 11 lamps were very easy to use and also very reliable, although one drawback was the dainty wick-winding mechanism, which could not take much abuse. In the 1920s the nickel finish was greatly appreciated because it required little maintenance. The metal only needed an occasional cleaning with cloudy ammonia, which removed all grease and grime restoring the nickel to its sparkling, silver-like finish. Model 11 table lamps used a Style No. 501 shade. This shade had a 10-inch bottom diameter and a satin white dome with clear prismatic panels in its apron. This shade was a modification of shade Model No. 9, 501-9. The serious collector needs to be wary of reproductions being sold as originals. I know of three different reproductions of the Style No. 501 shade. Some reproductions have a different diameter, different finish (glossy) on the dome, or have different mould marks, some shades have less panels. There were also other shades made for the Model 11 such as the Style No. 550, which was a soft white and shell pink tinted shade with medallions showing artistic Swiss mountain scenes. Model 11 hanging lamps used a single metal harp with a Style No. 516 shade, which had a 10¾ inch base diameter and a satin white design. Model 11 was also made as a wall bracket. From 1928 to 1935 a Model 12 table lamp was made in straight and slanted side fount versions. A substantial number of Model 12 burners marked ‘Nashville, Tennessee’, were made for the export market from 1949 to 1955. In Australia many Model 11 burners were converted into Model 12 burners. Model 12 burners still had the centre draft design, but were fitted with a new system, a Lox-on mantle and a Lox-on chimney, a change that further improved the efficiency and increased the light output of the burner, which was now rated at 80 candle power and would operate 50 hours on one gallon of fuel.

Model 11 and Model 12 burners had the same fine thread and were interchangeable. Some owners of Model 11 lamps kept the base and changed their burner to the new improved Model 12 burner, saving on the cost of a new lamp. Model 12 metal lamps were produced in highly polished nickel and brass. Model 12 vase lamps were made in two sizes in the following finishes: variegated verde and duotan, Bengal red, blue and orange Venetian, green, peach, red and ebony Venetian, green and amber marble-like ceramic, green, white and rose moonstone. Model 12 vase lamps were mainly used with parchment shades. A very large range of parchment shades was available to match any décor. On Model 12 hanging lamps a harp system was used with parchment shades or with Style No. 716 shade, which was 14 inches in diameter and finished in white enamel paint fired on clear glass. The Model 12 hanging lamp was also made in a four port design with a detachable fount. Lamps of this design were fitted with the following glass shades: Style No. 616 which had a 12¾ inch diameter and was 8½ inches high with a satin white finished dome and apron of clear crystal glass in prismatic form. It was also available with a Gristmill design, Style No. 616S and a Poppy design, Style No. 616F. Style No. 620 had a 14 inch diameter; the dome was artificially ribbed and finished in satin white. A clear crystal rim,

one inch wide, of Grecian design, gives the shade a sparkle and a crispness much admired. It was also available with a rose design Style No. 620F. Model 12 wall lamps used two different wall brackets. In one the fount slipped in the top opening, the other wall bracket held the lamp by a metal basket fitted between burner and fount, this arrangement incorporated a shade holder. In Australia a wall lamp was made consisting of a cast iron oval wall plate with beading around the edge and a ‘genie lamp’ design; a swing arm held the fount. These lamps usually had a brown speckle paint finish. Model 12 floor lamps stood up to 55 inches to the top of the burner. Australian-made lamps were quite often made of a plain timber design and were either lacquered or painted. Floor lamps were fitted with parchment shades with diameters ranging from 16 to 21 inches. Further information on the history of Aladdin incandescent mantle lamps is available in the well-illustrated Aladdin the Magic Name in Lamps. JUERGEN WEISSNER THE EVERBURNING LIGHT 02 6565 0104 Email: oil-lamp@zip.com.au www.zipworld.com.au/~oil-lamp/

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

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

An Old Sheffield reproduction antique copper salver that has seen better days. A lot of the plating has worn off showing the base metal (copper) in the centre and the back and front are badly scratched.

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IT’S NOT JUST ABOUT THE PLATING T

he restoration of old silverware is not just about the plating process. Every item has to be carefully examined and the metal needs to be assessed. Before any work can proceed a decision has to be made as to whether polishing or re-plating could ruin the life-long aged patina that gives many antique silver pieces their great charm and character. Much of today’s restoration of old silverware involves repairs such as a broken leg, or a split in the metal which has made the item unusable and often, unsaleable. Even undertaking these simple repairs requires the piece to be stripped back to the base metal. The metal then needs to be cleaned perfectly after which heat must be applied using the appropriate solder. The heat causes metal to discolour. When applied to silver this discolouration is known as ‘fire’ and is the reason why most sterling silver pieces requiring soldering – such as a tea pot – are silver-plated. Many of our antique restoration jobs come as a result of previous repairs undertaken by people not qualified to do such work. The use of lead solders on sterling silver pieces instead of a ‘fine’ high temperature pure silver solder is very common. Silver or copper pieces that have been nickel plated – the nickel acting as a base – hides poor workmanship in the preparation and then requires just a flash of silver which gives it a ‘tizzy’ silver appearance for a couple of years. Most common repairs are to items that have been plated but not been prepared properly prior to plating. They have been given a very quick machine polish and then silver plated on a surface that was not perfectly clean. This results in the plating peeling off in three to five years versus the original plating that only needed re-plating after 50 to 60 years of hard use. It is not unlike a top quality paint job; much of the work is in the preparation, there are no short cuts.

piece can be taken out by a careless or inexperienced polisher thereby ruining a valuable antique. An old reference book on silverware defines polishing as ‘This vital operation that gives silverware its beautiful finish.’ The hand to eye coordination requires great skill and concentration. The reference book goes on to say ‘A large part of the art of polishing lies in the judicious selection of the proper apparatus and materials for the particular work in hand.’ Each metal demands the proper tools such as different mops, bobs and buffs. There are generally five stages in the polishing process during restoration. • The initial cleaning with what is termed a ‘scratch brush.’ • Next follows the extremely labourintensive machine hand polishing using different calibre brushes to take the item back to the base metal. • ‘Mopping’ is the last polishing stage before plating. Soft cloth mops or wheels are used to give a final bright finish to the surface. • After plating comes a polishing process termed ‘finishing’, which removes any frost left by the plating process and brings the piece up a high lustre. • Finally, before being picked up by the customer the item is ‘coloured up’ (buffed) with a soft mop.

RESTORING A SALVER: THE PROCESS

One slip of the hand and 200 years of history can be instantly removed. That is, the hallmark or an historical etching on a valuable

We recently photographed the restoration of an Old Sheffield reproduction salver through the various stages of restoration. 1. The first step is to chemically clean the salver. It has just been cleaned in an acid tank to ensure any oxidation or rust is removed, then

Step 3

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THE ART OF POLISHING

rinsed off in a tank of water. Next, it is cleaned with a very hard wire brush – scratch brush. 2. Using different calibre mops the old silver plating is polished off. The polisher skilfully removes any scratches but at the same time ensures the engraving remains. It is then ‘mopped.’ For this salver the entire process took approximately one hour. 3. After the mopping process the salver is back to the pristine base metal. The copper now needs to be cleaned so that any polishing compound or dust is removed. It is cleaned in an ultrasonic (vibration) cleaner and then rinsed in two different cleaning tanks prior to plating. 4. The tray is then wired and carefully immersed in the silver plating tank. The electroplating process for this salver takes approximately 25 minutes with the result that a very generous coating of 40 to 50 microns of silver is applied. 5. After plating, the salver is returned to the polishing shop to undergo the ‘finishing.’ Soft mops are used to remove any vestiges of frost left from the plating process and to ensure that a rich silver lustre is the end result. This process took about 25 minutes. Before the customer collected the restored salver it was given a quick ‘colour up’ with a soft mop. This removed any moisture spots, also known as ‘spotting out.’ Moisture spots occur during humid and hot conditions and such marks can be easily rubbed off with a silver cloth. The restoration is complete and the salver is ready for the next 100 years of its life.

Polishing methods have barely changed. Here is a photo taken in the 1940s showing a welldressed conscientious polisher finishing an EPNS ice bucket, thus ensuring a rich silver lustre. The same methods are employed today. The machines, tools and equipment are basically the same as they were some 50 years ago. The polisher’s attire is the only thing that has really changed.

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

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MARRICKVILLE

WEDGWOOD synonymous with quality

ost of us of us think of Wedgwood as the moulded blue and white items commonly found in trinket boxes, vases, plates and cameos; but there is so much more to this pottery that’s been around for over 250 years – and some interesting connections with Australasia.

JOSIAH WEDGWOOD: ONE OF THE WORLD’S GREATEST POTTERS Josiah Wedgwood (1730-1795), the founder, was fifth generation of a family of potters who hark back to the 1600s. He was the youngest of 12 children and had an unfortunate childhood, contracting small pox at a young age and having to leave school following his father’s death to help the family in the pottery factories. Due to this illness he later had his right leg amputated below the knee. It is strange how illnesses can bring out either the best or worst in people, many great creative minds have flourished due to extensive days in the sickbed. Josiah took his mind on creative journeys experimenting with clays and glazes.

EARLY WARES After serving an apprenticeship under his brother at Churchyard Pottery, which had been owned by their late father, Josiah went on to work for Thomas Alders and then Thomas Whieldon in 1754. In 1759 Josiah Wedgwood started his own pottery in Stoke-on-Trent, one of the five pottery towns located in Staffordshire. There were many potteries located in this region, the clay was good and near the surface of the ground and it was of a type used primarily for making utilitarian items: jugs, mugs and decorative wares.

MARKETABLE WARES Josiah introduced a glaze that was clear and allowed wares to be decorated cheaply at the factory. His shapes were influenced by fashion; tea became more popular at this time. His most successful range was that of Creamware or Queen’s ware named after the tea service ordered by Queen Charlotte in 1765. It was low in cost to produce, light in weight and well made. Other fine porcelain companies such as Worcester also tried to make a similar range of teapots, cups and saucers.

JASPER WARE Wedgwood experimented tirelessly to perfect his jasper body pottery, which was introduced in 1774 and which he described as ‘… of exquisite beauty and delicacy.’ Although there were a variety of objects made of jasper including vases, plaques and tableware, it was used to create his famous cameos and medallions. He produced likenesses of his

contemporaries – over one hundred different profiles have been recorded from poets, playwrights, politicians and explorers. The famous Portland vase is made of jasper body.

AUSTRALIAN CONNECTION Josiah was keen on experimenting – he tried clays from many corners of the world through his friendship with Sir Joseph Banks, both members of the Lunar Society. He heard of the early discoveries of Captain Cook and eventually of Captain Phillip and the First Fleet. He asked that some clay be sent back from the infant colony to see if it was suitable for making wares. Several dozen medallions were made of this clay, each was marked on the reverse: ‘Made by Josiah Wedgwood of Clay from Sydney Cove.’ The original site where the clay was taken is reputed to be the location of the first Government House, today the Museum of Sydney, on the corner of Phillip and Bridge Streets.

MAKER OF USEFUL AND DECORATIVE WARES Wedgwood made other types of wares including black basalt, cane ware and pearl ware. Many of these wares were also made by his competitors, however his were more successful as he was more up-to-date with the fashions in shapes and decoration.

MAKER’S MARKS: WEDGWOOD WARES Wedgwood was the first potter to mark his wares consistently from 1771. Other potters felt this was an extra cost of production, but Josiah Wedgwood felt that this form of advertising was worth the cost as the wealthy would recognise his name and associate it with quality. His very early mark, circa 17801798, has the name ‘Wedgwood’ in upper and lower case letters. To date some pieces made in the 1840s, the word Etruria in upper case is stamped with that of Wedgwood.

ANOTHER ROYAL DINNER SERVICE Catherine the Great of Russia ordered a dinner and tea service for 50 people, hand painted with views of English country gardens and houses. Josiah did not make much profit from this order, but it gave him a lot of publicity. A significant amount of the service survives – around 80% – and can be found at the Hermitage Museum in Russia.

KEEPING UP WITH THE TIMES Wedgewood has produced a wide range of styles over the years, other than just the ‘blue and white stuff’ most commonly associated with the brand. Through the years Wedgwood has changed with times and fashions but has

always continued making the blue and jasper pieces for which it is famous. In 1932 an interesting collaboration was formed. New Zealand born architect Keith Murray (1892-1981) was commissioned by Wedgwood to create some contemporary clean line designs. The shapes and patterns applied to vases, coffee wares and other items proved to be very popular. These pure, simple forms were very plain and were underlined by the use of matte glazes in a simple colour palette of white, green, turquoise, straw and grey and are very collectable today. Look for the marking: ‘Keith Murray, WEDGWOOD MADE IN ENGLAND’. In the late 1930s Murray moved away from pottery design to working as an architect. In partnership with Charles White he was commissioned to design a new factory at Barlaston, Staffordshire for Wedgwood. In 1940, the new factory opened. Today, Keith Murray is regarded as one of the most innovative designers of the 20th century.

WEDGWOOD: A CONTINUING TRADITION Wedgwood became a public company in 1895 and was always English based until it was sold five years ago to an American company. However, two members of the Wedgwood family are always on the board and continue the association. The Sydney Antique Centre holds a large selection of Wedgwood from the traditional to the contemporary. For more information SYDNEY ANTIQUE CENTRE 02 9361 3244 info@sydantcent.com.au www.sydantcent.com.au

(Photos courtesy of Alan Landis Antiques)

WOOLLAHRA / QUEENSLAND

FELLIA MELAS

GALLERY LITTLE PAINTINGS IV (upstairs) 20 OCTOBER to 24 DECEMBER 2012

FELLIA MELAS GALLERY Woollahra Times Art Gallery

2 Moncur St WOOLLAHRA

02 9363 5616 OPEN 7 DAYS

www.fmelasgallery.com.au

www.AntiquePrintClub.com A wonderful selection of original antique prints of Australian flora

95 Mt Nimmel Road Neranwood (in hills behind Gold Coast)

We’re an hour south of Brisbane. Bring your friends and picnic on the lawn

Open on Sundays from 10 am to 4 pm – or by appointment

sales@antiqueprintclub.com 07 5525 1363

PADDINGTON

Chinese and Japanese Quality antique and reproduction furniture and artefacts

ESTABLISHED 1989

336 South Dowling Street, Paddington

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

CITY

Not all things look better with age...

...but the jewellery at Kalmar Antiques does

Kalmar Antiques where you can hold a piece of history in your hand Specialising in antiques, fine jewellery, watches and objets de vertu

Shop 45, Level 1 Queen Victoria Building, Sydney 2000

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

ALEXANDRIA

Fine Furniture Designed and Hand Made in America by Hickory Chair Company AVAILABLE IN AUSTRALIA ONLY AT LAURA KINCADE 80 O’RIORDAN STREET, ALEXANDRIA (NEXT DOOR TO DOMAYNE) Open Monday to Saturday 10 am to 5 pm and Sunday 10.30 am to 4.00 pm Telephone: 02 9667 4415 Website: www.laurakincade.com 51

setting a new

standard 1

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

7 6

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

LETS TALK A DEAL! NO REASONABLE OFFER REFUSED 9

Set of 8 Regency style dining chairs, fully restored $7,360

French 6 panel alabaster and brass hanging light $5,900

An exceptionally fine Australian-made burr walnut 1940s drinks cabinet in the Chippendale manner with mirrored shelves, black glass slide out service, fitted inside light, fully restored $3,950

Set of 14 Hepplewhite style chairs includes two carvers, fully restored $12,600

A fine quality French bonheur-du-jour (small desk) with key, applied gilt ormolu, detailed marquetry and parquetry inlay, finished with a cross band edge $6,900

Brass and glass three tier trolley, wonderful for a drinks tray or High Tea service $995

Victorian duet piano stool with adjustable cushions, c. 1880. These very rarely come onto the market $2,295

Restored upholstered lounge suite with sprung seats and feather cushions Consisting of a three seater lounge, two bergère style chairs, a pair of small chairs and cushions P.O.A.

