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

SEPT - DEC 2013

IN NEW SOUTH WALES

antiques

art and

QUEEN STREET

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

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antiques &art IN NEW SOUTH WALES

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Please send us any articles for publication in Antiques & Art in New South Wales. Length up to 1,000 words, preferably supplied on disk, or email with accompanying captions. Pictures should be digital images on CD. Article is conditional on an advertisement being taken. Next issue will be distributed in December 2013. Booking deadline 4 November 2013. Copy deadline 11 November 2013.

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A selection of vintage cocktail rings from the 1950s to 1970s currently in stock

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STATUS IN ROMAN TIMES I have always been aware that the ownership of furniture, until quite recently, had been restricted to the wealthy. Bespoke furniture was exclusively the domain of individuals who would commission artisans to fashion pieces especially for them. Exclusivity was at work in Roman times, where the table is concerned, tables being held in high esteem as symbolic of status but not necessarily as

LEGGED VARIETIES EMERGE

More ‘recently’, and as the table began to assert its presence as more a proletarian than a bourgeois artefact, it was common practice, even in the 16th century, to eat at a wall-mounted table or one that stood against a wall with a long bench, for seating, pulled up to its side – this was known as a side table. The side table was modestly decorated on three sides, the fourth finding itself always against a wall. Time’s passage saw the side table develop into the ‘cupboard’ or sideboard we know so well today.

An alternative form of the trestle was the pedestal, becoming a twin pedestal in some cases. Improvements in 15th century joinery made it possible to create even more secure and permanent outer frames for tables of all sorts, an innovation that made the making of the four legged tables possible. This was a big step forward. Tables of greater length required the support of six or more legs. The middle of the 17th century saw an increase in the number of small occasional tables, few of which survive due to their size and that, being less costly, they were less valued items of furniture. The three-joinedlegged cricket table is one of my favourites and of course, the more formal tripod table is an enduring space saving classic, as elegant as it is useful.

Ostentation often follows status and exclusivity, and to this end the use of marble for table construction was much prized. Embellished with precious stones and exotic timbers, and mounted on pedestals decorated with griffins, dolphins, flowers, vines and tendrils, marble tables became important centrepieces, not unlike our foyer tables, and a means of creating an axis in a space.

CENTRAL CONCERN

EXTENDING THE OPTIONS

The centre table, by contrast, stood independently of walls. Sturdier in construction, it was fully decorated, taking pride of place in the middle of the room. This kind of table became more central, in more than just its placement, in the home and in daily lives, serving as a place for eating, gaming, or working.

SHAPING THE FUTURE

Where space was an issue, the trestle table proved expedient. Easily demounted, the trestle table was a more advanced form of the old slab the Greeks rested upon their legs but, importantly, this structure led to the further development of the table base allowing larger surfaces to be supported.

Extension tables are another variant that provide functionality beyond immediate appearances. The extension table is a staple of my own French Farmhouse Tables line, and affords one of my greatest sources of achievement in that the design of the extension mechanism allows easy extension by one person. To maintain the integrity of the design and timber grain it is important to avoid, where possible, the ‘pop-up’ centrepiece style of extension for which the Victorians were renowned. This done, there is then no need to choose between a nonextension or extension table to maintain continuity of the grain. This allows the wonderful character of the timber itself to remain the hero. The table as we know it today is a meeting place and, in many ways, a great leveller. I think it is the most important piece of furniture in any home – the engine room as such. Here we can celebrate, commiserate, contemplate and cogitate.

TABLES a long history here is no more commonplace or ubiquitous a piece of furniture in any home than the table. Surprisingly, given that we are all so familiar with the table as to be inclined to disregard it, the table’s history is a fascinating tale that germinates millennia past. During my research I was a little disconcerted to find that the centrality of the table to everyday life really only resolves into that focus in the modern era. In contemporary times, whenever we enter a house it is our expectation that – at the very least – we will find a dining table, and often other pieces such as a desk, work station, perhaps a sideboard or the now essential ‘coffee’ table. But modern expectations are only that, expectations.

tables even now. Another limitation with round tables – for us and the Romans – was scale; though more accommodating they tend to take up a lot of space compared with their rectangular counterparts! Continuing through the centuries, this same connection between tables and prosperity is quite plain.

utilitarian. Cicero had a table for which he paid the equivalent of a year’s income. However, such tables were too small to dine at and obviously the cost was prohibitive. As an alternative, the Romans made tables from ‘veneered’ timbers – a technique used well and appallingly since!

PRIZED DECORATION & MATERIALS

On the other hand, if the table was for dining, a simple square, with little embellishment would serve. A round table was advantageous in that it could seat more people, but much was wasted in construction – a problem I confront in the design and making of round

SIDE EVOLUTION

SPACE SAVER OPTIONS

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

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Editorial Content COVER (detail of) Sidney Nolan Ned Kelly 1946 enamel paint on composition board National Gallery of Australia, Canberra Gift of Sunday Reed 1977 See page 82

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Tables – a long history – Sally Beresford Australian Art Pottery 1900-1950 Conserving Australia’s heritage: The Thompsons of Paddington, Sydney – Susanne Gervay Resurrection – a labour of love – Mike Gleeson The photography of Edward Sheriff Curtis – Margot Abrahams Inaugural Double Bay Antiques Market for the love for all things antique and unique – Amanda Choularton Fine furniture, art works and more in the heart of Bondi Junction Putting valuables/moveable assets to work for financial planning/opportunity From a special place: Burmese Buddhist arts Art Gilding Academy: German Master Gilder reveals the secrets of this ancient craft Find the real thing at Architectural & Antique Elements Bridal jewellery – the engagement ring has a long and rich history – Tammy Palmer Industrial furniture at Doug up on Bourke – Sophie Mason Savi Maurizio Furniture introduces the Prestige modular collection Mitchell Road Antique & Design Centre: The retro shopping centre Distinctive furniture, lighting and accessories from the USA now in Sydney – Beverley Brown Hunter & Co changing the art of transport – Ryan Hunter Pack & Send at Botany Spelling out romance with acrostic jewellery – Damian Kalmar Australasian Porcelain Art Teachers NSW Inc’s creative porcelain artwork showcased at the Grace Hotel, Sydney Highlights from Noble Numismatics’ $2.7 million sale – Jim Noble Restoring a slice of café life – Kym Langford Great antiques are essential components for great screen entertainment – Kim Hughes Vintage Time 2U celebrates 1st birthday Baker & Houghton Antiques pay tribute to the minutiae of life Clarice Cliff (1899-1972) leading ceramic artist of the 20th century – Eleanor Keene Australia, with reindeer and elephant Reflections on lighting – Garry Auton Adieu to Annandale means bargains for astute collectors – Jane Rush Art Gallery of Ballarat, Capital and country: the Federation years 1900-1914 – Miriam Kelly Antique Floors new showroom reveals a wooden flooring evolution – Steve Krsticevic Dural Antiques celebrates 25 years Using Howard Products a Victorian lady gets a 60 minute makeover – David Foster Islington Antiques in Newcastle since 1990 The Centenary Antique Centre Newcastle celebrates its 20th anniversary – Narelle Ward Hunting for finds in the Hunter – Michael Lee Windsor and Hawkesbury antiques and collectables trail Especially for the guys at historic Windsor The scenic Hunter Valley – perfect for antique hunters Steelreid Studio for original art & giclee excellence Victory Theatre at the Blue Mountains: A significant historical site – Jana Byrne Lamp chimneys – Juergen Weissner Antiques recording discoveries – Kathryn & Derek Nicholls Longbarn launches at The Gate Gallery at Wollombi Australia: a major survey at the Royal Academy of Arts, London – Anne Gray National Gallery of Australia, William Kentridge: drawn from Africa – Jane Kinsman Welcome to Canberra’s Forrest Hotel and Apartments Reviewing the ACT’s 2013 Springtime Antiques and Collectables Fair – Les Selkirk The beginnings of time in horology – Michael Colman A specialist furniture manufacturer Churchill Chesterfield made in Australia The Australian Antique and Art Dealers Association – Dawn Davis

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

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ABN 39 945 398 132

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OUT &

about SPARKLING NIGHT AT THE ROYAL RANDWICK RACECOURSE he opening of the AAADA Sydney Antiques Fair attracted a record number of attendees who packed the sparkling new venue at the Royal Randwick Racecourse. There was a notable upswing in buyer confidence with many exhibitors recording strong sales. The sales in traditional antique furniture were strong along with the usual interest in Chinese antiques and of course jewellery. Of note was that interspersed with regular visitors and collectors, this yearâ&#x20AC;&#x2122;s fair attracted a noticeable contingent of younger and new buyers. Both exhibitors and the public enjoyed the ambience the new venue and the exhibitors are looking forward to returning next year.

Above: Jamie Allpress, Allpress Antiques, Victoria

Below: Peter Valentine, Valentines Antiques, Bendigo, Victoria

Lee Bradshaw, Etruria Antiques Gallery, Melbourne

Martha Good, The Goods Fine Jewellery, Brisbane

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Jane Lennon, Ancanthe, Sydney

‘Rastus’ Lynzay Antiques, Brisbane

Todd and Glen Baird, Richmond Antiques, Richmond, Tasmania

Robert Snook, Snook & Co Antique Dealers, Melbourne

Belinda & Ian Perryman, I & B Perryman Oriental Carpets, Sydney

Maureen Morris with NSW Chapter secretary, Adrienne Wilson

Vince and Helen Day, Day Fine Art, Blackheath, NSW

Jamie Allpress and Paul Sumner, Mossgreen Collection with Christopher Day, Day Fine Art, Sydney

John Brans, Brans Antiques & Art, Perth, WA with Ian Perryman

Hartley Cook, Grafton Galleries, Sydney & Amy Wadsworth, Aon, Sydney Antiques and

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AUSTRALIAN ART POTTERY 1900-1950 A

ustralian art pottery: 1900-1950 is an important publication from Casuarina Press and a must for collectors, dealers, curators, auctioneers and academics. Five years in its creation, this publication is the definitive text on Australian art pottery from the first half of the 20th century. The production process involved two trips around Australia to identify and photograph over a thousand pots, selecting the authors, deciding on just which potters and images to include, settling on the design, editing and proof reading the text and supervising the pre-press and printing. The final product certainly places Australian art pottery alongside its equivalents from Britain, Europe and the United States and sets new standards for art publications in Australia. First, there is a section devoted to analysis and argument, with nine thematic essays prepared by acknowledged experts in their field. These essays

Marguerite Mahood, Figurine, 1934

reflect a synthesis of both regional and individual artist interpretations of the major stylistic influences (Art Nouveau, Arts and Crafts, Modernism) and the ever-present impact of the landscape and indigenous art. Prepared by a selection of the best curators, collectors and researchers, the essays provide a wealth of information and interpretation for the serious enthusiast:

Australian Art Pottery 1900-1950

AUD $295* HB 372 pp

Edited by Kevin Fahy, John Freeland, Keith Free and Andrew Simpson, this superbly illustrated publication reveals much new information about a number of significant Australian art potters, including Merric Boyd, John Castle-Harris, L.J. Harvey, Harry Lindeman and Grace Seccombe. Nine scholarly essays explore different aspects of this area of Australian decorative art and are accompanied by an illustrated dictionary containing over 480 colour photographs and detailed biographical entries for 118 potters and china painters prepared by 23 contributors, including curators, collectors and historians.

Australian Furniture Pictorial History and Dictionary 1788-1938

AUD $485* CHB 527 pp

Written by Kevin Fahy and Andrew Simpson, this book is an essential reference for curators, private collectors, dealers, auctioneers, investors, social and cultural historians. It includes over 660 entries for Australian furniture and picture frame makers, retailers and designers – the result of seven years gallery, museum, library, and field research. Superbly illustrated with over 1000 illustrations, 600 in colour. Australian Furniture: Pictorial History and Dictionary 1788-1938 was the recipient of the 1999 National Trust / Energy Australia Heritage Award and is the most comprehensive survey of quality furniture, its marks and makers, yet undertaken in this country.

*Price includes postage, handling and GST. Most major credit cards accepted

PO Box 324 Bondi Junction NSW 1355 Tel: (02) 9389 2919 Web: www.worldaa.com ORDER FORM (Send to JQ Pty Ltd PO Box 324 Bondi Junction NSW 1355) Name........................................................................................................................................................................ Address...........................................................................................................................Postcode........................ Please send me...........copies of Australian Furniture Pictorial History and Dictionary 1788-1938 Please send me...........copies of Australian Art Pottery 1900-1950 I enclose my cheque/money order for $...................made payable to JQ Pty Ltd or please debit my Visa / Mastercard / Bankcard / American Express / Diners Club Card Number .............................................................................................................. Expiry date......../......... Cardholders name................................................................................................................................................ Cardholders signature..........................................................................................................................................

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Daisy Merton, Vase, c. 1935

• John Freeland, Industrial art pottery: an early and enduring presence • Keith Free, Arts and Crafts potters in Sydney: the Sydney Technical College school • Terence Lane, Melbourne studio pottery of the 1930s: the Melbourne Tech group • Joe Pascoe, Merric Boyd and the Murrumbeena Pottery • Glenn R Cooke, Brisbane’s Harvey School • Glenda King, Studio pottery in Tasmania • Noris Ioannou, The emergence of studio pottery and the folk craft modernists • Dorothy Erickson, Art pottery and china painting in Western Australia: a few tall poppies and • John Freeland, Indigenous references on Australian pottery: appropriation, adaptation and abstraction. The second and much larger section provides a rich pictorial record of artistic achievement combined with authoritative biographies of arguably the best 118 art potters of the period by some 23 biographers. The 480 images, all in colour, are drawn from both public and private collections, giving many objects and some potters their first public airing. For many, it will be the sheer quality and richness of the images – largely taken by Andrew Simpson – that will live in their memories of the book. For others it will be the innumerable new insights and pieces of information the authors provide about their favourite individual art potters and schools. In its 320-page entirety, the book clearly demonstrates the editors’, authors’ and photographers’ commitments: to excellence; to making a significant contribution to the knowledge, understanding and appreciation of Australian art pottery; and to extending recognition of the significant contribution the decorative arts have made and continue to make to Australians’ evolving individual and collective identities. It is a worthy successor to Casuarina Press’s first publication, Australian Furniture: Pictorial History and Dictionary 1788-1938 by Kevin Fahy and Andrew Simpson.

L.J. Harvey, Figurine, c. 1925

Delia Cadden, Vase, 1914

“

The final product certainly places Australian art pottery alongside its equivalents from Britain, Europe and the United States

”

Marian Mundy, Vase, 1911

Casuarina Press 0404 051 999 www.casuarinapress.com.au

WOOLLAHRA

Conserving Australia’s heritage THE THOMPSONS OF PADDINGTON, SYDNEY A poet, feature writer and ABC producer, John Thompson (1907-1968) was the first president of the Paddington Society in 1965. A historian, writer and heritage activist, his wife Patricia (Pat) Thompson (1912-1987) would lead a campaign to save the heritage of Paddington and West Woollahra. Their home at 66 Goodhope Street, Paddington, which they moved into in 1951, became the ‘salon’ of Paddington-West Woollahra with writers, artists and thinkers debating the great issues of the time. Their son Peter Thompson, film critic, film producer, script writer, author, and their adopted son Jack Thompson OA, the iconic Australian actor and producer, grew up in this dynamic, creative activist community. Their campaign to conserve the heritage of Paddington and West Woollahra would spearhead the conservation of historic areas in Sydney.

PROTESTING & PRESERVING PADDINGTON Pat Thompson’s campaigns of political lobbying and activism lasted decades, ultimately leading to Paddington and West Woollahra being declared a conservation area under the National Trust (NSW). Her celebrated campaign with local identity, writer and festival director Leo Schofield OAM, attracted thousands of protestors to Paddington-West Woollahra. Pat Thompson and Leo Schofield distributed hundreds of rolls of black crepe paper for people to encase their houses, symbolising mourning, to preserve Jersey Road, Woollahra. The Paddington Society is regarded as the first resident action group in Australia. This was augmented by the Queen Street and West Woollahra Association in 1972 which was established to preserve the character of Queen Street and its surrounding district. After the death of John Thompson, Pat continued her work in advocacy for the preservation of Paddington-West Woollahra and the arts. She became the president of the Paddington Society in 1972. She wrote The Story of Paddington in 1968, Paddington an area of special architectural interest in 1969, Paddington sketchbook in 1971 and Paddington sketchbook in 1975. They are the first publications devoted to the history of the suburb. Pat Thompson’s love of the arts was reflected in her book Twelve Australian Craftsmen which she produced in 1973. She served on the editorial board of Craft Australia; and as president of the Society of Women Writers. Jack Thompson actor

TRADITION OF CREATIVITY The Pat Thompson Park in Holdsworth Street was dedicated to her on 17 November 2007 supported by her sons Peter and Jack Thompson who have both continued in their parents’ tradition as creators and activists. Jack Thompson was honoured with a Member of the Order of Australia in 1986 for his service to the film industry. An environmental and indigenous advocate, he has also been Australia’s Goodwill Ambassador to the United Nations High Commission for Refugees. In 1994, Jack Thompson was awarded the Raymond Longford award by the Australian Film Institute for his outstanding contribution to Australian cinema, and in 2009 was awarded the Society of Motion Picture and Television Engineers (SMPTE) Lifetime Achievement Award for services to Australian Film and Television. Jack was adopted by the Thompsons as a young boy. He remembers being at a boarding crèche with his brother and his mother visiting on weekends while his father was at war. After his mother died from an illness, Jack and his brother David were taken to a school at Narrabeen, called Lake House. It was here that he met a boy called Peter Thompson and ended up being adopted by the Thompson family. In recognition of his adoptive background, Jack Thompson became an Ambassador for National Adoption Awareness Week connecting with another Woollahra personality DeborraLee Furness who is the founder and patron of National Adoption Awareness Week in Australia. She is an internationally acclaimed actress, a World Vision Ambassador, patron of International Adoption Families of Queensland and of The Fight Cancer Foundation.

Jack Thompson has been involved in the development of ‘I Am Jack’ too. Like Jack Thompson, Deborra-Lee Furness is a frequent patron of the area and more so recently. She will be an actor in the feature film in development, I Am Jack (written by Susanne Gervay). The original illustration by Cathy Wilcox of the cover of the book, I Am Jack, is exhibited in the illustrators’ gallery in the Reading Room of The Hughenden.

The Thompsons are integral to the heritage and arts of Paddington-West Woollahra, one of Australia’s significant urban conservation areas. Susanne Gervay THE HUGHENDEN 02 9363 4863 reservations@thehughenden.com.au www.thehughenden.com.au

ARTISTIC LEGACY

L to r: Stephan Wellink (Producer, I Am Jack), Susanne Gervay, Jack Thompson, Gabrielle Upton MP (NSW), David Whealy (Executive Producer, I Am Jack)

Paddington-West Woollahra is the natural home of writers with poet Banjo Paterson, Australia’s first philosopher Barzillai Quaife, and opera singer Dame Joan Sutherland all having lived there. More recently film makers have joined the creative life of the area with the Australian Film and Television School (AFTS) located at the Entertainment Quarter. Jack Thompson is a frequent visitor to the area and recently welcomed Professor Harry Ufland, renowned producer and film agent for many well-known movies including Blade Runner, and other filmmakers from Chapman University California to The Hughenden on Queen Street. Antiques and

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RESURRECTION A labour of love hen we moved shop last November to 410 Burke Road Camberwell, it became all too obvious that not everything was going to fit into the new place. Having sold off quite a bit of stock prior to moving there were a few hard decisions to be made as to what we would keep and what would have to go. In the process I came across a fantastic 150-year-old carved Italian gilt wood mirror frame that had been buried out the back of the old place. In its previous life Iâ&#x20AC;&#x2122;m sure that it started out as a picture frame for some magnificent old master. It has the quality and all the hallmarks of a great frame but had been grossly neglected and was in a state of major disrepair. It was one of those jobs which had been put off forever. I had in fact had this frame buried out the back for nearly 25 years as we rarely buy stock in bad repair.

RESTORING A FADED BEAUTY Most of my working life has been involved in restoring items for others and producing reproductions for sale or restoring sold items from the shop front. The decision was made to keep and restore this beauty as a showpiece for the new store and finally bring to life this magnificent enormous frame. We knew we had the majority of the pieces so it was simply a case of making the time to do the hard yards. Chief restorer Jason Seaborn has been restoring these sorts of things for over 25 years at Giltwood and he took on the task with gusto; firstly finding and sorting out the bits we had and which piece went where, then working out what we needed to fabricate to complete the task.

THE RESTORATION PROCESS: PROPER GILDING Many boxes of parts have arrived at Giltwood â&#x20AC;&#x201C; often previously a beautiful mirror or picture frame hung on the wall by a well meaning husband. It would be prudent to mention at this time that these things do not fall down gracefully and need to be installed professionally. After the frame is re-glued and strengthened and all the pieces had been replaced and into their original order, and all of the cracks and joins have been re-glued, filled and sanded, the frame is then hand passed to me for gilding. As with lots of these things, this frame had been smothered in gold paint again by well meaning amateurs in the

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belief that it replicated proper gilding, which now has to be removed. So with a lot of elbow grease the frame is sanded back to a solid base of the original gesso and then coated with a new coating of Armenian bole. This is a red coloured clay base and has been used under gilding for thousands of years, since ancient Egypt, and at least since the 18th Dynasty (1352-1344 BCE), as seen in the tomb of Tutankhamun. Once this has dried for a day or so, it is sanded then recoated again. After this hardens, it is again fine sanded and polished. This coating basically fills the grain and acts as the key to bind the surface for the next stages. At this point one can moisten the clay and proceed to gild the frame in 22 carat gold leaf, known as water gilding, or shellac the frame for oil gilding. On this frame I have chosen the oil gilding process and may do some burnished highlights. This process has been done since the early 1900s. After three coats of shellac to seal the surface it is then coated with a coat of gold size varnish. After the required drying time which, due to temperature and humidity, varies with the seasons, it is then laid with the gold leaf in a roof tile type pattern. Again, a day or so drying time is required before the gold leaf can be cleaned up, then any surplus or overlapping leaf is removed, resulting in a smooth seamless coating of gold. This is now coated in a final coat of shellac to protect and seal the surface and offer some protection from dust and handling.

FRAME RESTORED I have finished it by simply applying a final coating of a gold translucent wax which offers a smooth transition from highlight to hollow and can be polished or removed as required. Now this frame has a rather bright look as I believe it was never intended to be a wallflower. However, if somebody wishes to buy it for a painting then I would be only too pleased to tone it down to suit the artwork â&#x20AC;&#x201C; it is a matter of taste. For price and measurements etc, please visit our store at 410 Burke Road Camberwell Victoria or visit us online. Mike Gleeson GILTWOOD.COM 03 9889 6543 giltwood@hotmail.com www.giltwood.com

www.privateartsales.com CREATED BY A LEADING SYDNEY GALLERIST with 30 years in the arts industry, Private Art Sales is a unique art and collectables online trading forum designed to benefit the art vendor. Unlike any other site, Private Art Sales facilitates sales from vendor to buyer direct, with no commissions, premiums, or any costs associated with online, gallery and auction house trading. The vendor receives 100% of the sale price and has absolute control over the listing and selling process. The selling process is akin to a gallery over an auction sale with no time limits on the sale of works. The site is guaranteed to attract top national and international art buyers as it features an assemblage of high quality artworks and collectables from artists such as Sidney Nolan, Pro Hart, Bertram Mackennal, Robert Dickerson, Sir Jacob Epstein and Lucien Freud. Currently, all listings incur no fees making it an even more attractive forum for vendors to market their collections.

This user friendly site can be accessed at www.privateartsales.com where upon the creation of a personal account, one can start the selling process immediately.

List now and enjoy the benefits of no commission selling www.privateartsales.com

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The photography of

EDWARD SHERIFF CURTIS dward Sheriff Curtis was a man with a determined vision to document the ‘vanishing race’. During his lifetime, he succeeded in recording every single known Native American tribe in North America at the turn of the 20th century. It is possibly the most important visual record of any native people anywhere in the world. Curtis’s life-long obsession began in his early teens when he built his first camera from scratch. Born in Wisconsin the family soon relocated to the farm country of Minnesota. In 1868, the self-taught photographer was fascinated by the Native Americans who lived around the area where

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he grew up. These people and the surrounding landscape, were the perfect subjects for him to practice his technique. He began to undertake photographic expeditions where he met people who would help fund further expeditions. One of these patrons was J.P. Morgan, a wealthy banker and railroad magnate. He also gained the support of President Roosevelt and other influential people. Between 1889 and 1930, Curtis visited Native Americans from all over North America. He spent about16 hours a day in the field, sometimes returning to a site as many as ten times to gather the best possible examples of tribal life. Curtis’s passion, dedication, creativity, and intelligence are illustrated in his extensive documentation of the life of Native Americans: as an artist, an historian, and a writer. He wanted to educate and change the public’s preconceived and ignorant notions of Native Americans. Curtis’s images were composed with the skill of a great photographer. He used cropping, lighting and shadows, and focus to heighten the dramatic impact of the subject matter. Curtis was a master of capturing and presenting an image to invoke emotion: carefully-staged images of Indians in feathered head-dresses silhouetted against fluffy clouds in waning sunlight. He was not an ethnologist, instead choosing to evoke a romanticism of the Indian lifestyle. For example, some images were retouched to remove objects of ‘civilization’ such as clocks or tourists watching a snake dance. Curtis studied, lived with, respected, and was respected by the Native Americans. He became privy to ceremonies and dances that few other white men had seen, let alone photographed. He researched language, social and political organisation, religious customs,

(1868-1952)

living conditions, collection and preparation of food, the environment, games, music, dances, clothes, rituals, and traditions of birth, marriage, and death. The end result, The North American Indian, took more than 30 years to complete and consisted of 20 volumes, each accompanied by a large format photographic portfolio containing 35 large photographs of related subjects on 30.5 x 40.6 cm plates. Two hundred and seventy-two sets were printed of the 500 originally planned sets. Each selfcontained volume of text was illustrated with approximately 75, 12.7 x 17.8 cm plates and was devoted to a single, or a number of topographically adjacent, North American Indian tribes. In addition to photographs, artwork and maps were sometimes included. This all culminated in a lavish and costly production. He printed on heavy stock: high quality, heavily textured watercolour paper was used together with fine tissue or onion skin paper. The books were bound in leather with gilt edging. Their luxuriousness and small print run prevented the wide circulation Curtis aspired to. Curtis used four main types of print processes in his work. Ninety-eight per cent of his prints were processed using photogravure. The photogravure technique is notable for its unusual subtlety. Photogravure is a meeting of photography and engraving where the photographic image is chemically etched into the surface of a copper printing plate. An interpositive, which is made from the original negative, is contact printed onto a photosensitised copper plate. The exposed image, again in negative form, is developed. The plate is then placed in an acid bath. The acid eats microscopic pits in the copper, with the shadow areas of the finished image etched more deeply on the plate. After it is etched,

the plate is cleaned, inked, and printed by hand, one at a time. Photogravures have the advantage of being able to be individually retouched. In spite of its expense and difficulty, Curtis chose photogravure because it was one of the best photographic printing processes available, with consistently good results. The beauty of the fine print and warm sepia tones perfectly complemented Curtis’s imagery. Curtis’s platinum prints are very rare because of the expense and difficulty involved in creating the print. Platinum prints are widely regarded as the highest form of photographic printing. It is unusual for there to be more than two or three prints of any one image. Curtis’s platinums are delicate, mostly warmtoned, and often printed on two fine handmade papers: a Japanese vellum and a fine Dutch etching stock called Holland van gelder. The platinum print is the product of a contact printing process and it has a very high resolution. The paper is sensitised with iron salts and silver nitrate mixed with platinum and exposed in sunlight. The image appears during the exposure. The print is then submerged in a potassium oxilate solution to dissolve the iron salts, after which the remaining platinum forms the image. The toned gelatin silver print was the most common black and white photograph made last century. This is where a silver salt, suspended in a gelatin emulsion, forms the image. Curtis toned most of his silver prints to give them a warm sepia tone. The signed gelatin prints have the negative number and the copyright sign on them. The date refers to the date of the copyright, not the actual exposure. The most precious and beautiful of the print processes Curtis used was the goldtone, also known as an orotone or the Curt-tone (a hallmark of the Curtis studio), in which he was a pioneer. Curtis only printed about one in every thousand negatives in this expensive and difficult process. In the goldtone process, the photograph is printed directly onto glass instead of paper, then backed with a viscous mixture of powdered gold pigment and banana oil. It is very difficult to produce high quality goldtone images as the

DOUBLE BAY

Quality Native American Art Since 1981

Annual return from buying trip show 2013 • A fine selection of historic jewellery • Collection of jewellery in both old style and contemporary designs • Original paintings by a new dynamic Comanche artist, Nocona Burgess • Extensive Zuni fetish collection • Selection of animal hides • And more

Cañon de Chelly, Navaho. Located in north eastern Arizona, in the heart of Navaho country where in every niche the cliff- perched ruins of former villages can be seen.

emulsion is suspended on, and supported by, glass instead of paper, which creates difficulties and limitations. However, Curtis often achieved beautiful results and his goldtone prints have become very valuable and highly sought. The reflectivity of the gold backing and the lighter areas of the emulsion creates a luminous, threedimensional quality that makes these images both unique and inspiring. Curtis’s valuable contribution to documenting the life of Native American Indians came at a cost to his own personal life. Time away in the field meant time away from the studio, the source of income for his family and for the project. A constant shortage of money and his near permanent absence from his family led to the break-up of his marriage. He lost his studio and its contents to

Sioux Chiefs

his wife in the divorce settlement. He endured the physical hardship of travel and also experienced a number of years where, due to lack of funding, no work was achieved. He suffered a three year physical breakdown and period of depression. One hundred years later, thanks to the financial and emotional sacrifices Curtis made, we have the privilege of being able to see not only beautiful images, but aspects of a culture frozen in time. Edward Curtis wanted to educate people and preserve the vanishing native cultures. These images allow us to visit the past and see things we would not otherwise be able to see. He always believed in his 20 volume goal, and achieved it, despite the hardships. Curtis’s images present the Native American

Above right: Mohave water carrier. It is a Mohave tradition for women to carry most burdens on their head. Mohave women carried weights that would be challenging for a strong man Right: A favourite Cheyenne costume. Young Cheyenne men wrapped themselves in plain blankets or white cotton sheets, a garb adopted when waiting at dusk among the trees for a romantic opportunity with a sweetheart

Indian heritage in a memorable and dramatic way. They capture a feeling and evoke the memory of a bygone era. They are images that inspire, teach and represent the culmination of one man’s life-long dream. FOUR WINDS GALLERY 02 9328 7951 www.fourwindsgallery.com.au Antiques and

art

DOUBLE BAY

INAUGURAL DOUBLE BAY ANTIQUES MARKET

for the love for all things antique and unique A s one drives around open houses having a good spy on a Saturday morning, realising that there seems to be a common theme – beige, square shapes, hard straight lines pulled together to make a show home complete with piles of tough looking scatter cushions. Beige. Not the colour exactly, though it does appear frequently; more the connotation of the colour. Sameness. The hard lines and a sleek shine that looks scrubbed to within an

inch of its life. Though modern can look amazing, the chain store style seems to be somehow sadly lacking. Where is the quirky design twist that makes the place individual and personal? Where is the sumptuously comfortable furniture that lasts for decades and still has its classic style? Unfortunately, the furniture of today is not made to last, nor is it made with the pride and artistic flair of days past. Watching the lifestyle television shows that

HELD ON THE SECOND SUNDAY OF EVERY MONTH 10am - 3pm

GUILFOYLE PARK Bay St, Double Bay

• Antiques • Art • Vintage • Retro • Collectables • Linen • Jewellery

commencing 10 NOVEMBER 2013 P: 02 9999 2226 14

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E: office@organicfoodmarkets.com.au

feature antique valuations one is often amazed by the relatively low prices that are placed on items that must have been so complicated and time consuming to create. A house is supposed to be a home, which means it should reflect the personality of its inhabitants. It should give the visitors that are invited into this most personal space, an insight into how the people who live there see their world. It should be an extension of those people, so that when they settle down for some alone time, they don’t feel lonely! Antique furniture helps people achieve this because it is rich in both quality and history. Wandering through an antique dealer’s premises one can be caught up for hours looking at the beautiful jewellery that could have once been a lover’s gift, or a beautifully crafted wooden chest that could still holds secrets from a distant past. These things don’t come out of a flat pack box from a factory, they are passed down through the generations, documented and treasured. Sadly, the stresses of a busy life mean that often there isn’t the time to search for these treasures or traipse about town to different outlets to inspect them, so the effort to personalise home decor often ends up in the ‘too hard basket’. Thankfully, the soon to open Sunday Double Bay Antiques Market will allow enthusiasts to browse through everything and hopefully find exactly what they want in one central location. Markets act as a centre for the community that people can rely on to be there, rain or shine. Somewhere to spend time with other like-minded individuals, drawn together by their love for all things antique and unique. Elizabeth Taylor, director of Organic Food Markets and one of the organisers of the

10 November upcoming monthly antique market explained what will be sold and what the markets mean for the Double Bay area. ‘We have been working closely with the Double Bay Chamber of Commerce and their wonderful initiative to revitalise the area, and we believe this Sunday monthly market will help to do this. There will be a vast array available, including works of art, porcelain, kitchenalia, vintage fashions, bags and shoes, retro jewellery, small antique furniture, architectural elements, garden statues and pots and perhaps even full collections for purchase. Double Bay has long been associated with the sale of high quality goods, including antiques and jewellery. Many of the finest antique dealers in Sydney have businesses in Woollahra and will showcase all things beautiful for people to buy and treasure, creating heirlooms for the future generations of their own families. The Double Bay Antiques Market will create a happy community hub for browsing the lovely offerings of a bygone age, on the second Sunday of every month in the beautiful surrounds of Guilfoyle Park, right in the heart of Double Bay.’ The market opens on 10 November and will operate on the second Sunday of every month between 10 am and 3 pm. Stallholders interested on joining the market can call 02 9999 2226 for a booking form. For more information contact Elizabeth Taylor ORGANIC FOOD MARKETS 02 9999 2226 twitter@organicfoodmark facebook.com/Antique Market Double Bay www.organicfoodmarkets.com.au ARTICLE BY AMANDA CHOULARTON

BONDI JUNCTION

FINE FURNITURE, ART WORKS AND MORE in the heart of Bondi Junction B ellagio International has been operating at 1A Hollywood Avenue, Bondi Junction for more than a decade. It has become the favourite place for interior designers, commercial producers and those who like fine and unique items. They sell and purchase their stock from around the world. Each piece of furniture and art is unique.

FURNISH IN STYLE

Bellagio International carries a wide range of crystal chandeliers, beautiful oil paintings, gilded mirrors, fine porcelain, bronze statues, console tables, dining suites and bedroom suites. They also offer a vast selection of clocks, period and modern furniture and much, much more.

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

Bellagio International BUY ~ SELL ~ HIRE 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

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Steven Beinart

PUTTING VALUABLES/MOVEABLE ASSETS TO WORK for financial planning/opportunity va Jaku of Antiques & Art NSW spoke to Steven Beinart, Director of Assetline, about Assetline’s Sale Advance Loan

credit getting tighter, we realised there was a need for a professional, reliable, dependable service to allow Australians to put their assets to work to realise their financial ambitions.

Eva: Tell me about Assetline Steven: Assetline is a leading Australian Personal Asset lender. Assetline provides small business owners, entrepreneurs and high net worth individuals with flexible loans secured against a range of high-end valuables. The asset classes we lend against include gold and silver, jewellery, diamonds, luxury watches, fine art and antiques, cars and fine wine collections. Our loans don’t require any income verification, and can be settled in as little as 24 hours. The business was established in 2012 and we have experienced very rapid growth.

Eva: What types of clients might use Assetline? Steven: Assetline is the ideal solution for clients who want a fast, flexible loan product secured against valuable assets traditionally overlooked as collateral by mainstream banks. We provide a fast approval process (generally within 24 hours), flexible loan amounts and can provide transaction certainty very quickly. Our loans are not subject to income verification or credit checks, so they sit outside a client’s other financial arrangements. Our product is very flexible and is designed to address many of the shortcomings of traditional bank credit. Our clients come to us one of two ways: either directly (via our website or calling the office) or through financial intermediaries (e.g. finance brokers, mortgage brokers, accountants, lawyers etc).

Eva: What led you to set up the business? Steven: In the aftermath of the GFC, we realised that Australians had accumulated a vast array of valuable assets but had never considered that they could borrow against them. We looked at the way banks were approaching valuables – as an asset class – and found they had largely neglected this area. Secured bank lending is done almost exclusively against property, with very little regard to valuable movable assets. With bank

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Eva: Assetline has recently introduced a product called a ‘Sale Advance Loan’. What is this and how does it work? Steven: The Sale Advance Loan was designed to assist clients who are planning to sell an asset at auction but who would benefit from

some immediate liquidity. We understand that achieving the best price for an asset can take time. Our Sale Advance Loans are specially tailored for clients selling valuables via auction, but who would prefer not to wait until settlement (which can be several months away) to receive payment. Assetline makes available up to 50% of the sale price of an asset prior to the sale. This way, the client gets the best of both worlds: some immediate liquidity and also the opportunity to achieve the highest sale price for the asset.

Eva: That sounds very interesting. How does it work in practice? Steven: Depending on the client’s preference, Assetline can provide an end-to-end solution. This involves a number of steps: the first is valuation. We work with the leading valuers and auction houses in Australia to determine the estimated sale price of the client’s asset. In this area, we adopt a specialist approach: the better we understand the client’s asset, the higher the value we can ascribe to it and the more we can lend against it. Therefore, we don’t adopt a ‘one size fits all’ view and will work with a range of different valuers depending on the nature of the asset. Following completion of the valuation, Assetline makes the client a loan offer. Once the client accepts, Assetline advances the funds to the client. The next step is consignment to auction. In some cases the client may have a preference as to which auction house to use to sell the asset. We can either take the lead in this area, or work in with the client’s plans. Simultaneous with consignment, we arrange for the storage of the client’s asset. Assetline works with the leading art storage specialists in Australia – the same logistics and storage companies that service the leading Australian fine art galleries. Our storage specialists offer secure climate and humidity controlled storage, with 24 hour surveillance. The client’s asset remains in storage right up until the auction. Following

the auction, Assetline is repaid out the sale proceeds, and the surplus (net of auction fees) is paid to the client. Eva: How much does Assetline lend? Steven: Assetline lends from $1,000 to $1,000,000 per transaction. We could exceed the $1,000,000 threshhold, but this would need to be against a range of assets. We lend up to 50% of the wholesale value (i.e. market value) of the piece. The more marketable the asset, and the greater the confidence we have in the auction demand, the higher the amount we can lend. In every case, we try to ascribe the highest value possible to each asset, so as to be able to make the largest possible loan offer. Eva: Which artists would be eligible for a Sale Advance Loan? Steven: Any artist that has an auction history in Australia would be eligible for an Assetline Sale Advance Loan. Obviously, the more extensive the sales history and the better known the artist, the more confidence we would gain and so the greater the loan amount. We would consider international artists too, but this may require managing the sale via an international auction house which would take more time. Eva: Are the assets insured while in your custody? Steven: Yes, they are. We have in place a policy through a Lloyds of London syndicate, though most clients maintain their own insurance policies in place as well. The full details of Assetline’s coverage are contained in the loan contract. Eva: Finally, where do clients go for more information? Steven: Clients can either call the office on 1300 370 821 or email us at info@assetline.com.au to set up an appointment. For more information, they are welcome to go to our website www.assetline.com.au.

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PADDINGTON 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

From a special place

BURMESE BUDDHIST ARTS Lacquer ware proceeds go directly to Burmese families elebrating 23 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

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 18

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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

Lacquer wares were used not only by royalty but also by ordinary Burmese families to serve their daily meals. Usually, a threelegged low circular table made of bamboo strips and lacquer was used, such as still being used in remote villages and monasteries. The monks used lacquer thapeik (alms bowl) during their daily alms round of collecting their food from the villagers. Thapeik and its cover were made of bamboo, wood and resin. There are many types of lacquer ware vessels, the two primary types being the betel nut box and the hsun ok, the daily multilayered food container. The hsun ok is the most varied among all of the containers, ranging from a bamboo frame with plain red or black lacquer to the very ornate style – even decorated with gold, gilded and jewelled. All have a classic design and spiritual forms, unique to Burmese artisans.

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

For more information contact SPECIAL PIECES 02 9360 7104 specialpieces@yahoo.com www.specialpieces.net.au

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 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.

Brigitte with the weekend class project

WEEKEND CLASSES

Above: Golden Bedroom Left: Gilded French clock

SYDNEY TOWN HALL CLOCK It has been 21 years since we worked on the Sydney Town Hall interior. As the Town Hall is undergoing restoration and is currently covered in scaffolding it was decided that now is the perfect time for the clock face to be re-gilded. The heritage architect working on the project, Peter McKenzie, has discovered that the Sydney Town Hall original clock face had three rings of gold leaf and so we are restoring it to match the original. As part of our Master Gilding teaching program we have invited one of our students to work on the project with us.

Details about courses are found on our website or for more information contact Brigitte at

ART GILDING ACADEMY 02 9310 3007 artgilding@artgilding.com.au www.artgilding.com.au Master Gilding class 2012

MASTER GILDING CLASS BUILD YOUR OWN BUSINESS AND WORK FROM HOME The Professional Master Gilding class is fully hands on and runs over a nine day period, starting Saturday and finishing on the following Sunday, from 10 am to 4 pm daily. During these nine days, students learn more than they could in a three-year apprenticeship. We provide a relaxed and fun atmosphere and attendees are always like-minded people.

Masterclass student John

Brigitte and Karl working on the Town Hall clock

Sydney: Sat/Sun 10 am – 4 pm GENERATING MORE PROFITS FOR YOUR BUSINESS This class has been especially designed for people unable to attend week-day classes and is held once a month. We know how difficult it is for small business owners to find time during the week, so our intensive weekend class may suit you perfectly. The classes run from 10 am – 4 pm Saturday and Sunday and participants are taught, step-by-step, gilding techniques that are applied to furniture, picture frames and mirrors, cornices and even walls. Many students have found that gilding adds another dimension to their business, which they have been able to capitalise on by adding a new profit centre. Moreover, it’s fun! The weekend class is very reasonably priced at $795. This includes the project – an Egyptian plaque – and all tuition and materials. In certain circumstances this fee could be claimed as a tax deduction.

SUPPORTING OUR STUDENTS Brigitte and Karl are committed to giving every student support, helping them to maximise their potential and to reach their goals. Hence contact with students does not end with the completion of the course and over the years many of their students have become good friends. ‘We’ve found that good support is the key to success for many of our students so we’re passionate about making sure they get the most out of our courses,’ says Brigitte. Completing the Master Gilding training course allows students to add skills to their chosen profession and offers the freedom to build up a business and work from home. On completion of the professional Master Gilding Class, students receive a certificate. GOLDFINGER CLUB We cannot teach you ‘experience’, but being a member in our Goldfinger Club will give you the support to tackle every project with confidence. We have a policy of full commitment to assist members of the club to build their ‘very own golden dream.’ For those who’ve completed one of our gilding courses, this free ongoing advice for any project is supported through phone and email. In addition generous discounts of 10-20% are available on all materials and supplies.

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 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

Antiques and

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SURRY HILLS / LEICHHARDT

FIND THE REAL THING AT

Architectural & Antique Elements he way we live determines what kind of environment we create when building a new home, renovating an old one or simply adding decorative touches. A perfect place to start for both inspiration and acquiring some of pieces for your next project is Architectural & Antique Elements. Stepping through the time-worn entry doors to the large showroom you will discover a collection of pieces predominately sourced throughout France and Europe, with a touch of spice added from Indian shipments.

INTERIOR INSPIRATION Our surroundings reflect the individuality of each and every one of us so it is essential to use pieces that reflect your aesthetic; whether it is industrial or provincial French, a Mediterranean coastal feel, or an eclectic mix of styles and periods, choose pieces that are both beautiful and functional. Many of today’s most striking interiors are a combination of clean lines and traditional architectural elements. Our philosophy at Elements is that ‘antiques are for living’: a smart tiled bathroom is enhanced by a vintage metal display cabinet; a modern kitchen becomes the hub of the home when you add a French baker’s table with a lovely worn patina; and a commercial interior stands out from the crowd with an antique ‘hero’ piece front and centre. Browse through our huge warehouse store and you'll discover a large and diverse offering of antique pieces. These include Anglo Indian garden benches and French iron front doors along with a treasure trove of decorative furniture, architectural ornaments, gates as well as classical urns and many other options to add interest to the garden.

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FIND STATEMENT PIECES Wherever possible – build around a key piece – don’t create a space and then look for something to fill it! Look for originality in your purchase such as in the colour, texture, proportions or lustre. At Elements our eyes are fine tuned to sift and source through endless amounts of junk to find the gems; everything we have in our showroom is there because of its strength as an individual piece. When you find something you love, don’t be overly concerned or finicky about cosmetic marks and blemishes – these details are often what drew you in initially – embrace these imperfections and remember they are part of the package. By using some of these individual elements of varying age and style it is possible to create a distinctive and harmonious environment that reflects your unique style.

SISTER STORE: ELEMENTS I LOVE... Visit our new store in Surry Hills, Elements I love..., for a taste of ‘new and old’ in a truly inspiring setting. Amongst the massive

hardwood posts and beams of this old industrial building you will find informal antiques complemented by a select range of new items – including the whimsical French bird lights and the fabulous range of Scrapwood and Brooklyn Tins wallpaper – along with hand-picked homewares, quirky lamps and more. ARCHITECTURAL & ANTIQUE ELEMENTS 02 9560 3067 mail@elements.net.au www.elements.net.au ELEMENTS I LOVE... 02 9698 8884 mail@elementsilove.com www.elementsilove.com/

SURRY HILLS

BRIDAL JEWELLERY The engagement ring has a long and rich history he engagement ring tradition is still alive and well. Like all jewellery, the price of an engagement ring varies considerably depending on the materials used, the design of the ring, whether it includes a gemstone and its value of any gemstone. When it comes to the question of how much to spend, as it’s such an important decision, to help guide people in their choice we have had a poll running on our site; the poll asks our customers to indicate what they believe would be a ‘reasonable price’ for an engagement ring and they are offered four ranges on which to vote. Having run for around five years, the poll’s accumulated results so far are that 69 per cent believe a reasonable price is under $5000 while the remaining 31 per cent feel that over $5000 is appropriate. Clearly these results are determined by the available income of the demographic visiting Vintage Times but, given the sample size and period of time that the poll has been run, we believe it to be quite a good tool for ‘grooms to be’ to use when validating their engagement ring purchase budget.

NO-RULE FASHIONS Most importantly, the rule on what to wear as an engagement ring today is that there are no rules. The use of coloured stones such as emeralds, sapphires and rubies are frequently selected as an engagement ring and clusters have made a fashion comeback. We believe this is, in part, due to the fact that a high set diamond solitaire ring is less desired as the high set prongs do not suit modern lifestyles very well.

HISTORY OF ENGAGEMENT RINGS The truth about when engagement rings came into existence is highly contested, featuring a variety of stories dating back to the 12th

century. It is reported that Pope Innocent III declared that a waiting period should be observed before the actual marriage ceremony in 1215. Thus, the engagement rings signified the couple’s devotion to one another during that period of time. Others believe that engagement bands began in Ancient Egypt when the circle was used to symbolise a neverending cycle and the space in it as a gateway. The custom of the rings being worn on the fourth finger of the left hand, is thought to have originated from ancient Greek beliefs that it contained a vein that led to the heart (vena amoris). Also having ancient origins was the ‘posie’ (or ‘posey’) ring, believed to have originated from the French word poésy, which describes a short poem often expressing sentiments of love. These were engraved on bands and became very popular during the 16th and 17th centuries in Europe and England, their popularity attested to by their frequent mention in Shakespeare’s plays. For a long time, diamond engagement rings were seen as the domain of the nobility and aristocracy, and tradition often favoured simpler engagement bands. When the diamond mines in Africa were discovered in the late 19th century, supply increased and with it awoke the beginnings of the diamond marketing campaigns. As production increased, those of lesser means were able to join in on this movement and the idea of a diamond engagement ring being a fitting choice for everybody was created in the United States as recently as in the 1930s.

friendship rings (pre-engagement rings), and the aspect of social responsibility when purchasing (recycled / vintage / antique jewellery). All of these are day-to-day realities that are re-writing the history of engagement rings. The only thing that hasn’t changed is that it’s all about two people in love... Tammy Palmer VINTAGE TIMES 02 9361 3244 info@vintagetimes.com.au www.vintagetimes.com.au

Reference www.britishmuseum.org/explore/highlights/high light_objects/pe_mla/g/gold_posy_ring.aspx

MARRYING OF TRADITIONS The world is changing and with it a marrying of the new and old traditions. No more is it as simple as a man buying a woman a ring and ‘popping’ the question. Love has expanded to include same sex couple engagement,

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SURRY HILLS

ADVANCE AUSTRALIANA ANTIQUES & COLLECTABLES BUYING & SELLING ALL AUSTRALIANA Art, Pottery, Ceramics, Photographs, Postcards, Ephemera Much of our material is not on display so if you have specific collecting interests please ask Grimwades 4-piece wash jug and basin set with kookaburra decoration

The Hon. J. Blaxlandâ&#x20AC;&#x2122;s Presentation Copy, Sydney International Exhibition Catalogue (British section), 1879

Cast iron paperweight depicting Sir George Reid, c. 1905

Doulton Burslem Federation teapot, 1901

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

EXHIBITING Australian Antique & Art Dealers Association Fairs Melbourne, May 2014 Sydney, August 2014

Tasmanian birds-eye Huon pine workbox, 1860s

DEREK GREENGRASS ANTIQUES

ANCANTHE

One of a set of 6 Egyptian Revival carved Sphinx chairs, c.1870s

Sydney Antique Centre 531 South Dowling Street

Sydney Antique Centre

Surry Hills Open 7 days 10am - 6pm Ph: 0400 103 316

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EXHIBITING Australian Antique & Art Dealers Association Fairs Melbourne, May 2014 Sydney, August 2014

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

EXHIBITING Australian Antique & Art Dealers Association Fairs Melbourne, May 2014 Sydney, August 2014

WATERLOO

Industrial furniture AT DOUG UP ON BOURKE t’s big, it’s heavy and it’s bold. Industrial furniture has a sense of presence about it. Yet it is basic in design and beautifully hand crafted. It has a lifetime of character and history engraved into it. Worn timbers and hard thick metal and steel have a history that we will probably never see again. Shipyards, railway yards, iron foundries, shoe factories, bus depots and large warehouses were where manufacturing once happened. These sites had endless pieces of industrial furniture hidden away or used every day; they were just waiting to be re-born into unique spectacular pieces for a new home or work space. It’s amazing how the centre of any room can be set off by a large cast iron legged, kauri pine top, railways workbench, or using an ex-government pigeon hole filing unit for the home office. Bringing industrial furniture back to its raw state restores its sense of class. A highly polished metal two-door stationery cabinet tends to stand out from the rest with its wow factor. While polished metal is great to look at, this is not always easy to achieve, especially if it was covered with layers of paint and lacquers – like most industrial furniture. If it has been neglected such as left outside to rust, or if it is covered in oil and

equipment, valves of glass and metal, wooden bobbins, workbenches, workshop lockers, x-ray viewing boxes, yards of bus and tram destination rolls, and zinc-topped counters. It is worth a visit to Doug Up On Bourke. Wander through our store and see what treasures you can find.

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

grease, it will take a lot of work to bring back its glory. The long process of restoration starts with paint stripping, sand blasting, hours of elbow grease with a wire disk on an angle grinder. After polishing and buffing, a final finishing with a coat of wax, oil or lacquer will prevent further unwanted oxidization. This takes time and dedication for each industrial piece we salvage and restore. Here at Doug Up On Bourke we do the hard work for you.

A TO Z OF INDUSTRIAL ANTIQUES You name it – we might have it – or will search for it to meet your objective. When it comes to industrial antiques, Doug Up On Bourke is the place to visit, look and shop. From A to Z we have: army furniture, bell jars, cast iron beds, drawer units, enamel lightshades, feed bins, filing cabinets, foot lockers, globes and lamps, hospital beds, iron and timber stools, jugs, kitchen pots and pans, ladders in all sizes, metal and timber shoe lasts, metal plan cabinets, navy equipment, office desks, platform signs, railway desks, Sebel Stak-a-bye chairs, stationery cabinets, steel hospital furniture, timber and metal packing crates, tool boxes, unused canteen

901 Bourke Street Waterloo NSW 2017

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

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SAVI MAURIZIO FURNITURE introduces the Prestige modular collection F inely hand crafted by skilled artisans, the new Prestige Collection is beautiful to look at and creates environments which enhance wellbeing in any space chosen to work or relax. The Prestige Collection is a modular system which can be designed for any room, from custom built cabinets to the complete fitout of whole rooms in projects requiring total transformations, such as home libraries , wardrobes, built-in robes or tailored living and entertaining areas. Timbers such as cherry wood, Italian walnut, oak and chestnut are used in this collection. You may like to choose a classic timber finish or add a touch of modern by having a painted or a two tone finish. There are endless colour combinations to choose from and various finishes. Be it in living, dining, sleeping or working spaces, the Prestige Collection’s timeless contemporary and classic designs will always guarantee top quality workmanship combined with elegance. This sentiment also sums up the Savi Maurizio story, which is about passion for both quality and beauty.

QUALITY COLLECTIONS DEVELOPED FROM A TRADITION OF QUALITY Established in 1998, Savi Maurizio Furniture specialises in bringing classically beautiful and exquisitely crafted Italian furniture to the Australian market. In Italy, the skilled trade of furniture design has been passed down for hundreds of years and, while styles have changed, quality craftsmanship has always been maintained and continues to be sought after around the world; each piece is a timeless work of art, reflecting classic traditions and history. It was as a young man growing up in Italy that founder, Maurizio Savi, trained in traditional furniture making and restoration with supreme master craftsmen, eventually started his own workshop and created his first fine furniture collection in

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traditional 18th century Tuscan style. Today, with a wealth of experience, knowledge and contacts, Maurizio and his wife, Diane Gianfelici, own and operate Savi Maurizio Furniture from their beautiful showroom in Sydney’s Waterloo.

STABLE OF ITALIAN FURNITURE BRANDS The current stable of carefully selected fully imported Italian furniture brands, for both indoor and outdoor living, offers Australian clients the very best European collections in the world market today; all of its partnered Italian brands are personally chosen and are synonymous with elegance, warmth and quality craftsmanship. Bespoke and custom designs are offered on a wide range of Savi furniture pieces, giving our clients the flexibility to choose personalised dimensions and finishes to suit any interior – from custom built cabinets to the complete fitout of whole rooms in projects requiring total transformations, such as home libraries or tailored living and entertaining areas. Savi Maurizio Furniture works directly with craftsmen in Italy, some of whom have worked with the company for over 30 years; for Maurizio, avoiding the middle man means effective communication, a guarantee of quality and the additional advantage of keeping prices down.

EXPERT DESIGN ADVICE Being a family business, Savi Maurizio Furniture prides itself in giving friendly and knowledgeable service; Maurizio and Diane are always on hand in their Waterloo showroom to provide expert design advice in selecting Italian pieces for Australian homes, offices and hotels, and updating clients with all the latest changing trends from Italy. All measures and quotes, deliveries and assembly are carefully and personally attended to and completed by Maurizio and his experienced team.

DECORATOR PIECES & OBJETS D’ART

As well as fine furniture for every room in the house, designed and made in Italy, we also offer clients an amazing collection of Swarovski and Murano glass lighting, gorgeous chandeliers, handcrafted Venetian mirrors, stunning urns, vases, pots, impressive scale sculptures, and hand painted Italian ceramics.