Josef Uphues (German 1851-1911), Figure, bronze, signed $4,250

Ornate gilded rococo style mirror $2,100

Hand-painted miniature set in an ornate gilt frame, c. 1900 $1,150

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

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

WE BUY, SELL, HIRE AND TRADE

GLEBE Edwardian oak spindle back desk chair with green leather seat, tilt and swivel, set on castor feet, in good condition $1,150

French Louis Philippe long case clock, bird’s eye birch case $4,500

Dennis Ropar, Cowgirl, mixed media $650 Art Deco leadlight fitting $270 Arts and Crafts quarter sawn oak desk chair with leather upholstered seat $850

Pair of ceramic figure light fittings on stands $3,950

Good Victorian mahogany extension dining table for 10 with two leaves to seat ten set on finely carved legs $7,850

Victorian walnut davenport $3,650

Chinese bronze & enamel vase, early 20th century $180

Anaheim three light pendant $350

Glebe Antique Centre 62 Parramatta Road, Glebe NSW 2037

Magnificent Louis Philippe oak cylinder top desk c. 1860, provenance: ex Bill Bradshaw collection $7,650

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

Queensland walnut double pedestal desk designed with six drawers and single cupboard, fitted with tooled leather top $2,250

Open 7 days – 10am to 6pm Email: sales@glebeantiques.com.au

Edwardian oak hallstand with single drawer and marble shelf $2,250

Phone: 02 9692 9577

Regency mahogany crossband tilt-top centre table set on a quad form base $2,950

Check out our up-to-date websites

www.glebeantiques.com.au www.desksofdistinction.com.au The largest collection of genuine antique furniture in Sydney

Pair of French blue glass oil lamps early 20th century, converted to electricity $450 each

Belle Époque French Empire style marble top credenza in walnut with a single drawer $2,650

Victorian style mahogany cheval mirror $1,650

Classical style cast iron painted urn and stand $650

Australian cedar bookcase, stamped 1881 $4,650

Late 18th-early 19th century French oak two door armoire $8,750

Kauri pine roll top desk c. 1930, featuring fitted inkwell, eight drawers to base, tooled leather writing surface, in excellent condition $2,450

French 19th century walnut double bed in the Rococo manner, in excellent condition with slats $3,500

VICTORIA

Bendigo is a vibrant regional centre, boasting beautiful streets created from one of the world’s greatest gold rushes.

Bendigo’s food, wine & flowers in full bloom. Savour brilliant blue skies and our famed-tulips in full bloom as they add a splash of colour and excitement to the beautiful streets of Bendigo in Spring.

Now fondly regarded as an arts and cultural hub, Bendigo’s historic streets beat with a contemporary feel. Good food, wine, boutique shopping, attractions and experiences are ready to be explored. Heathcote Wine & Food Festival

Bendigo Wealth Heritage Uncorked

Key Events for Spring Harvest Moon Festival Jayco Bendigo Cup

Bendigo Fashion Festival

Elmore Field Days

National Swap Meet

Bendigo Blues & Roots Festival

MILDURA

ECHUCA

BENDIGO

HEATHCOTE MELBOURNE

GEELONG

ally located in Central Victoria, Bendigo is 0 minutes from Melbourne Airport along e Calder Freeway and 90–120 minutes via V/Line trains from Southern Cross Station Find ExploreBendigo on Facebook Follow ExploreBendigo on Twitter

Farmers Markets

For information, tickets and short break accommodation packages, freecall the Bendigo Visitor Centre on 1800 813 153 or visit:

www.bendigotourism.com

SASI 202248:11

VICTORIA

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

Victorian Tunbridge Ware walnut stationary box, c. 1870, decorated with a castle scene

Superb French black marble mantle clock, c. 1860, with figures mounts

French ebonised tea caddy, c. 1830, with brass and tortoiseshell inlays

Victorian walnut stationary box, c.1870, with cubic inlays,

Victorian ebony stationary box, c. 1860, brass bound.

Large Victorian teak campaign box, heavily brass bound and inlaid

Victorian jewellery box, c. 1870, in agate & pietre dure design

Georgian miniature writing bureau, c. 1820, made in mahogany with mother-of-pearl cartouche

William IV mahogany stationary box, c. 1830

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

Valentineâ&#x20AC;&#x2122;s Antique Gallery 369 Hargreaves Street, Bendigo, Victoria 3550 Phone: 03 5443 7279 Mobile: 0418 511 626 Fax: 03 5442 9718 Email: peter@valentinesantiques.com.au www.valentinesantiques.com.au

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

MATCHAM

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

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

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

For orders 02 4365 6399

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

❖ ❖ ❖

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

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

Vincenzo Coronelli – Three gores from Terrestrial Globe including the map of Australia with reindeer and elephant (right, centre)

Australia, with REINDEER AND ELEPHANT

incenzo Coronelli (1650-1718) was one of Italy’s most illustrious map and globe makers. His prodigious output represents the most complete geographical knowledge of the world in the late 17th century. A member of the Franciscan order and a Doctor of Theology, he was founder of the first geographical society in the world, the Accademia Cosmografica degli Argonauti in 1684. In 1685, he was appointed Cosmographer to the Venetian Republic. He is generally regarded as Italy’s finest mapmaker with his maps noted for their accuracy and for their grandeur, elegance and lyrical nature, so clearly illustrated here. In 1681, Coronelli was commissioned to construct two substantial globes for the reigning Louis XIV. He moved to Paris and completed in two years these remarkable works that combine art and science. The globes are 4.57 m in diameter and weigh approximately

2032 kg. A door in the side of the globes allowed around 30 people to stand inside. The globes are displayed at the Bibliothèque Nationale François Mitterrand in Paris. In 1688, he produced a printed version of the globes measuring 110 cm in diameter. Whereas the earlier globes were drawn and painted by hand these were based on 12 printed gores and separate polar calottes. As such, they formed the largest printed globes to date. Because of the expense of producing such globes, only nobility and wealthy clients could afford them. In order to appeal to a wider audience, the gores were re-printed in atlas format and appeared first in the 1696-97 Isolario (the second part of Coronelli’s Atlante Veneo) and later in Coronelli’s Libro dei Globi in both the 1693 and 1701 editions. In one edition, the gore representing Australia includes the map itself and at the bottom, a section of the large elaborate and

Vincenzo Coronelli, Asia Divisa – double page of the eastern hemisphere

beautifully drawn cartouche of dedication. This continues into the next gore and includes a self-portrait of the artist surrounded by delightful cherubs.

Despite his renown and reputation for precision in recording the most current geographic discoveries of the day, Coronelli somewhat wistfully or whimsically added reindeer and an elephant to his vignettes of northern Australia. Did Coronelli, map-maker and artist supremo, perhaps enjoy a relaxed moment of allowing imagination, rather than reality, to run wild?

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

Coronelli, Isole Dell’ Indie – South-east Asia

Vincenzo Coronelli, Mare del Sud – the Pacific

Definitions Calotte, a skullcap, especially worn by priests; thence the caps at the poles of a globe. Cartouche, a structure or figure, often in the shape of an oval shield or oblong scroll, used as an architectural or graphic ornament or to bear a design or inscription. Gore, one of usually 12 printed sections of a celestial or terrestrial map which when laid to a sphere, join to form a complete globe.

Why everyone is talking about the Southern Antiques Centre A treasure hunt with lunch!

t’s the place to be! Sydney’s best kept secret is out and people are travelling from all over Sydney and beyond to shop and explore at the Southern Antiques Centre. Leading the way in the field of antiques, it is a hub for all with an interest in antiques and vintage wares. You can lose yourself for hours at the one location, hunting, browsing, shopping, lunching. Why not hop in the car and find out for yourself? Kim and Michael Hughes established the Southern Antiques Centre 16 years ago and have ensured its continued success by moving with the times. The centre has built its reputation by offering a welcoming atmosphere, impeccable service and a continually diverse, beautifully displayed, high quality product range. Walking through the doors is like entering another realm; you are immediately amazed by the scope of the building and transported back in time by all that surrounds you. Everywhere you look there is a feast for the senses – different eras, strange relics, polished furniture, quirky vintage finds and quality heirloom pieces. The pricing is extremely competitive and there are bargains galore. While the store is the ultimate treasure hunt everything is readily available for viewing and items are selected for their condition, authenticity or relevance to the demands of today’s collecting and decorating trends. This professional yet relaxed approach offers something for every taste and every budget.

Over 40 dealers under the one roof each source their varied wares with great passion and care. It is astounding how many new things there are to see over the course of just a week – there is a continual flow of new stock, new ideas and unexpected oddities. Service is always professional, yet relaxed and warm: here you feel free to take your time and wander at ease through the nooks and warrens. No shopping experience is complete without food and coffee and the centre has that covered! Betie’s Cafe, with its welcoming atmosphere and rustic charm, is an attraction in its own right. Offering a delicious, varied menu with options for lunch or morning / afternoon tea – there is everything on offer here from an unbeatable traditional Devonshire Tea to lunch served in generous portions with only the freshest of ingredients. Ensuring everyone is well catered for, there are several gluten-free choices available and, of course, excellent coffee and delicious treats. Many positive changes have enhanced an already big year for the Southern Antiques Centre. Now with a flourishing on-line presence, several new dealers in store, books galore and an ever evolving range it has more to offer than ever.

NEW SHOPS OFFERING RUSTIC, SHABBY CHIC, VINTAGE & INDUSTRIAL WARES Another exciting development has been the arrival of new dealers whose passion is sourcing furnishings that echo current

decorating tastes, styles and trends. A diverse range of shabby chic, vintage, industrial and rustic styles is now offered in excellent readyto-use condition and complemented by quirky accessories. These individual pieces define a decor and the most surprising element is that it often proves a far more affordable approach to furnishing your home. Why buy melamine when you can purchase a beautiful timber piece with authentic charm and character for the same price or less?

TREASURES FOR A COLLECTION Of course, if you prefer traditional antiques there is, as always, a distinctive range of authentic, quality antiques and collectables that stretches right across the board and hails from across the globe. From superbly crafted furniture to exquisite porcelain, fine quality clocks and decorative arts there is many a treasure just waiting to be discovered. You are sure to find that truly unique piece you’ve been hunting for. The Southern Antiques Centre is a source of inspiration, education and of course, product. An incredible range of furniture is available at impressively affordable prices with all the decorating accents one could wish for. From single chairs, to lamps, to quirky display pieces and stunning original art, you are sure to find that special piece that will make a statement in your home. Not surprisingly, the centre has become a steady source of supply for many interior designers, and movie / TV set designers who love

to pick through the exquisite range for those select pieces to make or complete the look they are after, the current tastes and philosophy of eclectic decor that reflects an individual’s story. You can source from the same place and achieve your own signature style.

A COLLECTOR’S PARADISE & A BOOK NOOK For the avid collector the centre is a retail paradise. The categories on offer are hard to list because there are so many covered – and covered well! Everything from toys, linen and lace, Australiana, tins, tools, gas lamps, CocaCola memorabilia, medical, nautical, ivory, jade, ephemera and so much more. Browsing bibliophiles are thrilled to discover the book nook nestled towards the back of the centre. Here in the centre’s

KOGARAH

Southern Antique Centre 30 SHOPS UNDER ONE ROOF

ANTIQUES • COLLECTABLES • BRIC-À-BRAC

245 Princes Hwy, Kogarah

CHECK OUT OUR

(near St George Leagues)

BRILLIANT NEW WEBSITE

20 minutes south of the City

www.southernantiques.com.au

southernantiques@bigpond.com

• OPEN 7 DAYS from 10 am • CAFÉ • We Buy - Sell & Hire

Phone: 02 9553 7843 Mobile: 0410 436 933

Michael and Kim Hughes

expanding bookshop, the editions have been chosen with the intention of catering to all tastes and budgets – offering everything from contemporary novels to beautiful coffee table books, manuals for the motor enthusiast, early children’s books, art books, vintage selections and antiquarian editions.

GIFTS FOR EVERY OCCASION The Southern Antiques Centre has this quandary covered. Whether you are treating yourself or a loved one you are sure to find a unique gift that will delight and be treasured over time. With several dealers offering different ranges of contemporary jewellery to cover all tastes, you are spoilt for choice with cabinets of carefully selected quality costume jewellery. For something more upmarket there is an exquisite range of high quality gold and silver jewellery with a distinct art deco influence and sparkles galore. Additionally throughout the store, a beautiful collection of vintage pieces, rhinestone necklaces, delicate brooches and unusual rings can be found.

High quality contemporary homewares are also available and at incredible discounted prices – lamps, vases, picture frames and decorating accents that help create polished home decor at minimal cost. There are fashion accessories, modern and vintage, that are thrilling to discover. All through the store you will find beautiful little bits and pieces, perfect for gifts or treats. Of course there are always exclusive pieces at the opposite end of the price spectrum to drool over or indulge in. The professional staff is friendly, approachable and happy to offer suggestions or leave you to your own decisions.

JOIN THE FUN & DISCOVER A NEW WAY TO SHOP Filled with charm, individuality and a sense of wonder, as you browse through the centre you will discover things you have never seen before and be inspired to look at objects differently yet, at the same time, you may feel a sense of comfort and nostalgia as you find familiar things from childhood or from

grandma’s house. It’s an intoxicating mix and you may find yourself returning time and again! Each visit will be different from the last with so much to see and so much that changes.

VISIT THE WEBSITE OR JOIN THE CONVERSATION ON FACEBOOK For a comprehensive overview of the antiques centre and all it has to offer, check out the new website at www.southernantiques.com.au. Sale items are also listed online and post / delivery Australia-wide is offered on the majority of items. The centre also has an interactive Facebook page and encourages you to share your passion for all things antique and vintage. ‘Like’ the page for exclusive special offers, giveaways, notifications of in-store promotions, antique related events, mystery object guessing games and much more. Join the conversation at www.facebook.com/SouthernAntiquesCentre.

EASY TO FIND The Southern Antiques Centre at 245 Princes Highway, Kogarah, is a short, 20-minute drive from the Sydney CBD with plenty of easy parking available in neighbouring streets. If coming by train, it is a relaxed 10-15 minute stroll from Carlton or Kogarah Station (Carlton is closer). SOUTHERN ANTIQUES CENTRE 02 9553 7843 www.southernantiques.com.au www.facebook.com/SouthernAntiquesCentre

For Marie Antoinette heaven was Le Petit Trianon

n 6 May Denis Geoffray, director of Unique France, was fortunate to be in Paris and attended the re-opening of le pavillon du Belvédère, part of Le Petit Trianon, on the grounds of Versailles. Together with many art lovers and most of the donors to

the project, he celebrated the fine restoration of the pavilion to its original glory. It was a very special night, and as Denis remarked, it was as if the spirit of Marie Antoinette was there and like the guests, taking pleasure in the beautifully restored compound.

PETIT TRIANON For the tragic Marie Antoinette Petit Trianon was her escape from the rigorous formality of Versailles; here she could enjoy a more relaxed lifestyle away from the pomp of court life. What makes the palace so remarkable is that it bears her personal taste. Originally the concept of Madame de Pompadour and built by the architect Anges-Jacques Gabriel (16981782) in 1761-4, this small palace is in the manner of classical Greek architecture and a break from the exuberance of the rocaille style then popular. Inspired by the discovery of Pompeii and Herculaneum, the classical elements reference Greek and Roman art rather than the classicism of the Renaissance. Petit Trianon is designed to complement the setting rather than dominate; beautifully proportioned each of the four facades is subtly different. The south and north entrances are articulated with pilasters, the east is plain while the west, which is the principal front, has freestanding Corinthian columns. Direct access to the gardens is via external staircases on the western and northern fronts. When acquired by Marie Antoinette the park was changed into an English style garden, replacing formality with irregular lakes, rockwork grottoes and undulating lawns. Working with her gardener Antoine Richard and architect Richard Mique, the queen had created on the grounds a Normandy village complete with a rustic farm and dairy. Although visually different from the original Gabriel design, the finished palace and gardens met the criteria of naturalness and simplicity that was originally requested by Louis XV and his mistress Mme de Pompadour – enjoying pastoral life in privacy away from court life. For Marie Antoinette, her privacy was maintained by ensuring visitors were by invitation only.