ENVIRONMENTAL RESPECT At Savi Maurizio Furniture we are passionate about quality and service every single day; not only will you find high quality Italian furniture with attention to detail at an affordable price, but all of our furniture is also made with full respect for our precious environment. The natural timbers used in our Italian furniture collections are produced from regenerated forests to ensure conservation for future generations. Non-toxic glues, waterbased varnishes and natural bees wax are used for finishing; considering that we spend at least a third of our time at home, you can feel comfortable knowing that your new Savi Maurizio Italian furniture does not produce any toxic emissions. Leathers used in our sofas and chairs are sourced in northern Italy, manually aged and enriched using a vegetable tanning process; this gives our leathers a unique light perfume as well as a softness that allows ageing without spoiling. In this way, our leather products offer exclusivity as well as being environmentally friendly. Lounge cushions are filled with selected duck feathers which have been hygienically sterilised, conforming to UN19212/16 and carrying the Assopiuma Guarantee – a national and international mark of quality; only the highest standard of materials is used for our coverings and vigorous quality control is employed throughout the entire production process.

THE REAL ANTIQUES COLLECTION Inspired by historic Italian furniture produced between the 15th and 18th centuries, our Real

Antiques Collection offers pieces reproduced to such fine detail that they indeed earn this label. Some wood that’s used are aged timbers originating from ancient villas, historic palaces and old farmhouses; the timbers are expertly treated and restored before being used to produce the quality furniture. The furniture is constructed of only solid wood using the finest timbers such as walnut, cherry wood and oak, which are then skillfully carved. Heir to a century-long tradition of skilled craftsmanship in the Bassano Del Grappa region of Italy, the Real Antiques 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 our 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 this is a truly magnificent collection that will add warmth and soul to any home. At Savi Maurizio, we believe that exceptional timeless, quality pieces of authentic Italian and French styled furniture and unique decorator objets d’art, instantly lends any interior a warm, soulful feel that represents the very essence of living well. La dolce vita! SAVI MAURIZIO FURNITURE 02 9698 1112 info@savifurniture.com.au www.savifurniture.com.au

WATERLOO

Grande Arredo Italia now exclusively available at Savi Maurizio Furniture

146 – 152 Botany Road Waterloo NSW • On-site parking available

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

www.savifurniture.com.au Antiques and

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ALEXANDRIA

MITCHELL ROAD ANTIQUE & DESIGN CENTRE

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

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

Mitchell Road Antique and Design Centre:

THE RETRO SHOPPING CENTRE itchell Road Antique and Design Centre is your go-to ‘shopping centre’ for almost anything antique, vintage, retro, industrial and mid century. Located upstairs in a massive, yellow brick warehouse, with iconic graffiti signage on the corner of Mitchell Road and Fountain Street in Alexandria, the centre is well-placed in an area that is becoming more gentrified and has a modern organic vibe. It’s certainly the place to be at the moment!

A DESIGNER’S DREAM Apart from being a huge retail warehouse, we are proud as punch to provide the best hiring service possible to our many valuable clients as well as media collaboration, our name extending to well-known magazines such as Real Living, Vogue and Frankie, and furthermore to our screens with X-Men, The Great Gatsby and TV shows such as Underbelly, Home & Away, A Place to Call Home, Aussie Pickers and many more, not to mention the countless newspaper articles and short art films. We are also especially thrilled to have collaborated with a popular online art group, Art Pharmacy, who exhibit in pop up shops and have used our items throughout the year to complement their art displays. Our services extend to hiring out our spaces for photography and film shoots, providing the edgy and artistic backdrop for stars such as Miranda Tapsell, Ruby Rose and P.J. Lane, which you just can’t create anywhere else.

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FUN THEME ITEMS However, we were particularly excited to have recently been asked to provide two sets for Channel 7’s The Morning Show hosted by Larry Emdur and Kylie Gillies. The first was a ’70s themed show, full of fringes, flares, funky Kartell and flower power, with a segment devoted wholly to our shop. The gorgeous Emma represented us with her expertise on the era and joined in on all the fun with Larry and Kylie. The second was an ’80s themed show which proved just as successful with a Rubik’s cube and bean bag theme along with a tropical style poolside bar complete with West Coast Coolers! Larry looked very Miami Vice in his white suit and shoes, while Kylie

looked fabulous in her pink puffy sleeved dress and big permed hair! This time it was Liz who worked hard on the set and was rewarded with a great photo with Larry and Kylie.

MORE THAN A DEPARTMENT STORE But we don’t save all the fun for those ventures – every day at Mitchell Road is a fun day and we guarantee you will think so too! Look us up on our website or our very active Facebook, Twitter, Instagram and Pinterest sites, but most of all we would love to see you visit our very unique space called Mitchell Road Antique and Design Centre and find out for yourself – this diamond among the rough is so much more than your

modern everyday department store. Open 10 am5 pm, 7 days a week. MITCHELL ROAD ANTIQUE AND DESIGN CENTRE 02 9698 0907 mitchellroadcentre@yahoo.com.au www.mitchellroad.wordpress.com

ALEXANDRIA

MITCHELL ROAD ANTIQUE & DESIGN CENTRE

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

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ALEXANDRIA

DISTINCTIVE FURNITURE, LIGHTING AND ACCESSORIES

from the USA now in Sydney AN AMERICAN SUCCESS STORY ore than 40 years ago, Allan Palecek began travelling the world seeking inspiration in a centuries-old tradition of basket weaving from the indigenous peoples of Asia. Impressed with their use of quickly renewable materials like seagrass and rattan, he returned to California with a unique and attractive product that gained immediate attention by the home décor industry. The expertly woven baskets drew steady admirers, which grew into loyal customers and an expanding product line. With a developed network of master artisans, the desire to mix an international palette of natural fibres and fast-growing hardwoods

into elegant furniture, lighting and accessories made the Palecek company a trendsetter and pioneer in the industry From his humble beginnings as the son of a Kansas farmer and pilot for the US Airforce, Allan developed the company that Palecek is today. Allan’s son, Andrew, joined the managing team in 2002. His passion for design and sophisticated style continue the Palecek legacy, bringing distinctive designs to the market. In 2010, Palecek acquired Pierce Martin and its line of exquisite furniture and lighting. In 2012, Allan was presented the prestigious ARTS Academy of Achievement award. ARTS Awards, presented each January, is the premier awards program dedicated to the home industry and recognises top

EXCITING NEW COLLECTION OF QUALITY CASUAL FURNITURE BY PALECEK OF SAN FRANCISCO IN STORE LATE SEPTEMBER LAURA KINCADE 80 O’Riordan Street, Alexandria (next door to Domayne) Open Monday to Saturday 10am to 5pm & Sunday 10.30am to 4.00pm T: 02 9667 4415 • W: www.laurakincade.com

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manufacturers, retailers, product designers and sales representatives from across the world in 26 different categories.

HEADQUARTERS IN CALIFORNIA Palecek is proud to have been in business in the San Francisco Bay area for over 40 years. Their manufacturing headquarters is one of the largest employers in the town of Richmond, California. They now boast eight national showrooms, a powerful international sales force, retail success, and a thriving Contract division with their products being specified by many five star hotel groups.

ECO COMMITMENT The company believes that ‘green’ is a process, not a destination. They acknowledge that furniture manufacture is a resource-intensive industry that necessitates a balance of style and sustainability. As standards continue to evolve, they consistently strive to use sources that are gentle on both the environment and the people who work within it. They use plantation grown woods and abundant, quickly renewable materials like rattan, abaca, and seagrass. They also rely on water-based finishes for the painted furniture, making them safer for the consumer and their employees. Their concern for the environment extends beyond the products they manufacture and into how they conduct business. Palecek offices, showrooms and warehouses all reflect their growing commitment to the ‘green process’, as more ways to conserve energy and resources are implemented. Laura Kincade is proud to introduce Palecek to Australia with the first shipment arriving in store late September.

For more information about this exciting range contact Beverley Brown LAURA KINCADE 02 9667 4415 www.laurakincade.com

FARMHOUSE ANTIQUES

R E S T O R AT I O N S

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

358 Botany Road Alexandria NSW 2015

02 9698 2785 www.farmhouseantiquepine.com.au

SUBSCRIBE SAVE &

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

02 9516 2851

THE LEATHER TOP DESK COMPANY est. 1993

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

Antique and Modern Finishes Quality Imported Leather Large Range of Patterns and Stamps Regular Pick-up and Delivery Sydney Metro Area Mail Order Australia-wide

Mob: 0429 994 664

collectables trader

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@ worldaa.com

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to Collectables Trader magazine starting with the next issue for only ❏ $49 for 6 issues ($8.15 per issue, 18% off) or ❏ $85 for 11 issues ($7.70 per issue, over 22% off) Overseas rates available on request I enclose my ❏ cheque/money order payable to JQ Pty Ltd

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

t: 02 9316 4445 m: 0416 048 222 ABN 39 945 398 132

OR charge my credit card: ❏ Visa ❏ Mastercard ❏ American Express ❏ Diners Club

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For credit card orders call 02 9389 2919 or fax this coupon to 02 9387 7487

240 sq m of showroom

or mail to Collectables Trader, PO Box 324, BONDI JUNCTION NSW 1355 Cardholder Name:.....................................................................................Expiry Date: ........................... Signature: ................................................................................................Date:........................................

VINTAGE TEA WARES INTERESTING COLLECTABLES DECORATIVE ITEMS INCLUDING MIRRORS ANTIQUE ENGLISH FURNITURE SPECIALIST

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2A Piper Street

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0417 785 495

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OPEN 6 DAYS 10am – 4.30pm

(near the railway line off Havannah St) BATHURST NSW 2795

martin@kingsantiques.com.au www.kingsantiques.com.au Wednesdays by appointment

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HUNTER & CO changing the art of transport unter & Co. Transport, now five years young, is not your usual brand of removals. It’s hard to talk to director Ryan Hunter and not get enthused by his level of passion for the trade. Grown from a love of moving fine art, he had a vision to turn moving antiques and fine furniture into his very own art and that’s exactly what he’s done. Ryan talks to Bobby Petty about his journey.

Ryan: It wasn’t easy in the beginning. Like all small businesses we took the work we could get in the early days. We humped all sorts of junk around town but what grew us into what

we are today is our determination to exceed people's expectations and to approach all of our work with professionalism and an appreciation of both the client and their belongings. I really wanted to make transport a personal and enjoyable experience, not a headache or a cheap make-do, after-thought to a purchase. Bobby: How would you describe Hunter & Co. Transport, five years on? R: Hunter & Co. is a dedicated, high end, white glove removals service with a focus on people and customer service. We’re really pushing to be the best in Sydney.

B: How is it people focused? R: We’re a small company, which means we have the opportunity to build close relationships with our retail and private clients. When we arrive on a job people know our names and faces and we get the privilege to know them. This makes work a real pleasure. When my clients report back on a remarkable delivery, it drives me to strive harder and harder to achieve more. A client recently expressed to me, very simply, that they didn’t know a service like ours existed. That makes me happy.

WHITE GLOVE TREATMENT

To celebrate Hunter & Co. Transport joining the AAADA, we’re offering 10% off your next booking when you mention this advertisement.* Contact our office on 02 9316 4024 or visit us on the web: www.hcotransport.com.au to request an estimate.

Hunter & Co. are proud to be affiliated with Carbon Neutral

* This offer not to be used in conjunction with any other discount. Offer expires 20 December 2013

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B: Almost everyone has a horror story about a delivery. How does Hunter & Co. do things differently? R: Things always have the potential to go wrong. It happens to the best of us. We don’t cut costs at Hunter & Co. Cutting costs means short cuts and short cuts in transport transforms into damaged furniture and unhappy clients. Whilst we might not be the cheapest option in the market our client base is loyal and they know the quality service we deliver. But I’d say the thing that sets us apart is forethought and communication. The client’s time is precious so we give a courtesy call before our arrival so they can get on with their day and we aim to have everything pre planned before we execute any move. This means talking frequently to each other and the client. My guys are superior communicators who I hired based on personality and ability. It makes every difference. We also wear white gloves to protect the furniture and upholstery from grubby fingers. It looks smart too which is a bonus. B: What’s been your most challenging job to date? R: Balcony lifting a 150 kilo table up seven storeys. We achieved it successfully but it pushed us to our limits. You feel amazing when it’s done but at the time you’re intensely focused and very aware of your physicality. B: What are you doing when you’re not moving furniture? R: Thinking about better ways to move furniture. I wish that wasn’t true but it is. Luckily my team

Hammy and Caol think the same way. We can talk for hours about how to make things more efficient. I’m lucky to have them. B: So how do you switch off? R: I live on the Northern Beaches and my biggest passion outside of transport is surfing. I live right on the beachfront. Surfing is the best way for me to switch off. There’s no phone ringing, it’s just my board, the elements and me. B: If you could imagine anything – real or fantasy – for the business in the future, what would it be? R: I’d imagine Hunter & Co. Transport in every major city of the world, where anyone in transport would want to work for us and everyone who needed a delivery would want to book with us. But for the moment I just want to keep working at being the best. We’re a conscientious business. This year we’ve joined a carbon program to offset the emissions of our vehicles and to give clients the chance to offset their delivery emissions. We provide personal training sessions to our team to keep their bodies fit and healthy. Now we’ve taken the leap to become an AAADA member to show our commitment to the antique and art community in New South Wales. We’re improving all the time and I hope it just keeps getting better and better. For more information about your transport and relocation needs contact Ryan Hunter HUNTER & CO. TRANSPORT 02 9316 4024 www.hcotransport.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-inPlace technology, a system using soft foam that expands when two chemicals are combined in contact with air. Foam-in-Place moulds itself to fit the precise shape of the item being packed and this product possesses a density that aids in the prevention of damage from impact, vibration or from being dropped. Instapak Foam-in-Place enables glassware, paintings and various antiques to be sent through the freight system without compromising the safety of the item. Not only that, Foam-in-Place is highly costefficient and readily disposed of without harming the environment. We are the only freight company that will send as well as pack antiques and art for you. When you consider the price of packing the item yourself on top of another company’s freight charges, Pack & Send’s price – as well as its hassle-free, one-stop shopping convenience and total service solutions – makes it a very attractive option.

“

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 Antiques and

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SPELLING OUT ROMANCE with acrostic jewellery A s well as the passion that goes into the collecting of antique jewellery, there is also much that has gone into its creation throughout the centuries. Here we examine a most romantic and sweet form of jewellery that has remained popular over many years and is a wonderful window into the past revealing how a person expressed their love for another in a somewhat secretive way. Acrostic jewellery is a form of jewellery where the first letter of each gemstone ‘spells’ out a particular word or meaning. This form of jewellery goes as far back as the 1700s and was thought to have originated from French jeweller Jean-Baptiste Mellerio (1765-1850) who made jewellery for Marie Antoinette and Empress Josephine. This form of jewellery quickly became popular, and came across the channel to be embraced by many English jewellers.

FRENCH AND ENGLISH FORMS However, acrostic jewellery became most popular during the mid-19th century during what is known as the Romantic era. In France at this time the common words found in acrostic jewellery were often ‘souvenir’ (remembrance) and ‘amitié’ (friendship). In England, this form of jewellery is most often be found in brooches and rings known as a ‘regard’; which would feature a ruby, emerald, garnet, amethyst, ruby and a diamond, or perhaps the word ‘love’ would be made, the piece being set with a lapis, opal, vermeil (an old name for hessonite garnet) and emerald. In the collection of the V&A is an acrostic pendant dated to around 1830 that has the stones of a lapis lazuli, glass in imitation of an opal, vermeil (the old name for garnet ) and an emerald which spell ‘love’. Other romantic sentiments found in acrostic jewellery can also be found in the form of ‘dearest’ and ‘adore’ jewellery. J’adore (love), was spelled out in a ring with jacinth,

amethyst, diamond, opal, ruby and emerald gemstones, set in that order. Sometimes, the gems would be interspaced with seed pearls representing tears.

FAMOUS FRENCH EXAMPLES Many rings and bracelets were also made in which stones spelled out the names of loved ones a number of items commissioned by Napoleon Bonaparte, for example, used this formula in charming ways. Following his return from Egypt in 1799, he commissioned a spectacular sculpted and jewelled piece of artwork in the form of a clear quartz crystal sphinx. Set upon a silver base containing 114 precious stones, Napoleon’s ‘good luck charm’ featured stones arranged in a specific way formulated on an ancient code. Into the design are encoded the words ‘Emperor’ and ‘Empress’ as well as the initials of both Napoleon and his wife Josephine Bonaparte and the date 15 August 1802, commemorating the simultaneous nationwide celebration of Napoleon’s 33rd birthday and his elevation to Lifetime Consulate status. His second wife, Empress Marie Louise, had three acrostic bracelets made by Chaumet. The stones spell the first names and dates of birth of Napoleon and Marie Louise, and the dates of their meeting and subsequent marriage in 1810.

INITIAL JEWELLERY Another similar form of jewellery, while not strictly acrostic jewellery, is ‘AEI’ themed pieces where a locket, for example, will have those three initials meaning ‘Amity, Eternity and Infinity’ to represent everlasting love.

Jean-Baptiste Mellerio (1765-1850)

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All of this lovely acrostic jewellery given to loved ones is still considered very romantic to this day.

Damien Kalmar KALMAR ANTIQUES 02 9264 3663 kalmar@ozemail.com.au www.kalmarantiques.com.au Further reading www.napoleonseries.org/research/napoleon/ Napoleonsphinx.pdf http://pippatreevintage.wordpress.com/2013/02 /10/the-language-of-stones/

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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 Jaeger-LeCoultre Audemars Piguet Universal International (IWC) Movado Ulysse Nardin Omega Chronographs Military Watches

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

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

Shop 28, Ground Floor, Strand Arcade 193 Pitt Street Mall, Sydney PHONE: 02 9221 3373 MOBILE: 0407 676 838 MONDAY to SATURDAY

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

WE BUY & SELL

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

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

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

Ph: 02 9252 0833

Open 7 days

Email: dd@buttonsbuttons.net

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

OPEN 7 DAYS 10am - 5.30pm

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SKILLED ARTISANS

AUSTRALASIAN PORCELAIN ART TEACHERS

NSW Inc’s creative porcelain artwork showcased at the Grace Hotel, Sydney 10 - 12 October cross section of some 400 porcelain artworks, in both traditional and contemporary style, will enhance the grand ballroom on the second level of the Grace Hotel. This exhibition of excellence is hosted by the Australasian Porcelain Art Teachers NSW Inc.

HISTORY OF THE GRACE A befitting backdrop for creative porcelain art, the hotel stands beautifully restored today in the elegant art deco style. The landmark Grace Building played an important role in the history of Sydney and Australia. Built by the Grace Bros. retail empire, it remains one of Sydney’s most prominent examples of prewar architecture.

ABOUT THE EXHIBITION

COLLECTORS’ HEAVEN

The display at the exhibition will boast radiant, colourful individual designs, to whet the appetite of the observer. Creations by individual artists will display themes and visual motifs inspired by nature, peoples, and world events. Guest artists from Switzerland, Japan, Thailand, Portugal, France, South Korea, New Zealand, Singapore, USA and Hong Kong will join Australia’s finest to exhibit their master works. In addition lectures, products and events will form an integral part of the exhibition/convention. Today, hand-painted porcelain portrays both traditional and contemporary creations, often of specific philosophical content which is taken as a theme and visualised.

The main exhibition will display framed works as well as large decorative shapes, in all forms imaginable. These timeless pieces will complement and inspire the individual to update their homes with treasures for the future. There will be many temptations to purchase at the exhibition. There will be the pleasure of overwhelming choices from which to select: one of many teapots exhibited in the exhibition category ‘Mad Hatter Tea-sers’; or perhaps miniature boxes and plates, some inspired by subjects unique to the Australian landscape; and who would not be tempted by the art deco styles of porcelain on display, and inspired by this beautiful hotel.

Porcelain artists skills are developed patiently, with attention to detail – from basic brush and pen techniques, on bisque or glazed ware, extending to porcelain figurines, hand carving and moulding of porcelain clay. Many years of study and refinement perfect the most intricate and ornate designs in traditional styles and/or contemporary works, from the smallest fine porcelain pieces to a size restricted only by the kiln size, for firing. Sometimes a piece must be painted and fired several times before completion. The careful balancing of mixtures and pigments, the difficulty of application and individual skill that go into the creation of each piece, contribute to making porcelain art one of the most diverse and desired art forms of all time. Within the art form, artists have ample scope to develop individual expression using both commercial and ‘one of a kind’, handcreated porcelain blanks as well as being able to use an extensive range of on-glaze products, compatible with kiln firing.

ALLURE OF PORCELAIN Glazing enhances the luminosity of the porcelain surface and, due to its strength and stability, can accommodate multiple firings to achieve beautiful painting results, not obtainable on other ceramic ware. The inherent beauty of porcelain makes it a wonderful medium to devote an artistic future. Porcelain artists have the potential to keep creating unique artworks while still respecting and preserving the tradition, continually being inspired by the diversity of the medium on which they are working. The allure of fine porcelain has not diminished – in the eyes of the collector as well as the Australian artists who hand decorate and embellish these beautiful translucent shapes. Dating back to its creation in ancient China some 5,000 years ago, porcelain was produced to be enjoyed on three levels: aesthetic, technical and symbolic. Over the centuries, hand-painted porcelain has undergone continuous conceptual development, and fine porcelain artworks have remained a symbol both of beauty and power. Porcelain artists and collectors take pride in the knowledge that the status of their artworks will live on. AUSTRALASIAN PORCELAIN ART TEACHERS NSW 02 4267 1954 www.apainsw.wordpress.com

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HIGHLIGHTS FROM NOBLE NUMISMATICS’ $2.7 MILLION SALE ver 700 bidders were attracted to the latest sale held by Noble Numismatics in Melbourne on 13-15 August. Competing for the 4,091 lots, the many bidders saw this successful sale result in 86 per cent of the lots being sold.

SALE HIGHLIGHTS The highest price realised was for the NSW holey dollar which realised $135,140. Following a bidding war between a number of bidders, the next highest price was the 1930 penny which sold for $59,415 – almost double the estimate of $30,000. The Captain Cook Courage and Perseverance medal realised a new record price of $22,135, from an estimate of $13,500. Following spirited bidding from various quarters, the Admella medal – the front cover feature of the catalogue – sold for over six times its estimate of $2,500, realising $16,543.

FURTHER COIN INTEREST The decimal proofs largely realised their estimates or more, the palladium emu three coin set (estimated at $2,000) brought $3,262. A 1921 star shilling went to a live on-line bidder at $1,515, over triple its estimate, while a group of 1931 (3), dropped 1 (2) Indian die and 1933/2 overdate (10) pennies realised $5,942 to a floor bidder, well above the estimate of $1,200. The New Zealand coins also sold for good prices, the Waitangi crown more than doubled its estimate, realising $6,058, the 1936 florin went well above its estimate of $2,500, selling for $3,495 and the 1940 florin sold for $955, almost double its estimate.

TOKEN ENTHUSIASM The top price in the tokens was paid for the Jamberoo penny at $4,427. Others which sold well over estimate included the Davidson penny which realised $1,049, far above its $400 estimate; and the Lazarus penny which realised $1,981. Also almost doubling its estimate was The Iredale & Co penny which brought $955. Selling for over a thousand dollars above its estimate was the Charles Harrold Birmingham halfpenny at $2,563.

AUSTRALIAN RECORDS The Australian gold was headed up by a good extremely fine Adelaide pound that went under the hammer for $40,775 and the 1855 half sovereign sold for $32,038, while the 1858 error variety realised a record $24,465 and way above its estimate of $15,000. The first proof crown 1937 sold for $30,290, again far above its estimate of $20,000. Following spirited bidding, the back cover item – the gold striking of the swan dollar – brought a new record of $22,135, almost triple its estimate. The top price in Commonwealth silver went to a 1915H shilling at $12,815 while the top priced florin was the first 1921 which sold for $6,641, over double its estimate of $3000. Strong results were also obtained in the NSW collector penny collection. The specimen 1920 plain penny fetched $12,815. A full red 1917I went under the hammer at $3,029 – over triple the estimate of $900, and a 1920 double dot penny realised $9,320 – ten times its estimate. Also selling well were the choice Perth Mint proofs; the 1955 which was estimated at $5,000 realised $9,786 and the 1956 at the same estimate sold for $10,718. The four 1930 pennies in the other properties section all sold around estimate, with the third doing best realising $20,388, from an estimate of $14,000.

L – R: Australia, 1930 penny. Sold for $59,415, Adelaide pound, second type, 1852. Sold for $40,775, The wreck of the Steamship Admella 1859, silver medal. Sold for $16,543, New South Wales, five shillings or holey dollar, 1813. Sold for $135,140

BRITISH GOLD & SILVER British gold and silver sold well. Among the highlights, the William III fine work five guineas went for $22,135 and the Harold II penny sold for $4,660 while the Commonwealth crown 1653 error variety realised $4,602 – over $2,000 above its estimate. Another strong result was the Cromwell crown 1658 estimated at $3,500 and selling for $6,466. A plain edge proof Gothic crown, 1847 brought over double its estimate of $3,500, realising $7,223.

INTERNATIONAL METALS In world gold, a South Africa ZAR pound 1895 sold for $2,330, over $1000 above its estimate. In world silver, Chinese coins once again sailed past estimates, an Empire silver ten cents 1908 fetching $2,330 from a $500 estimate while a Kiang Nan dollar 1908 with an estimate of $200 realised $3,495. A People’s Republic ten yuan 1983 Year of the Pig sold for $1,864, from a $500 estimate. A Russian Peter the Great rouble 1721 realised $1,689, almost triple its estimate, a Sweden riksdaler, 1576 realised $2,097 many times its estimate of $500.

VALUABLE DOCUMENTS, MEDALS, MILITARIA In the documents an early Ballarat gold licence of 1853 brought a record $3,029. A three clasp QSA to 1st Queensland Mounted Rifles also set a new record selling for $2,680 from an estimate of $400. After a bidding war, a 1914-15 star with a gold tribute fob and gold photo frame, estimated at $250 went for $1,165. A World War I memorial plaque to a Tasmanian born near Chudleigh sold for $1,223, also from a $250 estimate. A World War I DCM group of four which has been estimated at $6,000, realised the highest price of $8,854. A White Russian emigree badge sold for $3,495, over double its estimate, to a live online bidder. An Australian Commonwealth Horse, 1st pattern collar badge pair realised $990 – almost ten times its estimate. A Gallipoli evacuation original order document which had also been estimated at $100 attracted strong bidding and finally sold for $1,864.

STAMPED IN THE MEMORY Last but not least, in the stamps section some outstanding prices were realised for the booklets. The Victoria 1911, estimated at $200, sold for $4,194 and Australia 1920, estimated at $300, went for $3,262. In the 2000 Olympics series, the Grant Hackett error sheetlet at $1,631 easily beat the estimate of $200.

CONSIGNMENTS FOR SALE 104 CLOSING SOON Noble’s next sale takes place in Sydney on Tuesday to Thursday, 26 – 28 November at the State Library of NSW in Macquarie Street. Consignments for this sale close on Friday, 20 September. We look forward to seeing you then. Jim Noble NOBLE NUMISMATICS 02 9223 4578 www.noble.com.au

BANKNOTE INTEREST The best result in the New Zealand issues went to the Lefeaux 50 pounds, 1934 at $15,145, against an $8,000 estimate. In world notes the top price went to the Shanghai specimen ten dollars 1914 at $2,913 while an East Africa pair of number one notes 1964 more than doubled its estimate at $1,049. A feature lot in the Australian series, the consecutive pair of presentation ten shillings, 1913 (estimate: $250,000) did not find a new owner on this occasion even though in Sale 99 (April 2012) this pair sold for $248,145. A consecutive pair of choice uncirculated Riddle/Sheehan 1933 one pounds attracted $12,815. The Phillips/Wheeler 1974 specimen set realised $31,106 for the six notes. The best example from a Sydney family hoard was the crisp, nearly extremely fine Sheehan/McFarlane five pounds 1939, which went for $1,095 – over three times the estimate.

SALE OF ANCIENTS In the Greek gold most estimates were exceeded. The Sicily gold drachm of 60 litrai achieved $11,650 from a $9,000 estimate, the Macedon, Phillip II gold stater, estimated at $2,500, sold for $3,379. A Bactria gold stater of Diodotos II fetched $11,650. The Roman gold attracted some good bids. The Bruttium Rhegion silver tetradrachm went under the hammer for $11,068. Antiques and

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EPNS service set before and after restoration

Milkshake container and syrup ladle

The newly fitted California Café shop front, 1939

RESTORING A SLICE OF CAFÉ LIFE he 1920s brought many Greek immigrants to Australian shores who introduced influences that went onto shape the country’s popular culture and architecture as well as its culinary tastes. WJ Sanders had the opportunity to peak into this rich historic story when Helen Vanges came to its door. Helen’s father was the renowned Evangelos John (Jack) Vanges and owner of rural town Nyngan’s Greek café – the California Café.

THE VANGES LEGACY In 1924, at the tender age of 11, Jack Vanges left the Greek island of Kythera to sail to Australia. He was collected by his uncle Arthur Castrisos, living and attending school at Coffs Harbour. Jack Vanges was a highly accomplished athlete. In his youth he played football, cycled and boxed. Jack also served the community through public service. He was president of the Group 15 Country Rugby League between 1935 – 1947. From 1951 and until the new RSL Club had the facilities to do so, he donated and hosted the Anzac Day luncheon for returned service men and women, which was held at the Town Hall. He was very active in many organisations and was elected to various positions including vice president of Nyngan Youth Club (Nyngan Citizens’ Boy’s Club); president for over 10 years of Nyngan Chamber of Commerce; and president of Great Western Plains Tourist Association. In the 1960s he was elected to the Municipal Council and became mayor of Nyngan serving five terms, during which time he did not accept his mayoral allowance, directing it to be used for the purchase of trees for planting in Nyngan’s streets. Jack was also a member of Rotary which he supported with great enthusiasm. In recognition of his community service, the area near Nyngan’s railway station is named Vanges Park, and the Bogan Shire Council erected a monument and plaque to honour Jack and his wife.

Right: Photo of the interior of the California Café taken by Frank Hurley. Jack Vanges is behind the bar

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HISTORY OF THE CAFÉ In 1930 Jack’s uncle purchased the Golden Gate Café in Nyngan where Jack joined him. Three years later, Jack and a partner bought the café from his uncle. The partnership was short lived, with Jack retaining ownership of the cafe.

AN AMERICAN STYLE FITOUT In 1939 Jack refurbished the café in the typical 1930s American style. The whole town turned out on 15 November 1939 for the official opening of the newly re-named California Café. Such local Greek cafés quickly became so much more than just a place to grab a bite to eat, often evolving into the town’s social hub – especially for those too young or broke to visit the local pubs. The California Café’s interiors were refurbished by famous Sydney shop fitter Stephen C. Varvaressos to suit the stylised elegance of the Art Deco era. Back-bar designs emphasised coloured lights, mirrors and stained glass while the ceiling was fitted with walnut panelling and wooden walnut benching was installed along one wall. These cubicle/booth patterns were quite popular and were known as ‘Italian seating’ after the Italians first introduced it to America. The shop front and windows were entirely reconstructed. The new doors featured an art deco monogram of ‘C’ for California and bevelled glass. The word ‘California’ was embossed in chromium steel letters above the windows with a vertical Claude Neon sign suspended above the front awning. New accessories included a 20 foot soda fountain, English crockery and a stainless steel and silver plate service.

CAFE WARES OF ANOTHER TIME The silver plated pieces brought in by Helen included two different sized teapots, a sugar

bowl, butter dishes, tea spoons, larger icecream spoons, thick milkshake canisters and an iconic syrup server. All items were made from EPNS (electro plated nickel silver) and each was beautifully engraved with the words: ‘California Café NYNGAN’. Helen had received a request from Mrs Glad Eldridge, co-ordinator of the Nyngan Inside Story Museum, for photos that could be used by the museum to celebrate the 130th anniversary of the Nyngan railway. This expanded to include original items of silverware. Helen tasked WJ Sanders with the job of restoring the California Café’s remaining tea service. Even in their current condition it was clear that these pieces were of quality workmanship. The majority of the items had been preserved and were in good condition; however the original silver plating was worn back to the base metal on the majority of surfaces. This shows the quality of the metal and craftsmanship of the items, as well as how used they were in their years of service.

CAREFUL PROCESS OF RESTORATION As part of the restoration process WJ Sanders had to re-shape the lids of the teapots and sugar bowl. The circular shaped finials had also been dented and were restored to a perfect sphere. Some engraving had become shallow from years of cleaning, so was retraced by inRight: Original glass panel advertisement from California Café. Photo George Poulos (www.kytherafamily.net)

house engraver Cherie. Once the repair work was carried out, all items were machine hand polished back to the base metal prior to silver plating.

RECORD OF LOCAL HISTORY FOR THE COMMUNITY The results of WJ Sanders work were outstanding: the old service was brought back to life and looked brand new. The only piece that showed signs of its previous service was the syrup scoop which had become badly pitted over time. Once restored, the items were donated to the Nyngan Inside Story Museum, which is set up in the heritage restored railway station. The museum collects local family history, relics and items of historical significance. Here the service complements other California Café artefacts featured including a glass panel advertising the numerous milkshake flavours that were on offer, milk shake containers, old signage as well as the original front doors. Nyngan local Lee Atkinson still fondly recalls her teenage years spent at the California Café. ‘The coffee may have been instant but the milkshakes were icy cold and creamy and the mixed grills large and meaty.’ Kym Langford W J SANDERS & CO 02 9557 0134 www.wjsanders.com.au References www.nma.gov.au/exhibitions/selling_an_american_ dream_australias_greek_cafe/the_exhibition www.smh.com.au/travel/history-milked-for-all-itsworth-20091008-goad.html www.kythera-family.net

MARRICKVILLE

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GREAT ANTIQUES ARE ESSENTIAL COMPONENTS for great screen entertainment T he Southern Antiques Centre, on the Princes Highway in the unlikely location of suburban Kogarah, is a hub for stylists, collectors, shoppers and antique lovers everywhere! As we have always known, great antiques are essential components for great screen entertainment! Beautiful pieces from our store are often selected to add authenticity to quality movies on the big and small screen. You may have seen some of our unique pieces in Baz Luhrmann’s very glamorous Great Gatsby or lighting up your small screen in A Place to Call Home. The homely country kitchen in Goddess features furniture sourced from Resurrection and the first series of Power Games: The Packer-Murdoch Story showcases more of our fine products. It is inspiring to think that each and every antique piece we offer holds a place in history and these movies highlight their relevance, not only to the past, but to our tastes today. So treat yourself to a day out and shop where the stylist shop! Yes, you will want to stay awhile so allow time for lunch or coffee as a visit to Southern Antiques is not complete without a stop at Beties Café. Located at the front of store, Beties’ cosy café setting welcomes you with the aroma of freshly ground coffee and features a delicious home-style menu. The

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selection of dishes will tempt every palate, with many gluten-free meal choices, a wide selection of scrumptious cakes, traditional Devonshire tea and the best coffee in town!

STYLE YOURSELF VINTAGE... Glamour need not be confined to the screen, or even to the home. Why not add a touch of vintage class to your wardrobe or dressing table? Choose from a stunning range of hand selected costume jewellery. Or, for a more traditional elegant look we offer genuine vintage accessories and antique gold and silver jewellery finds from the Victorian and Edwardian eras. We are the ultimate destination to find the perfect piece to complete an outfit or that elusive gift for someone special. The Southern Antiques Centre is constantly evolving to meet the changing needs of clients and the stock reflects trends in taste, fashion and style. Our newest dealer, Bowerbird Vintage, offers a gorgeous range of select vintage clothing priced to please. Luxurious fabrics, quality detailing and fabulous prints abound. With the racing season approaching we know you’ll find a one of a kind ensemble – complete with unique vintage hat.

DESIGN YOUR SPACE... Consider decorating your home with at least one good piece of antique furniture, whether a classically beautiful Victorian sideboard or a quirky little rustic desk. A genuine finely crafted old piece of furniture will reflect your true sense of style and add timeless charm to your home. Our furniture is carefully selected; we choose pieces for their style, charm and relevance to today’s lifestyle. We believe that

each piece of furniture is looking for a new owner to treasure it and give it fresh life for the next generation, so we source pieces that are adaptable, practical and special. Although interior design is constantly developing, the classic nature of a true antique guarantees that it can follow you from one room to another, or one home to the next, blending well with contemporary pieces as an eclectic mix is the benchmark of today’s decorating design. Lighting is another important design component that helps create warmth and provides a welcoming tone. Today’s options can be somewhat limited, even a little clinical. We strive to offer lighting solutions, from wonderful art deco styles, to leadlight lamps and opulent chandeliers. Select from a range

KOGARAH

Southern Antique Centre 30 SHOPS UNDER ONE ROOF

ANTIQUES • COLLECTABLES • BRIC-À-BRAC

We Buy - Sell & Hire Open 7 Days from 10am

BETIES CAFÉ 02 9553 9667 to create that special ambience and draw admiring remarks from guests. It can be hard to find accessories for those specific details, whether to complete your decorating story or to solve storage problems in a visually appealing way. Whatever your style, we have just the thing to help! It does not matter if your home is traditional, rustic or contemporary we have it covered. For all

those little bits and pieces there are old suitcases, trunks and boxes. For storage and display there are pots, vases, wicker baskets, glass jars, wall art, kitchen canisters, clocks, paintings, prints and so much more! Vintage linen and lace is a special addition to any room, instantly creating a sense of femininity, charm and romance. There is an extensive range available to choose from, adding that

245 Princes Hwy, Kogarah (near St George Leagues)

20 minutes south of the City

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

P 02 9553 7843 M 0410 436 933 unique touch to a room or an interesting table element for a special celebratory dinner.

EXPECT THE UNEXPECTED... There is always something unexpected at Southern Antiques. It could be your first encounter with our water buffalo (a superb example of vintage taxidermy), our range of fossils dating back millions of years, or the sense of surprise at the extent of our collection. Exploring the nooks and crannies of our centre is half the fun, even better than a museum as everything is accessible and available for purchase. All reading tastes and interests are catered for. Our book dealers stock a well collated selection of vintage and antiquarian books, contemporary novels, and a wide library of non-fiction interests with specialist areas dedicated to military, nautical and motor books. Our children’s section is piled with beautiful books sure to engage your little one’s imagination and, perhaps, take you back to your own childhood. If you are not a collector in this area there is the probability that you know someone who is – and now you know where to find them the perfect gift. From old toys and ephemera, to shipping and maritime we have something for everyone. Our military dealer has an extensive collection for sale from helmets to bayonets, badges to swords. Whatever specialist object you are on the hunt for we can help you source it.

visitors find fresh interesting items regardless if they visit every day or if it’s their first time through our doors. So we hope you’ll join us and take a trip down memory lane, discover a bit of nostalgia with a contemporary edge and become a regular part of the Southern Antiques community, because once you’ve visited we know you’ll keep coming back!

JOIN THE CONVERSATION... To receive exclusive offers, notification of events, latest arrivals and interesting news you need to ‘Like’ our page on Facebook-Southern Antiques Centre. For more information please contact Kim Hughes SOUTHERN ANTIQUE CENTRE 02 9553 7843 southernantiques@bigpond.com www.southernantiuques.com.au

QUALITY, AFFORDABILITY AND VARIETY... These three elements are the guiding principles by which we work as we endeavour to ensure the quality of our goods is high and affordable plus relevant to today’s lifestyle. Our strategy is that the pieces on offer are varied and Antiques and

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CARLTON

VINTAGE TIME 2U celebrates 1st birthday elebrating its first birthday is Vintage Time 2U, an antique shop which is fast establishing itself as a thriving mark in the bay in Carlton, Sydney. This is mainly due to all the good ideas from owner Chris and his crew, which between them offer a large reservoir of knowledge of all things old and vintage.

WHY COLLECT ANTIQUES? Collecting seems to be something approximating a human instinct. People are almost natural hoarders, and collecting items of interest has long been a common pastime among

individuals of almost every culture. The innate desire to accumulate and to enjoy the items acquired has led many to antique and vintage collecting as a hobby. Such collecting not only is a great way to enjoy one's spare time but also provides a wonderful opportunity from which to learn. Few pastimes have such an enriching component. With antique and vintage collecting comes the chance to learn more about the past and develop a deeper appreciation of history as well as the people who populated those older eras. In addition, such collecting creates a valuable knowledge base and brings us closer to our forebears. Thus, many reasons ranging from historical to sentimental, as well as aesthetic, result in antiques and vintage being very desirable.

STASH OF STOCK Such a passion for everything old and vintage is evident at Vintage 2U, which needs to be seen to be believed. Over 10,000 items inhabit our store, including: motorcycles, bicycles, cars, gas pumps, 1920s pedal boards and surfboards, car registration plates, vintage kids’ tricycles and pedal cars, model trains and model cars for those interested in any transport related modes, models or associated memorabilia; for others seeking items for home decoration there is house and garden furniture, statues, paintings, porcelain signs, chandeliers, dinner sets, vases and French decorative enamel eggs. Special interests are catered for with antique clocks, antique radios, coin slot machines, accordions, vintage cameras,

collectable toys, taxidermy as well as war items and memorabilia. Small items which are perennial collectable favourites include coins, stamps, watches, jewellery, records, books, various unusual artefacts, and many more for which you would need to visit to see and experience. Plus, if Chris and his boys don’t have what you are looking for, write it in their book and they will endeavour to obtain that item for you. After all, that’s how Vintage Time 2U was born.

APPRAISALS & ASSISTANCE A great range of services are also offered. These include buying from you directly – with pick-up and delivery available – selling to you directly, appraisals, and hiring out items for a special event. So next time you are in Carlton, come over – Chris and his crew will only be too happy to help or advise in any way.

AUCTION & MONTHLY MARKET Now, after a year, Chris and the boys have started a monthly Sunday market and would love to see you and your family join them at the next market day. In addition, Vintage Time 2U has launched an auction house – called Auction Time. Everyone is invited to come and have a great day of bidding for their items of interest while snacking on Dazza’s famous hot dogs! We hope to see you soon and invite you for a trip down memory lane or just to enjoy the wonderful pieces from times past.

ABOUT THE STORE VintageTime 2U is located at 71 Jubilee Avenue, on the corner of the Princes Highway, and opposite St George Leagues Club, in Carlton. The store is open seven days a week, from 9 am to 5 pm. VINTAGE TIME 2U Chris 0416 063 999 Gil 0420 406 100

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

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

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

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

Baker and Houghton Antiques PAY TRIBUTE TO THE MINUTIAE OF LIFE I t may seem strange for me to be writing about the minutiae of life when our business is very much orientated to French furniture, antique and vintage, and other antique and decorative items but when all is said and dusted (no pun intended) all partners in Baker and Houghton Antiques have been antique collectors in their own right for decades. This means that all of us are amateur social historians to some degree or another and therefore receive immense joy – not always from the most valuable or rarest items (there is a difference) – but often from the most obscure and eclectic ones that may otherwise be confined to obscurity and the dustbin. Very often we are invited to clear estates or the residue of those who are downsizing. However when we arrive we often greeted by an ordered accumulation of a life’s collection of goods which has been sorted and cleared of life’s essence. What remains is a sterile collection of what the vendor considers to be the most valuable and desirable of goods, be it furniture, china, glassware, etc. In far too many cases the interesting items have long departed in the skip. Why this is so annoying to the ‘social historian’ is that what is of value, albeit collectively and emotionally rather than monetary, is the minutiae of life. Those little keepsakes that hold the mystery or the essence of a life well spent and enjoyed.

FASCINATION FOR PAPER-BASED ITEMS

I am thinking of paper-based items in particular. These were rarely intended to last but were usually to record some important event be it on the national, international or local stage. Why these are so interesting is that they can be researched and tell us something about the person or organisation that promoted the publication of the document and the interest of the community. From this we get a glimpse back into another era; it is a fascinating area in which to collect as the items are inexpensive, easy to specialise in and it can lead to some extraordinary research opportunities one may never otherwise consider pursuing. Some examples, which feature in the amazing collection at our warehouse, are illustrated. One is a piece of sheet music Take me to Manly. The added valued of this item is that it is signed by the composer Valerie Jameson and dated 14 March 1944. An earlier copy of this sheet music is held by the National Library of Australia. Another example is a collage of Christmas cards and postcards; a fascinating area, these collectables offer a rich diversity of areas in which to collect. The other collage includes a Lifebuoy League of Health Guards book Pictorial Atlas of the Empire, a booklet on the Snowy Mountains Hydro-electric Scheme and

a program for the Tivoli Theatre for The King and I starring Geraldene Morrow as Tuptim and John Richard as Lun Tha. What happened to the careers of these two Australians? Such small items may have been important only to the players involved, but with a little investigation a whole lot can be learnt about the lives and interests of a past generation.

Certificate awarded to a student who attended Leichhardt Superior Public Infants School in June 1924 for ‘Regular and Punctual Attendance’

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

British Platinum & Gold Corporation Ltd Share certificate. Share certificates are an interesting area of collecting and offer many avenues to ‘mine’

An advertising pamphlet for ‘Mighty Muscles Made by Don Athaldo’. We are informed that all the splendid examples in the pamphlet are of ‘vigorous Australian manhood’ developed to perfection by Athaldo’s muscle development system Antiques and

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CLARICE CLIFF (1899-1972) leading ceramic artist of the 20th century

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

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

ROLE AT A J WILKINSON Wartime created roles that gave women opportunities which would have not previously been available to them. Wilkinson Pottery succeeded and survived two wars with a strong workforce of women, together with a forward thinking director/manager Colley Shorter – the son of the owner Arthur Shorter. As Colley’s brother went off to war and his father was near retirement, Colley was left holding the fort. New staff had to be recruited as the men working in the pottery also left for war. A young and determined Clarice Cliff stepped in. Her enthusiasm and talent was recognised early, and she quickly moved from lithography to an apprentice model maker, which saw her working with art director John Butler and designer Fred Ridway. Clarice progressively worked further on the design side of the business and started designing for the Devonport range.

DESIGNS AT NEWPORT POTTERY Just as Clarice was getting started in this role, she was moved to work in the neighbouring Newport Pottery, which Colley had independently bought some years earlier. Shortly after it is said Colley, who had a soft spot for Clarice, secretly took her with him to the 1925 Exposition des Art Decoratifs et Industriels held in Pairs. It is apparent that the Pairs art movement heavily influenced her work, with the bold colours, designs and geometric shapes. From this trip Clarice returned and created her boldly painted designs, which would later transpose into the

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highly successful Bizarre range. When Colley had purchased Newport along with the premises, there was left a great quantity of unfinished white pottery. It is said Clarice suggested to Colley that these be painted in modern bold designs, to create the ‘not so fashionable’ shapes into more marketable products. Decorator Gladys Scarlett was brought over from the Wilkinson workshop to help start the range, which took off with great success

MARKETING STRATEGIES The intuitive Colley realised the importance of associating their product with the name of their designer together with a branding that would be highly marketable to women. The items were affordably priced and were bright, modern and cheerful, after the dark times of World War I. Colley promoted his products to women, having teams of paintresses sent out to department stores to demonstrate the painting techniques. He arranged shop window displays and he also invested in printed advertisements in household magazines. This is basic marketing by today’s standards, but forward thinking for the time.

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

WOOLLAHRA / QUEENSLAND

FELLIA MELAS

GALLERY

TIM STORRIER “NIGHT WIND AND ASHES” Oil on linen, 60 x 120 cm

FELLIA MELAS GALLERY Woollahra Times Art Gallery

2 Moncur St WOOLLAHRA

02 9363 5616 • OPEN 7 DAYS Email: art@fmelasgallery.com.au

www.fmelasgallery.com.au

Antique Print & Map Company Antique Maps & Antique Prints from c.1600: Rare original antique maps and prints – all periods and styles

Heritage Editions Later reproductions from early maps and prints

Antique Print Club OPEN DAILY southside at the

Brisbane Antique Centre Pacific Highway at Exit 30 (Beenleigh-Redland Bay Road)

Ph: 07 3806 0118 also currently OPEN DAILY at the

Brisbane Antique Emporium 794 Sandgate Road, Clayfield (Junction Road entrance)

Ph: 07 3862 1600 Also by appointment at the

Antique Print Club-house sales@antiqueprintclub.com Ph: 07 5525 1363 – 0412 442 283

www.antiqueprintclub.com 44

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PADDINGTON

Chinese and Japanese Quality antique and reproduction furniture and artefacts ESTABLISHED 1989

336 South Dowling Street, Paddington

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

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CITY

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

Shop 45, Level 1 Queen Victoria Building, Sydney 2000

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

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ALEXANDRIA

EXCITING NEW COLLECTION OF QUALITY CASUAL FURNITURE

BY PALECEK OF SAN FRANCISCO In store late September Open Monday to Saturday 10am to 5pm Sunday 10.30am to 4pm

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CLOS ING DOWN SALE! !

setting a new

standard Italian walnut coffer, c. 1880s

English silver plated writing desk set with figural ruby glass vase, c. 1880 Bohemian malachite glass vase decorated in deep relief with maidens beneath grape vines, c. 1930s

Noel Jack Counihan (1913-1986), Untitled (nude study), charcoal on paper, 26.4 x 29.5 cm

French Louis XV style night stand, rouge marble top fitted with one drawer and unusual curved marble interior cupboard, h: 85 cm w: 43 cm d: 37 cm

Fine set of five French Louis XV oak chairs with caned backs and seats Royal Worcester figurines ‘Water Carriers’, modelled by James Hadley, c. 1898, Female h: 23 cm Male h: 25 cm

Fine French 19th century walnut keyhole desk set on carved cabriole legs fitted with four drawers and brass ormolu escutcheons, h: 76 cm l: 150 cm d: 86 cm

Exquisite cobalt blue glass lined jewel box with key gilt finished with enamelling and porcelain floral decoration in relief Lovely French terracotta figure, signed ‘T. Bess’, 27 x 26 cm

French Louis XV style two tier floral marquetry pedestal table with brass mounts, h: 75 cm w: 50 cm French Brittany style oak hall bench with storage, h: 99 cm w: 106 cm

Tufted back easy chair in rosewood, newly upholstered

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

Late Victorian hand blown and enamelled green glass ewer with applied clear glass handle, c. 1895

Ivory carved figurine on a carved timber stand Superb 19th century light from France with wrought iron frame, leadlight shades, brass reservoirs and Hinks patent duplex oil burners, c. 1887 Oversized Italian decorative charges signed ‘Pasquali Cappelli Napoli’, h: 500 cm French Louis XV style carved armchairs set on cabriole legs

LET’SEAL! AD TALKEASONABLE

Antique French buffet in rosewood on oak with rouge marble top, h: 95.6 cm w: 122 cm d: 60 cm

NO R

OFFER SED REFU

Three piece lounge suite, immaculate original upholstery, gold gilded timber framework consisting of 3 seater settee and 2 armchairs

French antique ladder back carvers with rush seats

Faux bamboo shaving stand

Large French walnut Louis XV style bookcase bevelled glass to doors with adjustable shelves, h: 185 cm w: 132 cm

French oak oval extension table, superb detailed carving on a four footed central pedestal, h: 72 cm l: 127 cm w: 108 cm

Stunning French Louis XVI style buffet, white and grey marble top, inlaid walnut and burr walnut with bevelled back mirror and brass ormolu mounts, h: 208 cm w: 149 cm d: 55 cm

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

LIMITED FLOOR SPACE / CABINETS AVAILABLE. CONTACT DENISE 02 9550 5554 212–220 Parramatta Rd, Camperdown NSW 2050 Phone 61 2 9550 5554 Fax 61 2 9550 4990 www.camperdownmewsantiques.com Open 7 days 10 am–6 pm Off-street parking

WE BUY, SELL, HIRE AND TRADE

CITY / CAMPERDOWN / QUEENSLAND

Gold diamond and jade stick pin $3750

Brasac enterprises Girard-Perregaux gyromatic, original band, c. 1960 $1295

Longines Admiral 10k gold filled, c. 1965 $2295 Omega Seamaster 14 ct gold c. 1960s $1895

International Watch Company 18 ct gold, c. 1970, $3950

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 A selection of English hallmarked sterling silver frames and antique silver available.

CAMPERDOWN MEWS

GOLD COAST ANTIQUE CENTRE

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

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

BOTH OPEN 7 DAYS

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

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

CAMPERDOWN

French spelter and slate eight day clock, c. 1850, in excellent condition. $1485

Dakota nine pendant ceiling light fitting. $850

Dennis Ropar, Cowgirl, mixed media. $650

Button back leather upholstered executive desk chair. $1250

Tiffany style leadlight pendant. $485

German timber cased striking clock. Fully serviced includes three month warranty. $600

French walnut bonheur du jour five drawer desk, c. 1900, set on turned legs featuring a pull out tooled leather writing table. $2250 Bevelled mirror set in gilt embossed floral decorated frame. $495

Set of ten Victorian style mahogany dining chairs featuring Trafalgar bar back, fully sprung, well upholstered. $3500

Robert Wilson, Old School House. $680

Rosewood concertina style card table, c. 1850, in good condition. $2250

Glebe Antique Centre Phone: +61 2 9550 3199 Fax: +61 2 9550 3833 Pair of contemporary Georgian style mahogany three drawer bedside cabinets on turned splayed legs. $550 each

Pair of solid brass occasional lamps with milk glass coolie shades. $495 each

French Louis XVI style marble topped walnut nightstand. $950 Victorian oak carver chair with green leather (recent) upholstered seat. $750

88-90 Parramatta Road, Camperdown NSW 2050 Two levels of quality furniture, lighting, jewellery, glass, porcelain and general collectables

Open 7 days 10am to 6pm Email: sales@glebeantiques.com.au Edwardian walnut extension table for eight, single leaf with winding mechanism and repolished top, set on turned legs fitted with original cup and porcelain casters. $3950

French Louis XV style oak draw leaf table to seat twelve, with parquetry top. $3250

Check out our up-to-date websites

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

French Louis Philippe Comtoise clock, c. 1860, walnut case. $2650 English double pedestal mahogany desk made in London, c. 1850, fitted with Bramah locks and regency style brass handles, featuring ten graduating drawers, two cupboards, tooled leather writing surface; beautifully made and restored. $9850 Set of ten mahogany spoon back chairs of exceptional quality, c. 1860, strong solid construction carved cabriole legs fitted with brass casters to the front legs, serpentine fronts, leather upholstered seats. $6500 set

Fine quality bird’seye maple and walnut five drawer chest, probably Swedish, c. 1920. $1850

French walnut extension dining table, late 19th century, carved cabriole legs with dropdown extension support legs, French polished top, seating for 12-14. $5950

Louis XV style secrétaire à abattant, c. 1890. $5500

French walnut threedoor breakfront armoire fitted with central oval mirror. $2950

Impressive French Louis XV style queen size solid oak bed, c.1900, includes new Biddell spring mattress. $3250

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VICTORIA

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VICTORIA

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

Rare Louis Vuitton trunk, with all original linings and fittings, initialled BB, c.1910

Currently in stock selection of fine quality gold watches, 9 ct gold bracelets, lockets, wax seals and diamond rings, displayed in an early Regency rosewood travelling case

Impressive George II walnut 8 day long case clock by Richard Peckover, London, c.1750

19th century mahogany cylinder top 6 drawer fitted desk, with pull out slide, finely turned & reeded. c.1870

Fine quality William IV flame mahogany 8 day long case clock with hand painted dial, rolling moon, c.1830

NOW ONLINE

Grand William IV mahogany 2 section secretaire bookcase, tooled leather interior to fitted secretaire, flanked by 2 drawers over 3 cupboards, c.1840

For weekly updates of new stock “LIKE” us on facebook

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

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

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

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MATCHAM

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

Bunting's famous 1583 map showing what appears to be a pre-Dutch Australia

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

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

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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.