THE BELVEDERE PAVILION – A NEOCLASSICAL DESIGN Set on the grounds of Petit Trianon, the octagonal pavilion also designed by Mique, was built between 1778 and 1781. It is regarded as an important feature of the English gardens. The early plans show the Belvedere design to resemble a pagoda. The interior decoration was not the work of Mique but of Le Riche; French sculptor Joseph Deschamps (1743-1788) completed figures for the exterior. Neglected for centuries the Belvedere deteriorated to such an extent that some of the architectural elements were lost. The impaired drainage system meant that water pooled in the lower parts of the building, surfaces were covered with moss and lichen, and there were cracks appearing along the walls and on the floors. Recognising the building was in an alarming state of disrepair, in 2009 the World Monument Fund (WMF) provided funds for its restoration and conservation. Work undertaken saw that structural stability was achieved, the interiors conserved, as was the exterior which included the stone balustrade, sculptures and entrance stairs. The interior conservation project involved cleaning the paintings, marble floors and the bronze decorative elements, which also required repairing. The project took two years at a cost of one million Euros. Returned to its original state, this rustic retreat was once the cause of deep resentment by the French people. They did not understand that this was a working farm growing produce consumed by its royal residents. Today Petit Trianon is an insight into the tastes of an era and the escapist visions of the ill-fated Marie Antoinette. UNIQUE FRANCE 07 3254 0404 www.uniquefrance.com.au

CARLTON

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

Specialists in FRENCH, ENGLISH AND AUSTRALIAN FURNITURE DIRECT IMPORTERS 20TH CENTURY PORCELAIN & GLASS ANTIQUITIES

We buy and sell. Come to us, or we’ll come to you Visit our great new location with onsite parking

66 Planthurst Rd, Carlton NSW 2218 Open 6 Days 10am – 5pm, closed Tuesdays P: 02 9547 3698 E: baker.houghton@bigpond.com Formerly trading as Brae-Mar Antiques and Janda Antiques

FOR THE LOVE OF ANTIQUITIES

or those of us who love our antiques it is but a short step to discover the world of antiquities – artefacts from ancient civilisations, thousands of years old and indeed in some cases, tens or hundreds of thousands of years old. As lovers of antiques we revel in the opportunity to hold objects in our hands that were used by past generations – from the everyday utilitarian ware to the special, rare piece that the average person can only dream of. The world of antiquities is no different. Through the study and acquisition of objects from ancient civilisations we can discover the everyday life of our ancestors. These surviving artefacts are testament to the advanced nature of cultures such as the ancient Greeks, Romans and Egyptians who produced remarkable objects as well as items that created a lifestyle and an identifiable cultural base. The study and appreciation of antiquities take us back to the very beginnings of human development; from the Stone Age, Iron Age to the Bronze Age. Artefacts give us an insight into how people lived. How they dressed, whether they were hunter-gatherers, their diets, events and cycles that were celebrated, warfare, trade, currency, urban development – from villages to thriving commercial centres – and the development of religious life, building a legacy for future generations. Surviving artefacts include exquisite jewellery, statuary, works of art to household items such as cooking vessels and basic tableware items – each with a story to tell about their original owners. Many antique lovers would probably assume that antiquities are only to be seen in museums, but this is not the case. There are a diverse range of antiquities for the general public to collect, at prices far less than one would expect to pay for antiques! Naturally, the scarce and rare objects are appropriately

and securely housed in museums for all to view and enjoy, but many of the everyday artefacts of our forebears can be acquired and appreciated by those who seek them out. Imagine holding a Stone Age axe pitted and gnarled, and wonder how it was used to better the life of its owner, or holding an oil container made in the great era of the Roman Empire. Imagine owning a coin from 323 BCE, the time of Alexander the Great, or a Roman coin dating to the time of Nero. Each of these items, and every item of antiquity, is an invitation to explore the past, opening a window into times long gone and through research gaining a greater understanding of how lives were shaped and the impact this has on our own daily lives. Welcome to a brief look at antiquities through pictures and descriptions. This article is not intended for the expert, but rather for the antiques enthusiast as a general introduction. If you collect jewellery, pottery, textiles and accessories, antique lighting or any of the thousands of other areas of interest, think about adding some antiquities to your collection. They’re not only great talking points, but also items to be admired and collected by those who seek to be guardians of the past. The pieces pictured here are just a small

sample of the breadth and variety of antiquities available to the collector. If you find that these, or any of the thousands of antiquities available are of interest and perhaps pique your curiosity, this could be the beginning of a new world of collecting. To get started, you can view and handle a range of antiquities at Baker and Houghton Antiques in Carlton, Sydney or at the Fairy Meadow Antique Centre, Wollongong.

For more information contact BAKER AND HOUGHTON ANTIQUES 02 9547 3698 / 0439 489 457 baker.houghton@bigpond.com

Italian, Daunia Funnel Krater, c. 500 BCE, h: 23 x w: 36 cm. Daunia lies in the Tavoliere valley, northern Apulia, and the painting style of painted bandings, arc and circles indicates where and the time period it was made. Funnel craters were made between 6th-3rd centuries BCE

Above left: Late Roman socketed iron spearhead, 4th-6th century CE, with well-defined ridge Above right: Roman iron socketed axe, 1st-3rd century CE, could have been used as a weapon or for chopping wood Far left: Italy, votive female figurine, c. 350 BCE, h: 9.5 cm, found near Tarento (ancient Taras), a Greek colony established by Laconians c. 706 BCE. A flourishing centre of Greek art, the votive cult flourished here for more than 400 years Left: Roman pottery jug, c. 3rd century CE. This impressive jug has a single applied handle, and linear decoration to both the handle and the lip

India, Indus Valley Civilisation, Harappan pottery vase, c. 2200-1800 BCE, h: 9 cm, highly decorated with fish and geometric patterns. Glazed Harappan pottery is the earliest example of its kind in the world. Archaeological evidence at Harappa and Mohenja-daro suggests that people of the Harappa Culture may have contributed more substantially to Hindu culture than previously thought

INSIGHT INTO SHELLAC drawn from nature and applied to furniture

hile restoring a small cedar chest of drawers I was cast back to the ’60s when we were all told that the use of polyurethane was the new technological marvel for finishing timber. I well remember giving an antique cedar chest of drawers the treatment: strip off the old polish and apply three generous coats with a house brush – it would last forever! Well, unfortunately a similar thing must have happened to my chest of drawers – and the result is that the polyurethane has clouded and crazed and had to be laboriously scraped off. As a small boy in the 1950s, I was fortunate to have an old cabinetmaker live next door. He had set up a workshop out the back and I was fascinated by many things there, especially an ancient jar filled with what appeared to me to be crushed cockroach shells. Dick (the cabinetmaker) told me that I wasn’t far off. This was in fact the shell of the lac insect and once steeped in alcohol (methylated spirit) it would dissolve to form the material for French polishing. Dick’s grandfather had been a polisher and this was his jar, which presumably had sat in the workshop undisturbed since before 1920. Dick seemed to be ambivalent towards ‘French polish.’ He had always used varnishes and spray lacquers because they were quick and after all, he was a cabinetmaker. On the other hand, he did display something of a reverence for this product and process. Although he considered it an anachronism because of its laboriousness, he did accept that it was a superior finish in terms of beauty. I found his story of how his grandfather would work all morning with little more than an eggcup full of shellac enthralling. I looked up the definition of shellac and found that it is defined as a hard, tough, amorphous resin containing an intimate mixture of several compounds. It is non-toxic, unaffected by common solvents (except spirit), is non-conductive, has excellent ultraviolet resistance and very good adhesion. All of these characteristics are utilised either in isolation or combination to give shellac an enormous variety of applications in industry apart from French polishing. Old Dick (he lived to be 97) was a wonderful craftsman and a patient teacher but wasn’t quite right about the shell of the lac beetle. The scale-like insect, Laccifer (Tachardia) lacca (lac is Hindi for 100,000) is almost microscopic and on average 200,000 lac insects produce just 1 kg of resin. The insects spend the whole of their natural life

attached to the twigs and branches of certain trees. As the insects are crowded together on the twigs, the individual cells coalesce to become one mass of encrusted lac known as sticklac. This sticklac is gathered, placed into bags and heated, shellac, which melts at a low temperature, then oozes through the bag leaving the twigs etc behind. After further cleaning, shellac in its various grades is produced using either solvents or heat. Although shellac originated in India as well as northern Thailand, the trade has been a long and profitable one dating back to at least the 4th century when it was traded with the Chinese. More recently the lac and host trees have been transplanted throughout South East Asia. Cultivation centres include India, Burma, Thailand, Laos, Cambodia, Vietnam and Indonesia.

FRENCH POLISHING The Chinese and other Asian communities perfected many techniques working with shellac on both wood and metals long before it was known in Europe. In the late l7th century and through the 18th century it was not uncommon for better quality pieces to be shipped to China or Japan for lacquer work as the result was considered far superior. By the end of the 18th century French polishing (‘Frenching’) was universally adopted as the only finish for timber and the practice of its application was considered a skilled trade, which it still is today.

METHOD What we know as French polishing is a simple process of applying the shellac, which is dissolved in denatured alcohol, with a cotton pad or ‘rubber’, as it is called. It is a delicate process and very thin films of polish are built up with rubbing; the shellac contains about four percent wax (of a very hard variety) and the rubbing creates a soft lustre through friction over many applications.

SUPERIOR TO OTHER FINISHES Experience and skill are required to produce a high quality finish. Restorers will tell you that furniture first French polished 100 years ago or longer, and perhaps suffering the ravages of time and neglect are easily cut back and repaired. More modern finishes however, tend to break down over a comparatively short time, and then require stripping off and replacement. My experience today bears that out. But importantly, it’s the fact that you can repair the polish, and hence retain the age and patination.

MULTITUDE OF APPLICATIONS Rather than being an anachronism shellac, with its innate qualities, is in greater demand than ever. New applications for its use are continually being found. Apart from furniture polishing, floor finishes, undercoats, varnishes, lacquer ware and leather dressings, it has long been used in making rubber compounds and moulding articles like grinding wheels, dental plates etc.

‘Sticklac’ from which shellac is extracted

It is used extensively in the electrical industry due to its insulation properties. Shellac’s adhesive properties means it is found in many types of glue. It is used for coating chocolate and sweets and provides a protective coating for fruit plus enhances shine. In pharmaceuticals, it is used to coat pills and capsule casings. In the printing industry, it is used in the manufacture of inks. The cosmetics industry uses shellac in the preparation of many products, the most common being lipsticks. Everyday things like the lining of tin cans from foodstuffs to petrol includes shellac as do linings of barrels and vats in the brewing industry. It is found in antifouling and anti-corrosion compositions for all sorts of uses from ships’ bottoms to submarine telephone cables. So this wonderful and ubiquitous product is well described by so many articles as ‘Nature’s gift to mankind.’ Garry Auton GLEBE ANTIQUE CENTRE 0412 081 049 www.glebeantiquecentre.com.au

GLEBE

GLEBE ANTIQUE CENTRE

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

Fig. 1. Weather beaten arm before treatment

Fig. 2. Restored with Restor-A-Finish

Fig. 3. Close up before treatment

Fig. 4. After Restor-A-Finish & wax

Fig. 5. A 1970s update of the original design

LIFE’S JOURNEY TRACED THROUGH A RESCUED CHAIR BESPOKE FURNITURE IN LIVERPOOL

olin Hanton, the original drummer in John Lennon’s Quarrymen 1956-59 recalls the career choice that determined the course of his life. ‘When I left school I decided I wanted to be a carpenter and the careers master sent me off to a furniture company called Guy Rogers in Speke where, after a time, I became an apprentice upholsterer. I continued working for Guy Rogers until the company closed down in 1979 when I started up my own upholstery business which I still run. I still live in Liverpool near Penny Lane and it amuses me when I see the Magical Mystery Tour Bus go by and I wonder what they would think if they knew they have just passed the house of one of John Lennon’s original Quarrymen!’

Liverpool in the early sixties wasn’t just all about The Beatles. In the village of Speke in Liverpool a furniture design and manufacturing business called Guy Rogers was at the forefront of a revolution in chair design which would soon sweep across most of the developed world. Guy Rogers’ original minimalist chair frame was made of teak and was madly modern having long shaped arms which supported a wire sprung seat and backrest combination. These chairs were padded with high density latex and covered in quality Harris Tweed fabric or black Cirrus, a faux leather product which at the time was extremely innovative and expensive.

For Impressive Results Use Impressive Products

This chair could be set in a number of positions for personal comfort. Guy Rogers marketed his various furniture designs to reflect stylish American destinations such as Manhattan, Beverley Hills and Maryland.

David Foster Director HOWARD PRODUCTS (AUST) 1800 672 646 advice@howardproducts.com.au

A FORTUNATE MEETING At a recent Working With Wood show in Melbourne I met a man who worked in the Guy Rogers factory from 1966 to ’67. He was passing my stand, noticed the chair I was working on, told me that he thought it was a Guy Rogers model and that as a boy he used to work in the factory where it was made. For some reason he only wanted to be known as John, but nevertheless he was generous in sharing his knowledge about Guy Rogers, the man, as there seems to be very little known. He told me that no-one seemed to know anything about him personally, but everyone thought that he must have been either an eccentric or a complete perfectionist because the foremen on the factory floor were under strict orders to check every finished item thoroughly prior to dispatch, and anything with so much as a slight scratch would be removed from the floor immediately. Once a month these items would be incinerated; they were never repaired and were never allowed to be sold to staff at a second’s price. He said that a huge section of the premises was a wood storage area and the finest imported teak and rosewood, which had been personally selected by Guy Rogers, were kept there. Well, that battered old Guy Rogers chair I was working on was salvaged from beside the road somewhere, and I used it to demo on at that fair. I took all the marks and build-up off it with Restor-A-Finish and after a coat of Feed- N-wax the wood looked great, as shown in the photos.

Fig. 6. Before Feed-N-Wax

CHAIR DESIGNS IN THE 1960S

When the best is really necessary

HOWARD PRODUCTS AUSTRALIA

1800 672 646 Visit the website to shop online or to find a stockist near you

www.howardproducts.com.au 66

At the beginning of the 1960s there were a few contemporary designers working with this style of furniture. Danish furniture maker Neils Koefolds and French designer/manufacturer Lucien Ercol were two of the better known. John told me that when he was at Rogers one chair retailed for 23 pounds; more than the average weekly wage at the time. Rogers furniture occasionally comes into the auction market and one early chair can sell for around $800. On this page is a photo of a mid 70's version which doesn't bring anything like that amount.

Fig. 7. After Feed-N-Wax

BRINGING PIECES BACK TO LIFE Battered Scandinavian teak furniture can be restored easily and beautifully with Howard Restor-A-Finish, followed by a coat of Howard Feed-N-Wax. I know; I’ve used it myself many times on just such furniture.

Fig. 8. Frame of 1960s original chair

CAMPERDOWN

Brasac enterprises

One of a set of five framed photographs selected by Max Dupain from amongst his favourites, for sets of limited edition prints published for the Royal Blind Society in the late 1980s. Set of five framed $2,500. Individual $600 each.

Moonflower, 1982

Sunbaker, 1937

Girard Perregaux 9 ct white gold stainless steel case back 17 jewel $2750

Interior Elizabeth Bay House, 1978

At Toowoon Bay, 1985

Blue Gum Forest, c. 1940

Cartier Gold on sterling silver quartz c. 1990 $1500

Rolex ladies 18 ct Cellini 19 jewel c. 1970 $4000

Of the three nine piece sterling silver tea sets made by Garrard & Co London in honour of the coronation of Queen Elizabeth II, this is the only known surviving example. Hallmarked Garrard & Co London 1953/54, weight approximately 11 kilos

Omega Constellation 18 ct app 115 gm automatic-daydate c. 1968 $6500 Omega Seamaster 14 ct c. 1960s $1895

Longines Admiral 10k gold filled, c. 1965 $2295

CAMPERDOWN MEWS

Gold diamond and jade stick pin $3750

212-220 PARRAMATTA ROAD CAMPERDOWN NSW P: 61 2 9550 5554 M: 0412 229 117

GOLD COAST ANTIQUE CENTRE 2076 GOLD COAST HIGHWAY, MIAMI QUEENSLAND P: 61 7 5572 0522 M: 0412 229 117

BOTH OPEN 7 DAYS

A selection of English Hallmarked Sterling Silver frames and antique silver available.

ANNANDALE

ADIEU TO ANNANDALE means bargains for astute collectors

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

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

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

Eliza Jane Antiques

Many find this surprising, little realising that this industry is very much affected by vogue and fashions. To remain relevant two principles are always adhered to: all pieces must be of a high standard in quality and also possess a uniqueness of design which reflects current interiors.

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

ELIZA JANE’S – SYNONYMOUS WITH THE BEST IN ANTIQUE LIGHTING

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

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

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

www.elizajaneantiques.com.au 68

The lights crown a fabulous collection of furniture and objets d’art, most sourced in Europe and personally selected, always for their quality and often for their quirky uniqueness. Many of the pieces are from France and many periods of design are covered.

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

brass ‘Pan’ motif panels to the two glazed doors and brass serpentine inlay to the rosewood flanking doors. Also in stock are many small, functional but exquisite side tables, cupboards and gaming tables as well as the always popular revolving and stacking bookcases.

ARTWORKS OF NOTE The walls are lined with both large and small artwork from around the world and by noted Australian artists in many styles and mediums. A large collection of original Norman Lindsay pencil and ink drawings are available.

INTERIOR DESIGN ACCENTS Choose from unusual gilt and bevelled mirrors large enough to fill a wall or small enough to sit elegantly on a table top. A brief mention of the many objets d’art is all that is possible; they are wonderful, highly decorative and unique – something for all interiors.

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

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

ANNANDALE

BY LAWSONS

AUCTIONS EVERY FRIDAY 1A THE CRESCENT, ANNANDALE, NSW 02 9566 2377 www.lawsons.com.au

BALMAIN

Centennial Hotel’s dining room floor of recycled Australian blackbutt

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

ohn Fredriksson, designer at Antique Floors salvages timber from demolition sites around NSW including old houses, factories, bridges and wharves that would otherwise go to landfill. Using recycled Australian timber adds instant character and history to a home, office or restaurant as is evident at the Centennial Hotel dining room in Woollahra, which utilises Australian blackbutt saved from a disused woolshed.

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

CREATING an authentic look European wide oak floors have their own inherent charm and can be manufactured from new boards and expertly treated to look old. These floors can be pre-finished or treated with natural oils dependent on your taste.

Available in many different widths these boards are laid randomly to create that authentic oak planked floor look. For a personal sense of what it is like to walk on and feel these beautiful floors, visit Antique Floor’s charming showroom in one of Balmain’s oldest warehouses. It has been fitted with numerous flooring styles and examples of John’s custom joinery, furniture and a selection of antiques. John Fredriksson ANTIQUE FLOORS 02 9810 8838 info@antiquefloors.com.au www.antiquefloors.com.au

Flooring on display in the showroom

An example of recycled tallow wood

BALMAIN/PARRAMATTA

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

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

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

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

Even more to see in Balmain’s ‘windows to watch’ M

any of you know that Marion Malcolm Antiques in Balmain is a tiny shop consisting of just two rooms, so it can’t survive without the backup of a storage barn. As Marion has been an antique dealer for more than 40 years not only in the Balmain area but for decades around Windsor as well, she has collected a formidable range of stock, a selection of which is only seen in her compact, intimate shop. Her stockpile of fine pieces is housed in what is fondly referred to as ‘The Barn’, situated in the grounds of her historic home. It is a large, historic storage and workshop area filled with furniture and decorative pieces

sourced from country and city areas and even overseas. ‘I regularly drag something out that has been stored since the Windsor days to clean and refresh. I often get a surprise too, because I rediscover a treasure, long forgotten,’ says Marion.

TREASURES FROM THE BARN Recently she brought into her Balmain shop from The Barn a classic 1940s light, a chandelier, a Victorian era cane veranda lounge, a Kauri pine chest of drawers, Baltic pine blanket boxes, a Baltic pine bookcase, a mahogany Georgian era chest on chest, two tables (pine and cedar), wardrobes, bookcases and inlaid slatted beds. Added to this diverse

selection are chairs. ‘They seem to breed in my Barn,’ laughs Marion.

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

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

GETTING THERE Malcolm Antiques is exactly halfway between Balmain and Rozelle, at 450 Darling Street opposite the famous Cat & Fiddle Hotel. To find out more contact MALCOLM ANTIQUES 02 9810 9333

Ussed&Abbussed The department store with an amazing innovative concept in new and vintage shopping

his amazing department store has been at Sydney’s north shore suburb of Cremorne for over five years, and has grown in a very short time to become the largest new and vintage designer store in Sydney. Originating in the USA at the famous Melrose Place in Los Angeles and Greenwich Village in New York City – both cities renowned for their incredible choice of vintage shopping – Ussed&Abbussed offers unconventional shopping in a cool, vintage atmosphere like no other.

DESIGNER LABELS AT UNBELIEVABLE PRICES Also well known for its two levels of stunning decor, it is equally famous for its large choice of over 2000 of the most sought after and rare international and local designer labels for men and women at heavily discounted prices.

STYLISTS ON TAP FOR THAT NEW LOOK Unconventional and unique is the only way to describe this amazing department store. It has two lounge areas to enhance your relaxed shopping experience; a wig centre offering

real hair clip extensions with hair cut styling included, so you can change your look from short to long hair within minutes. In store is a professional styling service that can transform your image from ordinary to glamorous – fast, painless and cost efficient.

A DEPARTMENT STORE WITH ZING Explore this incredible department store for interesting jewellery, a large collection of designer handbags, interesting homewares, quality antiques, zebra skins and cushions, rare collectables, fragrance candles, vintage furniture, vintage and new crosses, crucifixes, bric-à-brac and religious artefacts. There is something for everyone, young or old, for the fashion conscious or the conservative, Ussed&Abbussed is a crowd pleases. Such is the shopping experience at Ussed&Abbussed that clients come from all over the country as well as from Sydney. The list includes models, television presenters, actors, stylists and image consultants. We have over 150 stylists purchasing our designer labels at prices so well discounted that the savings are able to be passed on to their valued customers.

RETAIL THERAPY SERVICE Experience the very special Retail Therapy Service offered by Hanna Guenzl (www.deepvisionimages.com). Come and book a shopping experience which allows you to enjoy the store in privacy, and at your leisure. For bookings of five or more, the store is closed and complimentary appetizers and champagne are served for your enjoyment. They also cater for private functions, birthday parties, hen’s parties, girl’s retail therapy, men’s shopping parties and divorce parties. For an experience out of the ordinary we recommend a visit to this unconventional and unique concept of a high street department store with an amazing eclectic mix in a caféstyle relaxed atmosphere. For all those unconventional shoppers who enjoy being in a cool vintage atmosphere, drop by soon.

To find out more contact USSED&ABBUSSED 02 9909 2827 www.ussedabbussed.com facebook.com/ussedabbussed

CREMORNE

EPPING

oopers

of Epping

ANTIQUES & JEWELLERS

E L A S N W O D G N I S O L C Jewellery designed, handmade, restored and re-modelled Antique Furniture, Jewellery & Timepieces from Late Georgian, Victorian, Australian Colonial to Art Deco 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

UP TO

25% OFF

TURRAMURRA

www.aada.org.au

Abbott’s Antiques

Member

Now celebrating 80 YEARS of quality antique dealing

Selection of 20th century fruit painted Royal Worcester

Heavy baluster funnel bowl wine glass, c. 1700 and bell bowl four knopped double series opaque twist wine glass, c. 1770

Selection of floral painted 1st period Worcester, c. 1770

French 19th century brass inlaid mahogany tambour writing desk, c. 1865

Russian 19th century icon ‘Christ in Blessing’ with silver okland over painted board, Moscow 1895

One of a pair of fine George III rosewood cross-banded and inlaid mahogany fold-over demi lune card tables, c. 1790

Pair of 19th century Japanese floral painted ‘Three Friends of Winter’ pattern chargers, c. 1850,

Royal Worcester mask handled pheasant painted vase signed by James Stinton, dated 1908

Fine pair of 18th century Meissen floral painted blue ground plates, c. 1770

Max Dupain, ‘At Newport’, 1952, silver gelatin photograph

French 8-day brass striking mantel clock with painted ivory pendulum, c. 1905

Max Dupain, ‘Observatory Hill’, 1940, silver gelatin photograph

Specialising in Fine English 18th & 19th century Furniture, Sterling Silver, Porcelain, Jewellery, Sheffield Plate, 18th century Drinking and Table Glass, Bronzes, Paintings, Art Nouveau and Art Deco

14 Eastern Road, Turramurra NSW 2074 • Tel 02 9449 8889 Visit www.abbottsantiques.com.au for a further selection of current stock 75

DURAL

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

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

A DISTINCTIVE VICTORIAN ACCESSORY becomes a modern jewellery statement

hat once was a Victorian period accessory to house the pocket watch, the Albert chain and the Albertina have become the modern-day fashion chain, frequently worn throughout the day. It is also not unusual to find that the beautifully crafted Albertina is now worn as a bracelet.

ORIGINS OF THE ALBERT CHAIN The Albert, a watch chain used to attach a pocket watch to a garment, was named after Prince Albert, consort to Queen Victoria. According to Brewer’s Dictionary of Phrase and Fable, ‘When he [Albert] went to Birmingham in 1849, he was presented by the jewellers of the town with such a chain, and the fashion took the public’s fancy.’ The chain passes from the watch in the waistcoat pocket to a button hole of the waistcoat. This is called a single Albert. If there were two chains with central attachments, it is called a double Albert.

FOB CHAIN Another chain popular in the Victorian era was the fob chain. This consisted of a short broad strip of metal (often mesh or linked), ribbon or a beaded panel. This decorated section hung out from the pocket and was used to extract the watch. These chains were usually decorated with medals, coins or other trinkets called fobs. Some fob chains did not hold a watch and were purely for show. Both the Albert and fob chain are commonly worn by the woman of today as a dress chain.

They are accessorised by adding items such as a locket, medal, seal and the like.

ALBERTINA For women, a finer less masculine version of the Albert chain was the Albertina or Léontine (presumably named after Leontine Fay, a popular French actress in the mid 19th century). They too were to house the lady’s version of a pocket watch. The Albertina was a far more decorative design of chain as it was worn on the outer garment in full view. There is a wonderful array of designs in this style of chain. In many cases it would consist of a central slide that was enamelled or ornately engraved, with tassels of all description suspended with beautiful pendants. Albertinas or, as they were alternately known – Leontine chains – were often made with multiple strands of chains that varied in design and length, giving the piece an exquisite draping effect when worn. I believe Albertina/Leontine chains were such beautifully crafted pieces of jewellery that they continue to be appreciated today and are valued by women with an eye for fine jewellery as one of the most spectacular bracelets they can own. Paula Rutledge DURAL ANTIQUES 02 9651 2113 www.duralantiques.com Further reading Genevieve Cummins, How the Watch was Worn - A Fashion for 500 Years, Antique Collectors Club, Woodbridge, UK, 2010

CENTRAL COAST

Antiques & Collectables Dealers on the CENTRAL COAST A GUIDE TO

1. AVOCA BEACH ANTIQUES Now incorporating the Beecroft Treasure House Specialising in antique jewellery with the largest range on the coast and an exceptional range of silver and extensive selection of fine porcelain and rare collectables. 173 Avoca Drive, Avoca Beach Open 7 days 02 4382 1149 or 02 4381 0288 avocabeach.antiques@bigpond.com Victorian Etruscan style locket back, turquoise brooch and earring suite set in 15 ct yellow gold, in original box, c. 1870 $3980

2. ACCENT ANTIQUES Accent Antiques have been at the Crowne Plaza Terrigal for 23 years. We specialize in antique and estate jewellery and have a wonderful selection of oddities. Many of our stunning pieces are purchased in France while visiting family. Open seven days a week within sight and sound of the beach, enjoy a stunning view while you search out a treasure. Shop 16 Crowne Plaza, Terrigal 02 43851997 Open 7 days 10-5pm ldecarne@gmail.com adecarne@gmail.com

COLLECTORS’ COTTAGE ANTIQUES

Above: Royal Doulton limited edition figurine of Lucrezia Borgia, $1,250 Left: Murano art glass figurine of a daschund by Livio Seguso c. 1950s, signed, $795

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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.

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NEWCASTLE

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 seven years ago and is dedicated to handcrafted solid timber furniture which we import directly. The stock includes traditional English styles in mahogany and cedar, French provincial dining suites, Louisstyle chairs and sofas in fruitwoods and creampainted furniture are prominent features. 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

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

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

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

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NEWCASTLE

Explore Newcastle’s CENTENARY ANTIQUE CENTRE

FOR ALL KINDS OF TREASURES ANTIQUES & COLLECTABLES IN NEWCASTLE

ucking the trend of the closure of antique shops elsewhere, the Hunter region’s interest in antiques is alive and booming! Within a five kilometre radius of the city centre, there are around eight antique and collectables shops and a plethora of second-hand and collectables shops to be found. Added to these smaller, individual shops, there are four large and varied antique centres to visit: Darby Street Antique Centre; Newcastle Antique Centre; The Coliseum at Mayfield and, situated right in the heart of the city, the oldest and largest of them all – Centenary Antique Centre.

THE CENTENARY ANTIQUE CENTRE Opening 19 years ago, the Centenary Antique Centre is housed in an old, historic wool storage warehouse, nestled in the heart of the recently revamped, harbour-side ‘honeysuckle precinct.’ Established in 1993, it is not only the longest running antique centre in Newcastle, but it also rates amongst the oldest and most successful centres in New South Wales. Put aside a couple of hours to explore this centre for it is BIG. It boasts around 1400 square metres of antiques and collectables. However, it is spacious with wide, wheelchair and pram-friendly aisles, presenting the stock well in bright, clean, though often overflowing shops. Agnes Dando, together with her managers and staff, are proud of their friendly and efficient service and the extensive array of competitively priced articles.

MEET THE DEALERS Currently the centre boasts over 28 different shops displaying a huge variety of genuine antiques, old and interesting collectables, as well as a large range of retro and vintage. There is truly something for every taste and budget. Many dealers prefer to offer an eclectic mix of items that vary from the wild and whimsical, refined or rustic, to plastic or precious. Others dealers prefer to specialise in their areas of expertise. Jewellery and Moorcroft specialist: Kim Wells Kim joined the family antique business in the mid1980s after a car accident left him too injured to continue his career in the theatre. Whilst learning all aspects of the trade, he undertook studies in jewellery manufacturing and repairs in a Sydney jewellery workshop. In 1994, desiring further training, he gained a Certificate of Gemmology becoming a respected gemmology teacher and a public and private consultant and valuer. At a time when reproductions and fakes abound, Kim’s passion for research and correct identification of his pieces means that he is a highly regarded, reputable dealer in the NSW antiques trade. Kim’s shop Old Technology, offers the largest range of genuine antique jewellery for sale in the Hunter region with around 1,500 individual pieces for sale including important Australian designers and manufacturers such as Kerr, Lamborne and Wagner, Duggin and Sharp amongst others. Currently there are over 130 rings alone in stock. The oldest ring is an 18 carat gold and silver rubellite and tourmaline ring from the late Georgian-early Victorian period (c. 1820-1850). Another item of significant interest is a sensational Art Deco 18 carat white gold bar brooch. It is made up of 19 early, brilliant-cut diamonds with a total weight of around 2.25 carats, the centre stone measuring over 60 points. Its striking deco design, good colour and clarity make it a beautiful and very desirable piece of authentic, antique jewellery.

Alongside his substantial jewellery display, Kim offers a varied range of quality fine china and glass. A special passion is sterling silver – especially Australian. Another interest is Moorcroft pottery, with a focus on production overseen by both William and Walter. When the Moorcroft factory restructured in the 1980s, Kim began to stock their range of modern hand-decorated ceramics. He is now arguably the largest stockist of modern Moorcroft pottery in NSW. His range of contemporary Moorcroft includes the Australian Collection. Designed by a variety of English ceramicists, the motifs on these pieces comprise iconic Australian flora and fauna such as the black cockatoo, koalas, Eucalypt blossoms and the exquisite Firewheel Banksia. They were first released in a limited number in Australia in 2004 and Kim’s pieces all bear their unique Australian backstamp.

FRANK AND JANICE PIOTROWICZ SPECIALISE IN AUSTRALIANA Continuing the Australian theme, Frank and Janice Piotrowicz run Gumleaf Antiques. This husband and wife team’s passion for collecting began on their very first date when Frank took Janice on her maiden antique shop crawl. Janice still has the first piece Frank bought for her – a simple depressionglass candlestick. It remains a sentimental favourite. However, as the name suggests, their passion is Australiana, in particular Aussie pottery and they offer a range of noted makers including Remued, Campbell, McHugh and Boyd, to name but a few of the studios on offer. In the corner of their shop, alongside the pottery cabinets and others filled with quality glass, costume jewellery and such, is Frank’s pride and joy – his ‘tool corner.’ Frank likes nothing better than to spend the day chatting to other tool enthusiasts and often surprises them with tools they never thought they’d see. ‘It is the history and the workmanship of the older tools that fascinates me,’ he says. A genuinely passionate collector, Frank is generous with his time and is always happy to help customers identify old tools and give advice on their correct use and restoration. Forgive the pun, but Frank is indeed an all round ‘handy man.’

Australiana or you have a simple desire to purchase a set of novelty salt and pepper shakers, Anne is happy to share her knowledge and passion with you.