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‘Prahran’ based on an external gas bracket design

Chandelier inspired by floating oil lamp

‘Le Maison’ 2 light chandelier

‘Memphis’ 12 light chandelier

REFLECTIONS ON LIGHTING hen building or renovating, lighting is often the last consideration, if thought about at all. However it can be one of the most important and successful decorating elements in such a project. A well-known and very successful decorator friend of mine maintains that the two most useful styling considerations are lights and mirrors. Indeed they often go hand in hand, especially in setting mood and ambience in a space. In this article I outline the evolution of lighting technology.

SEEING THE LIGHT Artificial lighting technology began to be developed tens of thousands of years ago, and continues to be refined in the present day. The oil lamp is one of the oldest inventions of mankind – thought to be as early as 70,000 BCE – and used in the early ages in China, India, Egypt, Greece and Rome. Most such early lamps were made of stone and burned animal fat. However these ancient lamps possessed several defects which continued to be a design problem until relatively recently, with developments in the 18th and 19th centuries. Genevese scientist Ami Argand (1750-1803) revolutionised interior lighting with his design for an improved lamp burner. Patented in 1784 in England, Argand’s design incorporated a hollow cylinder within a circular wick, allowing air to flow both inside and outside the flame. A cylindrical glass chimney enhanced the flame’s brilliance by preventing side draughts. As well as giving about 10 times the light of earlier lamps of the same size, the Argand lamp emitted less smoke and smell because it burned the oil more completely and practically eliminated the need for snuffing (snipping away partially burned wicks to reduce flickering). It was soon in great demand in Britain, France, and America. But the introduction of kerosene in the late 1850s, meant the demise of expensive whaleoil fuelled Argand technology lighting devices. Kerosene as a fuel meant that complicated Argands were replaced with a simpler flat wick-in-a-cup system and bellied glass chimney. However, the American designed Rochester kerosene burner reintroduced central draft technology using kerosene for fuel in the 1880s. Developed in England in the 1790s, gas light technology spread quickly as it was more effective and economical than oil lighting. English electrochemist Humphry Davy (17781829) invented the first electric light – an arc

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lamp (using carbon rods and a charge from a battery) and described as 1000 times brighter than a candle. Polish chemist Ignacy Lukasiewicz (1822-1882) is credited for inventing the modern kerosene lamp in 1853. American inventor Robert Dietz (1818-1897) patented a similar product in 1859. The kerosene lamp is still used today where electricity is not available. In 1876 Russian engineer Pavel Yablochkov (1847-1894) invented a new type of arc light which accelerated the development of electric lighting. His Yablochkov candle was reliable and made the installation of electric lighting economically feasible but the design was cumbersome making it a device best used for street lighting. It was used in Paris and other European cities from 1878 including London’s Thames Embankment. Soon after, both American inventor Thomas Edison (1847-1931) and British chemist Joseph Swan (1828-1914) patented and brought to commercial success the carbon thread incandescent light lamp.

For more information contact Garry Auton GLEBE ANTIQUE CENTRE 02 9550 3199 www.glebeantiques.com.au

‘Queen Victoria’ 24 light crystal chandelier

NEW TECHNOLOGY IN TRADITIONAL FORMS The domestic and commercial lighting of the 19th century employed traditional forms, so brass curved multi arm candle holding chandeliers from the 17th and 18th centuries were re-employed to take gas and later electricity. The same can be said for crystal chandeliers which go back to the Italian Renaissance in the 15th century and always suggest luxury, taste and status. One of the most striking styles came along at about the same time as incandescent lighting. Part of the Art Nouveau movement, copper foil Tiffany lamps have maintained their popularity up to the present day. Louis Comfort Tiffany (1848-1933) originally made his leaded glass fittings for gas in the early 1890s although they have since been created to support electricity. These lamps have always been popular as table lamps as well as wall sconces. Having been a manufacturer of traditional light fittings in the 1980s, I am very aware of the costs involved, but also very impressed by the quality and reasonable prices of some of the traditional lighting available at the moment. The facing page gives examples of some of our product range. For more examples from our extensive range plus prices please visit our website or our large showroom at Camperdown.

Bronze five pendant from Louis XV design range

‘Marie Therese’ 27 light chandelier

Electrified old Miller’s lamp

CAMPERDOWN

GLEBE ANTIQUE CENTRE Arizona semi flush 3 light fitting. $320

Arizona 5 light pendant. $550

Elysees 5 light chandelier. $950

Exterior Station light fitting in antique black. $65

Electrified original oil Hundi light fitting, c. 1900, with etched glass shade. $1650

Queen Victoria range five light chandelier. $1500

London lantern style 3 lights in antique brass. $385

Walzer 2 light crystal wall bracket. $150

Caulfield bronze small wall bracket. $110

Angelique range 5 light pendant in antique silver. $990

Provincial 5 light fitting in antique white. $750

Exterior Crescent 2 light post fitting. $660

Juliette 8 light chandelier. $550

Alabaster and gilt brass 6 arm light fitting, c. 1920. $3500

Art deco leadlight fitting, two only. $270 each

Versailles 5 light crystal fitting. $710

Georgian range light fittings both pendant and flush 5 light pendant. $480

Houston 9 light pendant bronze. $565

Utah 5 light fitting. $310

Walzer 5 light crystal chandelier. $560

Tiffany style hanging lamp with copper foil shade. $950

Exterior small Cardiff light fitting. $77

New York range 5 light pendant. $860

Electrified original colonial brass kerosene lamp with white milk glass vesta shade. $650

Vienna 9 light chandelier. $675

Mozart crystal basket light fitting. $290

Dallas 9 light pendant. $870

Waldorf single suspension 3 light fitting. $325

Angelique 5 light fitting. $990

Louis XV style 5 light fitting in bronze. $900

Industrial 3 light pendant bronze. $925

88-90 Parramatta Road, Camperdown NSW 2050 www.glebeantiques.com.au â&#x20AC;˘ www.desksofdistinction.com.au â&#x20AC;˘ Email : sales@glebeantiques.com.au Open 7 days - 10 am to 6 pm. Phone +61 2 9550 3199 Antiques and

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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 eight 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.

furniture and objets d’art, most sourced in Europe and personally selected, always for their quality and often for their quirkiness. Many of the pieces are from France and many periods of design are covered. 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.

BUSINESS AS USUAL

ARTWORKS OF NOTE

We are still trading while our premises are up for sale. We are releasing our last shipment of fabulous French Art Deco lighting, including some wonderful and unique table lamps and pendant fittings.

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.

KEEPING UP WITH TRENDS

INTERIOR DESIGN ACCENTS

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

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

Eliza Jane Antiques

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.

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

In anticipation of the move, we are having a genuine SALE. Up to 50% on all items. NO EXCEPTIONS.

have a wonderful preview of the latest in design and of the trends, as they emerge. 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

* 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

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

ELIZA JANE’S – SYNONYMOUS WITH THE BEST IN ANTIQUE LIGHTING The lights crown a fabulous collection of

Antiques and

art

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

LEICHHARDT

Antiques and

art

Arthur Streeton, La Salute, from Riva Schiavoni, c. 1908, oil on canvas, 28.2 x 38.4 cm. National Gallery of Australia, Canberra. Purchased 1959

E. Phillips Fox, Promenade, c. 1909, oil on wood panel, 26.6 x 35 cm. National Gallery of Australia, Canberra. Purchased 1974

George W. Lambert, The sonnet, c. 1907, oil on canvas, 113.3 x 177.4 cm. National Gallery of Australia, Canberra. Bequest of John B. Pye 1963

ART GALLERY OF BALLARAT Capital and country: the Federation years 1900 – 1914 26 OCTOBER 2013 – 19 JANUARY 2014

FIRST FEDERATION FOCUS BY NGA apital and country: the Federation years 1900 – 1914 is the National Gallery of Australia’s first major exhibition to focus on Australian painting from the Federation era. The exhibition considers the parallel stories of Federation landscape painting in Australia and the art produced by Australians who lived in Europe during this period, which takes in Edwardian England and the last years of the Belle Epoque in France before the outbreak of the First World War in 1914. The 46 works brought together in Capital and country reveal the richness and diversity of non-Indigenous Australian painting during the Federation years. They range from sunlit images that convey the nation’s patriotic embrace of their own landscape, to those that emphasise the popularity of portraiture and figure painting in Europe. Well-known and loved works in the national collection by Frederick McCubbin, George W. Lambert and Hans Heysen are brought to light in new ways alongside lesser-known images by Florence Fuller, Godfrey Rivers and Richard Hayley-Lever that will both surprise and delight.

NATION MAKING INSPIRED ARTISTS On 17 September 1900, following almost two decades of heated debate, Queen Victoria proclaimed that on 1 January 1901 a federation of the six British colonies would come into being to form the Commonwealth

of Australia. On New Year’s Eve 1900, Federation was welcomed with enthusiasm and merrymaking around the country. Tom Roberts and Frederick McCubbin were two of many Australian artists moved to respond to the significance of this time, and they produced lively sketches inspired by the opening of Australia’s first Federal Parliament on 9 May 1901. One of numerous nation building acts that took place following Federation was the development of Australia’s diplomatic mission in central London. The embassy, known as ‘Australia House’, was constructed between 1913 and 1918, and was the first official building designed to represent Australia after Federation. It was symbolic as Australia’s first international presence, yet also represented a continuation of British–Australian ties. The search for a permanent site for the Federal Capital also played out over this same period of time. After almost eight years of often-controversial discussions, in 1908 the Federal Parliament agreed upon a site in farmland near Yass, in New South Wales. A competition to paint the Federal Capital site on a grand scale was announced in 1912. The large panoramic vistas by Penleigh Boyd and W. Lister Lister show the view towards what is now the centre of the capital, where the foundation stones for the city of Canberra were laid on 12 March 1913.

POETIC VISIONS OF FEDERATION LANDSCAPES During the Federation years the Australian landscape played an important role in the excited imagining of a national identity. From the late 19th

Richard Hayley-Lever, A haven beneath the hill, St Ives, c. 1908, 140.5 x 164.5 cm. National Gallery of Australia, Canberra. Purchased 1968

Antiques and

art

Rupert Bunny, Qui vient? [Who comes?], c. 1908, oil on canvas, 81 x 54.2 cm. National Gallery of Australia, Canberra. Bequest of John B. Pye 1963

century Australians had begun to seek out imagery, ideas and ideals that seemed characteristic of their surroundings, and with Federation this quest took on greater purpose and meaning. Key artists of the era, such as W.C. Piguenit, Hans Heysen and Frederick McCubbin, drew on the traditions of European landscape painting to offer Australians poetic visions of their surroundings. They helped Australians to fall in love with the distinctive qualities of the bush, from a ‘typically Australian’ colour palette to the effects of sunlight and representations of native flora, particularly the gum tree. Similarly, the popularity of images of drovers, shearers and the trials and triumphs of life on the land appealed to the egalitarian ideals of city-dwelling Australians, who then made up almost two-thirds of the population. As Australians sought out images of their nation, Federation landscapes began to replace 19th-century British pictures as public favourites. Spaces dedicated to the display of public collections and exhibitions of Australian art were expanded, and large national exhibitions provided artists all over the country with the opportunity to paint major works. The increase in scale of many works by Federation landscape painters reflects both a sense of national pride and the growing interest in Australian art, generating a veritable boom in the market by 1907.

AUSTRALIAN ARTISTS IN EUROPE Despite the excited nationalism of this time, Europe still beckoned Australian artists as the centre of Western art. A pilgrimage to Europe was considered a rite of passage for many Australians. London and Paris were two of the most fashionable destinations, attracting artists from all over the world. Young artists were encouraged by teachers, patrons and colleagues to further their study in Paris, and senior artists also left Australia to establish themselves within a much larger market. Figure compositions and portraiture dominated the art scene within which most Australians sought acceptance. Mastering the human form was the major focus of the Academies, and from the turn of the century, portraiture and aesthetic figure studies had replaced history painting as the prominent genre accepted into the large prestigious annual exhibitions of the Old and New Paris Salons and the Royal Academy in London. Expatriate Australians were predominately influenced by the society portraits and sophisticated figure paintings of artists such as London based American painter James Abbott McNeill Whistler. Expatriate painters

also looked to the art of the past, stimulated by the rich collections of European art museums. The works of 17th-century Spanish painter Diego Velázquez, in particular, had achieved a cult-like following, inspiring numerous homages and quotations.

EXPATRIATE VIEWS While studying in Paris, most students painted continually and energetically. A number of works in this exhibition are student pictures, completed with whatever visual material these eager young painters had at hand, from their dimly lit, poorly heated live-in studios to views of the river Seine. Most expatriate artists also travelled around Europe while abroad. Arthur Streeton, for example, embarked on artistic pilgrimages through Italy and rural Britain. Richard Hayley-Lever was one of a number Australians who worked in the popular Impressionist artists’ colony at St Ives, on Britain’s Cornish coast. From a base in Paris, Hilda Rix Nicholas, like E. Phillips Fox and his British-born wife Ethel Carrick, travelled extensively, capturing lively, high-key impressions of modern life and leisure from Paris to Morocco. Fox and Carrick also visited Australia briefly, in part inspired by reports of the booming art market. Carrick’s works such as The quay, Milsons Point reveal her delight in the clear bright sunlight of this Australian coastal urban centre, in the manner of her European impressions. Until the founding of the Federal Capital in Canberra, all major urban centres (home to almost two-thirds of the Australian population) were located on the coast. While the beach subsequently became a key symbol of an Australian identity, during the Federation years representations of the city and the beach reflected more modern, less ‘characteristically Australian’ ideas of life and landscape. Capital and country is a travelling exhibition of paintings from the national collection, developed as the National Gallery of Australia’s gift to the nation in celebration of Federation and the centenary of the Federal Capital in 2013. It is showing at Ballarat Art Gallery from 26 October 2013 until 19 January 2014.

Miriam Kelly, exhibition curator ART GALLERY OF BALLARAT 03 5320 5858 www.artgalleryofballarat.com.au

The National Gallery of Australia is an Australian Government Agency

ROZELLE

ANTIQUE FLOORS NEW SHOWROOM

reveals a wooden flooring evolution I n August, Antique Floors’ showroom at Beattie Street, Balmain, died a quiet and peaceful death. Given a fresh canvas of 250m2 at 88 Lilyfield Road, Rozelle, craftsman John Fredriksson has taken to it with hammer and tongs giving birth to a new chapter in the life of Antique Floors. The phoenix has risen from the ashes, as a collaboration between the sawmillers at Ironwood and the artisans at Antique Floors.

LARGE RANGE OF HUES AND TONES In days gone by, architects and interior designers were advised to first select a timber species then match the colour of other finishes around the flooring. Today, the finite range of Australian species in creams, browns and reds is no longer the limiting factor in the design of your home, restaurant, cafe or office space. True artisans can now create subtle variations in hue by treating wood with a range of finishes such as fuming, double smoking, roasting or even application of a pre-colour prior to sealing with European oils that allow the wood to breathe and age gracefully. At Antique Floors’ new showroom, you can conveniently walk through and select a colour range from light to mid to dark browns, with perhaps a hint of chiraz or walnut. Or you may decide on European oak and have the soft grain lightly wire brushed to give depth to the finish, or have it heavily brushed to create a weathered antique look. Even more amazingly, there is an opportunity to select a black undertone or perhaps you would prefer white or antique

white undertones. These will subtly highlight the grain of the timber and then the process can be finished with European natural oil or pigmented oil – much like a master chef drizzles golden olive oil over your pizza just as it comes out of the oven to bring out the fullness of flavour. To see these variations, the possibilities, the hues and fine distinction between red-brown and heritage-brown for example, you should pop in to see John and his team of dedicated artisans. Bring over the macaroons from Adriano Zumbo (nearby on Darling Street in Balmain) and the Antique team will provide a cup of tea to set you off on an eye-opening journey to experience wood flooring like you’ve never seen before.

others, they are treasured marks of the history of that tree – it grew, it had branches and the growth rings tell the story of time and the sawmiller’s choice of cut. The natural beauty these boards reveal will always be recognised. I enjoy the feeling deep down which tells me I just met a true craftsman who loves to design and create beautiful works in wood and leave a little piece of history in my heart and my home. Steve Krsticevic for ANTIQUE FLOORS 02 9810 8838 info@antiquefloors.com.au www.antiquefloors.com.au

INSPIRED RECYCLING The new wine cellar floor is a startling revelation in the way recycled train line sleepers are used. Most flooring contractors barely know of the existence of wide boards the size available at Antique Floors. In the showroom you can see, touch, smell and feel the depth and warmth in each floor. On one wall there are oak floorboards finished in no less than six shades of grey showcasing the ability to create a patina and colour scheme that will please the eye as well as harmonise with the fittings and furniture your architect or interior designer has chosen. John’s masterpieces emanate in part or in full from the workshop ‘out back’ – with pride and joy, he cuts, sands and oils his timber, each piece being encouraged to bring forth its own distinctive identity and character. Here he shows me the knots, shakes and wanes in the wood and describes how, in recent years, these imperfections were shunned – while now, for

Antique Floors invite you to visit our large showroom designed to show the floors in many different settings, with an extensive range of parquetry and wide board European oak. We also offer a range of architectural elements including antiques, custom made tables, libraries and wine cellars.

Showroom: 88 Lilyfield Road Rozelle NSW 2039 Ph: 02 9810 8838 E: info@antiquefloors.com.au www@antiquefloors.com.au

Antiques and

art

TURRAMURRA

MEMBER

Abbott’s Antiques

MEMBER

The Established Name for Quality Antiques since 1931

Fine 19th century bronze lion and recumbent putto figure group on a verde antico marble and gilt metal base, c. 1830

Royal Worcester reticulated and gilt decorated two handled vase by George Owen dated 1908

French striking 8 day Sienna marble mantle clock garniture with gilt brass columns and enamel zodiac dial, c. 1900

Pair sterling silver ‘Cymric’ Art Nouveau candlesticks designed by Archibald Knox for Liberty & Co., Birmingham, 1903

William IV mahogany patent library armchair with reclining action and sliding foot support, c. 1830, by George Minter, London

Tiffany Art Nouveau gold iridescent Favrille peacock decorated epergne, c. 1910

Fine Regency sterling silver and cut crystal centrepiece with lion mask mounts and ornamental floral centre, Birmingham 1809 by Matthew Boulton

19th century Italian bronze figure of Narcissus after the antique, c. 1890

Charles II sterling silver seal top spoon, London 1675 by William Cary

19th century Russian icon with silver and enamel oklad depicting St Vasilis and St Nadegda, Moscow, c. 1880

Fine Victorian inlaid walnut Davenport with brass gallery and tooled leather insert, c. 1850

Victorian sterling silver crested and floral engraved tea kettle on stand, London 1853 by Smith and Nicholson

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 62

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DURAL

Dural Antiques CELEBRATES 25 YEARS ocated on the historic grounds where the local landmark Tinker’s cottage has resided since 1921, is a building which was purpose-built to house an antique store. With its warm, inviting ambience, you really feel as though you are stepping back in time – a time of beauty, character and intrigue. Dural Antiques is now in its 25th year, providing all things beautiful and rare to the locals and broader Sydney.

RESTORATION & REPAIRS ONSITE

TIMELESS COLLECTABLES

The name Dural is derived from Dooral Dooral – an Aboriginal name meaning ‘hollow tree on fire’. Dural was once a tall dense forest. However, with a fertile soil, it became alluring for farming and in 1819 settler George Hall was granted 600 acres which proved ideal for growing crops and later citrus. To this day Dural is still a semi rural town with flower, fruit and vegetable growers and since decades gone by it has become known for its equine industry. The area boasts wonderful cafes, garden centres and monthly Jazz in the Pines. Dural Antiques has become an iconic establishment in the area and we are very proud to continue to provide antiques and all things rare in Dural. We look forward to welcoming you at Dural Antiques.

What you will find at Dural Antiques is an impeccably presented store, warm and caring staff and a business that caters to all spectrums of antiques. We believe a large part of our businesses longevity can be attributed to the timelessness of what we sell. Our jewellery is as fashionable today as it was a hundred years ago and as it will be in a hundred years' time. Jewellery has really stood fashions’ test of time. Our furniture, although over a hundred years old, does not look as though it has had a hundred years of wear. We restore our furniture in a way that enables the piece to keep its warmth and character along with retaining the beauty of the once-proud piece. The rest of our beautiful store is filled with collectables. From tea sets to candelabras and everything in between, Dural Antiques has it to offer to you.

We also offer a complete restoration service along with having a upholstery business located onsite. Should you have any enquires about our services, please contact Malcolm. Repair to antique jewellery pieces is also provided and we fully appreciate the importance of retaining the history of the piece when such repairs are needed.

HISTORY OF DURAL

DURAL ANTIQUES 02 9651 2113 mp.duralantiques@bigpond.com www.duralantiques.com

857 Old Northern Road, Dural NSW. Ph: 02 9651 2113 Open 5 Days (Closed: Mon & Tues) www.duralantiques.com Antiques and

art

USING HOWARD PRODUCTS

a Victorian lady gets a 60 minute makeover O n one of our rare attempts at having a holiday just recently, we were invited by old friends to stay in their beautiful house perched on a hill in the Noosa hinterland with beautiful views from every angle, beaches nearby and a great swimming pool in the forecourt. What a dream! I’ve known these people a long time and they have always collected all kinds of antique bits and pieces. This most recent house of theirs was no different. A large containment area underneath the house was found to be chock full of old chairs, tables and cupboards waiting to be re-finished one day. That came later. The first thing I saw when we opened the door into the entrance foyer was an imposing Victorian sideboard of huge proportions featuring ornate carvings all coated in very

From this

to this

with this

Antiques and

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dark and very battered shellac which was in desperate need of urgent attention. Here I was dreaming about the pool and the beach but I just knew that I would not be able to relax until that grand old sideboard was given a bit of attention. Just as well I always travel with my Howard Products demo box. The photos you see in this story were taken by Sally on her iPhone while I worked. They are not the greatest quality but they illustrate what I was faced with and how I went about quickly giving that dear old sideboard some nourishment and repair. Some of the surfaces were so worn that I really didn’t know whether my trusty Restor-AFinish would be able to handle it but as you will see it did, well maybe not perfectly, however that’s the point really – Restor-A-Finish was

designed to retain patination and deliver a ‘cared for over many years’ look to battered antiques. This sideboard was just one of many items we restored while having what really was a great break at Noosa. The thing is you can work so quickly with Restor-A-Finish that the sideboard only took an hour or so. On that day we were so keen to get to the beach and see the sights that it wasn't until we got home from our holiday some time later and were checking the photos we'd taken, when we realised that although there were

plenty of action shots, we hadn't taken a before and after photo of that lovely sideboard. It's a pity because the difference after the Restor-AFinish treatment was amazing. We'll leave you to imagine just how elegant that old Victorian lady looked when we waved her goodbye. David Foster – Director HOWARD PRODUCTS (AUST) 1800 672 646 advice@howardproducts.com.au www.howardproducts.com.au

CENTRAL COAST

A guide to ANTIQUES & COLLECTABLES DEALERS ON THE CENTRAL COAST 1. AVOCA BEACH ANTIQUES Now incorporating the Beecroft Treasure House Specialising in antique jewellery with the largest range on the coast and an exceptional range of silver and extensive selection of fine porcelain and rare collectables. Open 7 days 173 Avoca Drive, Avoca Beach 02 4382 1149 or 02 4381 0288 avocabeach.antiques@bigpond.com

Egyptian silver and enamel sarcophagus charm, c. 1920, with removable enamelled mummy inside $790 French 18 ct rose and green coloured gold drop earrings, c. 1880 $2900 French bronze figurine signed J. Catineau $280

2. ACCENT ANTIQUES

Accent Antiques have been at the Crowne Plaza Terrigal for 23 years. We specialise in antique and estate jewellery and have a wonderful selection of oddities. Many of our stunning pieces are purchased in France. Within sight and sound of the beach, enjoy a stunning view while you search out a treasure. We are open seven days a week 10-5 pm. Shop 16, Crowne Plaza, Terrigal 02 4385 1997 ldecarne@gmail.com adecarne@gmail.com

COLLECTORS’ COTTAGE ANTIQUES 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.

French enamelled 18 ct yellow gold locket, c. 1830, with old cut diamond eyes $2500

Australian cedar chiffonier featuring shield shaped doors and barley twist supports, c. 1890, $1295

A WORLD OF KNOWLEDGE for ALL COLLECTORS OF THE ARTS and INVESTORS

world

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A GUIDE FOR NEW COLLECTORS THE ONLY MAGAZINE OF ITS KIND IN AUSTRALIA INTERNATIONAL EXHIBITIONS WITH CURATORS' EXPERT COMMENTARY

FRESH RESEARCH ON COLLECTING FROM THE TRADITIONAL TO THE CUTTING EDGE

worldaa.com

AUSTRALASIA'S LEADING DECORATIVE AND FINE ARTS MAGAZINE FOR OVER 45 YEARS

Bitten by the collecting bug? WAA has the antidote!

WAA – a World

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Comprehensive Includes works in silver & gold, ceramics & porcelain, furniture, jewellery, textiles, fashion & accessories, costume design, numismatics & philatelics, photography, prints, Old Master art, contemporary art & sculpture Auction prices and records PLUS images A timeless companion and invaluable reference with expert and original information

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NEWCASTLE

AGNEW’S

AND THE AUSTRALIAN CONNECTION The famous London dealer Agnew’s has closed its doors for the last time. Uniquely among European dealers it concentrated on the Australian market and through its exhibitions in Sydney many major works entered Australian collections

COMBS

FROM PRE-DYNASTIC EGYPT TO MODERN-DAY BLACK POWER MOVEMENT

The recently opened Museum für Architecturzeichnung in Berlin houses the collection of architectural drawings formed by the architect Sergei Tchoban. He shares much in common with the nineteenth-century architect and collector Sir John Soane

Jerzy Kierkuc´-Bielin´ski

he origins of the ‘Afro’ pick are thousands of years old and in fact it was community responses to a 3,500 year old comb that prompted the research for the present exhibition. Found in a burial at the site of Abydos in Egypt (Fig. 1) this comb was carved from animal bone by an unknown artist and features a cultural symbol on the handle in the form of a set of bull’s horns. Although at first glance these two

n 1809, Sir John Soane opened his collections of architectural models, antiquities, casts after the antique and architectural drawings to his students at the Royal Academy for their study. As Professor of Architecture at the Royal Academy, and as one of the foremost architects working in Britain, he was very conscious of the

A SARTORIAL TALE EVENING WEAR FOR MEN THE STYLE & THE TIMES

The fine fashion mores of The Prince of Wales and Fred Astaire guided men’s evening wear in the early 20th century with white tie and tails being elevated to iconic status in Depression escapism style. Following an evolution of ready to wear and rental options, silver-screen elegance could be accessed by the mass market

central importance of architectural drawing to both students and practising architects. The architectural drawing was a tool for exploring architectural ideas, it was a way of explaining structure, mass, volume and ornament and it was a tool for recording buildings. By his death in 1837, Soane had amassed a collection of 30,000 architectural drawings, including works by some of the most significant architects that Britain has produced such as Sir

DRESS CODE In the English speaking world formal evening dress, ‘Top Hat, White Tie and Tails’ is strictly regulated, comprising: Black or midnight blue dress coat (commonly known as an evening tailcoat) with silk (grosgrain or satin) facings, horizontally cutaway at the front Trousers of matching fabric with one single wide stripe or two narrow stripes of satin or braid in the United States and Europe, worn with braces (called 'suspenders' in the US) White plain stiff-fronted cotton shirt (usually cotton marcella, known as piqué in the US)

Above: (Fig.1) Egypt: Early dynastic period (1st-2nd Dynasty 3400–2980 BCE), comb made of animal bone. recovered from burial site at Abydos, decorated with cultural symbol in the form of a set of bull's horns. Fitzwilliam Museum

White stiff detachable wing collar White bow tie (usually cotton marcella) The Prince of Wales’ personal midnight blue, white tie and dress suit by his London tailor Frederick Scholte, the shirt with mother-of-pearl studs. The Prince’s dress Albert chain with matching watch and cigar cutter to fit in the tailored starched white waistcoat were not sold with this suit at Sotheby’s. As a point of interest, trousers should be higher and held up by braces

Right: Wooden (ebony) hair comb. Combs featuring similar decoration have been found in Zanzibar, South Africa, Nigeria, East Africa and Egypt. Fitzwilliam Museum Far right: Iconic black fist comb designed by Anthony R. Romani in 1972

White low-cut waistcoat (usually cotton marcella, matching the bow tie and shirt) Black silk socks or stockings Black patent leather court pumps (with black silk bows) Miniature decorations, if so entitled

Johann Philipp Eduard Gaertner (1801-1877), View of St Basil’s Cathedral, Moscow,1838 © Tchoban Foundation

100 World of Antiques & Art

OPEN 4 DAYS 10 am - 5 pm

OF THE PAST

Sir Joshua Reynolds (English 1723-1792), Miss Sara Campbell, 1778, oil on canvas, 124.3 x 99 cm. Illustrated on catalogue cover of Paintings and Drawings from Agnew’s, London, 28 March-19 April 1973

DRAUGHTSMEN

SALLY-ANN ASHTON

Terry Ingram he curtain has fallen on the art dealership which put one of Millais’ most saccharine works Puss in Boots on show in Melbourne 123 years ago. The work may eventually have ended up in Dundee, but through Agnew’s Gallery many more serious art works now reside permanently in Australian collections. The closure of Agnew’s in London’s Mayfair has severed yet another valuable direct link between Australian collectors and the international art market. Since 1888 when Puss in Boots showing a young girl with kittens playing in boots, was exhibited at the Melbourne Centennial Exhibition along with works by other fashionable painters of the day, Agnew’s has pursued among its peers a rare devotion to the Australian art market. Not many of the works they handled were as kitsch as Puss in Boots nor did others rise quite to the stature of Titian’s truly iconic Rokeby Venus which the gallery steered into London’s National Gallery. But Australia’s national patrimony has been much enhanced by access to an ever changing stock of art that has turned up in the course of Agnew’s work over more than a century. The gallery will be remembered by older visitors when it was in Old Bond Street with its plush velvet curtains and wall coverings. The curtains came down there in the 1990s. In its last days the gallery was a stone’s throw away from the original in much smaller premises on Albermale Street. There it was managed in its final days principally as a contemporary gallery

GREAT ARCHITECTURAL

The afro comb originated 6,000 years ago and has made a great impact on world-wide culture. From archaelogicol finds to modern work these combs of remarkable beauty form a crucial insight into our understanding of culture across Africa and the Diaspora

28 World of Antiques & Art

54 World of Antiques & Art

John Hawkins

he evolution of evening wear for men was impacted by royalty of the Hollywood variety as well as by those of the iconic British family. For example, many menswear authorities assert that the bottom of the waistcoat should not be visible below the front cutaway of the tailcoat. This has been the prevalent view in the United States since the 1920s when American film and Broadway dancer and actor Fred Astaire popularised the look of the unbroken black line from head to toe, thereby lengthening his silhouette on-camera. The Astaire look was created from the evening wear worn by the young British Princes of the blood, the sons of George V, to London night clubs such as the Café de Paris in the late 1920s. Full evening dress is the most conservative form of dress for men and has changed little since the 1860s when, under Prince Albert (of the chain), the bottom of the waistcoat was visible below the cutaway of the tailcoat. Although full evening dress or ‘white tie’ is traditionally considered correct only after 6 pm, some etiquette authorities allow for it anytime after dark, even if that means prior to 6 pm. The equivalent formal attire for daytime events is morning dress while a less formal evening counterpart of white tie is black tie. Remarkably, the finest chapter in the history of evening dress was the Great Depression — for at a time of extreme financial hardship, the wealthy elite maintained an after-six wardrobe

18 World of Antiques & Art

Collecting Trends Art Events Around the World International Exhibition Reviews Collectors & Collections Book Reviews

world of

Antiques

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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

ISLINGTON ANTIQUES

in Newcastle since 1990 W elcome to over 2000 square feet of antiques and collectables and furniture from Victorian through to retro. At Islington Antiques we have a special emphasis on quality Art Deco furniture at affordable prices, most lovingly restored by our skilled craftsman. If you want a special piece restored, we will do it in our own workshop. Stripping, polishing, lock repairs and mirror resilvering are a few of the services we offer. We restore old brass beds, including converting a double to a queen size bed. Royal Doulton is one of our specialties, in a showroom housing an enormous range of

Antiques and

art

quality china and porcelain. We have 1500 Royal Doulton pieces in stock including dinner service pieces, Series Ware, Bunnykins and Flambé. We also sell and stock a selected range of new Royal Doulton.

MIRRORS FOR EVERY ROOM In our mirror showroom is a selection of modern, traditional and Art Deco mirrors displayed in all their different shapes and sizes. If you are renovating, redecorating or building we have a mirror for every room in your home – from lounge and dining to bedrooms and bathrooms. Decorator pieces are another enhancement to

now available as an online edition

www.worldaa.com 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. Newcastle, the gateway to the Hunter Valley, is a leisurely two-hour drive from Sydney. Please visit us on your next trip. We can arrange freight Australia-wide. ISLINGTON ANTIQUES 02 4961 0533

NEWCASTLE

The Centenary Antique Centre Newcastle

CELEBRATES ITS 20TH ANNIVERSARY T he devastating Newcastle earthquake of 1989 damaged the building housing the Beaumont Street Antique Centre. The owner managed to salvage it and finally business returned to normal, but in 1993 the premises was put up for sale. A handful of determined dealers thus began the search for a new home. Soon after, businessman, property developer and antique lover Richard Owens was approached and he offered his old wool storage warehouse, which was over 100 years old – offering to not only house the new business but also to manage it. With its generous space and rustic atmosphere, the large, historic building had just the right mix of practicality and atmosphere the dealers were looking for. So on 19 March 1993, The Centenary Antique Centre was born, and this year celebrates its 20th year of successful trading. Currently it is not only the longest running antique centre in Newcastle, but also rates amongst the oldest and most successful centres in the whole of New South Wales.

SIZE MATTERS Since those early years, trading has improved so much that the centre has increased to approximately four times its initial size and now boasts around 1400 square metres of antiques and collectables, making it also one of the largest antique centres in Australia. The number of shops has also increased – from the original 14 to around 30! The antique trade in Australia is traditionally a very transient one, so it is amazing that six of the original 14 dealers that began at the centre in 1993 still remain today. Following are descriptions of their wares and treasures.

SHOP 29: OLD TECHNOLOGY Kim Wallace Wells is a man of many talents. Not only is he the resident gemmologist and jewellery valuer; he also is arguably the largest dealer in Moorcroft pottery on the coast of New South Wales. However his

specialty is genuine, antique jewellery and he offers a magnificent and large array.

SHOP 13: PATINATIONS

Motivated by the love of her country-based childhood in rural Victoria, Patricia Mitchell is passionate about Australiana, in particular, Australian postcards and beautifully illustrated children’s books as well as Australian pottery and china. She also stocks small, personal items such as delicate linens and lace, country kitchen wares and small rustic items.

SHOP 2: THE PAISLEY SHAWL Though living much of the last 20 years in France working Paris's famous Les Puces market, Jutta Perceval has remained loyal to Centenary, returning annually to Newcastle to restock her shop with little vintage French treasures. Though residing in Newcastle again, Jutta travels back whenever she can to track down unusual and fashionable items – her buttons, brooches, trinkets and fabrics make the ladies drool!

glass and kitchenware, she is often referred to as ‘The Button Lady’ as her passion is sewing items from the past – fabrics, patterns, lace, braid and trims, craft and sewing tools. She is a specialist in antique and vintage buttons, and offers a huge range as well as expert knowledge and advice.

WIDE RANGE ON DISPLAY Recently, some long-term customers, both experienced and well-travelled, approached staff to praise the centre, declaring it to be ‘the best antique centre in Australia’. They are not alone in their compliments as customers from far and near return to enjoy the wide range of antiques and collectables on display. However, the dealers, when asked why Centenary is so successful today, are almost unanimous in the belief that it is the happy mix of dealers and the support they give each other.

CELEBRATE WITH US! MONTH LONG CELEBRATION WITH PRESENTS FOR VISITORS Visit during our birthday celebrations in November and take advantage of our month long celebration, where you get the presents! Centenary is having a huge, store-wide sale offering discounts of up to 30% and more on many items throughout the store! The Centenary Antique Centre is nestled in the heart of the new harbourside development – The Honeysuckle Precinct – and is open 10 am till 5 pm, 7 days a week except Christmas Day, Boxing Day, New Year’s Day, Good Friday and Anzac Day. Entry to both the onsite Grocery Museum and the antique centre is free. We look forward to meeting you! Narelle Ward Collectors’ Cottage (Shop 7) at CENTENARY ANTIQUE CENTRE 02 4926 4547

SHOP 5: B’S COLLECTABLES Brian Dobinson or ‘Mr B’, as he is affectionately known, is a man of few words however he collects big! And although his shop is one of the smaller stalls in Centenary, it is literally packed to the roof with quirky, retro collectables, Australian pottery and anything of a 19th or 20th century vintage.

SHOP 3: LESLEY’S TREASURES Lesley Busteed’s favourite past time is travelling, and nothing makes her happier than to pick up interesting stock along the way. Her shop offers an exciting mix of treasures from antique, costume and new jewellery to vintage cameras, glassware and china. She also has an ever-changing array of modern and replica deco and leadlight lamps.

SHOP 9: THE BUTTON BROKER Though Robyn Greenwell stocks vintage clothing and accessories, toys, antique china,

ale S y a rthd i B r e emb v o N GE

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 Antiques and

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HAMILTON Right: Fig 4: Georgian style chair, probably English, added cedar panel, reupholstered Below: Fig 3: Chiffonier, maker unknown, late 19th century, cedar panels, carved backboard features Prince of Wales feather to centre

Fig 1: Chiffonier by Joseph Sly (1802-1887), c. 1850, Australian rosewood and cedar

Fig 2: Wardrobe, maker unknown, late 19th century fitted with secret compartments

Right: Fig 5: Cedar chest of drawers, maker unknown, c. 1850s, set on turned and carved feet

HUNTING FOR FINDS IN THE HUNTER ven though Australian colonial furniture dates to the 1800s, it is still often hard to trace the origins of examples made during that time. Customers are always interested in the story behind a piece of furniture or its provenance and a few such items have turned up recently in the Hunter Valley. How they got to where we found them is usually a mystery but sometimes, some of the history is known or discovered.

POPULAR COLONIAL CABINETMAKER The lovely chiffonier pictured (Fig. 1), for example, circa 1850, was manufactured by Joseph Sly (1802-1887). It has all the hallmarks of Sly’s fine cabinetwork and is typically stamped ‘J. Sly’ – found on the centre panel on the rear of the cabinet. In 1834 Sly arrived in Sydney from London and became listed as a cabinetmaker in the directories of

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

The Hunter’s largest selection of genuine Australian antique cedar furniture, most of our stock is pictured on the website: www.rarefindantiques.com.au Opening hours: Saturdays 10 am - 4 pm or by appointment. We are there most of the time as we live on-site. Chiffonier made by John Osborne of Singleton in 1863

38 Denison St, Hamilton Ph 02 4969 3801 Mobile 0418 684 724 68

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1835 to 1861. He worked in various locations up and down Pitt Street in Sydney. Well known for his superior cabinetwork, Sly supplied furniture for prominent colonial families, including James and William Macarthur at Camden Park in Sydney, and their brother-inlaw, Dr Bowman, at Lyndhurst in Glebe. Indeed The Sydney Morning Herald, 20 March 1850, informed its readers that ‘The superiority of Mr Sly’s manufacture having now been established and maintained for so many years renders any kind of recommendation from the Auctioneer quite needless.’ Some of his lovely pieces are held by the National Trust of Australia (NSW). This particular chiffonier has extensive crossbanding across the drawers, top and shelf. The doors have book matched cedar panels and the interior shelves are adjustable. One interesting feature is that the astragal (strip closing the gap between the doors) on the bottom doors is Australian rosewood, which matches well with the cedar but is much harder and remains undamaged. Although such an identifiable pedigree may not be attributable to other pieces in store at present, many still showcase the fine workmanship of earlier times.

WARDROBE’S SECRET VALUE The wardrobe (Fig. 2), although not particularly early, is in lovely original condition. This piece also offers two secret compartments which have been there since it was made. One compartment is next to the bottom drawer and hidden behind a screwed panel, which is a fitted box, locked into place between two supports. A second compartment is within one of the internal drawers and has a false bottom creating a void the size of the draw and about an inch deep. A panel slides and then lifts to expose the secret space.

The handsome Georgian chair (Fig. 4) is probably English and has lovely early turnings and a highly figured cedar panel across the front, which may have been added later.

LOCAL RARE FIND The very early cedar chest (Fig. 5) was discovered in the Hunter Valley. It is full cedar and the cabinetwork is reminiscent of the English cabinetmakers’ style with fine dovetails – indeed the whole carcass is made like a dovetailed box. One interesting feature which is rarely seen on Australian chests of drawers is the turned and carved feet, again indicating its early form. The drawers all have dust covers and the timber throughout has outstanding figure and is very dense, as you would expect from such an early piece. Last is the large cedar sideboard (Fig. 6) which, although not particularly early, is extremely appealing and has outstanding carving to the backboard. Made not too far away in the Grafton area from locally cut cedar, the sideboard has some lovely wear on the cabinet. Obviously people and their furniture moved around quite a bit and it is often hard to discover the full story but if something is good, it shouldn’t matter where it came from or where it was found. Michael Lee RARE FINDS 02 4969 3801 / 0418 684 724 rarefind@bigpond.net.au www.rarefindantiques.com.au

FINE DETAILS The second chiffonier (Fig. 3) has no maker’s label but has an astonishingly carved backboard with lovely scrolls and Prince of Wales feather carving to the centre. Again, there are choice cuts of cedar and nicely turned half columns on the doors. Of full cedar construction, the top of the large and impressive blind bookcase has been fitted out as a folio cabinet with many compartments and pigeon holes to accommodate files and documents. The top and bottom doors also have lovely ribbon grain cedar panels.

Fig 6: Cedar sideboard made Grafton area by unknown maker, late 19th century

NEWCASTLE / HUNTER VALLEY

NEWCASTLE & HUNTER VALLEY ANTIQUES TRAIL

featuring bed & breakfast accommodation and art galleries 1

The Centenary Antique Centre

Islington Antiques

105–111 Maitland Road, Islington, Newcastle

UNIQUE ANTIQUE ECLECTIC

Ph: 02 4961 0533

29 Centenary Road, Newcastle

OPEN Friday, Saturday, Sunday

Ph: 02 4926 4547

& Monday 10 am – 5 pm

OPEN 7 days, 10 am – 5 pm

Trading in Newcastle for 20 years.

28 shops under the one roof:

We stock a large and varied range of

Newcastle’s largest antique centre and home

quality furniture, china and collectables

to the Old Grocery Store Museum.

in our 2000 sq ft showroom.

Antiques & Collectables on Darby 2

Memory Lane Antiques & Decor 82 Elder Street, Lambton (opposite Lambton Park)

1/158 Darby Street, Newcastle

Ph: 02 4957 8233

Ph: 02 4926 3003

OPEN Monday to Friday 10 am – 4.30 pm

OPEN 7 days, 10 am – 5 pm

Saturday 9 am – 3.30 pm. Closed Sunday & Public Holidays

15 dealers: collectables, china,

Affordable antiques – interesting china,

glass, jewellery, furniture and smalls.

jewellery, lamps and clocks. A range of items to suit the discerning buyer.

Boutique splendour.

Brunker Road Antiques

WINNER of Hunter Small Business Awards 2011 Antiques and Gifts

35 Brunker Road, Broadmeadow

OPEN Friday – Sunday 10 am – 5 pm

Heartland Antiques & Arts

The place to come when you want

321 High Street, Maitland

something different.

Ph: 02 4933 9923

Mob: 0437 417 512

OPEN Six days 10 am – 4 pm. Closed Tuesday Most unusual mix of decorator pieces and

traditional antique furniture along with old

Coliseum Antiques

pine and period styles, china, chintz,

118 Maitland Road, Mayfield

pottery, paintings, posters and prints. All

Ph: 02 4967 2088

things suitable for furnishing a country

OPEN 7 days 10 am – 5 pm

house, a farmhouse, a weekender or the

A large centre within a heritage building.

odd ranch with both flair and decorum.

Buying and selling: furniture and collectables,

Steptoes

huge selection. Coffee shop and art sales Georgian – Victorian – Retro.

105 Lang Street, Kurri Kurri Ph: 02 4936 1511 OPEN Monday – Friday 9 am – 5 pm

Ambleside Antiques Cottage

The largest antique and second-hand

108 Maitland Road, Islington

furniture warehouse in the Hunter.

Ph: 02 4962 1532

Furniture is our forte.

Saturday 9 am – 3 pm Sunday 10.30 am – 3 pm

Enquiries: gayleandy@bigpond.com

Rare Find Country Antiques

OPEN 10 am – 5 pm. Closed Tuesday

Attractive decorator pieces to enhance your home or that wanted item to add to your

38 Denison Street, Hamilton

collection. Large affordable range: linen,

Ph: 02 4969 3801, Mobile: 0418 684 724

tools, glass, china, furniture, jewellery, sewing items. Ample free street parking nearby. Air-conditioned.

Open by appointment only

TO ADVERTISE ON THIS PAGE PLEASE PHONE 02 9389 2919

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

Specialists in Australian antiques, specialising in cedar.

Antiques and

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Kurrajong Antique Centre

The Junkyard

WINDSOR & THE HAWKESBURY

Antiques & Collectables Trail indsor and the Hawkesbury is reestablishing itself as a great destination for antiques, collectables and old wares. Windsor is a comfortable drive north west of Sydney in the picturesque Hawkesbury Valley. It is a popular short break, weekender and day trippers’ location. It is also a popular stopover point for city folk heading to the Blue Mountains, Hunter Valley and Central West as well as the North and South Coasts. Windsor boasts some magnificent historic buildings, its own paddle wheeler and horse drawn restaurant with the region being home to great national parks and the picturesque Hawkesbury River. Windsor and the Hawkesbury is also home to 19 unique antiques, collectables and old wares shops within a short drive of each other. On Sundays, you can enjoy the Windsor Craft Market in the mall from 9 am – 4 pm. If visiting on a Saturday you must fit in a visit between 10 am and 2 pm to Empire Beds. Phil and Peter Jurd’s workshop is good fun for blokes and fascinating for iron and brass bed enthusiasts. Phil has been ‘in beds’ for over 25 years and this is Sydney’s one-stop brass bed shop for made-to-order, restoration and extensions from double to queen. In the middle of town in the pedestrian mall at 149 George St, stands Guy Stuff Gifts and Collectables, a blokey paradise. Featuring over 5000 collectables for sale, almost all of which are male-oriented, this mega store of over 400 square metres offers a vast array from which to choose. This includes limited edition die cast model cars and aircraft, Royal Australian Mint coins, collector pins, aviation

Peter and Phil Jurd, Empire Beds

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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.

John Koster, Kostercraft

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

Maureen Partridge, Thompson’s Country Collectables

Darren & Lucille, Guy Stuff Gifts and Collectables

Megan Wood, The Bank Bazaar

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

Antiques and

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WINDSOR

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 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 collector’s dream come true. Guy Stuff Gifts and Collectables, located in the middle of the pedestrian mall at 149 George Street, is a 400 square metre retail store with over 5,000 different collectables on sale. Ninety-nine per cent of the items in this mega store are male orientated. Some of the vast array of collectables 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, CocaCola, Aviation, Ford and Holden memorabilia, movie collectables and more.

GUY STUFF PRODUCT FEATURE: NED KELLY MEMORABILIA

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)

Antiques and

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

Authorised Dealer

Edward (Ned) Kelly (1855-1880), the bushranger, was born at Beveridge, Victoria, the eldest son of John (Red) Kelly, an Irish exconvict transported for stealing two pigs and his wife Ellen (nee Quinn). Views about Ned Kelly are mixed. Some opinions hold him to be a police murderer and criminal, while others regard him as the iconic folk hero and see him in the light of an Australian legend. Following an incident in April 1878, Kelly became a wanted man by Victorian police. In October that year Kelly and his gang–consisting of his brother Dan Kelly, Steve Hart and Joseph Byrne–ambushed the police camp at Stringybark Creek. Constables Lonigan and Scanlon and Sergeant Kennedy were killed. For the next two years the Kelly gang eluded the police. The final confrontation occurred in the Victorian country town of Glenrowan in June 1880. The gang, wearing armour made from plough mould boards that gave them a false sense of invulnerability, were killed. Kelly, in his infamous metal headpiece and home-made body armour, was captured.

Kelly’s trial for murder was held on 28-29 October in Melbourne. He was convicted and sentenced to death by hanging which occurred on 11 November at the Melbourne goal. It is believed that his last words were ‘Ah well, I suppose it has come to this’, or ‘Such is life’. 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

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

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

surfing beaches. Newcastle has a large working harbour, its entrance guarded by Nobby’s breakwater and lighthouse, probably the most famous Newcastle icon.

THE MAITLAND REGION Maitland is a lovely heritage city in the heart of the Hunter Valley, a short drive from the famous Hunter Valley vineyards and acclaimed wilderness areas. Just minutes from Maitland you will discover the most delightful villages and towns. East Maitland: The original city site, this is an architecturally heritage-rich town with many beautiful buildings to appreciate including churches, the old Maitland Gaol and great antique hunting opportunities. Rutherford: A few minutes on the other side of Maitland is Rutherford, home to the historic Annanbah House, where the Australian movie 15 Amore (2000) was filmed, with still more antique hunting to enjoy. Lorn: Located just over the bridge from Maitland is Lorn. Fine examples of Federation houses, together with wonderfully preserved late Victorian homes set in magnificent gardens, make this place a true delight. Enjoy the Heritage Walk or just indulge in more antique hunting. Bolwarra: Just a few minutes along the road is Bolwarra with even more charming historic homes and gardens and even more antique hunting. This lovely town sits on the edge of some of the most beautiful, gentle farmland in the region.

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

art

BLUE MOUNTAINS

STEELREID STUDIO for original art & giclee excellence teelReid Studio is a doll’s house installation, staging artwork. It is a collaboration between Pennie Steel and Brian Reid which manifests in painting, drawing and graphics, sculpture and digital images.

GLICLEE DIGITAL PRINTS A visit to their studio in Katoomba will enable you to view a large number of original works,

which are available as reproductions by the giclee method of printing. These reproductions are of exceptional quality, depth and texture. Prints are priced according to size and are available in two sizes: 121 x 91 cm and 770 x 570 cm. Other sizes are available on request. All prints are on museum quality archival, acid free canvas and are un-stretched. Scanned directly from the original artwork by the world’s only scanning system designed

for fine art reproduction combined with the giclee printing methods produce amazing and accurate reproductions. Giclee captures the colour and detail of original artworks by using high-tech, large format printers with twelvecolour pigment archival inks. Such quality UV enhanced pigment inks give long lasting vibrant colours which are fade resistant for over 85 years. For added preservation, finished prints are sprayed with a protective surface.

ABOUT THE ARTISTS

steelreid studio KATOOMBA

Pennie and Brian are artists with 45 years of professional practice each, including university studies and visual arts teaching. Their many qualifications and awards as well as the numerous exhibitions in which their works have featured are detailed below.

PENNIE STEEL Qualifications: Dip. Art Ed; Bach. Ed. Art; Grad. Dip. Fine Art; Master of Letters Visual Art and Design. Awards & prizes: Sunshine Coast Show; Caloundra Show; Sunshine Motorway Prize; Maroochy Art Prize; Noosa Art Show Award for excellence; Maroochy Shire; RADF grant. Solo exhibitions: Noosa Regional Gallery 1998; Gallery Panache Mooloolaba 1990; Eaglehawk Gallery, Childers Regional Gallery 1992; Blue Marble Gallery Buderim 1993; SteelReid Gallery 1999.

PRIVATE VIEWINGS BY APPOINTMENT DAY OR EVENING 7 DAYS Baroque Still Life

Antiques and

18a First Ave Katoomba NSW 02 4782 6267 or 0414 369 696 steelreid@bigpond.com

art

Group exhibitions: Peter Laws Interiors. Painters Gallery 1978; The Cottage Gallery, Art Teachers Exhibition Department of Education, Sydney, 1981; Contemporary Art Society Adelaide, The Alice Art Prize, Whyalla Art Prize 1986; Stanthorpe Art Prize 1988; Hyatt Regency Coolum, Blue Marble Gallery, Noosa Regional Gallery; Sunshine Art Show; Caloundra Art Show; ACTA Touring Maritime Awards 1989; Maroochy Arts Festival, Blue Marble, Sunshine Coast Art Group, 1990; Queensland Arts Council, Logan City Art Prize, Space Base Sydney, Hyatt Regency Coolum, Bundaberg Art Prize, Noosa Regional Gallery, 1991; Noosa Regional Gallery, Childers Regional Galley on Norfolk Island, Noosa Art Show, Fischer’s Ghost, Blue Iris Gallery, Immanuel Lutheran Collage, Hyatt Regency Coolum, Noosa Art Show, Atelier de Séguret, France, 1992; Hyatt Regency Coolum, Andrew Vincent Gallery, La

Plage, Noosa Art Show, Maroochy Art Show, Buderim House, 1994; Noosa Regional Gallery, 1995. Doggett St Gallery, Atelier de Ségure, France, 1996; Madonna's Lily, Harold Richardson Drawing Prize, SteelReid Gallery, 1999; Evergreen Gallery, Charles Ginn Gallery, SteelReid Gallery, Brisbane City Hall Gallery, 2004. Berkley California 2012. Collections: Mallesons, Stephen Jaques; Hyatt Regency Coolum; Maroochy Shire Council, SA College of Fine Art; Atelier de Séguret, France; Private collections in the UK, France, Switzerland and Australia. Publications listed in: Artists and Galleries of Australia; Women Artists of Australia; Who’s Who NAVA.

BRIAN REID Qualifications: Visual art studies: Canterbury University, Christchurch, New Zealand (Painting Dip FA); and City Art Institute (COFA UNSW) Sydney (GDVA Electromedia, B.Ed Art). Exhibitions: Solo and group exhibitions as well as touring New Zealand – Christchurch, Whangarei, Kerikeri, Auckland, Wellington, Dunedin, Hamilton; Australia – Melbourne, Adelaide, Alice Springs, Sydney, Brisbane, Gold Coast, Mullumbimby, Blackheath. Visual art teaching: Tertiary – Canterbury University, Christchurch, New Zealand; Auckland Society of Art; WEA Flinders University, Adelaide; Nepean CAE (UWS); St George Institute of Education, Oatley (UNSW); City Art Institute (COFA); Sydney University; Seaforth College (TAFE). Secondary – Whangarei Boys HS (Head Of Department); Seddon HS Auckland (HOD); St Marys College Adelaide (HOD); SCECGS Redlands Cremorne; The Kings School Parramatta North (HOD); Bradfield College TAFE (HOD). Visiting / resident artist and art teacher, Brisbane.

STEELREID STUDIO – A WORLD OF ART Located in Katoomba, the SteelReid Studio is set in stunning bushland and is open by appointment. Come and meet the artists and enjoy and experience the many artworks they have on display.

STEELREID STUDIO 02 4782 6267 / 0414 369 696 steelreid@bigpond.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

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 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 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.

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

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.

BLACKHEATH, BLUE MOUNTAINS

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

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

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 Antiques and

art

CLYBUCCA

Figure 3

Figure 2

Figure 1

LAMP CHIMNEYS G lass chimneys were used as far back as the late 1780s when Aimé Argand adapted his newly developed burner to use a glass cylinder for better combustion of the flame. At that time, and well into the early 1800s, only a few makers of lamps had developed burners using chimneys for better combustion. Lamps like Sinumbra, Argand and Carcel were very expensive. It was not until 1849 that kerosene was discovered, sparking a revolution in lighting. It was relatively cheap, readily available and most importantly very safe, unlike camphene, a substance used in the 1840s-50s, and which was highly explosive. The first lamps made for kerosene were much the same as earlier heavy oil burning lamps. In fact, just as in the early 20th century many 19th century lamps were converted to electricity, many lamps from the 1850s were converted to kerosene. This was achieved by simply exchanging the burner to one developed for kerosene. Over the next twenty years many new burners were developed to improve the light output and then changed in size depending on their intended use. For example, you would not use a double wick burner as a night light. To get the intended light output from a burner, the correct chimney must be used otherwise it will not perform to the manufacturers’ specifications and may even smoke. Interestingly, in high altitude areas it is necessary to have a taller chimney for the correct combustion. The most common burners are simply called flat wick burners, although they were made by many different manufacturers all claiming theirs was better! They had usually four prongs to hold the chimney, a single flat wick and came in four sizes Gem – 1 1/2” fitter, #0 or E – 2” fitter, #1 or A – 2 1/2” fitter, #2 or B – 3” fitter. There were different shaped chimneys for the same burner depending on application. For example, a table lamp used in a bedroom with a B burner would normally use a Pearl top chimney because it was a bit more decorative.