EXCITING NEW DEALERS IN THE CENTRE In the last year, six new dealers have moved into the centre adding even more variety and interest to the range of stock on offer. Amongst them, Michael Williams who owns 20CC and Gerrad Everson who doubles as Agent 86. Although a few of the shops have been offering nice ’50s to ’80s furniture and collectables over the last few years, these two dealers, with their selection of popular 20th century styles, have created a new and modern vibe, the degree of which the centre has not seen before. 20CC offers good examples of Eames era furniture, space age lighting, fluro road signs, scientific and industrial age curios. At the moment, the most impressive piece is the sixseater dining suite by T.H. Brown & Sons of Adelaide. Designed by the Danish designer Johannas Andersen in the 1960s, it combines the sleekness of Danish design with the quality of

Australian cabinetmaking. However, it is his huge motion picture spotlight dangling from the rafters that is currently turning heads. Although having only arrived at the centre late July, Agent 86’s collection of modernistic 20th century European, Scandinavian and Australian designed items is creating a great deal of attention. His shop currently boasts a selection of special pieces such as the Artemede umbrella stand; a variety of Kartell plastics; Dansk and Finel metalwork and affordable Scandinavian glassware. The Centenary Antique Centre is open 10 am to 5 pm, daily. Entry to both the on-site Grocery Museum and the antique centre is free. There is ample parking in the immediate area and the centre is surrounded by a huge selection of cafes, bars and restaurants. Whether an avid collector or interested tourist, put aside a few hours to explore this fascinating antique centre, as well as the surrounding vibrant and picturesque harbour area. Narelle Ward Collectors’ Cottage at CENTENARY ANTIQUE CENTRE 02 4926 4547 www.centenarycentre.com.au

ANNE LIVINGSTON AND HER ECLECTIC COLLECTION Like many of the dealers in the centre, Anne Livingston originally began trading to rid herself of surplus stock. Beginning with an interest in halfdolls that then grew to include early cast iron money boxes, Anne began collecting in the late 1960s when working in Newtown. She would spend her lunchtimes browsing through the local pawn shops and op shops – the days before antique shops were easily found. By 1992 she was successfully trading in the Woollahra Antique Centre but when it closed late 2003, she moved her shop The Compulsive Collector to the Centenary Centre. Today it is full of good quality and hard-tofind items such as MCP Disney characters, Tacaks figures and a large range of quality Australiana. Happily, Anne recently acquired a number of Lithgow pottery pieces. ‘For a pottery that only operated for 21 years, from 1876 to 1896, I am surprised at the range and beauty of some of the Lithgow pieces,’ Anne says. Other pottery include hard to find majolica items such as bread plates, cheese domes and jardinières to Bristol glazed jars, Rockingham jelly moulds and even a spittoon (scrupulously cleaned of course). However, it is the Lithgow water monkey of which Anne is probably most proud. At the other end of the spectrum, she recently purchased a collection of 4,000 salt and peppers shakers! So, whether your love is for fine

Five new dealers – bigger and better than ever Open 7 Days - 10 am to 5 pm Visit our Old Grocery Store Museum

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

HAMILTON

Big things at

RARE FIND COUNTRY ANTIQUES

t Rare Find we have been concentrating on some large furniture items, among the interesting pieces we have found are shop counters and museum cabinets.

SPECIAL 19TH CENTURY CABINETS The largest and probably the most impressive piece is a late 19th century cedar museum cabinet which, at over 3.8 metres long, 2.3 metres high and 1.1 metres wide, fills a big hole in any room. The cabinet is double sided and has three enormous drawers down each side with two flush fitting military style handles on each drawer. There are four doors on each side, all with the original glass. The ends are glass panels which can be removed,

but are not hinged. The cabinet is beautifully made, has a lovely old finish and comes apart, dividing into three sections. The multi drawer cabinet is also late 19th century and comes from South Australia. The cabinet is pine with two knobs on each of the 33 drawers. The drawers are graduated and have the original stencilled numbers on the exterior. This cabinet is 2 metres long, 1.6 metres high and 650 mm deep. It retains the original finish which has been revived and waxed.

CONSIDER A SHOP COUNTER FOR YOUR KITCHEN RENOVATION The shop counters on display have varied and interesting histories. The large pine counter, measuring 2.9 metres, with diagonal boards is

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

The Hunterâ&#x20AC;&#x2122;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. Chiffonier made by John Osborne of Singleton in 1863

38 Denison St, Hamilton Ph 02 4969 3801 Mobile 0418 684 724 80

unusual in that the front of the counter appears as a solid front, but is actually three sliding doors through which to access the interior. Made in the late 19th century, it originated from the south coast of NSW. It showed signs of having a vice screwed to one end, indicating that it spent some in a workshop. The largest counter is a 5 metre long pine Victorian piece with lovely old blue paint and deep pressed tin panels. The counter was discovered in an old garage in south western NSW and the beautiful blue finish resided

under several coats of orange enamel which has been painstakingly removed. The top bears the marks of over a hundred years of use and was thankfully untouched. Another large counter from southern NSW has a cedar base and pine top and features interesting panelling. Its measurements are 3.3 metres long and 1 metre deep. The counter is thought to be originally from a shoe shop. The other long cedar counter has a Tasmanian oak top and was originally in Staces store in Morpeth. It is also late 19th century. The counter is 3 metres long and has a fitted cash drawer in one end. The smaller pine counter with inset metal panels is 2.4 metres in length and has lovely wear to the kauri top. The graduated shelving fitted to the rear indicates the counter was originally designed for a haberdashery shop. The old work bench from Newcastle also has lovely wear to the surface and comes with the original vice still attached. There is a beautiful old drawer in the centre. The bench is quite large at over 2.6 metres long. Over the years we have found that these old work benches make great sideboards in ultra modern homes or in warehouse conversions. The old shop counters make fabulous kitchen benches and are a fraction of the cost of a melamine alternative. Robust and durable, they will also be still going in another hundred years. RARE FIND COUNTRY ANTIQUES 02 4969 3801 / 0418 684 724 rarefind@bigpond.net.au www.rarefindantiques.com.au

NEWCASTLE / HUNTER VALLEY

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

The Centenary Antique Centre

UNIQUE ANTIQUE ECLECTIC 29 Centenary Road, Newcastle Ph: 02 4926 4547 OPEN 7 days, 10 am – 5 pm 28 shops under the one roof: Newcastle’s largest antique centre and home to the Old Grocery Store Museum.

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

Antiques & Collectables on Darby 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.

Brunker Road Antiques

Coliseum Antiques

Ambleside Antiques Cottage

Rare Find Country Antiques

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

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

Paul Vinecombe

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

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

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.

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.

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.

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

Memory Lane Antiques & Decor

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* In the interests of better service for our customers, if you enjoy the convenience of this map, please tell the shops you visit. Thank you.

Antique Toy Collectables

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

Kurrajong Antique Centre

The Junkyard

Windsor & The Hawkesbury Antiques & Collectables Trail

indsor and the Hawkesbury is re-establishing itself as a great destination for antiques, collectables and old wares. Windsor is a comfortable drive north west of Sydney in the picturesque Hawkesbury Valley. It is a popular short break, weekender and day trippers’ location. It is also a popular stopover point for city folk heading to the Blue Mountains, Hunter Valley and Central West as well as the North and South Coasts. Windsor boasts some magnificent historic buildings, its own paddle wheeler and horse drawn restaurant with the region being home to great national parks and the picturesque Hawkesbury River. Windsor and the Hawkesbury is also home to 19 unique antiques, collectables and old wares shops within a short drive of each other. On Sundays, you can enjoy the Windsor Craft Market in the mall from 9 am – 4 pm.

Maureen Partridge, Thompson’s Country Collectables

Peter and Phil Jurd, Empire Beds

If visiting on a Saturday you must fit in a visit between 10 am and 2 pm to Empire Beds. Phil and Peter Jurd’s workshop is good fun for blokes and fascinating for iron and brass bed enthusiasts. Phil has been ‘in beds’ for over 25 years and this is Sydney’s one-stop brass bed shop for made-to-order, restoration and extensions from double to queen. In the middle of town in the pedestrian mall at 149 George St, stands Guy Stuff Gifts and Collectables, a blokey paradise. Featuring over 5000 collectables for sale, almost all of which are male-oriented, this mega store of over 400 square metres offers a vast array from which to choose. This includes limited edition die cast model cars and aircraft, Royal Australian Mint coins, collector pins, aviation and Ned Kelly memorabilia, retro robots, NRL merchandise and more.

Walking down George Street to New Street you will see Maureen’s delightful dusky pink rendered store, Thompson’s Country Collectables. Maureen has an elegant range of antiques and collectables from 1750 to 1950, but specialises in Victorian furniture, silver, jewellery, china and glass. Around the corner from Maureen’s is Windsor Restoration Supplies. Arguably the Hawkesbury’s most comprehensive supplier for the restorer including brass and period lighting, cabinet fittings and handles, traditional timber finishes and period home restoration supplies, they also have an elegant range of outdoor furniture. Jump in the car and head out to The Junkyard at Londonderry. Sue and Gary have five acres of recycled farmyard and building materials, bric-àbrac from antiques to op shop stored in a variety of sheds, old bus and train carcases. The astute collector can find real bargains here – its

nickname is ‘the five acre garage sale’ and you should allow some serious scrounging time here. One the boys will love for sure. Take Windsor Street and continue to The Bank Bazaar, a haven of mysterious and stunning antiques, furniture, artworks, designer jewellery and so much more. Situated in the historic town of Richmond, The Bank Bazaar is housed in the old 1880s bank that has been lovingly restored, and complementing the antiques are one-off pieces of furniture and a refreshing mix of contemporary decorator items for the home. The pieces range from pianos and marble mantelpieces to tea cups and model planes. Customers are welcome to sit amidst the wares and enjoy a cappuccino from the coffee shop with a piece of cake and a good book, or relax with friends for lunch under the shade of a giant elm in the tea garden. John and Anne Koster, of Kostercraft, further on in North Richmond can help you out when you have found that special piece, but it is need of some TLC. They specialise in preservation and restoration of antique and modern furniture and art. They can also repair and restore distressed ceramics. Further along the trail, Kurrajong Antique Centre has a very large range of antiques and collectables. Brian has several large rooms, an upstairs and a downstairs filled with English china, glassware, art, furniture, toys – there’s probably very little he hasn’t got. Brian’s is the kind of large rambling antiques emporium you remember from the old days and has a wonderful yesteryear feel. We all look forward to seeing you on our trail one day soon.

Windsor Restoration Supplies

Megan Wood, The Bank Bazaar

John Koster, Kostercraft

Darren & Lucille, Guy Stuff Gifts and Collectables

WINDSOR & THE HAWKESBURY

WINDSOR & THE HAWKESBURY antiques & collectables trail 1

5 8 7

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

7. The Bank Bazaar Proprietor: Megan Wood Phone: 02 4588 6951 Opening Days & Times: Weekdays 9 am to 5 pm, Saturday 9 am to 4 pm, Sunday closed Address: 290 Windsor Street Richmond NSW 2753 www.bankbazaar.com.au

8. Guy Stuff, Windsor Phone: 02 4577 2797 Email: Windsor@GuyStuff.com.au Website: www.GuyStuff.com.au Opening Days & Times: Open 7 days 9 am to 6 pm (9pm Thursday Nights) Address:149 George Street Windsor

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

WINDSOR

Uncirculated 2012 50 cent coin commemorating 50th anniversary of Australian Ballet

Southern Cross colour printed domed 2012 $5 proof silver coin

Especially for the guys at historic Windsor VISITING Windsor

he 200 year old Windsor township is set on the magnificent Hawkesbury River and steadfastly celebrates its history and country village atmosphere. A complete escape for the Sydney-sider and only 40 minutes down the M2, you can enjoy the charms of shopping, browsing, historic buildings, entertainment, alfresco dining, people-watching and great coffee. Shopping and browsing opportunities abound for all ages and stages. The Windsor Craft Markets are every Sunday and offer great locally grown food and handmade crafts. An eclectic selection of discount stores and specialty shops means in Windsor you can buy a leather purse, English humbug

confections, a ukulele, hand-beaten Peruvian silver jewellery, a poncho and scented candles. There can also be found hand-beaded necklaces, handmade soaps, shoes, designer dresses, Bali or French-inspired home wares and footy team collectables.

GUY STUFF Gifts and Collectables In the middle of this historic township is a collectorâ&#x20AC;&#x2122;s dream come true. Guy Stuff Gifts and Collectables, located in the middle of the pedestrian mall at 149 George Street, is a 400 square metre retail store with over 5,000 different collectables on sale. Ninety-nine per cent of the items in this mega store are male orientated.

Some of the vast array of collectables at Guy Stuff include thousands of collector pins, limited edition die cast model cars, die cast model aircraft, Royal Australian Mint coins, tin toys and signs, retro robots, NRL merchandise, Ned Kelly, Coca-Cola, Aviation, Ford and Holden memorabilia, movie collectables and more.

GUY STUFF product feature: Royal Australian Mint coins Guy Stuff is an authorised dealer and stockist of coins from the Royal Australian Mint in Canberra. Coins make great gifts, are very addictive collectables and quite often are fantastic investments. Themes to search through include coins minted for royal events, militaria, anniversary milestones, such as the 150th anniversary of Melbourne Zoo, and coin sets minted this year. For the convenience of visitors to Windsor, Guy Stuff is open every day from 9 am to 6 pm, staying open until 9 pm on Thursday. For more details contact GUY STUFF WINDSOR 02 4577 2797 windsor@GuyStuff.com.au www.GuyStuff.com.au

Uncirculated 2012 50 cent coin commemorating 50th anniversary of Surfing Australia

20th anniversary of Kangaroo Series, 2012 $100 proof gold coin

Guy Stuff also has the following stores: Guy Stuff Baulkham Hills 02 9688 6388 and Guy Stuff Narellan 02 4648 1606 Kangaroo Series, 2012 $10 proof gold coin

www.GuyStuff.com.au A unique retail concept offering a large range of gifts and collectables for men GUY STUFF BAULKHAM HILLS Shop 9, Stockland Mall Shopping Centre 375 Windsor Road Baulkham Hills NSW 2153 P: 02 9688 6388 E: BaulkhamHills@GuyStuff.com.au Open 7 Days 9am to 6pm (9pm Thursday Nights) GUY STUFF NARELLAN Shop 2, Narellan Town Centre 326 Camden Valley Way Narellan NSW 2567 P: 02 4648 1606 E: Narellan@GuyStuff.com.au Open 7 Days 9am to 6pm (9pm Thursday Nights)

GUY STUFF WINDSOR 149 George Street Windsor NSW 2756 P: 02 4577 2797 E: Windsor@GuyStuff.com.au Open 7 Days 9am to 6pm (9pm Thursday Nights)

Authorised Dealer

Sir Douglas Mawson, Inspirational Australian, $1 uncirculated coin, 2012

Uncirculated 2012 50 cent coin commemorating 50th anniversary of Mt Panorama, Bathurst

KURRAJONG

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

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

UP TO 30% OFF ON VARIOUS CABINETS

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

THE SCENIC HUNTER VALLEY perfect for antique hunters

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

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

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

BLUE MOUNTAINS

Photograph of the Victory Theatre taken in 1917

Star Theatre, Kalinga, Qld. Photo courtesy: R Thorne, Picture Palace Architecture in Australia

The Victory Theatre’s original facade, 2010

Southern Cross Theatre, Neutral Bay Sydney, c. 1920

The Victory Theatre entrance, 2010

The Royal, Branxton, NSW, small town movie theatres which display the shed like characteristics. Photo courtesy: R Thorne, Picture Palace Architecture in Australia Family portrait of the Simpson family, Blackheath, Blue Mountains, NSW, Edward Challis Kempe, May 1914, photographs of the Australian bush in the area of the Brotherhood of the Good Shepherd. Courtesy National Library of Australia

Campsie Picture Palace, Sydney. Photo courtesy R Thorne, Picture Palace Architecture in Australia

Victory Theatre at the Blue Mountains:

A SIGNIFICANT HISTORICAL SITE T

he Victory Theatre Antique Centre is not only a haven of hidden treasure and great food but also a site of historic and cultural significance. Located in Blackheath, west of Sydney, the centre was built by architects Hassel and Stockham in

1915. Its original use was as a cinema for local residents, acting as a source of recreation and entertainment for 45 years. In the 1900s, cinemas were erected in any space which could fit numerous chairs and people. Between 1910 and 1920, the sites for

BLACKHEATH, BLUE MOUNTAINS

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

Australian cinemas fell into three main categories: new or rebuilt richly fronted buildings; existing buildings which were converted with little exterior change; or large, shed-like structures. The first category dominated the style of cinemas built during this period. Classic examples of this highly decorative manner can be seen in the elaborate facades of Melbourne cinemas, such as the Britannia and Majestic of Melbourne. However as movie projectors and screens were transportable, cinemas began to pop up throughout many country towns. Such cinemas were very simplistic and built only for their purpose. Like most country theatres, the exterior of the Victory Theatre resembled a large shed and thus fell under the third category – along with such renowned ‘country’ cinemas of the time in Sydney as the Southern Cross Theatre in Neutral Bay, the Willoughby Picture Theatre and the Campsie Picture Palace. In the 1960s, the Victory Theatre closed down due to declining attendance. In 1977 it was leased out as a junk yard, later transforming into the Victory Theatre Antique Centre, which still operates successfully today. The building itself is of state heritage significance for many reasons.

RECORD OF GROWTH As well as being associated with former prominent residents of the area such as Herbert Neate and Reginald Delaney, The Victory Theatre’s construction exemplifies the growth of Blackheath in the first two decades of the 20th century. It represents the growing tourist and local population in the 1900s and their willingness to spend large expanses of money on a public facility as well as the activities associated with Australia’s production and performance of the time.

ARCHITECTURAL SIGNIFICANCE 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 86

The facade of the cinema is important to the streetscape. Minimal modifications were undertaken in 1954 by architect Guy Crick – one of the most influential designers of cinemas in Australia throughout the 1930s to 1950s – so fortunately it retains most of its original characteristics. The strong imagery and

features of the Arts and Crafts Movement is still evident throughout the building. The coffee shop walls display the original tiles and the movement’s distinctive style can also be seen in the pressed tin roof of the projector room.

A RARITY The Victory Theatre is the only cinema to have been built in Blackheath and, as such, was an important social venue in providing entertainment for local residents. Its rarity extends to it being one of only three cinema buildings remaining in the Blue Mountains – the others being the Savoy and the Empire, both located in Katoomba. The Victory is the oldest and showcases earlier design and decoration. The facade represents the free classical architectural idiom employed by architects in the first and second decades of the 20th century in cinema design.

PLACE IN HISTORY The theatre is one of three original historic buildings in Blackheath, built alongside the Gardener’s Inn and the Ivanhoe Hotel. It stands out from its neighbouring shops because of the magnificent exterior mural, which was painted by renowned local artist Jenny Kee in the 1990s, and due its sheer size. Upon entering the building, two large doors open to the front cafe. Past the cafe lays the fabulous antique centre which houses 51 dealers who source a great assortment of antique furniture, fine jewellery, porcelain, china, Australiana, silver and vintage clothing. When travelling up to the Blue Mountains, stop by for a coffee or lunch, browse through the amazing space and visit the Victory’s eclectic mix of dealers and large assortment of goods. The Victory Theatre is commended in The Burra Charter: The Australia ICOMOS Charter for Places of Cultural Significance 1999 as a place of ‘aesthetic, historic and social value for past, present and future generations.’ So put it on your list of must-sees when next travelling through the Blue Mountains. Jana Byrne VICTORY THEATRE 02 4787 6002 victorytheatre@bigpond.com www.victorytheatre.com.au

SOUTHERN HIGHLANDS / WINGEN

MOSS VALE

BERRIMA

MITTAGONG

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

ANTIQUES ON CONSIGNMENT

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

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

SALLY BERESFORD/FRENCH FARMHOUSE 02 4869 3736 www.sallyberesford.com.au French farmhouse tables made to order, French provincial antiques, industrial, architectural and decorative items.

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

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

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

VISIT THE HIGHLANDS

BestRegional Attraction*

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

B URNING M OUNTAIN

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

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

* WINNER

BEST

OF THE 1999 SOUTHERN HIGHLANDS OUTSTANDING BUSINESS AWARD FOR

REGIONAL

ATTRACTION

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

OPEN 7 DAYS • TELEPHONE: 02 6545 0235 87

JUST LIKE MOTHER’S

rs Clarke was a lady with a very wide beam. She would often be seen walking the streets of Wagga with a basket held in the crook of her arm, her generously gathered skirt gently swaying around her ham sized legs. She loved to bake and was an upstanding Catholic. Every Sunday after service she would position herself on the lower steps of St Agnes’ to gossip about the week’s events with the other good Catholic ladies of Wagga. Mrs Clarke also regularly visited the antique shop on Corio Street. She would ease herself gently through the front door, greet whoever was on duty and then casually browse, lifting a price ticket here or there before moving on. She bought the odd item for her two sons who rented a small flat in Melbourne, but more often than not, she would wander for a short time, say ‘thank you’ and then leave as quietly as she had arrived. Theo was present when Mrs Clarke entered the shop one day. Instead of her polite greeting and gentle wander among the wares she purposefully strode to the counter. ‘Excuse me Mr Foster,’ she said as she placed her basket on the counter and gripped its handle. ‘I was wondering if you could do me the greatest favour.’ Theo put down his paperwork and rose to meet her. ‘Certainly, what can I do for you,’ he replied. It transpired that Mrs Clarke’s elderly mother had passed away the week before. She had lived by herself in a large home in town. Could Theo possibly come and look at the furniture so Mrs Clarke and her husband could clear the house for sale. Theo assured his customer that he would be happy to come and view the furniture and they made a time for the following week. As Mrs Clarke left she turned her head to say her thanks and looked as if she almost wanted to say more, instead she pursed her lips closed the door. Theo had an odd feeling, but he soon shook it off and resumed his paperwork. Manning Street was an old street in Wagga where the trees arched over the road and formed a beautiful avenue of shade on hot summer days.

The houses lining the street were all large brick Federation style homes set on generous blocks. Mrs Clarke’s mother’s house was no exception. The house sat back on the block, the front garden given over to aged rose bushes. The house and garden were genteel in appearance with the solid brickwork rising up in columns on either side of the leadlight panelled front door. But an air of neglect had settled over the house like one of Wagga’s misty winter fogs. As the ute pulled into the driveway Mrs Clarke waddled out on the front porch to greet Theo. They briefly shook hands before she lead Theo into the dim interior. The lounge room held a large 1920s style upholstered setting. There was a solid oak mirror back sideboard against the wall with various cut glass vases and bowls displayed on the top. Mrs Clarke had opened the doors to reveal a complete dinner set inside with casseroles and soup tureens stacked on the graduated plates. As they moved from room to room it became increasingly obvious to Theo that the only wall adornments were crucifixes. They were all wooden and roughly 20 centimetres tall. They hung above beds, over the bathtub, even over the trough in the laundry. Theo was subconsciously counting their number and could feel Mrs Clarke watching him as though waiting for his reaction. In total there were four bedrooms, the kitchen, lounge room, dining room and an enclosed back veranda that had been used as a sunroom. All the rooms were filled with furniture and all the cupboards were filled with everything from crockery to sewing paraphernalia. Theo counted approximately 17 crucifixes. ‘What would you like me to do with all the small items?’ Theo asked as he turned to face Mrs Clarke in the kitchen. She looked down at the old polished table between them and gripped the back of one of the hard wooden chairs. ‘Would you be good enough to take it all?’ Clearly Mrs Clarke had been agonising over the clearance of her mother’s house. For many it is a harrowing experience. Where does one begin when faced with wardrobes of clothing, cupboards stacked with bed linen and pantries full of ingredients? Mrs Clarke had done her

best. She had taken items such as photo albums and small treasures, but the vast task confronting her had just been too much. Theo smiled and said, ‘Certainly Mrs Clarke.’ She valiantly blinked back the tears and smiled weakly. ‘Thank you,’ she murmured. As Theo walked back through the house he jotted down in his diary a brief description of the smaller items that were now to be included in the clearance. He explained that clothing and linen would be taken to the Salvation Army and all the food in the pantry would be thrown away. Mrs Clarke nodded as she followed Theo and handed him the key to the front door. ‘Please come and go as you need to. I’ll simply come into the shop next week to collect the key. I can’t tell you how grateful I am,’ she said. Theo watched as the swaying skirt descended the steps of the porch and sailed out the drive. He then turned, took a deep breath and returned inside. Over the next week the lads in the workshop barely drew breath as woodwork was polished and cupboards were washed clean. New items were carried into the shop and ticketed for sale. All the while his wife Margaret stood at the sink in the kitchen through the back door of the shop and washed box after box of china and glassware. When she finished washing the items she sat at the tea table with the bottle of Silvo and a rag and polished the silver items until they gleamed like new. Theo kept up a regular run of hot cups of tea to cheer the flailing troops that their job was almost complete. Finally the last dish was washed and the last fork polished. Every piece from the gleaming kitchen table to the doilies from the sideboard drawers were priced and displayed in the shop – well, nearly all of it! True to her word Mrs Clarke re-entered the shop the following week when Theo was again trying to navigate his paperwork. Somehow a box of crucifixes had appeared beside the drawers of his desk. He gently manoeuvred them out of sight with his foot and rose to greet his customer. ‘Good morning Mrs Clark, and how are we today?’ he enquired. Mrs Clark smiled bravely and reassured him that she was very well. Theo placed the house key on the counter and the account totalling what he would pay Mrs Clarke for the furniture and sundries. She nodded and said her thanks. ’I’ll just have a quick wander while you write the cheque, if that’s alright Mr Foster?’Assured that it was fine, Mrs Clarke began her quiet browsing. She returned a few minutes later and peered through the top of the counter at the small items displayed inside. On doilies sat Royal

Doulton picture plates and Shelley cups and saucers. There were dainty cake forks tied in bundles with curling ribbon and amongst it all a set of five vanity case, silver topped glass jars. When found in the bathroom cabinet of Mrs Clark’s mother’s house they were filled with unrecognisable powders and creams. Their engraved sterling silver lids were black. Now they gleamed. Mrs Clark focused on them. ‘Aren’t they beautiful? May I have a look at them please?’ she said. Theo slid open the counter door and gently retrieved the five bottles. He placed them on the counter and waited patiently and silently as Mrs Clarke picked up each one and closely looked at their shining tops and heavy cut glass bases. She turned the bottles upside down to see the small price sticker that was attached to each one then she placed the five in a group on the counter and looked up. ‘I’ll take them as well please Mr Foster,’ she said as she drew her purse out of her handbag. Theo hesitated for a split second, unsure whether to tell Mrs Clarke where the bottles had come from or whether to hold his tongue. As he looked down he caught sight of the box of crucifixes out of the corner of his eye. He decided to hold his tongue and proceeded to carefully wrap each bottle in tissue paper and placed them in a small paper bag. ‘Thank you so much once again for all your hard work at mother’s house,’ Mrs Clark said as she took the bag from Theo. ‘I don’t know what I would have done if you hadn’t come to the rescue.’ She gathered her basket and looked about the shop. ‘I just love your shop Mr Foster. It always looks so lovely. You manage to find the most beautiful things, just like these vanity bottles, they are pretty. Funnily enough mother had a set just like them!’ and with that she smiled again, turned and waddled out of the shop with her skirt swaying after her. Theo smiled after the departing form of Mrs Clarke and pondered whether the last sale had been an ethical one. He decided that keeping customers happy was his main priority and so, sat down once again in his chair, pushed the box of crucifixes further under his desk, and resumed his paperwork. Jane Crowley DIRTY JANES EMPORIUM & ANTIQUE MARKET 02 4861 3231 janecrowley@crowleyandgrouch.com www.crowleyandgrouch.com

BOWRAL

EMPORIUM & ANTIQUE MARKET

T h e B e s t i n Vi n t a g e . Over 40 dealers selling furniture, lamps, garden wares & or naments. B o w r a l â&#x20AC;&#x2122;s f i r s t p e r m a n e n t A n t i q u e M a r k e t .

C o r n e r B a nye t t e & B o n g B o n g S t s , B ow r a l O p e n 7 d ay s , 1 0 t o 5

02 4861 3231 89

BRAIDWOOD

Longbarn opens ‘String’ as new stock arrives from France

andering the rural village markets in south western France in the summer is a far cry from the winter chills and wide, quiet streets of Braidwood NSW that we left behind as we begin the mission – to fill a container with ‘stuff’ and open a new shop on our return.

A FRENCH SUMMER EXPERIENCE Having eventually established ourselves with a home base and a vehicle in the beautiful countryside we settled into a work/holiday mode. The very, very long summer days (it’s not

dark until after 10.30 pm) take some stamina when you are on a mission to hunt and gather! There is a serious need to slip into the local pace of life, take a picnic and a fishing rod for the three-hour midday siesta time, and be ready to resume in the afternoon. Weekends are the vide greniers (the emptying of the attic) markets in the small villages dotted around the countryside. Set the GPS and enjoy the beauty around every corner. The landscape changes quickly, the villages each with their own character, colour, history and local architectural features unique to the regions. The roadside and field floristry are a delight, and the villages put on a show of

string The Old Commercial Bank Building 102 Wallace Street Braidwood 0414 820 250 Thursday - Monday + public holidays Longbarn 50 Ryrie Street Braidwood Thursday - Sunday + public holidays Sydney Antique Centre - open 7 days 02 4842 2784 www.longbarn.com.au 90

flowering pots and hanging baskets; everywhere a photo opportunity. Speaking the language is a must! It enables you to do business, to get to know people, to chat and learn, and to simply function in the French world. Everyday there are situations to face; and simple things can be painfully challenging. It’s a job – and someone has to do it! It has grown from being a business to a passion and now our lifestyle. It’s what we do! Put the antique radar on, brave the left hand drive challenge, and always, always let any happy accident distract you. Importantly – don’t forget to stop and experience where you are. Take time to push the stresses aside – it’s so much fun!

FRENCH FINDS FOR AUSTRALIA So, my packing blisters from scissors and tape have faded and the shipping container full of souvenirs with stories to tell is at sea and is due to roll into Braidwood as this goes to print. Over 300 items individually picked and packed, the many treasures to look forward to seeing in our shops include colourful enamel ware and household useful things such as beautiful linen and kitchenalia, to toys, furniture, pots, fruit picking ladder, zinc bathtub, books, textiles, etc. This working holiday mission required focus and lots of homework. It also required

the help and co-operation of many, and a good sense of humour coupled with patience and good food, and wine at the end of the day. So thanks go to good Australian friends, and new French friends and fellow brocanteurs who all said, ‘See you next year!’

LONGBARN 02 4842 2784 info@longbarn.com.au www.longbarn.com.au

JAMBEROO/CANBERRA

Nerilee

Antiques

Canberra’s Springtime fair in review

T antique jewellery glass ◆ porcelain ◆ silver furniture & collectables Established in 1971 - Member of AAADA

Open 10 – 5 Thursday to Monday

26 Allowrie Street Jamberoo NSW 2533 9 km from Kiama Tel: 02 4236 0389

ACT SEASONAL ANTIQUE FAIR CANBERRA

he opening of Canberra’s annual Springtime Antiques and Collectables Fair, held from 17 – 19 August and one of Australia’s longest running and most respected antique fairs, was supposed to herald warmer weather in the nation’s capital. Instead, dealers and visitors had to contend with one of the coldest days in living memory, with snow falling in the city, howling winds and driving rain. However, this didn’t deter hundreds of enthusiastic antique lovers who braved the awful conditions on the opening night to discover what new treasures they might find. In fact during its three days, the fair welcomed over 2500 visitors and was a resounding success, partly because of improving weather, but no doubt in a large way due to the many interesting pieces on display. The crowds browsed and bought these antiques and curious collectables at Canberra’s historic Albert Hall which housed 23 registered dealers from around Australia. Antiques ranged from grandfather clocks, mahogany sideboards and bookcases, through to exquisite pieces of silver, English and European porcelain and glassware, as well as Georgian, Victorian and Edwardian jewellery, plus antiquarian books. Popular purchases included fine table linen, Royal Doulton figurines, Moorcroft china and estate and costume jewellery. Shedding a new light on the fair were Ruth and Allan Bracey of Oil Lamp Antiques from Maryborough, Victoria. Featuring a wide selection of early Australian and North

2013 PROGRAM AUTUMN FAIR 22, 23 & 24 March 2013 15, 16, 17 & 18 August 2013

02 6231

The Hall Attic

631 445

Established Genuine Antiques and Collectables Fair (est 1985) Presented by the Rotary Club of Canberra City Proceeds go to support local organisations that help the less fortunate in the ACT

PROCEEDS TO CHARITY Proceeds went to Pegasus, a not-for-profit community organisation that runs equestrian activities for people with disabilities and one of the numerous local charities that the Canberra fairs have supported over the past 26 years. During that time the fairs have maintained their popularity, the impressive crowds attracted being a mix of all ages. ‘A lot of modern furniture is not as substantially made as the older ones,’ organiser Les Selkirk observed. ‘So younger people in particular are looking for sturdy furniture, things that don’t fall apart, and with antiques it’s all solid wood.’ Next year is Canberra’s centenary which will feature a range of celebrations throughout the year. Both the Autumn and Springtime Antiques and Collectables Fairs have been included on the official events calendar – acknowledgement of their long association with the nation’s capital and the fairs’ venue, the heritage-listed Albert Hall, which has recently been fully restored.

For more information contact Les Selkirk SPRINGTIME ANTIQUES AND COLLECTABLES FAIR 02 6231 5244 / 0418 631 445

SPRINGTIME FAIR Telephone 5244 or 0418

American oil lamps ranging from large decorative single and double-burner drawing room lamps to simple bedroom examples, the Braceys also had on display delightful specialist items such as small medicinal burners. Graeme Davidson from Ballarat’s Woodshed Antiques displayed an unusual rustic bench seat which was carved from a single tree trunk – attracting much attention and selling very quickly. Also contributing to the fair’s success was the enthusiastic patronage of the Rotary Club of Canberra City’s supper-room café, wherein both visitors and dealers warmed up with soups, sandwiches, casseroles and sweet offerings accompanied by steaming cups of tea and coffee.