If the same lamp was used in the kitchen, it probably would have used a plain top chimney. There was no need for the decoration and it was cheaper [Figures 1 & 2]. Decorated chimneys for these burners basically dressed up a cheaper lamp where a shade could not be fitted or afforded [Figures 3 & 4].

Figure 7

constriction about 5 cm from the base. The idea of the burner chimney combination is to provide a smaller whiter flame. The whiter the flame the brighter the light, however, a large flame does not necessarily mean a brighter flame. Kosmos burners were made in 6 line – 1 5/16” fitter, 8 line – 1 3/8” fitter, 10 line –

discovered sparking a revolution in lighting. It was relatively cheap, readily available and most importantly – very safe

”

Other burners had a clip and screw mechanism instead of prongs to hold the chimney in place, so the chimney had to have a flared fitter to secure to the burner [Figures 5 & 6]. These types were used on table lamps, ship’s gimbal lamps and in railway lamps, because the chimney was held so securely that there was little chance of it falling off when the lamp moved. The duplex burner – two wicks side by side – used a chimney with a 2 1/2” fitter. This is the same size as an ‘A’ chimney. But if this chimney was used the burner would smoke before it reached full flame, as a duplex burner needed a taller chimney of about 25 cm [Figure 7]. Duplex burners also used a chimney with an oval bulge to aid combustion. Kosmos burners have been made since the 1860s and are one of the best flat wick burners. They use a flat wick but the burner is remarkable in that it rolls the flat wick into a round wick, making it extremely compact for the amount of light it produces. The burner and chimney were designed to make a cone of flame and the chimney is a tall cylinder with a

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/

art

Figure 6

“

●

Antiques and

Figure 5

It was not until the mid 1800s that kerosene was

Antique, old and new Kerosene Lamps

Figure 4

11/2” fitter, 12 line – 1 3/4” fitter, 14 line – 2 1/16” fitter and 16 line – 2 5/16” fitter [Figure 8]. Kosmos also made burners with a flame spreader which forced the flame out into a circle, using a different chimney with a bulge instead of a constriction [Figure 9]. Central draft lamps, like the Miller, B&H, Rochester etc. used a very similar chimney to the duplex round except they were usually an inch or so taller for the #2 size burner. There were of course different sizes like #0 or junior – 1 9/16” fitter, #1 – 2” fitter, #2 – 2 5/8” fitter, #3 – 4” fitter, but the shape was basically the same just scaled to the size of burner. The early mantle lamp burners such as Wonder used just a straight cylinder as a chimney [Figure 10]. Other makes like Kronos and Canchester used a cylinder flared out to the base about two thirds of the way down [Figure 11]. Night lights were a welcome invention for use in the bedroom. The lamp could be left on all night in case one had to get up during the night. They cast enough light to see around the room without bumping into things and to light a hand lamp. They were a lot safer than candles, especially in a child’s room. The burner was tiny and used a wick similar in size to a shoelace. The chimneys were usually white glass and did not need to be very tall, just big enough to cover the flame and so protect it from drafts [Figure12]. There were a few different grades of chimney, depending on how much the purchaser could afford and the intended use. The most common grades were a high grade lead glass, a fine flint glass or a quality lime glass being the cheapest. So a person who bought a high grade lead glass chimney expected it to last much longer than a lime glass chimney. Sadly today there are very few chimney manufacturers, but high quality glass chimneys are still available to complete that special lamp.

Figure 8

Figure 9

Figure 10

Figure 11

Figure 12

Juergen Weissner THE EVERBURNING LIGHT 02 6565 0104 oil-lamp@zip.com.au www.zipworld.com.au/oil-lamp

SOUTHERN HIGHLANDS / WINGEN

BRAEMAR

BERRIMA

THE OLD POT FACTORY 44-54 Old Hume Highway Braemar NSW 2575 Tony Healy 0419 417 721 Specialising in architectural antiques, particularly the restoration and sale of marble fireplaces. Also deal in spectacular and monumental pieces for the garden, marble and stone statues, cast iron urns, fountains, marble and stone gazebos.

MOSS VALE

Sutton Forest

VILLAGE ANTIQUES A TOUCH OF BRASS Jellore Street, Berrima 2577 02 4877 1366 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 half-tester beds, French beds, etc. All sizes.

MITTAGONG 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

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.

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.

VISIT THE HIGHLANDS

BestRegional Attraction*

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

B URNING M OUNTAIN

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

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

* WINNER

BEST

OF THE 1999 SOUTHERN HIGHLANDS OUTSTANDING BUSINESS AWARD FOR

REGIONAL

ATTRACTION

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

OPEN 7 DAYS • TELEPHONE: 02 6545 0235 Antiques and

art

P. Bessa, Australian Hibbertia, c. 1828

‘Glider - Flying Opossum’, Philip’s Voyages, c. 1789

Endeavour aground for repairs, Moore’s Voyages, London, c. 1790

ANTIQUES RECORDING DISCOVERIES efore the invention of the camera and photography in the early 19th century, images had to be drawn by hand – with varying degrees of accuracy according to skill and artistic interpretation. To be able to produce more than one image a sketch had to be made on a base for printing: the surface surrounding an image was carved away from a drawing on a woodblock; an image was carved (in reverse from a mirror image) into a wood or metal plate; or (with greater fluidity) an image was drawn on a very smooth stone. This base plate was inked to produce a number of prints on paper. Prints recording geographical exploration are known simply as maps.

PRINTS & MAPS AS ARTWORK While many prints were created as individual artwork, even more were printed for

publication in grand books and magazines, journals and newspapers. This artwork has always been appreciated, and as stitches and glue of the spines of books became brittle from years of poor handling, the engravings often came adrift. It is amazing that they have survived at all as pieces of paper, but there has been a long tradition of decorating with antique prints. Down through the centuries, as well as framing the finest prints and maps, grand houses had a print room where coveted engravings were displayed – sometimes not even framed, closely arranged and pinned to cover the walls. Decorating with prints was not only enjoyed by the wealthy. Engraved pictures in newspapers were cut out, handcoloured and pinned to the walls of even modest homes. Perhaps the creative skill of

this early artwork was not recognised, but limitless choice of subjects provided enjoyment for everyone.

ANTIQUE PRINT COLLECTING A framed group of a certain flower or bird that has been drawn, and engraved or lithographed by different artists at different periods, makes an entertaining presentation. An antique map surrounded by prints of different subjects published at the same date, or from the same region, provides an interesting group. Each antique print or map tells a story – whether they are conventional or strange, and whether they are really old or surprisingly modernlooking despite being over 100 years old and perhaps even 400 years old. The majority of antique maps and prints are selected for their decorativeness and are framed and hung on the wall, but antique prints and maps are sometimes collected and kept in drawers for private viewing.

AUSTRALIANA EXHIBITION

ANTIQUE PRINT COMPANY

For thousands of interesting, decorative, rare antique maps & prints • Maps of early Australia and all of the world - from c. 1600 • Early Views: coastal, maritime, country, city, architecture • Natural History: flowers, birds, mammals, reptiles, fish, insects • People: portraits, caricatures, military, sporting, children, fashion • Entertainment: music, theatre, strange customs, craft & artefacts

Antique Print Club has a huge selection of antique maps and prints that are available online at www.antiqueprintclub.com. They are also available from the Antique Print Clubhouse in Neranwood in the hills behind the Gold Coast, and from the Brisbane Antique Centre at M1, exit 30, on Brisbane’s southside. In addition to this, in September and October they are available from the Brisbane Antique Emporium in Clayfield, with an exhibition of Australiana themed works available for sale from Sunday, 1 September. It’s a great opportunity to acquire your own piece of Australian history! Antique maps of all regions from circa 1600 include various European theories of Australia. French hand-coloured stipple-engravings dating circa 1800 are among the most beautiful head studies ever done of Aborigines of New Holland (as Australia was then known). Scientific recordings were done by naturalists on early expeditions, and engravings were made from these and from specimens returned to Europe during those voyages and the early years of Australian settlement. Particularly colourful are the exquisitely engraved aquatint,

copperplate engravings and lithographs of Australia’s native plants and flowers. Australian fauna are shown as unusual shapes from the time of the first fleet, and in beautiful large hand-coloured lithographs of John Gould birds and mammals. Early views of Australia fascinate people of all ages. Views of capital cities not only show us the grandness of early architecture, but also remind us of the difficulties faced before development, and before the adoption of clothing more suitable to the Australian climate! A collection of Sydney CBD architectural engravings of colonial buildings include street layouts with names of early proprietors. As well as a great set of 12 framed S.T. Gill character studies, c. 1850 from the Victorian goldfields, there are antique prints from all around Australia, with towns and country scenes graphically showing life following 18th century settlement including the rare pair of Baxter oil-printed scenes. A Fred Elliott watercolour of a clipper ship off Australia’s east coast reminds us of the grand period of sailing ships – as do more humble hand-coloured engravings of immigrant vessels, but perhaps wonderful early yachts on the harbour may have more appeal. Captain Cook will always be revered for his discovery of the east coast of Australia, and probably the best-known early Australian view is the 18th century engraving from a sketch done near Cooktown in 1770 for the journal of his exploration: A View of the Endeavour river, on the coast of New Holland, where the ship was laid on shore, in order to repair the damage which she received on the rock. The Endeavour is shown at the riverbank after having been nursed a few hours north to a safe area for repair of the damage to the hull when it struck coral on one of the Hope Islands on the Great Barrier Reef.

FRAMING FOR DISPLAY Selection of antique maps and prints is of most importance, but how they are displayed determines whether they provide ongoing appreciation. The skilful and meticulous work in the creation of antique prints should be preserved by conservation-standard framing. Paper-based antique prints should be framed by supporting front and back with materials that are free of damaging chemicals. These matt-boards are often referred to as acid-free. To protect your artwork from fading in excessive light, ultraviolet-protection U/V glass should be used. Conservation framing may be a little more expensive but it will preserve your precious artwork. If you have any questions, please feel free to contact us. Kathryn & Derek Nicholls ANTIQUE PRINT CLUB 07 5525 1363 / 0412 442 283. sales@antiqueprintclub.com www.antiqueprintclub.com

Buy securely online from www.antiqueprintclub.com (continually added to & updated, so let us know your interests)

sales@antiqueprintclub.com

P. 07 5525 1363 M. 0412 442 283 Above left: ‘Female, Nouvelle-Hollande’, Baudin’s Voyage, Paris, c. 1804

Or from Brisbane Antique Centre Pacific Hwy exit 30 south of Brisbane Jacques Bellin, Terra Australis, c. 1753

Antiques and

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Above right: ‘Male, Nouvelle-Holland’, Baudin’s Voyage, Paris, c. 1804

MITTAGONG

Pendragon Antiques A selection of Staffordshire flatbacks and figurines available

Carriage clocks, goliath pocket watch and brass compasses

Royal Worcester and Grainger porcelain

Early Victorian mahogany chest of drawers, others available

Regency mahogany sideboard fitted with cutlery and wine drawers Pair of Staffordshire mantle dogs, c. 1880, other Staffordshire figures are in stock

Moore Brothers porcelain floral bowl decorated with orchids A good selection of early Victorian and later glass

Pendragon Antiques French ormolu mantle clock from a selection of clocks in stock

24 Bowral Road, Mittagong Open 6 days a week â&#x20AC;&#x201C; Closed Tuesdays Hugh & Dianne Arthur

Bronze sculpture on marble plinth, one of the fine selection of bronze and spelter statues available

Tel: 02 4872 2397 â&#x20AC;˘ Mob: Hugh 0402 274 608 or Dianne 0402 274 609 Email: pendragonantique@internode.on.net

Antiques and

art

BOWRAL

Our Emporium offers European & American antiques, home furnishings and the ‘Recycled Fashion’ vintage clothing salon. The Market, located behind the Emporium, houses over 60 individual dealers with a cafe´ opening soon! Follow us on Facebook or sign up for The Blog on our website to find out when new shipments arrive, to see what’s on the floor or for event information. 391 Bong Bong Street BOWRAL NSW 2576 P 02 4861 3231 www.dirtyjanes.com Open 10am – 5pm every day

Antiques and

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BRAIDWOOD

LONGBARN LAUNCHES AT The Gate Gallery at Wollombi LATEST VENTURE e are proud to announce the launch of Longbarn at The Gate Galley, Wollombi in the Hunter Valley. Here we specialise in provincial, industrial, garden and architectural antiques with our well-known eye for a distinctive rural French flavour. Many of the pieces are sourced from France and are individually chosen for their age, quality, design and function. In addition, we have selected a tempting range of desirable wine-related objects from south west France in keeping with the theme of both regions: Champagne riddling racks, beautiful sculptural bottle corkers and quirky bottle washers – great for the bar! Visit our new Gate Gallery site for images of the gallery. A beautiful place to visit.

NEW STOCK FROM FRANCE For six weeks, the medieval village of Saint Antonin Nobel-Val, on the Aveyron River, south west France, was our home as we enjoyed visiting the neighbouring villages as well as the cities of Toulouse, Albi, Cahors and Montpellier in search of interesting and unusual stock to fill our container. Summer months in France are the season for ‘fêtes’ and village markets, or vide greniers (meaning emptying of the attics) – the French equivalent of a car-boot sale. Held in the village squares, these all offer hours of satisfying hunting in the hope of discovering old, coloured enamel ware or household, kitchen, linen or garden finds. Brocante (second-hand) and professional antique dealers also hold regular markets in pretty settings in mediaeval villages which are always an interesting experience. Often we packed a picnic and headed off early with the GPS set on the trail through the countryside. Around every corner there seemed to be another beautiful village.

LONGBARN & ‘STRING’ WELCOME FRENCH FINDS This year we enjoyed great success in France and are excited by the variety of our discoveries. Surviving the early summer heat wave, we packed the container in our small village and now await its arrival. Though greeted upon our arrival back to Braidwood with a chilly winter, a host of bright daffodils flagged the prospect of Spring around the corner, and that container packed full of those interesting and unique finds arriving in early September. It’s a great time to visit Braidwood, the Longbarn, as well as ‘string’. There is a buzz about the town, with art galleries and cafés to complete the visit. To receive up-to-date news, follow Longbarn and ‘string’ on Facebook.

‘STRING’ (Braidwood) 0414 820 250 LONGBARN (Braidwood) 02 4842 2784 LONGBARN AT THE GATE GALLEY 02 4998 3370 www.thegategallery.com.au info@longbarn.com.au www.longbarn.com.au

“

This year we enjoyed great success in France and are excited by the variety of our discoveries

”

Antiques and

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Arthur Streeton, Golden summer, Eaglemont, 1889, oil on canvas . National Gallery of Australia, Canberra. Purchased 1995

Margaret Preston, Flying over the Shoalhaven River, 1942, oil on canvas. National Gallery of Australia, Canberra. Purchased 1973 © Margaret Rose Preston Estate

AUSTRALIA A major survey at the Royal Academy of Arts, London 21 SEPTEMBER – 8 DECEMBER ustralia is to be displayed at the Royal Academy of Art, London’s premium temporary exhibition venue, and will be the largest historical survey exhibition ever staged outside Australia, covering Australian art from 1880 to the present day. It is restricted to landscapes because the Australian landscape – the land, sea, cities and sunshine – is what preeminently defines our country for many people, and because land or country is central to Australian Indigenous art. It is an exhibition of around 200 works, some of the finest in Australian art, selected from public collections around the country and a few in Britain. Half the works are from the National Gallery of Australia, the largest and most balanced collection of Australian art. It will demonstrate the creativeness of our artists as well as provide an image of Australian history and way of life and will present our country’s land and landscape as it has been variously depicted over time. There will be observations of highly urbanised early colonial lives; works that reflect the way in which settler artists began to consider the distinctive forms of individual gum trees; of bush country and tropical or temperate rainforests, as well as the vast deserts that fill most of Australia, a land geologically far more ancient than Britain. By the 1820s, landscape painting, headed by J.M.W. Turner and John Constable, had become the dominant tradition in Britain. And, given the compelling natural scenery and distinctive light of Australia, landscape painting also soon became the central concern of Australian artists, and remained so for much of the 20th century. The light-filled pastoral scenes of British-born John Glover, who settled in Tasmania in 1831, shifted from what was often formulaic work in Britain to more natural and unusually high-keyed Australian landscapes. Moreover, when he incorporated Aboriginal figures into his work, his paintings and, later, those by the Austrian-born Eugene von Guérard also occasionally expressed guilt for taking the land from the previous Indigenous owners. In the later 19th century, the artists began to dramatise the intense light, burning heat and dryness of many an Australian summer, using a characteristic blue-and-gold palette as well as the

Antiques and

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gently, subdued tones of early morning and evening. It was a time when some of Australia’s best-known and most loved artists, Tom Roberts, Frederick McCubbin, Arthur Streeton and Charles Conder, came into prominence and when artists began to talk about an Australian tradition and a specifically Australian art. By this time, Australia had a number of Australian-born artists. They created a new vision of urban Australia as well as landscapes in which men, women and children lived comfortable with their environment. After Federation in 1901, artists used strong emblems in their landscapes, particularly the sturdy monumental eucalypt, redolent of masculine power. They also depicted the city, suggestive of progress; and, after 1910, the beach again became indicative of Australian egalitarianism and a healthy lifestyle. The 1920s and 1930s were a time when women artists came to the forefront, developing distinctive modernist approaches to their local environment. The construction of the massive Sydney Harbour Bridge from the mid 1920s became a symbol of hope for many as well as a sign of Sydney’s progress and modernity. It was a favourite subject of artists such as Grace Cossington Smith and Jessie Traill, who were attracted by the bridge’s modernist forms. The 1940s were a dynamic and creative decade for Australian art. World War II, isolation and the threat of invasion, galvanised younger artists to express themselves with a new force, and their art took on a more personal, haunting expressiveness. Sidney Nolan became one of the most imaginative and compelling painters of the Australian landscape. In a 1948 edition of The Australian Artist, he said of his 1946 iconic Ned Kelly series that ‘the desire to paint the landscape involves a wish to hear more of the stories that take place in the landscape’. Russell Drysdale turned to the less productive inland country and told stories of stoic women firmly located in the landscape. He showed Australia as a place loaded with strangeness, and in some works he depicted the dried up earth where only flightless emus remain. During the past 50 years, landscape has remained a recurring theme for painters, printmakers and photographers. The outstanding Australian landscape painter Fred Williams created a highly original way of viewing the

Australian countryside. He made a virtue of flatness, sparseness and super-subtle tints in his delicate but weighty landscapes. He explored different formats for viewing the land, to convey the unbounded, timeless country in which a European perspective becomes irrelevant. The Australian sun, its blazing force and its seductiveness, has been an important motive in Australian art. In his Sydney sun, John Olsen painted a joyous celebration of the sun cradling the surrounding landscape, ‘like a benevolent bath, bubbling and effervescent’ (as Olsen said in a letter to the Gallery in 2000). Howard Taylor observed in a 1984 interview with Gary Dufour that in Australia ‘… the sun is straight above you, it tends to flatten things out. You miss that half-covered sky or the diffused light that you get in Europe’. Brian Robertson, director of the Whitechapel Art Gallery, when he presented Recent Australian painting in London in 1961, observed in an article in The London Magazine that Australian painters ‘know the geology of the land and the names of plants and trees and the histories of particular regions in a way that European artists do not’. Some present-day artists have refreshed old botanical observations. Fiona Hall has done so in Paradisusterrestris (1989–90), a suite of 23 miniature aluminium sculptures of plants, both Australian and exotic, paired with human sexual organs. Much Aboriginal art is about the land, made of materials gathered from the land, etched into its surfaces as rock engravings or ceremonial ground designs and painted onto bodies. The people’s relationship to the land, depicted in a visually rich language that varies considerably across the continent, is often embodied in the iconography of ‘The Dreaming’ or Creation narratives. The imagery can be traced back some 50,000 years and constitutes the world’s oldest unbroken art tradition. The great revolution in modern Aboriginal art had its origins in the Western Desert, in the Government settlement of Papunya. The catalyst for change came in the form of nonAboriginal outsider Geoffrey Bardon, who invited the senior men of the community to paint a series of murals on the school walls in the Western Desert style. The men went on to

produce paintings on portable supports in acrylic as well as natural ochres, creating works that are appreciated for their mystery and their beauty. Aboriginal desert painting is today a significant component of Australian national pride, each community with its own inflections of an ancient iconography. In the mid 1900s, the first generation of urban-based Indigenous artists emerged, whose art is often provocative and political in nature, as well as witty, and uses many different media. These are just some of the many aspects of the rich Australian landscape tradition that will be displayed at the Royal Academy. It will demonstrate that Australia’s artists are at least as inspired as our actors, filmmakers and writers and that Australia is as much a cultural nation as a sporting nation. It will also show that our visual arts tradition has a longer and more venerable history than our sporting tradition. Anne Gray Head of Australian Art NATIONAL GALLERY OF AUSTRALIA 02 6240 6411 www.nga.gov.au Note Extract of article published in Artonview, National Gallery of Australia 2013

Rover Thomas [Joolama] , Kukatja/Wangkajunga peoples, Cyclone Tracy, 1991, natural earth pigments on canvas. National Gallery of Australia, Canberra. Purchased 1991 © The artist's estate, courtesy Warmun Art Centre

CANBERRA

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William Kentridge, Nose 8, 2008, sugarlift aquatint and engraving. National Gallery of Australia, Canberra. The Poynton Bequest, 2010

William Kentridge, Drawing for the film Other faces (large landscape), 2011, charcoal, coloured pencil and pastel on paper. National Gallery of Australia, Canberra. Acquired through the National Gallery of Australia Foundation and the Poynton Bequest 2012

NATIONAL GALLERY OF AUSTRALIA

William Kentridge: drawn from Africa 5 October – 3 November illiam Kentridge comes from a German-Jewish and Lithuanian family who fled from Russia in the 1880s during the anti-Jewish pogroms, after the assassination of the Tsar Alexander II. From the 1950s, Kentridge’s mother, Lady Felicia, and father, Sir Sydney, were both actively involved in supporting South Africa’s anti-apartheid activists in the political trials and in events such as the inquest into the Sharpeville massacre of 1960. Kentridge was born in 1955, and his family’s involvement in the injustices of apartheid played an important role in his development and informed his work as a gifted figurative artist. In this context, Kentridge considered abstract art and conceptual art ‘an impossible activity’ in South Africa. As he observed in the 1999 book William Kentridge: ‘Much of what was contemporary in Europe and America during the 1960s and 1970s seemed distant and incomprehensible to me. Images became familiar from exhibitions and publications but the impulses behind the work did not make the trans-continental jump to South Africa.’ Kentridge’s art belongs to a tradition of some of the great figurative artists of the past such as William Hogarth, Francisco Goya and Honoré Daumier as well as the German Expressionists Max Beckmann and George Grosz. These artists created powerful imagery that explored the social conditions of their time. While Kentridge follows in their footsteps, he also develops imagery of subtlety and imagination in film, drawing, printmaking and tapestry design and explores three dimensions in innovative opera productions and sculptural forms. His art dismantles, transforms and fuses one art category into another. Drawing in charcoal in particular was an ideal medium, as adding to and subtracting from compositions provided Kentridge with the ability to explore his subjects without finality. The process also facilitated his animations for which he augmented his drawings during the process of filming. In this way, Kentridge is able to remodel, dismantle or dissolve his subjects as he develops his imagery over time.

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As a consummate printmaker, Kentridge’s work is characterised by considerable graphic skill and technical experimentation. This is evident in The battle between yes and no (1989), which is a remarkable screenprint revealing Kentridge’s facility in this technique, using his drawing skills to depict his subjects. The two figures are oversized and bulging within the picture plane, emphasising the combative theme of the work. This confrontational scene prefigures the later scenes of an altercation in his film Other voices (2011), which explores the complexity and confrontation found in a post-apartheid era. In Casspirs full of love, created in 1989 but not published until 2000, Kentridge uses the power of irony when he juxtaposes horrific imagery with a mother’s message of love to shed light on the darker history of apartheid. Kentridge’s use of the term points to the reality that Casspirs had been the quintessential riot-control vehicle in South Africa–and that they had become both a very real object of oppression as well as a symbol of that oppression. In Casspirs full of love, seven severed heads rest inside the four irregular compartments of a vertical rectangular container. Since the strong suggestion is that these are the remains of victims of state violence, the words, ‘Casspirs full of love’, handwritten down the right side of the work, add a bitter twist to the innocent but ultimately crass expression of motherly love. In comparison, much of Kentridge’s art is one of discernment, as in his enigmatic Atlas procession no1 (2000), reminiscent of Dada theatre, where a rich parade of figures circle an architectural dome decorated with a map. The map is of Greece and is labelled ‘Turkey in Europe: Romania [word obscured, perhaps Serbia], Montenegro and Greece’, a reference to the Ottoman Empire’s expansion into the Balkans in the 14th century; the empire’s subsequent decline ended with its collapse in 1918. Kentridge had been interested in projecting his imagery in a three-dimensional space in the manner of a fresco. For this larger version of two, Kentridge took as his starting point Goya’s frescoes from San Antonio de la Florida, Madrid. The scene is theatrical and nonsensical, with a carefree female nude dancing around the dome, mourning figures and a suited man metamorphosing into a tree.

The transforming man also appears in a massive linocut, Walking man (2000), in which Kentridge explores his interest in working on a grand scale on one single life-sized figure. Like some of Picasso’s Vollard Suite intaglio prints, Walking man may be inspired by the Latin poet Ovid and the story of Daphne who was chased by Apollo and transformed into a shrub. In a later linocut of a similar grand scale, Eight figures (2010), Kentridge continues to explore a processional composition. His cutting of linoleum is remarkable for its variety and contrast of lines, forms and rich patterning, as evident in both of these massive linocuts. Kentridge’s skill as a consummate printmaker is also apparent in the masterful painterly print Reeds (1996). This grand intaglio print breaks all the rules of etching and is a wonderful, luscious composition rich in inking and texture. Kentridge used power tools for dramatic effect, as well as more conventional methods on a huge plate. Given the problems of inking at this scale, each work in this small edition is like a monotype. Reeds signals Kentridge’s move to acknowledge the history of Africa: at first glance, the artist has created a lyrical view of the countryside, a rich paradise; yet, this is deceptive, as within the landscape lie references to the often dark history of Africa. The processional form of figures marching continued in his sculptures, prints and films inspired by 19th-century Russian satirist Nikolai Gogol’s absurd tale The nose. In 2006, William Kentridge was commissioned to design and direct the opera The nose by Dmitiri Shostahovich: ‘For a long time, I’d been wanting to do a project that has to do with Russian modernism and the end of Russian modernism.’ Kentridge worked with the David Krut Print Workshop on a series of intaglio prints that continued his artistic investigation of a number of the themes and ideas that he had explored with the opera. The artist was interested in applying the aesthetics of early modernism and Constructivism as well as linking this to historic literary, musical and political sources. ‘The nose’ project satisfied these interests. The cycle of images depicting the nose’s journey are filled with references to Russian history, literature and art. The nose prints all incorporate the use of intaglio techniques such as soft-ground etching, hard-ground etching, drypoint, sugarlift and

William Kentridge, Walking man, 2000, linocut. National Gallery of Australia, Canberra. The Poynton Bequest 2013

aquatint. In 30 masterly compositions, Kentridge demonstrates his finesse with each of these techniques and combines the idiotic experiences of the nose and his owner in tyrannical times, highlighting a sense of the absurd. William Kentridge: drawn from Africa includes ‘The magic flute’ project, the tapestry Streets of the city (2009) and the film Other voices and related drawings. Jane Kinsman Senior Curator, International Prints, Drawings and Illustrated Books NATIONAL GALLERY OF AUSTRALIA 02 6240 6411 www.nga.gov.au Extract from ‘Lightness of Touch. William Kentridge: drawn from Africa’, Artonview no 75, spring 2013.