CANBERRA’S NEWEST ANTIQUE SHOP

Looking for that elusive item or gift? You may well find it at The Hall Attic, an eclectic range of antiques, collectables, old wares and craft. Located in the delightful village of Hall, ACT, take a browse through The Attic and then enjoy a Devonshire Tea at the local coffee shop. We are always interested in buying antiques and old wares. We also sell on consignment Tim & Glenda Bloomfield 6 Victoria St Hall ACT 2618 Tel 02 6230 9377, Mob 0418 162 830 0pen weekends and public holidays 11am - 4pm

Selkirk

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

02 6231 5244 Fax 02 6231 3656 Mobile 0418 631 445

Carol Jerrems, Living in the 70s (Red Symons), 1975, gelatin silver photograph. National Gallery of Australia. Gift of Mrs Joy Jerrems 1981

CAROL JERREMS at the National Gallery of Australia 25 August 2012 – 28 January 2013 n 1970 Carol Jerrems saw the Sydney production of Hair: the American tribal love rock musical. Then in her final year of photographic art studies at Prahran Technical School in Melbourne, she presented a spiraxbound booklet of images from the Sydney production as part of a school assignment. It was labelled with her distinctive san-serif stamp ‘carol jerrems / photographic artist’ and no doubt helped win her an award that year from the Institute of Australian Photographers. For even as a student Jerrems had a powerful sense of her identity as a photomedia artist. Her work attracted other awards and attention; she was clearly marked as a talent and went on by 1975 to have her work exhibited, published, collected and celebrated by a new wave of popular and official acceptance in the early 1970s of photography as an art in step with contemporary art and life. After Jerrems premature death in 1980 her Hair booklet – so much a part of the energy of the times encapsulated in the musical – was gifted to the National Gallery of Australia by her mother Joy Jerrems. The Hair booklet and a group of other works from her student years not seen since graduation will be on view in the retrospective, Carol Jerrems: Photographic Artists 1968-78 which opens at the National Gallery of Australia on 25 August.

Hair had been conceived in 1966 by two American actors by James Rado (James Radomski) and Gerome Ragni, as a new style musical reflecting the Hippie counter culture energy on the streets of the East Village in New York and Haight Ashbury district in San Francisco. The plot follows the adventures of a Vietnam War draftee from Kansas who is befriended by a tribe of hippies while on his way to the army induction centre in New York. The musical promoted the Hippies anti-war and peace movement activism, drug experimentation, sexual and personal liberation. The first Australian production of Hair opened at the Metro Theatre in Kings Cross in June 1969. The local show was produced by Harry M Miller with the young Jim Sharman as Director and included an experimental film by Albie Thomas for the anti-war sequence, and lighting by the UBU collective of which he was a member. A few months later in May 1970, the death of a number of Kent State University students protesting the escalation of the Vietnam War into Cambodia who were shot by their own local Ohio National Guardsmen, ensured the Broadway and international productions of Hair remained linked to these tragic events. The Australian production was mostly drawn from locals, not all seasoned performers

Carol Jerrems, Hair performers on stage, Metro Theatre Sydney, 1970, gelatin silver photograph. National Gallery of Australia. Gift of Mrs Joy Jerrems 1981

Robert McFarlane, Young couple at ‘Happening’, Centennial Park, Sydney, 1969, gelatin silver photograph. National Gallery of Australia

Carol Jerrems, Vale Street, 1975. National Gallery of Australia. Gift of the Philip Morris Arts Grant 1982

although professional actor-singers John Waters and Reg Livermore became household names. The cast also had imported AfricanAmericans including the teenage Marcia Hines from Boston. Reg Livermore on his website calls Hair ‘the show that set me free’ recalling how after initial scepticism that ‘once I saw it I knew that was where I wanted to belong, that there had to a place for me on that stage; I had to get into it, some way somehow…’ Jerrems left no particular comment in her journals about the impact of Hair, although she had or soon after adopted an Afro hairdo instead of a shorn Mia Farrow cut. But the power of the show is alive in the little booklet today as much as when it startled and impressed her teachers at Prahran. As an early viewer this author can also attest that you didn’t need to be stoned – Livermore attests that it was as much a lifestyle for the cast as a musical – you came away believing it was the dawning of the Age of Aquarius! By 1970 when Jerrems was forging what would become her distinctive style she was drawing on the highly charged graphic arts of the sixties, Rock albums and jazz photography, new wave European films, and the wide-angle 35mm reflex cameras that enabled startling close-ups and blurred backdrops or vice versa. She went for energy and grain rather than the decisive frozen moments of older style magazine photojournalists. Carol was not by any means the first to reflect the sixties ethos. Older experienced photojournalist David Moore (b. 1927) while not embracing the Hippie lifestyle in Sydney brought a new emotionalism, sensuality and sexuality and dynamic to his image-making in the 1970s,

Carol Jerrems, Peggy Solinsky and bird, 1968, gelatin silver photograph. National Gallery of Australia. Gift of Mrs Joy Jerrems 1981

while younger photojournalist Robert McFarlane (b. 1942) was consciously recording the sweet optimism of counter-culture youth. Some of the new generation of personaldocumentary photographers sought a new freedom from commissioned photoessays in the 1970s – like Jerrems slightly older contemporary friend Roger Scott (b. 1944) who took a more acerbic look at the Australians old and young. Photojournalists Wesley Stacey (b. 1941) and Rennie Ellis (b. 1940) embraced the wilder lifestyles of the era with their 1971 book on Kings Cross which recorded six months at the end of 1970 and early 1971 in the R&R watering hole of choice for American soldiers serving in Vietnam. Carol Jerrems was one of the first women photographers to have her works collected by Australian art museums and public collections. Her work, both in her own time and to the present, has commanded respect and attention among a rich history of Australian photographers who saw the medium as both personal and political, and uniquely geared to the liberation and zeitgeist of their own post-WWII generation. The Jerrems exhibition presents the full spectrum of the prints which Jerrems signed and presented as her best work from 1967 to 78 as held in the Jerrems archive at the National Gallery of Australia. Gael Newton Senior Curator of Photography NATIONAL GALLERY OF AUSTRALIA 02 6240 6411 www.nga.gov.au

Carol Jerrems in front of wall with Australian Centre for Photography exhibition posters, 1974. National Gallery of Australia. Gift of Mrs Joy Jerrems 1981

CANBERRA

ANTIQUES & ART IN NEW SOUTH WALES

Henri de Toulouse-Lautrec, Emile Bernard, 1885-86, oil on canvas, 54 x 44.5 cm. Tate, London, bequeathed by Arthur Jeffress 1961 © Tate London 2011

Henri de Toulouse-Lautrec, Woman with a tub – the tub (Femme au tub – le tub), 1896, from Elles, colour lithograph, 40.4 x 52.8 cm. National Gallery of Australia, Canberra, purchased 1977

TOULOUSE-LAUTREC: PARIS AND THE MOULIN ROUGE

Henri de Toulouse-Lautrec, Portrait of Dr Henri Bourges, 1891, oil on cardboard mounted on panel, 79 x 50 cm. Carnegie Museum of Art, Pittsburgh, acquired through the generosity of the Sarah Mellon Scaife Family. Photograph © 2012 Carnegie Museum of Art, Pittsburgh

only at the National Gallery of Australia, Canberra this summer

enri de Toulouse-Lautrec was once described by a contemporary critic as ‘the quintessential chronicler of Paris, as it is understood by those who come here seeking bright lights and wild pleasures.’ During his short but brilliant career, he created vibrant and lively images of his adopted city and its inhabitants. Favourite themes included the dance halls, the theatres and the caféconcerts that crowded France’s capital during the latter half of the 19th century, and of the performers who made them famous. The National Gallery of Australia’s major summer exhibition Toulouse-Lautrec: Paris & the Moulin Rouge will introduce Australian audiences to the artist whose work has come to define fin-de-siècle Paris. Despite this amazing artist’s international popularity, the Australian public has not previously had an opportunity to see a full retrospective devoted to his art in all media. The National Gallery’s exhibition promises a thorough and provocative examination of the artist’s work, including his forays into Impressionism, through more than 100 paintings, drawings, prints and an extensive collection of his famous posters, borrowed from 30 public and private collections worldwide. A particular focus is on his observations of Parisian life, with special emphasis on the cabaret culture around the Parisian arrondissement Montmartre – its dancers, singers and other performers, the drinkers at the bars, and other scenes of the fashionable world.

A LIFE SHORTENED BY ILL HEALTH Born into a wealthy aristocratic family from southern France in 1864, Toulouse-Lautrec’s parents were first cousins which may have contributed to the series of congenital health conditions that plagued him throughout his short life. During his childhood he suffered severe breaks to both his legs that never fully healed. As a result his legs remained those of a child’s while his torso developed into that of an adult. He grew to be only 5 foot 1 inch (154 cm) tall and became extremely selfconscious about his appearance. His poor health and physical impediments meant he was unable to participate in the typical hunting, shooting and fishing activities of male family members which caused an early estrangement from his father that continued until his own premature death in 1901. Instead he turned to painting and drawing, working under local teachers. His work from this period captures family members and

views of their various estates. His youthful love of horses is evident in The jockeys [Les jockeys], 1882, on loan from the collection of Carmen Thyssen-Bornemisza.

LOVE OF PORTRAITURE This exhibition also sheds new light on Toulouse-Lautrec’s often-neglected portraits, demonstrating his artistic development. Following his move to Paris in the late 1880s, he was intrinsically drawn to the bohemian life of Montmartre where artists, writers and philosophers mingled in local bars exchanging ideas and seeking inspiration. During his time as a student in Paris, first studying under Léon Bonnat and later Fernand Cormon, he met many important artists from what became known as the Post-Impressionist group. These included Vincent van Gogh and Emile Bernard, whose 1885-86 portrait borrowed from London’s Tate collection demonstrates Toulouse-Lautrec’s enduring love of portraiture. Throughout his career he painted portraits of friends and family. During the late 1880s and early 1890s he created a series of full length portraits of his male friends and family members, shown as well-to-do men-abouttown or flâneurs. These men – in top hats, formal overcoats and often carrying canes – are shown lounging in the artist’s studio amongst canvases propped against the walls. Portrait of Dr Henri Bourges, 1891, his housemate at the time, shows the subject pulling on his gloves as if impatiently waiting to head out on the town with the artist.

A SPECIAL KIND OF MODEL Toulouse-Lautrec frequently became obsessed with particular models, often redheads. The subject of the jewel-like painting Carmen Gaudin, 1884-85 from the National Gallery of Art, Washington is one such example. He painted her more than 14 times, sometimes as herself and on other occasions in the character of a laundress. This almost obsessive treatment was given to other models who took his – sometimes fleeting – fancy. While Carmen went on to model for other artists, when she later asked if he had more work for her, she was summarily dismissed – she had committed the grave sin of dyeing her hair black! To say that he had a ‘type’ would be a gross understatement. Another redhead with whom the artist had an enduring relationship was the dancer Jane Avril. She appeared not only in paintings but also in many of his most famous posters. He designed those bold graphic works

to advertise her performances at various Paris nightspots. Unlike the many associates who increasingly kept their distance as alcohol and venereal disease began to take their toll on his art and mind, Jane remained loyal to the end. This exhibition contains three posters featuring Jane Avril, including the artist’s final poster from 1899.

PARIS’ UNDERBELLY The exhibition juxtaposes the gay, heady world of Parisian nightlife with the city’s harsher underbelly. Toulouse-Lautrec devoted a considerable part of his oeuvre to works that explored the lives of the prostitutes who lived in the brothels catering both to the wealthy and to the poor areas of the capital. Known as closed houses (maisons closes) or houses of tolerance (maisons de tolérance) because of their legally ‘tolerated’ place within society, the artist turned to these establishments and their inhabitants for inspiration in his drive to depict Paris, warts and all. To this subject, he dedicated both paintings and a suite of prints entitled Elles, 1896. Interestingly, only rarely did any of these works include men, the customers of such establishments. Instead he focused on the day-to-day lives and interactions of the women themselves – sleeping, sitting and waiting for clients as well as at their toilette. Although not the first artist to use prostitutes as models, he succeeded in capturing a tenderness in his images of these women that had previously been lacking in such depictions, observing: ‘A professional model is like a stuffed owl. These girls are alive.’ This exhibition encompasses work from the formative years of Toulouse-Lautrec and his extraordinary diverse depictions of the Paris social scene, the café-concert, contemporary theatre, dance hall and the brothels. The artist’s subject matter became the epitome of modernity, and through his painting and graphic work he became an influential figure in the evolution of art throughout the 20th century.

Henri de Toulouse-Lautrec, Jane Avril, 1893, colour lithograph, 128.2 x 93.6 cm. National Gallery of Australia, Canberra, gift of Orde Poynton Esq. CMG 1996

Toulouse-Lautrec: Paris & the Moulin Rouge will be on display in Canberra only, from 14 December 2012 to 2 April 2013. Tickets are available at ticketek.com.au Simeran Maxwell Exhibition Assistant for ToulouseLautrec: Paris & the Moulin Rouge NATIONAL GALLERY OF AUSTRALIA 02 6240 6411 www.nga.gov.au

Henri de Toulouse-Lautrec, The jockeys (Les jockeys), 1882, oil on canvas, 64.5 x 45 cm. Carmen Thyssen-Bornemisza Collection on loan to the Museo ThyssenBornemisza, Madrid

CANBERRA

THE FORREST HOTEL and Apartments

he Forrest Hotel and Apartments is located in the heart of Canberra within the parliamentary triangle and is the closest hotel to Parliament House. The Forrest Hotel overlooks beautiful parkland with views right up to Parliament House. There is a rich political history in the Forrest Hotel and Apartments, with at least five different politicians as former owners! Forrest Hotel and Apartments is set within a tranquil setting of old oaks and parkland, offering vistas that change with the season which can be viewed from the Sherwood Restaurant and the Conference Room as well as the hotel suites. Cosmopolitan Manuka Village is minutes from Forrest Hotel, a social and shopping hub with many cafés, shopping boutiques, cinemas and a fascinating mix of people. The ItaloAustralian Club, located behind the Forrest Hotel and Apartments, welcomes every Forrest guest to be a temporary member, providing a special cultural experience during your stay in the national capital. Perhaps your schedule can include a game of AFL or rugby at the Manuka Oval. The choice of accommodation styles at The Forrest is our way to help you customise your stay. With a mixture of 76 hotel rooms and 40 apartments, guests can choose a standard hotel room, a hotel suite or a family hotel suite with a kitchenette. You can select a one or two-bedroom apartment (fully serviced). Every room has broadband and free car parking. Conference facilities are flexible. The fully equipped Nottingham Conference room seats 35-40 people when set up boardroom-style, or seats 80 people in a theatre layout. We offer tailored packages for business, trade and private functions to meet your goals and needs.

Chef Craig Mclaren oversees delicious à la carte cuisine in our licensed Sherwood Restaurant. His very contemporary Australian cuisine is stunningly presented in the hotel’s restaurant and bar overlooking the parklands. If you are planning a trip to Canberra, stay at the Forrest Hotel and Apartments for convenience, quality and value, as a centrally located base for your visit to the wonders of the national capital. If planning to explore by foot, bike hire is available through our reception. Please contact the Forrest Hotel and Apartments to book your superb art lovers’ package. We include overnight accommodation, full hot buffet breakfast for two people and a bottle of wine per room. For guests’ convenience, tickets to the Toulouse-Lautrec NGA exhibition are available at the Forrest Hotel Reception. FORREST HOTEL 02 6203 4300 reservations@forresthotel.com www.forresthotel.com

VICTORIA

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1. Pair of diamond stud earrings set in 18 ct white gold, wire coronet housing claw set old-cut diamond, weight approx 1.3 ct each, white gold butterflies secured to the back. ATDW 2.6 ct. Sold $18,640 2. Vintage 18 ct gold bracelet designed with two central rows of flat topped panels, each finely engraved with foliate motif, spaced horizontally by three finer rows of slender solid bars, concealed clasp and safety catch, l: 18 cm weight: 95.2 grams. Sold $5126 3. Necklace of 18 ct yellow gold, with bezel set central cabochon emerald weight approx 35 ct, framed by various sized brilliant-cut diamonds total 1.2 ct and six smaller cabochon emeralds, two pearls, one ruby and enamel work, connecting to 7 mm cultured pearl strand with concealed clasp. Sold $5310 4. Chinese ivory fan, late 19th/early 20th century, blades finely carved in low relief on a pierced ground oval cartouche to the centre carved with a Western monogram, mounted and framed 19 x 34 cm (open). Sold $4500 5. Emerald and diamond ring set in 18 ct white gold, emerald: 1.26 ct, baguette diamonds: total 0.25 ct. Sold $3081 6. Sapphire and diamond pendant. Set in 18 ct white gold, handcrafted by Ian Sharp Bijoux Jewellers, Ceylonese sapphire weight approximately 21.1 ct, grain set brilliant-cut diamonds, total approx 1 ct, fitted with a concealed bail. Sold $10,485

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7. Suite of silver entrée and dessert flatware for 6 made by James A. Linton (Perth, WA), c. 1930, including pair serving spoons, entrée forks, butter knife, dessert spoons, tea spoons, smaller spoons, all incised with ‘JAL’ sugar shovel made by H. Meyer, total weight: 726 grams. Sold $3378 8. Georgian period 18 ct ring inscribed maker’s mark ‘AC’, London hallmarks for 1823, inscribed internally J.P. Inwood 23rd Aug 1823, black enamelled detail, overlaid with applied gold initials, raised foliate gold work. Boxed. Sold $7111 9. Omega 14 ct yellow gold open faced pocket watch no 7596944, movement no 7587086, gold Arabic numerals, gold Omega logo hands, subsidiary dial, crown wind. Sold $1,534 10. Chinese elaborately carved ivory puzzle ball on stand, late 19th/early 20th century, h: 36.5 cm (overall). Sold $4310 11. Louis XVI style gilt metal mounted mahogany vitrine, c. 1950s, marble top and frieze above a single glazed door, 174 x 130 x 40 cm, the interior with lights to the top, a mirrored back and two adjustable glass shelves. Sold $2725 12. Pair of Royal Worcester vases, 1908, painted by Arthur C. Lewis, baluster shape scrolling handles finial cover, raised work and gilt details throughout, h: 33 cm, inscribed to base factory mark 248B/H50.38. Sold $4130 13. German porcelain plaque, c. 1870s, decoration after John Everett Millais, The Knight Errant, impressed maker’s mark, 33 x 24.5 cm. Sold $4484

AUCTION SCHEDULE 2013

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

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

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

Sunday 17 February Monday 18 February Thursday 31 January Wed to Sat 13 - 17 February

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

Salisbury Cathedral clock, 1386

Drawing of a crown wheel, verge and foliot

Wells Cathedral clock outer dial, 1392

The beginnings of time in horology 1300 – 1500 he 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

Hourglass or sand-glass in an early Italian fresco, c. 1337-1339, held by a figure, middle right

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 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 (Belgium, Luxenbourg and the Netherlands). 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 Xrayed to see what was original. By using original parts and some new, it was restored back to verge foliat 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 Sienna; 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 manmade 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. European knowledge of the planet grew more rapidly in the 15th century than ever before. The ships and long range navigation needed for maritime enterprise were available from the 14th century making possible the great exploration which led to the 15th century being called the ‘Age of Reconnaissance’. Exploration turned southward heralding the age of discovery which was to transform the globe and create one world. Education had largely been the responsibility of the Church. The most important development at this time was the creation of universities, which went on to become the major transmitters of information and culture. By 1400 there were more than 53 universities, resulting in the revival of the training of the clergy and ensuring that the education of a substantive number of laymen was done in institutions under the control of the Church and so suffused with religion. The spread of education allowed for the development of a merchant and artisan class. In relation to horology, this meant the application of new techniques and an expanded understanding of mechanical devices. These early timepieces were manufactured from examples and drawings given earlier as

VICTORIA

French (Burgundy) chamber clock with gilt brass case, c.1460. British Museum, London. Highly important and a contender for the oldest surviving spring-driven clock in existence. All internal parts are of iron, was originally spring-driven and later converted to weight-driven for both time and strike

Diagram illustrating the fusee and barrel

gifts. An example was the Arabian water clock given by Haroun al Rashid to Charlemagne in 807 where up to 12 bronze bells were struck, with 12 horsemen emerging at noon from windows, which closed behind them. During this time the setting of standards, regulation and institutionalising of apprentices passed into the hands of the craftsmen, with these artisans organised into guilds. These guilds grew as part of the social commune and achieved special jurisdictional independence for free men in medieval Europe. Many urban areas developed without guilds. In some ways the guilds in small areas could limit the advancement of skilled labour, whereas the larger towns eventually became the domain of merchants and craftsmen. Within the first year the apprentice had to pass the required reading, writing and drawing exams for acceptance before full training commenced. At this time literacy was probably limited to one percent of the population resulting in those able to undertake an apprenticeship being a select group. Perhaps this is why it appears that horology was kept within a small nucleus, often within family groups. An early example of the guilds and their workings in domestic clockmaking in Europe is that of Germany and central France. At this time clockmaking was not a separate guild in France but part of the Guild of Smiths which incorporated blacksmiths, locksmiths and the like. The first clockmakers guild was established in Paris in 1544, with seven masters listed. The gold and silversmiths guilds in France controlled gold and silver use and yet somehow the early French clockmakers were able to access precious metals. Sometimes complete gold cases were created. Whether this was because of cooperation or because the king wanted something made and decreed that clockmakers could use gold is uncertain. Not many examples of these early French clocks have survived, probably melted down because their gold content was used to manufacture other items. Far more German examples exist from this period as the German gold and silversmiths guilds did not allow the use of gold or silver by another guild. Their clocks were mainly made with wrought iron cases with few examples of collaboration between guilds where the iron was gilded. This may explain how for many years it was thought that Germany was the original area for the manufacture of domestic clocks, but most likely this was fuelled by the

early examples found, aided by the paucity of complete French examples. Early highly skilled artisans travelled to different cities undertaking commissions as requested, making the mechanism and then returning to their home. However, on occasion groups of master artisans removed to other towns or countries because of health (epidemics), political or economic reasons. It was during this period that many members of the Italian artisan class relocated to France due to political and religious pressures. Earlier, Italy had attracted many craftsmen from all over Europe. In turn France lost this educated class with the persecution of the Huguenots. Some went to Switzerland with most resettling in the Lowlands (Holland) and England, a few making their way to Sweden. The major invention of the period was the spring-driven timepiece. This appears to date back at least to the first quarter of the 15th century. Its invention made possible portable clocks and later watches and was crucial to the development of horology. The first reference is found in Italy written by a contemporary of Filippo Brunelleschi who in around 1410 was involved in the construction of various and diverse kinds of springs. However a more accurate account of a French made miniature clock dated from around 1440-50 portrays in great detail the mechanism of a spring-driven mechanism. The other major innovation of the period was the increased accuracy of the portable clock. This was achieved by the invention of the fusee in the last half of the 15th century, as documented in drawings of the time. A fully-wound spring released power in decreasing amounts. The fusee is best described as a torque converter that evens out the power loss of the spring. In simple terms it is a truncated cone with a spiral thread cut into the surface. The power is delivered via a cord from the spring held in a barrel, the power fully-wound to the smallest end of the cone; as the spring power drops, the delivery of power goes up in torque value on the cone in an increasing leverage value, equalising the force delivered. The fusee was the pre-eminent power equalisation system for over 400 years and was used in manufacturing until the 1960s in England and is still used today by clockmakers crafting individual pieces. With the current sophistication of manufacturing techniques the rationale for incorporating the fusee is primarily aesthetic ■

Domestic iron clock of the late Middle Ages with a painted dial plate with castellated cresting, turret style four-poster frame with verge escapement and foliot, and doublebarrel winding system References Eric Bruton, The History of Clocks & Watches, Little, Brown & Company, 1979 Carlo M. Cipolla, Clocks and Culture 1300-1700, Collins, London Winthrop Edey, French Clocks, Walker And Company, New York Cedric Jagger, The Worlds Great Clocks & Watches, Hamlyn Kristen Lippincott, The History of Time, Merrell Holberton Joseph Needham, Wang Ling & Derek J. Price,

Heavenly Clockwork, Cambridge University Press Hugh Tait, Clocks in The British Museum, Trustees Of The British Museum G J Whitrow, Time in History, Oxford University Press Colin Wilson, The Book of Time, Jacaranda Press

Michael Colman Colman Antique Clocks 03 9824 8244 www.colmnantiqueclocks.com

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

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

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

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

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

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

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

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

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

THE AUSTRALIAN ANTIQUE AND ART DEALERS ASSOCIATION The premier organisation for antique dealers and commercial art galleries in Australia

t’s a visual world, so bright, bold colours move us; soft pastels inspire us; collective images and stories motivate us each day. The Australian Antique and Art Dealers Association believes that antique dealers, buyers and collectors also live and breathe this passion for discovery. The AAADA sees itself not only as the peak body representing Australia’s top dealers but also one with a responsibility to help collectors gain and expand their knowledge in their chosen field. Recently, Victorian AAADA members shared their expertise with the public in their Autumn Seminar series. The seminars were held on Thursday evenings at a dealer’s premises. The theme of each seminar was dedicated to a specialist topic and collectors were given the special opportunity to handle often rare pieces. This experience combined with the opportunity to ask questions and discuss items in a friendly, comfortable setting where they also got to know the dealer, proved to be a valuable learning experience for the participants. If you would like to receive information about next year’s program join the mailing list on the website www.aaada.org.au or call 03 9576 2275.

MELBOURNE ANTIQUES SHOW 2012 If you came along this year you would have enjoyed the ambience of the Royal Exhibition Buildings and marvelled at the beautiful pieces that dealers from all over Australia brought to exhibit and sell. This wonderful show attracted record crowds.

AAADA MELBOURNE SHOW 2013 The Association looks forward to the next AAADA Melbourne Show which will be held in April 2013.

SYDNEY ANTIQUES SHOW 2012 Held on 2-5 August in the heritage-listed Byron Kennedy Hall in the Entertainment Quarter in Moore Park, again it drew record crowds who enjoyed the venue’s ambience as well as the diversity of items offered for sale. There were many red sold stickers and many happy exhibitors and customers.

AAADA SYDNEY SHOW 2013 The next AAADA Sydney Show is in 2013 after the major renovations and refurbishment at Royal Randwick have been completed.

FIND US ON THE WEB For a variety of charming items peruse the AAADA website – www.aaada.org.au. This site also lists our expertly vetted members who uphold the principles of the Association and adhere to its Codes of Practice. There are other service providers who are recommended by our members for their proven abilities to provide various categories of restoration, valuations and ancillary services. The AAADA fairs provide the perfect forum for dealers selling the finest and most diverse range of fine art and antiques in one place, at one time, in Australia, and are the nation’s only international quality shows. They are fully vetted for authenticity and backed by the reputation of Australia’s finest antique and art dealers.

Join the AAADA Facebook page today for a chance to win a free subscription to Australia’s only dedicated decorative and fine arts publication – World of Antiques and Art. AUSTRALIAN ANTIQUES AND ART DEALERS ASSOCIATION 03 9576 2275 secaada@ozemail.com.au www.aaada.org.au

THE ESSENTIAL BUYERS GUIDE This booklet is the definitive guide to buying, collecting, selling, valuing and restoring antiques and art with confidence from Australia’s leading antique and fine art dealers and their approved service providers. To obtain your copy, please write, email or telephone: The Executive Secretary PO Box 24 Malvern VIC 3144 03 9576 2275 secaada@ozemail.com.au

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New South Wales Chapter

Antiques Seminar Programme Spring Series 2012

Hands up for hands on! If you have a hankering to know more about antiques, or you simply want to know what it’s like to hold a fortune in your fingers, book now for your place in a series of workshops that let you get a grip on your subject of choice. 20 September 2012

11 October 2012

Anne Schofield ‘Treasures from India’ Tribal & traditional silver & gold jewellery

Alan Landis Neo-classical Wedgwood

Anne Schofield Antiques 36 Queen Street Woollahra NSW 2025 Telephone 02 9363 1326

27 September 2012

Alan Landis Antiques The Antique Centre 531 South Dowling Street Surry Hills NSW 2010 Telephone 0414 703 759

18 October 2012

Martyn Cook Antiques can be a good investment

Josef Lebovic ‘Exotic to Erotic’ Prints & photographs from the 17th C to the 20th C

Martyn Cook Antiques 78 Renwick Street Redfern NSW 2016 Telephone 02 9699 3499

Josef Lebovic Gallery 103a Anzac Parade Kensington NSW 2033 Telephone 02 9663 4848

4 October 2012

25 October 2012

Rex Irwin Art. What is it? Is it fun? Is it worth it? Of course it is!

Derek Greengrass Walking Sticks and Ephemera

Rex Irwin Art Dealer First floor, 38 Queen Street Woollahra NSW 2025 Telephone 02 9363 3212

The charge for each seminar is $40, which includes a glass of wine. If you book and pay for six workshops, receive a seventh for free.

Grafton Galleries Shop 1, 15 Boundary Street Rushcutters Bay NSW 2011 Telephone 02 9361 3567

1 November 2012

Michael & Victoria Greene ‘Living in the 70’s with style’ Fine jewellery & silver from the 60’s and 70’s. Michael A. Greene Antiques 108 Queen Street Woollahra NSW 2025 Telephone 02 9328 1712

For bookings or further information, telephone,or email: Adrienne Wilson AAADA New South Wales Chapter Telephone 02 9332 3882

Mobile 0427 654 900 adriennewilson@iinet.net.au or download a booking form at www.aaada.org.au

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Schanxi Province high back bamboo chairs

Hebei Province eight drawer walnut chest

Orient House – Australia’s source for antique Chinese furniture and accessories ur quest to remain Australia’s leading dealer in antique Chinese provincial furniture and suppliers of unique tribal art from Africa, Thailand, Burma and Indonesia, has taken us on an incredible journey. China over the past 12 years is the focus of this article. In China we used to speak to our dealers through a translator, but now dealers all speak very acceptable English. I am ashamed to say, neither our Mandarin nor Cantonese has progressed much further than greetings. The cities that we visit have grown ten-fold, with a proliferation of Western brands appearing. New superhighways and bridges appear from nowhere and branch off in all directions. Bicycles have given way to cars, simple rice dishes have been replaced by fatty food and obesity, and the blue sky is now thick smog. Originally, most items were from the more accessible southern provinces and made from elm wood. With time, ‘runners’ have to extend their search for antiques further afield. Their broadened search not only yields furniture in very different styles, but also made of the hardwoods native to the colder areas. Over the years we’ve become increasingly conscious of

a change in the style of pieces we find. Our now numerous trips have enabled us to build up a good rapport with the same group of dealers and they, for the most part, understand our preferred style of furniture. One of our biggest challenges remains being able to control the level of restoration that a piece requires. We strive to convey the understanding that beautiful, centuries-old patinas do not require ‘restoring’ to look as though the item was made just months ago. Many of the old markets have now been demolished and replaced with new ‘DisneyQing’ replicas. A large part of our time is spent in ‘go-downs’ (warehouses), combing through piles of furniture. No longer do we have the joy of scratching through piles of furniture in a couple of warehouses, to unearth treasures from a couple of suppliers. Now everything has a sameness about it. Our trips take us further and further inland to new cities in different provinces. Sadly, pickings are becoming slimmer and slimmer and our three to six hours spent in a car these days sometimes proves hardly worthwhile. The secret is still being able to find unique pieces. We expected that world economic pressures would have brought prices down,

but the matter of supply and demand ensures that good pieces still attract high prices. Wealthy people from country provinces are visiting major cities like Beijing and Shanghai and buying back Ming and Qing furniture from the markets. The majority of pieces in our store date to the Qing dynasty (early mid 18th to early 20th centuries). Older pieces are rare and most usually found in museums and private collections. With a realisation of lost treasures, the new Chinese elite are now consciously pursuing the purchase and return of Ming pieces to China.

CHINESE FURNITURE DESIGNS Most of our furniture is made from elm, the wood most commonly used in the Qing dynasty, either jumu (southern elm) or yumu (northern elm). Rarer woods, such as huanghuali and zitan, the preferred woods of the Ming dynasty, were cut to extinction and only re-forested in recent decades. Selection of woods is critical as not only are seasoned woods more durable, these mature woods acquire a desirable patina. The hardwoods of the Ming dynasty dictated a certainly austerity of design while the softer woods of Qing allowed for easier and more

Tibetan painted coffee table

Antique Schanxi coffer

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Hebei Province console table

complicated carving, with the wide-grained woods being receptive to paint and lacquer finishes. Consequently in this later period, colour began to take on a new significance. The design of Chinese furniture evolved very slowly. One often sees a carryover from one dynasty to another. Whilst there were main centres of furniture manufacturing, regional differences are subtle and often difficult to recognise. Rural Chinese houses are marked by simplicity. Rooms tend to be sparsely furnished and most items strictly functional. The Kang, a raised platform made of brick or stamped earth which housed a fire-pit or stove, was usually housed in a central room. This formed the social centre of the home and Kang furniture, such as low tables and stools, was specifically designed for this area. Tibetan and Mongolian furniture has more recently become desirable, although quality pieces are scarce. They have a highly decorative quality and vary from muted to brightly coloured palettes.

ACCESSORIES Perhaps more than anything else, accessories tells the story of daily life in the Qing dynasty and the unique sense of form that makes Chinese antiques so compelling and delightful. From bins, pots, baskets, jewellery boxes, to food containers, birdcages and calligraphy brushes there is a rich variety of these smaller items and they speak volumes. Red wedding baskets were taken to a bride on her wedding day and contained food or a small gift. Birdcages came in small delicate sizes so grandfathers could take their pet birds for a walk. Document boxes were designed to double as pillows, so that travellers could sleep on their valuables. Clever jewellery boxes reveal both a hidden mirror and hidden compartments. More than utility, these accessories display wonderful shapes. The wedding baskets had hourglass handles. Rice measures were shaped somewhat like a beehive. Necklace boxes were in the form of a doughnut. What makes this Chinese furniture and accessories so desirable is the ease with which they can be adapted for living in the 21st century. ORIENT HOUSE 02 9660 3895 orienthouse@orienthouse.net.au www.orienthouse.net.au

Australiaâ&#x20AC;&#x2122;s largest source for signature pieces