CANBERRA

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CANBERRA

WELCOME TO CANBERRA’S Forrest Hotel and Apartments T he Forrest Hotel and Apartments is one of Canberra’s best value hotels with a choice of standard to executive nonsmoking rooms. The award-winning, three-anda-half star Canberra property also offers state-ofthe-art conference facilities, restaurant and function areas. Renowned for its hospitality, guests enjoy all the comforts of home complemented by outstanding service.

CLOSEST HOTEL TO PARLIAMENT HOUSE Situated in the prestigious leafy suburb of Forrest, with views to parkland and beyond to Parliament House, Forrest Hotel and Apartments is renowned for its quiet and tranquil location which is also in the Parliamentary triangle so, leave the car and follow a picturesque route to many of Canberra’s major icons. From the hotel, Parliament House is a 10 minute walk. Manuka shopping village and Manuka oval are also only 10 minute walks. If looking for more exercise, both Lake Burley Griffin shores and Old Parliament House is a 20 minute stroll and it takes approximately 30 minutes to walk to Questacon and the National Library.

Even closer by car is the Australian War Memorial which takes six minutes, and if looking to drive to the CBD for entertainment and shopping, this is no more than five minutes by car as is the National Convention Centre. Or, if not wanting to go very far then the Italo Australian Club is next door to the hotel. It is also the ideal stopover for a skiing holiday in the Snowy Mountains ski fields of Thredbo and Perisher, which are only two hours from the Forrest Hotel and Apartments.

DINE IN THE FORREST Located on the ground floor, Sherwoods Restaurant is fully licensed offering a seasonal menu of wonderful dishes, excellent boutique wines plus al fresco dining. Ideal for business and private occasions, free Wi-Fi is available during breakfast and evening meals when the restaurant is open.

CONFERENCES IN CANBERRA Forrest Hotel and Apartments is ideal for day, half day or residential meetings. Conveniently located, the Forrest Hotel ensures your delegates enjoy a calm environment, not bound by four walls or the fuss of bigger establishments. For your conference or meetings venue, book today. The Nottingham Room, overlooking the parkland, caters for up to 80 delegates and includes state-of-the-art presentation facilities. To find out more contact FORREST HOTEL AND APARTMENTS 02 6203 4300 reservations@forresthotel.com www.forresthotel.com

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JAMBEROO / CANBERRA

Nerilee Antiques Fine Antiques since 1971

REVIEWING THE ACT’S 2013 SPRINGTIME

Antiques and Collectables Fair CT’s 2013 Springtime Antiques and Collectables Fair took place from 16 – 18 August in the historic Albert Hall. The country’s pre-election uncertainty was reflected in the fair’s attendance which was down slightly on normal. However, those attending were very pleased with the quality and variety of items on offer from the 23 dealers from around the country.

THE FAIRS CONTINUE IN 2014 The 2014 ACT Autumn and Springtime Fairs will be held in March and August respectively. For further details contact Les Selkirk SELKIRK ANTIQUES 02 6231 5244 / 0418 631 445

COLLECTING TRENDS Jewellery was the favourite purchase at this fair, followed closely by linen and lace, maps and prints, antique books and smaller items. Although English and Australian furniture were slow movers on most stalls, period French items attracted good interest.

Open 10 – 5pm, Thurs, Fri, Sat, Sun & Mon 26 Allowrie St, Jamberoo NSW 10 km from Kiama

Telephone: 02 4236 0389

ACT SEASONAL ANTIQUE FAIR

PROCEEDS FOR CHARITY Proceeds from the fair, which is one of the Rotary Club of Canberra City’s main fundraisers, went to the ACT’s Pegasus Riding for the Disabled to help it continue its valuable work with the region’s children and adults with disabilities.

CANBERRA 2014 PROGRAM AUTUMN FAIR 21, 22 & 23 March 2014

SPRINGTIME FAIR 22, 23 & 24 August 2014

The Hall Attic CANBERRA’S NEWEST ANTIQUE SHOP

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

Selkirk

For further contact, please ring

ANTIQUES & RESTORATIONS

Les Selkirk on 0418 631 445

Offering personalised service and sales Specialising in Georgian, Victorian and Edwardian mahogany and walnut furniture

Established Genuine Antiques and Collectables Fair (est. 1985)

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

Presented by the Rotary Club of Canberra City Proceeds go to support local organisations that help the less fortunate in the ACT Antiques and

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Roman Scaphe shadow clock of truncated form (hemicyclium). The gnomon was placed in its hole at the top parallel to earth, the hour read off indicated scale, c. 100 CE

Byzantine portable sundial calendar in brass, c. 520 CE

Byzantine portable sundial calendar in brass c. 520 CE

The Beginnings of Time IN HOROLOGY he term ‘horology’ stems from two Greek words, hora, which means time, and logos, which means word or telling. The modern dictionary defines horology as being the ‘science of time.’ Where does one start on understanding time? A good starting point would be when man began to record time. Two famous Greek philosophers in the 6th century BC defined time as follows. Pythagoras (c.582-c.507 BCE) stated that ‘time is the procreation element of the universe’ whereas Parmenides argued, ‘Time does not pertain to anything that is truly real.’ So our time base is the result of a Greek modification of an Egyptian practice combined with Babylonian numerical procedures. Sound confusing? Let us start at the beginning. Many thousands of years ago time was recorded as one day at a time. Time was ‘day to night’, ‘hungry or full’. Then, as man developed and understood the environment better, time started to be recorded by more accurate means. Days would have been added together to the time frame of the moon, then the moon to the seasons and so a general structure started to develop. Clearly, time became less haphazard as man began to develop the ability to predict the seasons. Suddenly, they knew when it was time to plant crops or harvest the grains and they had a better knowledge of how long they could store their food.

Dawn was chosen by the Egyptians to represent the start of a new day, whereas the Babylonians, Hebrews and later Muslims chose sunset. The Romans chose sunrise to mark the start of a new day but later midnight was chosen because of the variable length of the day. Most of Western Europe adopted sunrise as the start of the new day until the arrival of the mechanical clock in the 14th century. Astronomers like Ptolemy (c. 90-170 CE) chose midday as the start of the day and this stayed as the beginning of the astronomical new day until 1 January 1925 when, by international agreement, the astronomical day was made to coincide with the civil day. The first man-made solar, sun or shadow clock was from Egypt and dates from around 1500 BC. It was shaped like a T-square with marks on each side therefore giving no shadow at noon. This type of instrument, however, did not allow for changes in the seasons such as the longer and shorter days of summer to winter. The oldest surviving shadow clock (14791425 BCE) is missing the top of the T and without it is now similar in layout to the letter L. But it is an improved model as it takes into account the changing seasons. It has irregular marked intervals on its length, to compensate for a faster moving shadow, the further the sun moves from its zenith. The shadow clock was faced east before noon and west after.

Chinese great steelyard arm clepsydra of Keng Husn and Yuwn K’ai

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Star clocks were used as a night timing instrument. This incorporated a ‘merkhet’ which was basically a plumb line hung from an L shaped and marked holder. Through the merkhet astronomers could observe selected stars moving across the meridian (zenith) of the night sky. While doing this they discovered that certain stars crossed this meridian at a roughly even nature and at a certain point. In conjunction with this they used another instrument called a palm leaf (palm rib of the observer of the hours) which was basically a stick with markings that were roughly Y shaped with a slot at the top for sighting and setting the point for observations with the merkhet. The Egyptians were the first to set 365 days to the year, broken into three seasons of four months and then 12 months of 30 days and five additional days at the end of each year. They created a very good calendar and the Egyptians matched the day to the night by dividing the day into 12 intervals – 10 intervals for daylight and two extra for twilight. The Egyptians were also the first to use a water clock to measure the duration of night hours. Later, the Greeks called this device a‘clepsydra’. This basically required a tapered container to be marked into set parts to match the leakage of water that gave a time frame of water loss. The Egyptians also created the 24-hour pattern from the night stars. These were 12 ‘decans’ (each of the three divisions of a

zodiacal sign) or diagonal star-clock calendars. These periods were carefully monitored by the priests who chose a new star every 10 days, creating 36 decans a year, three decans per month plus five days for the full year. The Babylonians left us with the first astronomical computations which were in a sexadecimal (60) system instead of our decimal system. These were taken up by Greek astronomers creating equal hours, breaking them into 60 firsts or minutes and each of these also into 60, creating seconds. The first sundial appeared in Greece in the 4th century BC. Scholars studied these instruments mathematically creating much greater accuracy for future generations. Their sundials were very robust and simplistic in their construction and were eventually adopted by the later early Christian communities and spread to Central and Western Europe. The Greeks were great philosophers and storytellers and by the 5th century BCE were the first to record history in a chronological manner. For the first time in history the passage of time became more relevant, not only in the written form but in laws, contracts and expectations of the community. Rome’s first sundial clock apparently was brought from Sicily in 263 BCE. It was very inaccurate, as it was set from where it was made and, for example, 4 degrees latitude south gave incorrect time readings because of the angle of the sun. It was almost 100 years later before one was made appropriate to Rome’s latitude in 164 BCE and within only six years Scipio Nasica set up a public clepsydra in Rome. Following this, clepsydras were installed in Roman law courts to formalise a time in law. It is reported that many wealthy members of the Roman population would pay the ‘clock’ watcher to slow down the clock so they would not be late for their day in court! By the time of Caesar, water clocks were used in the military camps to time the four night watches; evening, midnight, cock crow and morning. Around this time wealthy members of the upper class obtained private water clocks and special slaves were appointed to look after, read and announce the hours to their masters. This is the first time clocks became a significant status symbol. Even with improvements in these clocks, they still could not agree or keep equal rate of loss. This led the Roman writer Seneca to complain ‘that it was impossible to tell the exact hour, since it is easier for philosophers to agree than for clocks!’ When the Romans started using the Greek

Waterclock by Ctesibius of Alexandria (fl. 285-222 BCE) Alabaster cast of an outflow clepsydra, Karnak Temple, 1415-1308 BC

VICTORIA calendar, the months were equal of 30 days with 5 days of celebration. But the Romans were never as mathematically precise as the Greeks and after political manipulation and corruption the Roman calendar was always out by almost three months from the true solstice. This was the position when Julius Caesar introduced his calendar on 1st January 45 BCE. By the advice of the Greek astronomer Sosigenes, Caesar extended the previous year 46 BCE to 445 days to correct the anomaly of political power games where months had been shortened or lengthened at whim to prolong or shorten terms of office. Julius Caesar fixed the civil year at 365 and introduced the leap year of 366 every four years to compensate for the extra quarter day. He ordered January, March, May, July, September and November to have 31 days and all other months to have 30. The exception was February with 29 days except in leap years when it would have 30. Augustus interfered in 7 BCE and renamed Sextilus after himself and assigned the same number of days as the months before and after. He stole (or perhaps bought) the day off February (probably a poorer rich family represented the smallest month). To avoid having three months of 31 days, September and November were reduced to 30 and October increased to 31. Hence the calendar once again reverted to an illogical number of days in the months and has been copied throughout most of the world. Christianity originated from the world of the Roman Empire, so it was natural to start the Christian calendar on the Imperial Roman model that has continued more or less to this day. The Islamic world became the true successor of the former intellectual capital of the Hellenistic world – Alexandria. Alexandria had been a city of the Eastern Roman Empire, which outlived the Western Empire. Fortunately it was not over-run by barbarians and managed to keep intact much of the writings of the ancient worlds. Most Greek works were translated into Arabic by the end of the 9th century. The Muslim religion required mathematically educated people who could determine the astronomically defined times of prayer and the direction of Mecca. It is not surprising that many portable instruments for determining time were required, the chief instrument being the astrolabe. This instrument can be traced back to Ptolemy in the 2nd century CE and was the forerunner of the sextant. Some of these became elaborate double-sided instruments and later mechanical devices. Still the principal clock mechanism was the water clock, with added features giving sunrise, sunset indicators, month, moon and a celestial layout.

Many of the ancient water clocks were instruments of incredible complexity as many were constructed to indicate the hour which varied from the sunrise starting point during the year. This required a complex in-built means of changing the starting and setting points. Although there were no mechanical clocks in antiquity mechanical advances were made for devices to reproduce the movement of the heavenly bodies. One remarkable Hellenistic geared mechanism that has survived was discovered in 1900, in the wreck of a Greek ship near Antikythera, off the south coast of Greece. In 1974 D.J. de Solla Price reported on the results of x-rays and gamma rays of the corroded remains of this bronze mechanism. He concluded that it was a calendrical computing device, determining the positions of the sun and moon in the zodiac and involved a series of wheels and fixed gear ratios for working out the metonic cycle in which 19 years correspond to 235 Lunar months. This was possibly the closest to a mechanical clock found in antiquity. But in 1983 four fragments of a geared instrument of early Byzantine origin possibly made around the reign of Justinian I (483565) were acquired by the British Museum. It has been possible to reconstruct the complete instrument, which was a brass sundial with a geared calendar that showed the approximate shape of the moon and its age in days and may also have shown its position and that of the sun in the zodiac. Two of the fragments have gears of 59 and 19 teeth and of ten and seven teeth. This instrument appears to be similar to an instrument described by the Persian scientist al-Bruin (973-1048). This would appear to be a direct practical link between the Greek and early Islamic times. In ancient China, time keeping was recorded using water clocks and sundials. The great steel yard arm clepsydra of Keng Husn and Yuan Kau (CE 610) seems to be the missing link between the normal in-flow or out-flow clepsydra and the one following. The steel yard arm or beam balance weighed water, along the beam was a container suspended by the controlling weight allowing the container to be lowered or raised acting as an in-flow and out-flow into a reservoir. The container was lowered into the water holder causing in-flow, filled to a certain point, then the clock observer would move the counter weight backwards raising the container, causing out-flow. This in effect was the first escapement, whereby the counter weight was moved as the escapement with the help of a human, in effect the weight could be changed in many positions allowing for the change in seasons.

In China many astronomical devices had been made. Some of these had copied European lines, particularly with Greek science making its way from Alexandria, down through to India and then into China. An example is at this time there were three clans of Indian astronomers working in the capital. They manufactured a variety of astronomical instruments and clocks along these principles and also invented new ways of keeping the heavens synchronised for observations. Chang Sui (682-727), a Tantric Buddhist monk, known as I-Hsing with the help of a scholar named Liang Ling-Tsan explored the concept of self-running escapements. Liang Ling-Tsan is credited with developing a solution to the problem of elliptically mounted sighting tubes over the more common equatorial sighting system. Using these two systems together gave the astronomers the ability to make better observations and IHsing was able to develop a better calendar able to accurately predict eclipses, for example. The emperor Hsuan Tsung in 723 gave permission for the bronze casting of new astronomical instruments to be used by I-Hsung, Liang Ling-Tsan and other capable men. This was a water wheeled system and apparently is the first time in history that an escapement used scoops filled with water. As the water flowed in a trip system it advanced the scoops. The Chinese also used incense burners as a form of time keeping. These apparently burnt uniformly making them suitable. Some were single incense sticks and others were placed in a track system like a maze burning at certain intervals. I am not sure when they started using this form of time keeping but these were far more accurate than the candle clock being developed in Europe during this period.

The candle clock was the next major invention in keeping time and is attributed to the Anglo-Saxon King Alfred (848?-899). According to his biography, Alfred the Great devoted eight hours to public duties, eight hours to studying, eating and sleeping with eight hours for worship. To apportion his time, he took 72 pennyweights of wax and made 12 candles each a foot long. Each burned for four hours or, an inch in 20 minutes. One of his chaplains, charged with the keeping of the candle, reported that they burned quicker in a draft. So the king devised a lantern (lanthorn) with frames of wood and sides of horn scraped thin enough to be translucent.

Michael Colman COLMAN ANTIQUE CLOCKS 03 9824 8244 www.colmanantiqueclocks.com

Reconstruction of the Antikythera mechanism

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

The case is complete with green silk backed fine filigree timber fretwork panels (total 8 panels) to front, sides and rear door

The movement is beautifully made with early generous acanthus styled hand engraved back plate, original verge escapement and pendulum, with 5 pillars striking the hour on the larger of the bells, and quarter hour pull cord repeat on the nest of six bells

The break arch case has full size opening doors, glazed, to front and rear

Fine early Georgian bracket clock by London maker John Taylor, c. 1730, housed in an ebonised break arch case with inverted bell top surmounted by a carrying handle, resting on bracket feet. John Taylor was a listed clockmaker and a member of the Clockmaker’s Company of London. The dial with gilt spandrels to corners and arch, with silvered finishes to strike/silent regulation in the arch, main chapter ring, engraved name plate bearing Taylor’s signature, a date aperture above 6 o’clock and further aperture for verge mock dial window with lovely handcrafted blued steel hands

The strike mechanism has a pull cord repeat. The repeat occurs in the quarter you are in 2:32 = 2 peels of six bells and 2 of the hour 4:20 = 1 peel of six bells and 4 of the hour 7:50 = 3 peels of six bells and 7 of the hour

1421 Malvern Road Malvern, Victoria 3144 Australia Ph: 03 9824 8244 Fax: 03 9824 4230 Email: michaelcolman@optusnet.com.au Website: www.colmanantiqueclocks.com Cleopatra’s Needle once stood at the Temple at Heliopolis where its shadow kept the hour

A drawn example of a Roman hemicycle and examples of Hemicyclium or Scaphe shadow clocks

Member of the Watch and Clock Makers of Australia (formerly HGA) and the BHI

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VICTORIA

7. 8.

10. 9.

11. 12. 13. 1. Rolex Datejust Wristwatch, 2012, stainless steel and 18 ct white gold, Oyster Perpetual Datejust automatic movement, ref no 116234 V479582, silver dial with luminous baton markers, original Jubilee bracelet with fold over clasp, with papers. Sold $5428 2. Tanzanite and diamond pendant on chain set in 18 ct white gold; tanzanite, wt: 21.80 ct (approx). 10 brilliant cut diamonds, belcher link style chain, secured with a parrot clasp. ATDW 0.20 ct. Sold: $14,160 3. Pair of sapphire and diamond earrings, c. 1950s, 18 ct white gold, emerald cut sapphires 5.65 ct, 5.85 ct, claw set, 8 grain set brilliant cut diamonds total 0.16 ct, baguette cut diamonds: 0.04 ct, carre cut sapphires, clip on fittings. Sold $8260 4. Piaget 18 ct gold wristwatch, c. 1980s, manual movement, golden dial with baton numerals, herringbone linked gold integrated bracelet with original fold over clasp, total weight: 72.1 grams. Sold: $3658 5. Sterling silver bowl, c. 1950s, ovoid bowl of reclining swan-like form marked Mexican silver 925 underside, h: 19 x l: 40 x depth: 27 cm, wt: 1399 grams. Sold $2124 6. Bracelet c. 1960s, 18 ct gold arabesque shaped links featuring claw set 24 pink/red rubies in a double cluster, fitted with the concealed clasp and safety catch, length: 19 cm, weight: 64.7 grams. Sold: $3068

7. Large Chinese export porcelain bowl, 18.5 x 47 cm (diam), over-glaze coloured enamels decorated with a scene of Canton (Guangzhou) waterfront and the 'Thirteen Factories', inside rim featuring floral and foliate border in red and gold. Sold $9440 8. Set of six Italian rococo style lacquered dining chairs, late 19th century, h: 116 x w: 59 x depth: 58 cm, leather-covered drop-in seat, foliate and rocaille decoration, cabriole front legs with a low H-form stretcher, the carved details with traces of gilding. Sold $2478 (set) 9. Rare antique walrus head humidor, early 20th century, h: 36 x w: 42 x depth: 51 cm, set on an oval platform base with four brass lionâ&#x20AC;&#x2122;s paw feet, silverplate and brass fitted four various sized removable containers. Sold: $4012 10. Spode part tea service, c. 1815, Imari style pattern no. 1956, New Oval shape teapot (h: 15 cm), six Bute shape cups and saucers, a pair of saucer dishes (diam: 18 cm) and a waste bowl, decorated with a scene of a building amidst flowering trees and other designs within various panels, painted marks and pattern numbers underside. Sold: $1298 11. Chinese 19th century soapstone figure of a horse, set on a low carved and stained wood base, 15.5 x 22 cm (stone figure only). Sold: $3304 12. Chinese Late Qing dynasty (1644-1912), blue and white porcelain double-gourd vase h: 30.5 cm, decorated with writhing dragons. Sold $1770 13. Easy Chair No 4 designed 1959 by Illum WikkelsĂ¸ ( Danish 1919-1999), oak and wool, h: 77 x w: 68 x depth: 78 cm. Sold $590

AUCTION SCHEDULE 2013 Accepting items for consignment:

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

Sunday 20 October Monday 21 October Thursday 26 September Wed 16 - Sat 19 Oct

FINE & DECORATIVE ARTS, ANTIQUES & JEWELLERY

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

Sunday 1 December Monday 2 December Thursday 7 November Wed 27 - Sat 30 Nov

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

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

Antiques and

art

QUEENSLAND

A SPECIALIST FURNITURE MANUFACTURER

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

all from renewable forest plantations, the timber is the same used by 95% of UK chesterfield manufacturers. All frames come with a 10-year structural guarantee, are dowelled glued and screwed. The looks include traditional mahogany; dark, medium, golden and light oak; walnut, plus many more.

SPOILT FOR CHOICE

BELOW THE SURFACE

Our many ranges are all available in leather and fabric in a wide range of colours. We use original English antique rub off leathers plus the aged distressed pull up aniline and waxed aniline leather which are imported from the UK exclusive to us. The leather is fire resistant and is of the finest A grade hides. Imported from the UK are five leather ranges with a choice of over 70 different colours. If preferred, choose fabric or velvet upholstery. Perhaps you have a fabric already purchased – let us make it up in the style of your choice.

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

FRAMES AND MORE Match your choice of fabric or leather with our selection of timber.Our frames are made of the finest European beech hardwood timber

A MODERN CHESTERFIELD SOFA

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

WHERE & WHEN THE CHESTERFIELD WAS FIRST INTRODUCED

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

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

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

In England a chesterfield evokes an image of elegance and sophistication. This deep-buttoned sofa is synonymous with traditional English furniture design, its origin dating back to mid 18th century. In circa 1773 the fourth Earl of Chesterfield commissioned noted furniture designer Robert Adam to design a piece of furniture that would permit a gentleman to sit

Visit our web site www.churchillchesterfields.com.au

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

Antiques and

art

THE AUSTRALIAN ANTIQUE & ART DEALERS ASSOCIATION The premier organisation for antique dealers and commercial art galleries in Australia T hink of the uniqueness antiques will bring to your home and to your future gift giving. A simple gift can become a treasured heirloom because of the value an older piece has. Imagine the recipient of a new book that you ordered on-line and had delivered. Now imagine instead that you browse the shelves of an antique book dealer for an older copy of poetry, history or some other book of interest. These pages have been read, loved and maybe even cried over but now they are being entrusted to the person you choose. I guarantee the recipient will feel totally different when they receive this gift. Likewise, how many of the things you have bought for your home are worth handing down to your children? It’s ironic that households today possess fewer objects worth handing down than their depression-era parents and grandparents did. Instead of a few great things, we have tons of junk. If you are thinking about purchasing antiques or vintage items for yourself or as a gift, but are unsure how to find the best values for your money, please contact a member of the AAADA. We are always willing to assist you in finding just the right items that will have lasting value. If using a decorator service, ensure they also adopt the ‘going green’ philosophy. Truly gifted interior decorators can see quality, scale and good form in antiques. They can find creative ways to use vintage and antique pieces for display, storage, accents and attention-getting decors. With antiques and vintage items you have the opportunity to own something durable and truly unique that can be a conversation

piece and possibly an heirloom for another future generation.

ANTIQUE VERSUS COLLECTABLE

Some people say age and others use the kitsch factor to separate antiques from collectables. If you use the Australian Customs Service definition, an antique is 100 years old or more. By my definition, however, items made prior to the early 1920s when styles distinctly changed from flowing and frilly to more modern and angular are antiques and objects made after that time can be termed ‘collectables’. So, items made from the Edwardian era on are antiques in my book and pieces made from the Art Deco period forward are considered collectables. Some examples of older collectables include Depression glass, 1930s shoes, and Gone with the Wind memorabilia.

ABOUT LIMITED EDITION COLLECTABLES Limited edition collectables are newly marketed items made in limited quantities. Sometimes they trade on the secondary market fairly quickly, and can even rise in value rapidly after they are issued. In the long run, however, they don’t generally demand the same high prices as time passes. Once initial demand has died down, the value often plummets. Buy these pieces because you like them, but don’t count on them holding their value over time. In the same vein, most new items made in mass quantities and marketed as collectables will generally go down in value over time. This is especially true with fads. For example, remember Beanie Babies? While there are some exceptions, most of these cute little beanbags

are worth far less now than what crazed collectors paid for them in the mid-1990s. What makes an older collectable valuable is rarity, condition and, of course, the demand for that particular item. The fact that toys, kitchen items and paper goods were mainly used and discarded by our ancestors makes them harder to come by and in many instances worth more money as well.

WHAT IS VINTAGE Generally, while antiques need to be a certain number of years old to be thought of as antique, vintage has more to do with the relative age of an item, in terms of the class of things to which it belongs. The word ‘vintage’ comes to us from wineries and includes in its definition ‘characterised by excellence, maturity and enduring appeal’, so while an antique could be anything that was particularly old (and, one would assume, saleable), items that were vintage would be presumed to be of high quality.

SYDNEY AAADA FAIR 2013 AT ROYAL RANDWICK RACECOURSE IN AUGUST The opening of the AAADA Sydney Antiques Fair (21 – 25 August) attracted a record number of attendees who packed the sparkling new venue at Royal Randwick Racecourse. Visitors to the fair were exuberant in their praise of both the new venue and the diversity of items on offer. With 49 exhibitors coming from all states of Australia they brought the very best of centuries-old pieces up to the modern day, sourced locally throughout Australia and internationally. Although our emphasis is on showcasing antiques and early 20th century

design, we do present individual contemporary items of particular quality and merit. There was a notable upswing in buyer confidence with many exhibitors recording strong sales. Dealers noted that together with well-known collectors, this year’s fair attracted a noticeable contingent of younger and new buyers who were attracted to this happy hunting ground. Both exhibitors and the public enjoyed the ambience the new venue and we’re looking forward to returning next year. The event will be held 20 – 24 August in 2014.

NSW SPRING LECTURE SERIES Another good opportunity to learn about antiques is by taking part in the lecture series held weekly on Thursday evenings in members’ shops, galleries and showrooms. For more information please contact NSW Chapter secretary, Adrienne Wilson, telephone: 02 9332 3882 or by email: adriennewilson@iinet.net.au.

SAVE THE DATE! 8 – 11 MAY 2014 The AAADA Melbourne fair returns to the Royal Exhibition Building Carlton, in Melbourne.

FIND US ON THE INTERNET The Association is accessible on the Internet. Peruse the AAADA website – the user friendly search tool for antiques and art makes the hunt for that special piece so much easier. Another useful feature on the site is the online version of The Essential Buyers’ Guide, a valuable resource for collectors seeking special pieces for their collections. If you would like to receive information about future events, join the mailing list at 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. Obtain a copy by emailing, writing or phoning the Executive Secretary, PO Box 24, Malvern 3144 Vic, 03 9576 2275; secaada@ozemail.com.au.

FACEBOOK Join AAADA Facebook page today for a chance to win a free subscription to World of Antiques and Art magazine. Dawn Davis AUSTRALIAN ANTIQUES AND ART DEALERS ASSOCIATION 03 9576 2275 secaada@ozemail.com.au www.aaada.org.au

Antiques and

art

Antiques and

art

Antiques and

art